Logic Pro 9 User Manual - Help Library - Apple

More documents

Recommendations

Info

Basic Operations 8 There are a number of techniques to choose from when making selections and editing items in Logic Pro. In this chapter, you’ll learn about basic operating, selection, and editing techniques, as well as a number of shortcuts and features that help to accelerate your workflow. This chapter covers the following: • Using the Mouse (p. 191) • Entering Numerical Values (p. 192) • Entering Text (p. 193) • Working with Key Commands (p. 194) • Working with Tools (p. 202) • Working with Help Tags (p. 209) • Using the Shortcut Menu (p. 210) • Using Selection Techniques (p. 211) • Working with the Clipboard (p. 216) • Undoing and Redoing Edit Operations (p. 217) Using the Mouse Mouse use in Logic Pro differs from mouse use in other applications. Clicking Place the mouse pointer on the element (region, event, button, menu, input field, and so on) and press the mouse button once. Double-Clicking The same as clicking an element, but you press the mouse button twice—in quick succession. You can set a suitable interval between clicks in the System Preferences (Keyboard & Mouse pane). 191
Page 1 and 2:
Logic Pro 9 User Manual
Page 3 and 4:
Preface Chapter 1 Chapter 2 Chapter
Page 5 and 6:
Chapter 8 Chapter 9 163 166 166 167
Page 7 and 8:
Chapter 14 387 393 394 398 401 402
Page 9 and 10:
Chapter 18 Chapter 19 Chapter 20 55
Page 11 and 12:
Page 13 and 14:
Page 15 and 16:
Chapter 38 Chapter 39 Chapter 40 Ch
Page 17 and 18:
Welcome to Logic Pro Logic Pro is a
Page 19:
• Logic Studio Working with Apoge
Page 22 and 23:
MIDI recordings are used to trigger
Page 24 and 25:
A Logic Pro project file contains a
Page 26 and 27:
MIDI Regions and Events MIDI region
Page 28 and 29:
• External MIDI control surfaces
Page 30 and 31:
MIDI Interface Your Mac computer do
Page 32 and 33:
To facilitate this, an amplifier an
Page 34 and 35:
Note: Condenser microphones require
Page 36 and 37:
Note: USB audio interfaces should a
Page 38 and 39:
AES/EBU The AES/EBU (Audio Engineer
Page 40 and 41:
If the MIDI interface connected to
Page 42 and 43:
For example, if you buy a new keybo
Page 44 and 45:
µ Click the Preferences button in
Page 46 and 47:
Networking Considerations The prima
Page 48 and 49:
The Track Node buttons have four po
Page 51 and 52:
Overview of the Logic Pro Interface
Page 53 and 54:
The following is an overview of the
Page 55 and 56:
• Track list: This is where you s
Page 57 and 58:
The following image shows the Inspe
Page 59 and 60:
You can add, edit, delete, and rena
Page 61 and 62:
Introducing the Loop Browser The Lo
Page 63 and 64:
Introducing the Library The Library
Page 65 and 66:
• Path menu: Displays the levels
Page 67 and 68:
Introducing Project Notes The Proje
Page 69 and 70:
The Event List can display two type
Page 71 and 72:
Introducing the Tempo List The Temp
Page 73 and 74:
Introducing the Mixer The Mixer is
Page 75 and 76:
Introducing the Piano Roll Editor T
Page 77 and 78:
Local Menu Bars A window’s local
Page 79 and 80:
Global Tracks All linear editing wi
Page 81 and 82:
The Sample Editor is shown, display
Page 83 and 84:
11 Select the software instrument t
Page 85 and 86:
If you want to select an item that
Page 87 and 88:
Customizing Your Window Setup 4 Log
Page 89 and 90:
Key focus areas within windows—su
Page 91 and 92:
To open a window Do one of the foll
Page 93 and 94:
µ Click the close button at the to
Page 95 and 96:
To adjust the size of a window Do o
Page 97 and 98:
µ Set the default size for plug-in
Page 99 and 100:
You can move the visible section by
Page 101 and 102:
To zoom in µ Click the widely spac
Page 103 and 104:
To change the zoom level using the
Page 105 and 106:
Note: When a marquee selection is a
Page 107 and 108:
• Content Link: This mode results
Page 109 and 110:
2 Drag the buttons you want to add
Page 111 and 112:
• Time and Bar: Displays the Bar
Page 113 and 114:
µ Control-click (or right-click) a
Page 115 and 116:
Note: Screensets 1 to 9 can be reca
Page 117:
To delete the current screenset µ
Page 120 and 121:
Setting the Playhead Position The p
Page 122 and 123:
When typing in a full position usin
Page 124 and 125:
• Play from Left Window Edge: Pla
Page 126 and 127:
• Jump Between Cycle- and Project
Page 128 and 129:
The cycle area is defined by the po
Page 130 and 131:
This has no impact on the Bar ruler
Page 132 and 133:
Defining a Cycle with Markers Dragg
Page 134 and 135:
2 Click the Chase tab, then select
Page 136 and 137:
2 Turn on or turn off individual fu
Page 138 and 139:
• Signature/Division: The (Time)
Page 140 and 141: To open a new SMPTE or Bar Display
Page 142 and 143: 2 Choose one of the following setti
Page 144 and 145: Opening Marker Areas and Windows Th
Page 146 and 147: Creating Markers You can create mar
Page 148 and 149: Markers created in these ways are a
Page 150 and 151: • Select the markers, then choose
Page 152 and 153: 2 Type the new marker name in the M
Page 154 and 155: 3 Choose settings in the Font windo
Page 156 and 157: To adjust a marker to fit a cycle
Page 158 and 159: Switching Between Marker Alternativ
Page 160 and 161: When you create a new project (or u
Page 162 and 163: 3 Browse to the location where you
Page 164 and 165: If a project is already loaded, you
Page 166 and 167: Opening and Creating Projects Autom
Page 168 and 169: You can also import the following s
Page 170 and 171: Tip: You can customize the column v
Page 172 and 173: The Browser tab updates to show a t
Page 174 and 175: • Click the Settings button in th
Page 176 and 177: µ Click the Sample Rate display in
Page 178 and 179: Time signatures do not affect the p
Page 180 and 181: µ Open the Signature track, and do
Page 182 and 183: Click the Dim Master Volume button
Page 184 and 185: The following should be taken into
Page 186 and 187: Saving Projects When you choose Fil
Page 188 and 189: Saving a Project as a Template You
Page 192 and 193: Grabbing or Clicking and Holding Th
Page 194 and 195: Any number of selected objects (suc
Page 196 and 197: Understanding Key Command Groups an
Page 198 and 199: Finding Key Commands You can use th
Page 200 and 201: • If you use the Learn by Key Pos
Page 202 and 203: Printing a Key Command List You can
Page 204 and 205: The Command-click tool is available
Page 206 and 207: • Opens Shortcut Menu: Right-clic
Page 208 and 209: Within the working area, you can us
Page 210 and 211: From left to right, the values indi
Page 212 and 213: Selecting Multiple Elements You wil
Page 214 and 215: Selecting Following Regions or Even
Page 216 and 217: 216 Chapter 8 Basic Operations All
Page 218 and 219: To open the Undo History window µ
Page 221 and 222: Working with Tracks 9 Tracks contai
Page 223 and 224: Track type Folder Assigned to Mixer
Page 225 and 226: The Track Header Configuration dial
Page 227 and 228: To hide or show the Inspector in th
Page 229 and 230: Using the New Tracks Dialog The opt
Page 231 and 232: Tip: Once tracks are created, you c
Page 233 and 234: Creating a Track with the Next Chan
Page 235 and 236: Selecting Tracks in the Arrange Are
Page 237 and 238: • If you did none of the above, t
Page 239 and 240: Assigning Tracks in the Arrange Are
Page 241 and 242:
The pointer changes to an index fin
Page 243 and 244:
You also have the option of directl
Page 245 and 246:
• Unmuted regions are indicated b
Page 247 and 248:
Tip: The Freeze function also works
Page 249 and 250:
Understanding the Freeze Process Du
Page 251 and 252:
3 Click the global Hide View button
Page 253 and 254:
The following changes take place in
Page 255 and 256:
• Timing Offset slider: Shift the
Page 257 and 258:
• Mute: Mutes the source region a
Page 259 and 260:
• Overload Protection Only: Allow
Page 261 and 262:
Working with Instruments and Effect
Page 263 and 264:
• An aux channel strip, which is
Page 265 and 266:
To set the channel strip input form
Page 267 and 268:
The Audio Units format also offers
Page 269 and 270:
To insert software instrument, Audi
Page 271 and 272:
Knowing Where Different Plug-in Typ
Page 273 and 274:
Loading or Removing Entire Channel
Page 275 and 276:
• Next Channel Strip or Plug-in S
Page 277 and 278:
All saved performance settings appe
Page 279 and 280:
µ Set the default size for plug-in
Page 281 and 282:
To reset any parameter to its defau
Page 283 and 284:
The Settings area appears to the ri
Page 285 and 286:
The Compare button compares the twe
Page 287 and 288:
Side Chaining Plug-ins All plug-ins
Page 289 and 290:
3 Click the Insert or Instrument sl
Page 291 and 292:
Using Send Effects When you use sen
Page 293 and 294:
2 Drag the Send knob to set the amo
Page 295 and 296:
To activate or deactivate the Low L
Page 297 and 298:
Choose Window > Environment (or use
Page 299 and 300:
4 Click the disclosure triangle to
Page 301 and 302:
Note: There are diagonal lines runn
Page 303 and 304:
• No Reset: Turn on the No Reset
Page 305 and 306:
Inserting Program Change, Volume, a
Page 307 and 308:
The Record button of selected softw
Page 309 and 310:
2 Click the Hermode Tuning (HMT) bu
Page 311 and 312:
2 Choose Options > Create New Auxil
Page 313 and 314:
Using Plug-ins from Other Manufactu
Page 315 and 316:
If you encounter problems with manu
Page 317 and 318:
Adding Prerecorded Media 11 Prereco
Page 319 and 320:
ReCycle Files ReCycle (REX, RCY) fi
Page 321 and 322:
To navigate in the Browser using th
Page 323 and 324:
2 Choose any search term from the m
Page 325 and 326:
First menu Format Length Modified D
Page 327 and 328:
Green and blue Apple Loops can be a
Page 329 and 330:
To limit the Loop Browser display t
Page 331 and 332:
The value in brackets indicates the
Page 333 and 334:
This defaults to the project key, b
Page 335 and 336:
Adding and Removing Audio Files You
Page 337 and 338:
• Copy audio file names to track
Page 339 and 340:
To remove one or more files from th
Page 341 and 342:
The calculation of audio file overv
Page 343:
Note: If you move the ReCycle file
Page 346 and 347:
Audio Regions and Audio Files Audio
Page 348 and 349:
When opened, folders look just like
Page 350 and 351:
Feature Left corner may be dragged
Page 352 and 353:
The Audio Bin tab is ideal for quic
Page 354 and 355:
To check the number of times a regi
Page 356 and 357:
Playback starts at the click point.
Page 358 and 359:
In many cases, the anchor should be
Page 361 and 362:
Creating Your Arrangement 13 Once y
Page 363 and 364:
To alter the Arrange area backgroun
Page 365 and 366:
To snap regions to a grid µ Choose
Page 367 and 368:
In cases where the zoom level is ex
Page 369 and 370:
Note: Only one audio region can be
Page 371 and 372:
Soloing Regions Soloing allows you
Page 373 and 374:
To name a region with the Text tool
Page 375 and 376:
To assign regions the name of their
Page 377 and 378:
Selecting Parts of a Region You can
Page 379 and 380:
To move the entire marquee selectio
Page 381 and 382:
2 Do one of the following: • Clic
Page 383 and 384:
Note: You can override this directi
Page 385 and 386:
Nudging Regions with Key Commands B
Page 387 and 388:
The Delay parameter in the Inspecto
Page 389 and 390:
To resize an Arrange audio region f
Page 391 and 392:
To reduce the length of overlapping
Page 393 and 394:
You can choose the time stretching
Page 395 and 396:
You can also insert a gap into your
Page 397 and 398:
• To cut selected regions that fa
Page 399 and 400:
Understanding the Parent-Alias Regi
Page 401 and 402:
To delete all orphan aliases µ Cho
Page 403 and 404:
The dialog that appears looks somet
Page 405 and 406:
Loop repeats are displayed as exten
Page 407 and 408:
2 Drag the end of the region to the
Page 409 and 410:
To divide a region into several por
Page 411 and 412:
Demixing MIDI Regions You can split
Page 413 and 414:
2 Choose Region > Merge > Regions p
Page 415 and 416:
The Crossfade parameters are define
Page 417 and 418:
If all selected regions are located
Page 419 and 420:
2 Enter the folder that you want to
Page 421 and 422:
2 Set the value for the Fade In or
Page 423 and 424:
Changing the Fade Type You can choo
Page 425 and 426:
• Q-Swing: This percentage value
Page 427 and 428:
If you want to transpose by octaves
Page 429:
Note: If you’re editing MIDI regi
Page 432 and 433:
• MIDI Replace Recording (p. 466)
Page 434 and 435:
2 Click the Devices tab, then click
Page 436 and 437:
The Metronome Project Settings wind
Page 438 and 439:
4 Insert the desired effect plug-in
Page 440 and 441:
You can set a different recording f
Page 442 and 443:
Setting the Recording Format Logic
Page 444 and 445:
To disable a record-enabled audio t
Page 446 and 447:
2 Click the Record button in the Tr
Page 448 and 449:
2 Set a cycle area by doing one of
Page 450 and 451:
An overlapping audio region is crea
Page 452 and 453:
• Autopunch: Involves the use of
Page 454 and 455:
Logic Pro will begin recording appr
Page 456 and 457:
• Merge recording: You can record
Page 458 and 459:
2 Open the Overlapping Recordings p
Page 460 and 461:
• Double-click the take folder. R
Page 462 and 463:
You now have a new MIDI region on e
Page 464 and 465:
You also have the option to mute ea
Page 466 and 467:
• Click the Settings button in th
Page 468 and 469:
Switching Instruments to Software I
Page 470 and 471:
3 Open the Instrument Without MIDI
Page 472 and 473:
When this setting is selected, audi
Page 474 and 475:
Using the Step Input Keyboard You c
Page 476 and 477:
When you are creating a system for
Page 478 and 479:
Using the Caps Lock Keyboard for MI
Page 481 and 482:
Editing Audio Take Recordings 15 Im
Page 483 and 484:
To open a take folder and preview t
Page 485 and 486:
To toggle take folder editing mode
Page 487 and 488:
The comp sections, located in the t
Page 489 and 490:
To move a selected comp area to the
Page 491 and 492:
To remove a take region section fro
Page 493 and 494:
To edit a take region’s start or
Page 495 and 496:
To cut a take region µ Click the t
Page 497 and 498:
To move a take folder or take regio
Page 499 and 500:
To save the current comp µ Click t
Page 501 and 502:
To rename a take 1 Click the arrow
Page 503 and 504:
2 Click the arrow in the top right
Page 505 and 506:
• Click the take using the Eraser
Page 507 and 508:
2 Click the arrow in the top right
Page 509 and 510:
This copies the active take to a ne
Page 511 and 512:
This copies the active comp to a ne
Page 513 and 514:
This moves the active take to a new
Page 515 and 516:
This moves the active comp to a new
Page 517 and 518:
This replaces the take folder with
Page 519 and 520:
To unpack take folders Do one of th
Page 521 and 522:
µ Click the arrow in the top-right
Page 523:
• If the selected regions are pla
Page 526 and 527:
• Using the Flex Tool (p. 541)
Page 528 and 529:
After assigning a flex mode to an a
Page 530 and 531:
Rhythmic Rhythmic flex mode time st
Page 532 and 533:
• Tempo markers: Displayed as blu
Page 534 and 535:
• If you click in the area where
Page 536 and 537:
536 Chapter 16 Flex Time Editing If
Page 538 and 539:
To delete multiple flex markers Do
Page 540 and 541:
This action time stretches the enti
Page 542 and 543:
You can use the Flex tool for the f
Page 544 and 545:
µ Make a selection in the region w
Page 546 and 547:
To turn Varispeed mode on or off µ
Page 548 and 549:
• Customizing Waveform Amplitude
Page 550 and 551:
• Waveform display: Provides a de
Page 552 and 553:
To scrub audio µ Click-hold the ru
Page 554 and 555:
Making Selections in the Sample Edi
Page 556 and 557:
To change the start or end point of
Page 558 and 559:
Audio Editing and Processing in the
Page 560 and 561:
When you turn on Transient Editing
Page 562 and 563:
To move a transient marker in an au
Page 564 and 565:
As long as the mouse button is held
Page 566 and 567:
You can set the desired maximum lev
Page 568 and 569:
3 Select the S Curve checkboxes if
Page 570 and 571:
Undoing Edit Steps in the Sample Ed
Page 572 and 573:
Customizing Waveform Amplitude Scal
Page 574 and 575:
Time is measured from the start of
Page 576 and 577:
Using the Sample Editor’s “Time
Page 578 and 579:
• Algorithm menu: You can choose
Page 580 and 581:
• Harmonic Correction: When audio
Page 582 and 583:
Setting Groove Machine Parameters H
Page 584 and 585:
2 Choose Factory > Audio Energizer
Page 586 and 587:
Using the Sample Editor’s Silence
Page 588 and 589:
The process of Noise Reduction is s
Page 590 and 591:
Setting “Audio to Score” Parame
Page 592 and 593:
2 Choose Factory > Quantize Engine
Page 594 and 595:
2 Click the Sample Editor tab, then
Page 597 and 598:
Working with Tempo and Audio Region
Page 599 and 600:
Note: The Follow Tempo option does
Page 601 and 602:
Time Stretching Regions Logic Pro a
Page 603 and 604:
Using Beat Detection to Create Temp
Page 605 and 606:
4 Click the Advanced Options disclo
Page 607 and 608:
Removing Silent Passages from Audio
Page 609 and 610:
• Search Zero Crossings: Select t
Page 611:
Using Strip Silence to Create Segme
Page 614 and 615:
Sorting Audio Files Information on
Page 616 and 617:
2 Choose View > Create Group (or Co
Page 618 and 619:
This expands or collapses all group
Page 620 and 621:
• If the file is half of a split
Page 622 and 623:
3 Choose settings in the “Copy/co
Page 624 and 625:
To delete sections of audio files t
Page 626 and 627:
• You have renamed the files in t
Page 629 and 630:
Quantizing Audio and MIDI 21 Quanti
Page 631 and 632:
• Swing quantization: The 8F Swin
Page 633 and 634:
Tip: To obtain the best Q-Range res
Page 635 and 636:
Important: Unlike other region play
Page 637 and 638:
This triggers a process where quant
Page 639 and 640:
This pop-up menu contains the same
Page 641 and 642:
Tip: Two-bar MIDI regions work part
Page 643 and 644:
3 To add them to the Quantize pop-u
Page 645:
While the “Audio to MIDI Groove T
Page 648 and 649:
• Event List: Shows all MIDI even
Page 650 and 651:
µ Drag the Event List tab in the L
Page 652 and 653:
To create an empty MIDI region µ C
Page 654 and 655:
This transmits control change messa
Page 656 and 657:
To open the Piano Roll Editor as a
Page 658 and 659:
Understanding Note Velocities Each
Page 660 and 661:
To snap events to a grid µ Choose
Page 662 and 663:
When no notes are selected, the inf
Page 664 and 665:
Events of the same type, but on dif
Page 666 and 667:
2 Click the Editing tab, then selec
Page 668 and 669:
To change the start point (and leng
Page 670 and 671:
To copy or move notes Do one of the
Page 672 and 673:
Protecting the Position of Events i
Page 674 and 675:
To change the color of notes Do one
Page 676 and 677:
2 Click at different points in the
Page 678 and 679:
Note: If using an independent Piano
Page 680 and 681:
µ Drag the Hyper Editor button, wh
Page 682 and 683:
You can, of course, record events w
Page 684 and 685:
• Framed Values: Shows a hollow f
Page 686 and 687:
As you do so, you see the line trai
Page 688 and 689:
To delete similar or equal events 1
Page 690 and 691:
Moving Events via Key Commands Edit
Page 692 and 693:
Selecting and Creating Event Defini
Page 694 and 695:
Tip: It’s a good idea to create a
Page 696 and 697:
On the left (Convert), you can see
Page 698 and 699:
If Control is chosen in the Status
Page 700 and 701:
• GM Drum Kit: Offers lanes that
Page 702 and 703:
A dotted line links the two instrum
Page 705 and 706:
Editing MIDI Events in the Event Li
Page 707 and 708:
µ Drag the Event tab, which change
Page 709 and 710:
As a practical example of where the
Page 711 and 712:
To view events outside the display
Page 713 and 714:
Important: Events can only be creat
Page 715 and 716:
In some instances, clicking the inf
Page 717 and 718:
If a parameter of one of several se
Page 719 and 720:
Note Events Note events are used to
Page 721 and 722:
• Val(ue): Value of the controlle
Page 723 and 724:
Poly Pressure Events Poly(phonic) p
Page 725:
• The type or name of the selecte
Page 728 and 729:
A number of preset transform sets a
Page 730 and 731:
Random Pitch Sets a random pitch fo
Page 732 and 733:
• If you want a less dynamic cres
Page 734 and 735:
Humanize Adds a random value to the
Page 736 and 737:
Exponential Velocity Alters the sca
Page 738 and 739:
Maximum Note Length Sets the maximu
Page 740 and 741:
Using the Transform Window Paramete
Page 742 and 743:
To set all other selection conditio
Page 744 and 745:
• Mul: The parameter value is mul
Page 746 and 747:
Exchanging Parameter Values You can
Page 748 and 749:
To add a mod wheel controller event
Page 750 and 751:
• Operations area: Set Pitch to +
Page 753 and 754:
Mixing 27 The Mixer is an area in L
Page 755 and 756:
µ Drag the Mixer button, which cha
Page 757 and 758:
Understanding Channel Strip Types i
Page 759 and 760:
• Channel EQ: Allows you to add a
Page 761 and 762:
Working with Mixer Groups Prior to
Page 763 and 764:
• Mute checkbox: Changing the mut
Page 765 and 766:
While Group Clutch is activated, al
Page 767 and 768:
Logic Pro intelligently scans the e
Page 769 and 770:
Signal clipping occurs when too lou
Page 771 and 772:
Understanding a Channel Strip’s L
Page 773 and 774:
For example, imagine the concert st
Page 775 and 776:
Routing Audio in the Mixer via Send
Page 777 and 778:
Enter a number, then choose setting
Page 779 and 780:
Logic Pro supports the multiple out
Page 781 and 782:
An aux channel strip appears to the
Page 783 and 784:
To define the stereo output 1 Open
Page 785 and 786:
Using Binaural Panning in the Mixer
Page 787 and 788:
Getting to Know the Binaural Panner
Page 789 and 790:
• If set to Spherical, the result
Page 791 and 792:
As you are unlikely to have the tec
Page 793 and 794:
• Program button: Allows you to s
Page 795 and 796:
To configure GS or XG effects 1 Cho
Page 797 and 798:
To automatically create a track for
Page 799 and 800:
Viewing Track Notes in the Mixer Tr
Page 801 and 802:
To create new I/O labels for the In
Page 803 and 804:
To deselect multiple channel strips
Page 805 and 806:
To adjust the send destination of a
Page 807:
The new name is applied to all sele
Page 810 and 811:
• Offsetting Automation (p. 824)
Page 812 and 813:
This can be the Volume fader, pan p
Page 814 and 815:
To view all recorded automation dat
Page 816 and 817:
If a channel strip or an external (
Page 818 and 819:
• Choose a parameter in the arran
Page 820 and 821:
Nodes will be created along the lin
Page 822 and 823:
This allows fine adjustment of the
Page 824 and 825:
To adjust the track automation data
Page 826 and 827:
Editing Track Automation Data in th
Page 828 and 829:
Enabling and Disabling Automation Q
Page 830 and 831:
To set the MIDI Channel µ Choose a
Page 832 and 833:
• Hyper Draw: Pitch Bend • Hype
Page 834 and 835:
Stage 2: Define the Bounce Range De
Page 836 and 837:
Defining Parameters in the Bounce W
Page 838 and 839:
• Start and End fields: These fie
Page 840 and 841:
• Dithering pop-up menu: Ditherin
Page 842 and 843:
• Quality pop-up menu: Keep this
Page 844 and 845:
• “Add to iTunes library” che
Page 846 and 847:
Setting the Bounce Filename and Fol
Page 849 and 850:
Creating Apple Loops 30 You can sav
Page 851 and 852:
• Set the file type, which can be
Page 853 and 854:
You can use one of the following op
Page 855 and 856:
3 In the Add Region to Apple Loops
Page 857 and 858:
Adding Acid Loops to the Loop Brows
Page 859 and 860:
The global Transpose track transpos
Page 861 and 862:
Working with Notation 31 The Score
Page 863 and 864:
µ Drag the Score button, which cha
Page 865 and 866:
• Stage 4: Inputting Events, Symb
Page 867 and 868:
This function can also be used on m
Page 869 and 870:
• Fast input of symbols by assign
Page 871 and 872:
When working in Full Score view (wh
Page 873 and 874:
You can make the multiple MIDI regi
Page 875 and 876:
To change the arrangement of groups
Page 877 and 878:
• Three times selects the dotted
Page 879 and 880:
Sustain Pedal Symbols in the Part B
Page 881 and 882:
The gray note head makes a note’s
Page 883 and 884:
Key Signature Symbols in the Part B
Page 885 and 886:
The trill line and arpeggio lines c
Page 887 and 888:
Note: The tempo indicators in the T
Page 889 and 890:
General Editing in the Score Editor
Page 891 and 892:
To restrict movement to one directi
Page 893 and 894:
To delete an object Do one of the f
Page 895 and 896:
Using the Layout Tool The Layout to
Page 897 and 898:
µ Grab one (or several) notes with
Page 899 and 900:
Creating and Editing N-Tuplets in t
Page 901 and 902:
The method described above also all
Page 903 and 904:
• They can be moved vertically. A
Page 905 and 906:
To change the size of clef changes
Page 907 and 908:
Particular Attributes of Certain Sy
Page 909 and 910:
1st and 2nd Endings Following the i
Page 911 and 912:
Each text object (except text in th
Page 913 and 914:
To open the Text Styles window µ C
Page 915 and 916:
Score sets determine which instrume
Page 917 and 918:
These automatic text objects can be
Page 919 and 920:
2 Enter the text for the chord. A c
Page 921 and 922:
Transposing Chord Symbols Chord sym
Page 923 and 924:
Getting to Know the Instrument Edit
Page 925 and 926:
• Left-Handed checkbox: Change th
Page 927 and 928:
To insert a chord grid symbol 1 Do
Page 929 and 930:
To align selected chord grid symbol
Page 931 and 932:
To display higher frets in the chor
Page 933 and 934:
To define the finger number on a fi
Page 935 and 936:
µ Click the area at the top of the
Page 937 and 938:
To delete a barre µ Select a barre
Page 939 and 940:
The string is open. Creating, Renam
Page 941 and 942:
3 In the Create Library dialog that
Page 943 and 944:
4 Enter a name for the library, and
Page 945 and 946:
To view the Signature List Do one o
Page 947 and 948:
To create a key signature Do one of
Page 949 and 950:
If you make a cut in the middle of
Page 951 and 952:
Transcribing MIDI Recordings Tradit
Page 953 and 954:
Display Parameters This section out
Page 955 and 956:
Fixing the Score Quantize Value The
Page 957 and 958:
When set to off, the score display
Page 959 and 960:
To change note attributes Do one of
Page 961 and 962:
• Flats To Sharps • Sharps To F
Page 963 and 964:
Changing the Syncopation of Notes B
Page 965 and 966:
Assigning Staff Styles to MIDI Regi
Page 967 and 968:
Staff style Viola Violoncello # Dru
Page 969 and 970:
A staff style includes the followin
Page 971 and 972:
Copying Voices or Staffs into Other
Page 973 and 974:
Name Double-clicking in the name bo
Page 975 and 976:
Note: The Automatic Key Transpositi
Page 977 and 978:
In addition, you can also use Score
Page 979 and 980:
One solution is to use a staff styl
Page 981 and 982:
To beam notes that do not belong to
Page 983 and 984:
Prior to defining the details of a
Page 985 and 986:
Using Score Sets to Create Scores a
Page 987 and 988:
Full Name Click any line in this co
Page 989 and 990:
Editing Score Sets Once you have cr
Page 991 and 992:
For the default All Instruments set
Page 993 and 994:
Note: If you drag more bars into a
Page 995 and 996:
• Page Display Options > Show Mar
Page 997 and 998:
To export the score as an image 1 S
Page 999:
Changing the Length of Duration Bar
Page 1002 and 1003:
Sharing Logic Pro Data over a Netwo
Page 1004 and 1005:
• When you try to back up/share d
Page 1006 and 1007:
You have the choice of your own acc
Page 1008 and 1009:
They either: • Stay where they ar
Page 1010 and 1011:
The MIDI file is loaded as a new pr
Page 1012 and 1013:
Working with OMF Files The OMF (Ope
Page 1014 and 1015:
3 Click Create to have all exported
Page 1016 and 1017:
To import an AAF file Do one of the
Page 1018 and 1019:
The audio file is opened as a new a
Page 1020 and 1021:
• One File per Channel Strip: Cre
Page 1022 and 1023:
Page 1024 and 1025:
Page 1026 and 1027:
To change the format of the tempo d
Page 1028 and 1029:
Creating Tempo Curves in the Tempo
Page 1030 and 1031:
µ Double-click either range value
Page 1032 and 1033:
Using the Tempo List The Tempo List
Page 1034 and 1035:
To copy tempo changes from a passag
Page 1036 and 1037:
Creating Tempo Curves in the Tempo
Page 1038 and 1039:
If Logic Pro “hears” a Tap Temp
Page 1040 and 1041:
Using the Tempo Fader You can creat
Page 1042 and 1043:
Assuming accurate beat mapping, eve
Page 1044 and 1045:
Beat Mapping Audio Regions Beat map
Page 1046 and 1047:
To use the automatic Beat Mapping f
Page 1049 and 1050:
Editing Transposition with the Chor
Page 1051 and 1052:
Understanding How MIDI Events and A
Page 1053 and 1054:
To create a chord event in the Chor
Page 1055:
To insert chords from the Chord tra
Page 1058 and 1059:
To open the Environment window µ C
Page 1060 and 1061:
Understanding Protected Layers The
Page 1062 and 1063:
Working with Objects As with all wi
Page 1064 and 1065:
2 Select the objects you want to mo
Page 1066 and 1067:
Using Advanced Selection Commands Y
Page 1068 and 1069:
For example, the output of an arran
Page 1070 and 1071:
Cabling Environment Objects The cab
Page 1072 and 1073:
A cable connection to another layer
Page 1074 and 1075:
2 Select the destination object and
Page 1076 and 1077:
Note: This complex task involves a
Page 1078 and 1079:
Tip: You can prevent the accidental
Page 1081 and 1082:
Environment Objects Reference 37 Th
Page 1083 and 1084:
An Object Parameter box containing
Page 1085 and 1086:
• Channel: Sets the MIDI channel
Page 1087 and 1088:
You will generally use multi-instru
Page 1089 and 1090:
With modern synths, there’s a goo
Page 1091 and 1092:
• Sent to one of up to 16 output
Page 1093 and 1094:
Velocity Use to set a velocity offs
Page 1095 and 1096:
The letter in parentheses next to t
Page 1097 and 1098:
The Touch Tracks Window Double-clic
Page 1099 and 1100:
Fader Objects Faders are used to se
Page 1101 and 1102:
Recording Fader Movements You don
Page 1103 and 1104:
Buttons Button style faders can onl
Page 1105 and 1106:
• -1- (0 to 127): Defines the fir
Page 1107 and 1108:
For controllers, the MSB uses the I
Page 1109 and 1110:
µ Change an existing fader’s Out
Page 1111 and 1112:
Meta event 125 126 127 Controlled L
Page 1113 and 1114:
The corresponding SysEx message is
Page 1115 and 1116:
Value option One Byte MSB/LSB LSB/M
Page 1117 and 1118:
This creates a meta fader, with a -
Page 1119 and 1120:
The GM mixer is intended for contro
Page 1121 and 1122:
2 Choose the controller you want fr
Page 1123 and 1124:
To create a monitor object µ Choos
Page 1125 and 1126:
Macro Parameters Macros have the fo
Page 1127 and 1128:
• Snap To: Unless this value is s
Page 1129 and 1130:
Configuring a Transformer Object Do
Page 1131 and 1132:
• The data byte 2 value sets the
Page 1133 and 1134:
Delay Line Objects A delay line obj
Page 1135 and 1136:
Channel Splitter Objects A channel
Page 1137 and 1138:
Working in the Chord Memorizer Wind
Page 1139 and 1140:
To create a Physical Input object
Page 1141 and 1142:
To create a MIDI Click object µ Ch
Page 1143 and 1144:
To manually create a ReWire object
Page 1145 and 1146:
The Arrange channel strips contain
Page 1147:
Input channel strips can be used as
Page 1150 and 1151:
Note: You will need a fast hard pro
Page 1152 and 1153:
• Fullscreen: Expands the Movie w
Page 1154 and 1155:
To search a movie for scene cuts µ
Page 1156 and 1157:
• Control-click (or right-click)
Page 1158 and 1159:
• Using the Down Mixer Plug-in (p
Page 1160 and 1161:
6.1 (ES/EX) Surround Format The 6.1
Page 1162 and 1163:
µ Ls = Left Surround (Rear Left)
Page 1164 and 1165:
Setting the Surround Preferences Th
Page 1166 and 1167:
µ Click one of the three Initializ
Page 1168 and 1169:
To change the bounce extensions 1 C
Page 1170 and 1171:
• Stereo: Two interlocked circles
Page 1172 and 1173:
If you add an audio file to a track
Page 1174 and 1175:
Using the Mono-to-Surround Panner I
Page 1176 and 1177:
The separation square is visible if
Page 1178 and 1179:
Tip: It is possible to release the
Page 1180 and 1181:
• LR, C, and Ls-Rs shown on three
Page 1182 and 1183:
Working with the Surround Master Wh
Page 1184 and 1185:
Positioning Your Speakers The physi
Page 1186 and 1187:
The reason, put simply, is due to t
Page 1188 and 1189:
SACD: Super Audio Compact Disc Basi
Page 1190 and 1191:
Tip: Logic Pro also supports manual
Page 1192 and 1193:
You can, however, manually set the
Page 1194 and 1195:
To avoid having to do this by trial
Page 1196 and 1197:
• Following an MMC-controlled rec
Page 1199 and 1200:
Working with Plug-in Latencies 41 A
Page 1201 and 1202:
2 Set the Limit slider to the desir
Page 1203 and 1204:
There are, however, some limitation
Page 1205 and 1206:
Working with Split Channel Audio Fi
Page 1207 and 1208:
You can now edit both sides of the
Page 1209 and 1210:
Project Settings in Logic Pro 43 Th
Page 1211 and 1212:
Saving Project Settings Project set
Page 1213 and 1214:
• MTC: MIDI Time Code mode. Logic
Page 1215 and 1216:
Audio Synchronization Settings Use
Page 1217 and 1218:
• MTC Trigger + Auto Speed Detect
Page 1219 and 1220:
• Transmit MIDI Clock: Destinatio
Page 1221 and 1222:
• SMPTE Mode Refresh checkbox: Ac
Page 1223 and 1224:
MIDI Click Settings • Bar checkbo
Page 1225 and 1226:
• x Bar: The recording begins wit
Page 1227 and 1228:
Software Instrument Pitch Settings
Page 1229 and 1230:
To simplify this example: Imagine t
Page 1231 and 1232:
Hermode Tuning can help with this p
Page 1233 and 1234:
• Playback Pre-Roll checkbox: Whe
Page 1235 and 1236:
General MIDI Settings The following
Page 1237 and 1238:
Chase Settings If you start playbac
Page 1239 and 1240:
Global Score Settings The Global Sc
Page 1241 and 1242:
If you only use Proportional Spacin
Page 1243 and 1244:
Note: For each of these options, yo
Page 1245 and 1246:
• Hide Bar Numbers in Linear View
Page 1247 and 1248:
Note: Up to eight strings are shown
Page 1249 and 1250:
A further point to note is that not
Page 1251 and 1252:
• Alignment pop-up menu: Determin
Page 1253 and 1254:
Key and Time Signatures Settings
Page 1255 and 1256:
Layout Settings The Layout pane is
Page 1257 and 1258:
MIDI Meaning Settings The settings
Page 1259 and 1260:
Color Settings The Colors pane dete
Page 1261 and 1262:
Video Project Settings In the Video
Page 1263:
Assets Project Settings The project
Page 1266 and 1267:
These and several other access meth
Page 1268 and 1269:
To open General preferences Do one
Page 1270 and 1271:
General Editing Preferences The Edi
Page 1272 and 1273:
• “Select Regions on Track sele
Page 1274 and 1275:
General Caps Lock Keys Preferences
Page 1276 and 1277:
Core Audio Device Preferences Logic
Page 1278 and 1279:
20- and 24-bit files use one-and-a-
Page 1280 and 1281:
• CPU-saving (Slow Response): Cho
Page 1282 and 1283:
Output Pane The Output pane consist
Page 1284 and 1285:
Input Pane The Input pane consists
Page 1286 and 1287:
• “Store undo files in project
Page 1288 and 1289:
• Quality pop-up menu: Keep this
Page 1290 and 1291:
MIDI Preferences in Logic Pro MIDI
Page 1292 and 1293:
MIDI General Preferences The Genera
Page 1294 and 1295:
• MTC Pickup Delay field: This pa
Page 1296 and 1297:
General Display Preferences This pa
Page 1298 and 1299:
Mixer Display Preferences These pre
Page 1300 and 1301:
Score Preferences in Logic Pro Scor
Page 1302 and 1303:
Video Preferences in Logic Pro Vide
Page 1304 and 1305:
• Ramp Time field: Determines the
Page 1306 and 1307:
To open Control Surfaces preference
Page 1309 and 1310:
Glossary AAC Abbreviation for Advan
Page 1311 and 1312:
ASCII Acronym for American Standard
Page 1313 and 1314:
Beat Mapping track Global track use
Page 1315 and 1316:
channel strip A channel strip is a
Page 1317 and 1318:
cutting The act of reducing a level
Page 1319 and 1320:
dynamics Refers to changes in volum
Page 1321 and 1322:
flex time editing A process that al
Page 1323 and 1324:
importing The process of bringing f
Page 1325 and 1326:
locators Lower two sets of numbers,
Page 1327 and 1328:
MIDI region Data container for MIDI
Page 1329 and 1330:
notch filter This filter type cuts
Page 1331 and 1332:
plug-in window A window that opens
Page 1333 and 1334:
egion Regions can be found on arran
Page 1335 and 1336:
SDII Sound Designer II audio file f
Page 1337 and 1338:
SPP Abbreviation for Song Position
Page 1339 and 1340:
tempo The playback speed of a piece
Page 1341 and 1342:
Voice Separation tool You can separ
show all

Logic Pro 9 User Manual - Help Library - Apple

Create successful ePaper yourself

Delete template?

Save as template?