Logic Pro 9 User Manual - Help Library - Apple

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MIDI Interface Your Mac computer does not provide MIDI inputs or outputs. If you want to use MIDI devices equipped with MIDI ports, a MIDI interface is required for communication with your computer. MIDI interfaces are generally connected to your Mac USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Mac. Note: Many modern MIDI devices, particularly keyboards, include a USB or FireWire connection port that enables MIDI (and audio, in some cases) communication with your computer. Such devices do not require an additional MIDI (or audio) interface. Some require the installation of driver software, and others are automatically recognized by Mac OS X. Check the websites of MIDI device manufacturers for further information. Types of MIDI Devices A vast array of MIDI-equipped devices exist. These include MIDI keyboards and sound modules, control surfaces, effect processors, mixers, lighting controllers, and more. MIDI Keyboard The most likely candidate for inclusion in your Logic Pro system is a MIDI keyboard. MIDI keyboards are used to input note (and controller) information into Logic Pro. Some MIDI keyboards are simply input devices (often called controller keyboards) and some also include their own synthesis engines (synthesizer and sampling keyboards). Logic Pro can be used to record keyboard performances as MIDI data, and can play them back through any connected MIDI device or internal software instrument. If you don’t have a MIDI keyboard handy, Logic Pro offers the Caps Lock Keyboard, which allows you to use the computer keyboard for MIDI note entry. See Using the Caps Lock Keyboard for MIDI Step Input. Control Surfaces Control surfaces are hardware devices that feature a variety of controls, which can include faders, rotary knobs, switches, and displays. These controls can be mapped to functions in Logic Pro, allowing you to change parameters with more precision and speed than you can by using your mouse and computer keyboard. You can also control multiple parameters at the same time. Detailed information on the setup and use of control surfaces can be found in the Logic Pro Control Surfaces Support manual. Recording Light Plug-in Logic Pro facilitates the use of a control surface plug-in, called the Recording Light, to control an external device via MIDI events. This allows you to control an external recording light or sign, warning visitors not to enter the recording studio before or during recording. Logic Pro sends a MIDI signal to turn on the external device when a track is record-enabled or when recording starts. Logic Pro sends another MIDI signal to turn off the device when tracks are made record-safe or when recording stops. 30 Chapter 2 Setting Up Your System
Note: This control surface plug-in requires additional hardware that is not included with Logic Pro. Synthesizers and MIDI-Controlled Effects Logic Pro provides plenty of software instruments and effects, and can also act as a host for Audio Units plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Working with Instruments and Effects. You can also incorporate hardware MIDI instruments and MIDI-controlled effects units to your Logic Pro music production system. These are connected via a MIDI interface, using MIDI cables. (See Connecting Your Audio and MIDI Devices.) MIDI-controlled effects units do not process MIDI data. Rather, they are audio processors (such as reverb or multi-effect devices) that can be controlled via MIDI messages. This allows you to automate the parameters of these devices—such as delay time or Flanger speed—from Logic Pro. Typically, you would connect all external devices, such as synthesizers and MIDI-controlled effects units to either your audio interface or a hardware mixing console. MIDI-controlled effects units would be connected in a send/return loop, using either: • A pair of audio ins and outs (or auxiliary in/out, if available) on your audio interface • An auxilliary in/out (sometimes called FX send/return) pair on your mixing console Both methods allow the use of Logic Pro’s In/Out plug-in, allowing you to freely route audio information through the external effects unit and the MIDI connection provides control over the effects parameters. In many ways, this is much like using one of Logic Pro’s internal effect plug-ins. Note: It is only practical to use the In/Out plug-in for external device routing when you’re using an audio interface equipped with multiple in and out ports. Both MIDI instruments and effects allow remote patch (preset) selection from Logic Pro. This (and control) information can be stored as part of Logic Pro project files, ensuring perfect playback from your MIDI devices the next time the project is loaded. Ancillary Audio Devices No discussion of a Logic Pro audio system would be complete without covering a number of options that you should seriously consider, in order to make the most of the application. Audio Playback System Your audio interface provides inputs and outputs between the real world and your computer. When performing audio playback, the audio interface translates computer data into something you can hear and understand—sound and music. Chapter 2 Setting Up Your System 31
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 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 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 191 and 192:
Basic Operations 8 There are a numb
Page 193 and 194:
2 Type in 45, followed by the Retur
Page 195 and 196:
µ Click the Preferences button in
Page 197 and 198:
• Save a new key command set: Ent
Page 199 and 200:
Assigning Key Commands to Computer
Page 201 and 202:
The Assignments field displays the
Page 203 and 204:
Tools are accessed in the Tool menu
Page 205 and 206:
• Opens Tool Menu: Right-clicking
Page 207 and 208:
• Marquee Tool Click Zones: When
Page 209 and 210:
Flex Tool The Flex tool provides yo
Page 211 and 212:
Using Selection Techniques Whenever
Page 213 and 214:
To select all events (of a specifie
Page 215 and 216:
• Edit > Select Equal Colored Reg
Page 217 and 218:
Paste at Original Position This com
Page 219:
To erase the Undo History µ Choose
Page 222 and 223:
Understanding Tracks and Channel St
Page 224 and 225:
Configuring the Track Header The tr
Page 226 and 227:
• Buttons section: Select the che
Page 228 and 229:
To create one or more new tracks (a
Page 230 and 231:
Software Instrument Tracks You can
Page 232 and 233:
Creating Tracks Only The commands a
Page 234 and 235:
Creating Tracks for Selected Region
Page 236 and 237:
Naming Tracks in the Arrange Area Y
Page 238 and 239:
To create a track name Do one of th
Page 240 and 241:
Assigning Tracks to Environment Obj
Page 242 and 243:
Assigning Track Icons in the Track
Page 244 and 245:
A bullet to the left of the track n
Page 246 and 247:
Soloing When the Track Solo Buttons
Page 248 and 249:
To freeze a track 1 Click the Freez
Page 250 and 251:
You can now perform your edits, and
Page 252 and 253:
Clicking a Track Protect button tog
Page 254 and 255:
3 Set the following parameters, as
Page 256 and 257:
To bounce regions in place 1 Select
Page 258 and 259:
The Bounce Track in Place dialog ap
Page 260 and 261:
• Include Volume/Pan Automation c
Page 262 and 263:
The Arrange (and Mixer) channel str
Page 264 and 265:
Setting Channel Strip Input Format
Page 266 and 267:
To set the Pan or Balance position
Page 268 and 269:
A menu appears, showing all availab
Page 270 and 271:
To use the Hand tool in the Arrange
Page 272 and 273:
µ On channel strips where Insert s
Page 274 and 275:
The Library displays all channel st
Page 276 and 277:
You can remotely switch between cha
Page 278 and 279:
The plug-in window opens automatica
Page 280 and 281:
To adjust a parameter slider Do one
Page 282 and 283:
When the Link Button Is Switched Of
Page 284 and 285:
• Choose the Load Setting command
Page 286 and 287:
Replacing Setting-Compatible Plug-i
Page 288 and 289:
Hiding and Showing Extended Paramet
Page 290 and 291:
Learning About Effect Routings Ther
Page 292 and 293:
Similarly, you can completely chang
Page 294 and 295:
A post fader signal level, routed t
Page 296 and 297:
Tip: Many of the setup and routing
Page 298 and 299:
3 Click GM Device in the left colum
Page 300 and 301:
To reassign tracks to channels usin
Page 302 and 303:
• If you use the Track Parameter
Page 304 and 305:
• Program, Volume, and Pan: Trans
Page 306 and 307:
7 Insert the effects in the Insert
Page 308 and 309:
Tuning Software Instruments The Fil
Page 310 and 311:
Important: Start Logic Pro first, t
Page 312 and 313:
2 Connect the output (or output pai
Page 314 and 315:
You can see the results of the vali
Page 316 and 317:
Disabling Plug-ins The Audio Units
Page 318 and 319:
Logic Pro also supports Broadcast W
Page 320 and 321:
Navigating in the Browser You can s
Page 322 and 323:
Restricting the search to a particu
Page 324 and 325:
To remove a single advanced conditi
Page 326 and 327:
To access the Loop Browser in the A
Page 328 and 329:
When you place Software Instrument
Page 330 and 331:
Column view offers a standard Mac O
Page 332 and 333:
As you can see from this example, t
Page 334 and 335:
Creating a Collection of Your Favor
Page 336 and 337:
4 Click the Play button to preview
Page 338 and 339:
The dialog below opens. 2 Browse to
Page 340 and 341:
Audio regions that point to compres
Page 342 and 343:
2 Choose settings in the Import ReC
Page 345 and 346:
Getting to Know Regions 12 When aud
Page 347 and 348:
It is, of course, possible to direc
Page 349 and 350:
Feature Quantize parameter availabl
Page 351 and 352:
The Sample Editor opens, with the e
Page 353 and 354:
To open the Audio Bin window µ Cho
Page 355 and 356:
Warning: If any of the deleted regi
Page 357 and 358:
Snapping Edits to Zero Crossings If
Page 359:
Updating the Audio Region Arrangeme
Page 362 and 363:
• Creating Multiple Copies of Reg
Page 364 and 365:
4 In the Colors window that opens,
Page 366 and 367:
To snap to an absolute, not relativ
Page 368 and 369:
To change the drag mode µ Choose o
Page 370 and 371:
Using Shortcut Menus Many selection
Page 372 and 373:
2 Drag to select or Shift-select th
Page 374 and 375:
To assign the same name to multiple
Page 376 and 377:
c Click the OK button to replace th
Page 378 and 379:
2 Drag the marquee rectangle to mak
Page 380 and 381:
Using the Marquee Selection to Crea
Page 382 and 383:
To restore a deleted audio region D
Page 384 and 385:
µ Choose the View > Event Position
Page 386 and 387:
• Nudge Region/Event Position Rig
Page 388 and 389:
Note: If Hyper Draw or automation i
Page 390 and 391:
Adjusting the Start or End Point of
Page 392 and 393:
• Set the value in the Transport
Page 394 and 395:
To copy a region (method 1) µ Opti
Page 396 and 397:
To remove gaps between regions 1 Se
Page 398 and 399:
All selected regions are cut at the
Page 400 and 401:
The alias appears on the selected t
Page 402 and 403:
2 In the dialog that appears, set t
Page 404 and 405:
Note: The EXS instrument is saved t
Page 406 and 407:
2 Select (turn on) the Loop option
Page 408 and 409:
2 Choose Region > Loops > Convert t
Page 410 and 411:
All selected regions located wholly
Page 412 and 413:
Merging Regions (General Tools and
Page 414 and 415:
No Mixdown Situation If there are s
Page 416 and 417:
When opened, folders look just like
Page 418 and 419:
You should ensure that the folder i
Page 420 and 421:
Creating Fades A fade in starts at
Page 422 and 423:
µ Select a region, then edit the F
Page 424 and 425:
To change the playback speed Do one
Page 426 and 427:
Editing Several Regions Simultaneou
Page 428 and 429:
• Advanced Quantization: Q-Flam:
Page 431 and 432:
Recording in Logic Pro 14 This chap
Page 433 and 434:
µ Click the Sample Rate display in
Page 435 and 436:
Setting Up the Metronome for Record
Page 437 and 438:
For details about the Metronome pro
Page 439 and 440:
Tip: You can leave the Input Monito
Page 441 and 442:
To choose the recording file type 1
Page 443 and 444:
Record-Enabling Tracks You can make
Page 445 and 446:
• Multitrack recording: You can r
Page 447 and 448:
Imagine a guitar solo being perform
Page 449 and 450:
5 Open the take folder by doing one
Page 451 and 452:
Audio Multitrack Recording You can
Page 453 and 454:
The Autopunch feature can be used f
Page 455 and 456:
5 Stop recording by clicking the St
Page 457 and 458:
The recording appears as a single M
Page 459 and 460:
4 Set a cycle area by doing one of
Page 461 and 462:
Only the actual recording of MIDI e
Page 463 and 464:
To record several MIDI tracks in Cy
Page 465 and 466:
When you stop recording, you can wo
Page 467 and 468:
2 Open the Overlapping Recordings p
Page 469 and 470:
3 Select the checkboxes that corres
Page 471 and 472:
To color a take in an open or close
Page 473 and 474:
MIDI Step Input Recording The Step
Page 475 and 476:
4 Click a key in the Step Input Key
Page 477 and 478:
Triplets, Dotted Note Groups The
Page 479:
The Space bar provides a Sustain fu
Page 482 and 483:
Getting to Know Take Folders You wi
Page 484 and 485:
The following key commands enable y
Page 486 and 487:
Creating Comps You can use quick sw
Page 488 and 489:
Extending a take region section (dr
Page 490 and 491:
To alternate selected comp areas be
Page 492 and 493:
Resizing Take Regions You can edit
Page 494 and 495:
To cut a take folder µ Click the t
Page 496 and 497:
The first cut occurs at the clicked
Page 498 and 499:
To create a new take lane for a tak
Page 500 and 501:
To create a new comp from the activ
Page 502 and 503:
3 Type the new name in the dialog t
Page 504 and 505:
To delete a take 1 Click the arrow
Page 506 and 507:
2 Click the arrow in the top right
Page 508 and 509:
To export an active take to a new t
Page 510 and 511:
To export an active comp to a new t
Page 512 and 513:
To move an active take to a new tra
Page 514 and 515:
Page 516 and 517:
To flatten a take folder 1 Click th
Page 518 and 519:
Page 520 and 521:
This command—Unpack Take Folder,
Page 522 and 523:
This command—“Unpack Take Folde
Page 525 and 526:
Flex Time Editing 16 Flex Time edit
Page 527 and 528:
To assign a flex mode to an audio t
Page 529 and 530:
Getting to Know the Flex Modes Flex
Page 531 and 532:
• Crossfade: Adjusts the crossfad
Page 533 and 534:
• If you click in the area where
Page 535 and 536:
Moving Flex Markers and Time Stretc
Page 537 and 538:
Note: Time compression or expansion
Page 539 and 540:
2 Click in the upper half of the se
Page 541 and 542:
A yellow guideline appears in the o
Page 543 and 544:
µ Using the Flex tool, place the p
Page 545 and 546:
To time stretch using region border
Page 547 and 548:
Editing Audio in the Sample Editor
Page 549 and 550:
µ Drag the Sample Editor button, w
Page 551 and 552:
To control playback using the Preli
Page 553 and 554:
Navigating Audio Files in the Sampl
Page 555 and 556:
To select a particular section of a
Page 557 and 558:
To select a section of an audio fil
Page 559 and 560:
Using Transient Markers to Edit in
Page 561 and 562:
• − button: Decreases the numbe
Page 563 and 564:
This detects transients across the
Page 565 and 566:
2 Choose the desired settings in th
Page 567 and 568:
Tip: If you use the Silence functio
Page 569 and 570:
Tip: You can also use the Invert fu
Page 571 and 572:
2 Choose the desired settings in th
Page 573 and 574:
To enter relative display mode Do o
Page 575 and 576:
Note: You need to zoom the waveform
Page 577 and 578:
The “Time and Pitch Machine” co
Page 579 and 580:
Setting Tempo Parameters in the “
Page 581 and 582:
Using the Sample Editor’s Groove
Page 583 and 584:
Using the Sample Editor’s Audio E
Page 585 and 586:
Setting Audio Energizer Parameters
Page 587 and 588:
Applying Spike Reduction in the Sil
Page 589 and 590:
Opening the Sample Editor’s “Au
Page 591 and 592:
• Velocity Threshold: Sets the th
Page 593 and 594:
• Quantize by: Open this pop-up m
Page 595:
Using AudioSuite Plug-ins The Sampl
Page 598 and 599:
Note: Bounced files can only follow
Page 600 and 601:
The locator range should closely ma
Page 602 and 603:
4 Choose Audio > Time Stretch Regio
Page 604 and 605:
The selected regions are analyzed;
Page 606 and 607:
To remove tempo information from an
Page 608 and 609:
Getting to Know the Strip Silence W
Page 610 and 611:
Automatic Anchor Creation When you
Page 613 and 614:
Managing Audio Files 20 This chapte
Page 615 and 616:
Grouping Files in the Audio Bin You
Page 617 and 618:
To open or close one or more groups
Page 619 and 620:
This expands or collapses all audio
Page 621 and 622:
Logic Pro updates the path informat
Page 623 and 624:
Note: If a file of the same name ex
Page 625 and 626:
Note: If you want to simultaneously
Page 627:
• Double-click the exclamation ma
Page 630 and 631:
Understanding Region- and Event-bas
Page 632 and 633:
The Q-Swing field is located just b
Page 634 and 635:
You can also quantize sections of t
Page 636 and 637:
3 In the Group Settings window, sel
Page 638 and 639:
Quantizing MIDI Events Event-based
Page 640 and 641:
2 Do one of the following, dependin
Page 642 and 643:
Important: The source audio or MIDI
Page 644 and 645:
• Granulation (ms): Determines th
Page 647 and 648:
Introduction to MIDI Editing 22 Thi
Page 649 and 650:
• Disabled: Double-clicking a MID
Page 651 and 652:
2 Click the Editing tab, then choos
Page 653 and 654:
• Deleting or moving portions of
Page 655 and 656:
Editing MIDI Events in the Piano Ro
Page 657 and 658:
• The vertical position of note e
Page 659 and 660:
When the Link Button Is Turned Off
Page 661 and 662:
The Snap menu setting applies to th
Page 663 and 664:
• Click the original note with th
Page 665 and 666:
Important: A Redo list is not displ
Page 667 and 668:
• Nudge Region/Event Position Lef
Page 669 and 670:
• Note Overlap Correction for Rep
Page 671 and 672:
Using the Copy MIDI Events Settings
Page 673 and 674:
You can override this behavior by h
Page 675 and 676:
For more information on the Functio
Page 677 and 678:
Customizing the Piano Roll Editor Y
Page 679 and 680:
Editing MIDI in the Hyper Editor 24
Page 681 and 682:
Getting to Know the Hyper Editor Th
Page 683 and 684:
You can also alter the width and st
Page 685 and 686:
To create multiple events in a line
Page 687 and 688:
This is ideal when adding events wi
Page 689 and 690:
To alter individual event values µ
Page 691 and 692:
• Edit > Paste (or Command-V) pas
Page 693 and 694:
2 Select the Auto Define checkbox i
Page 695 and 696:
To rearrange the order of event def
Page 697 and 698:
• C- Press (Channel Pressure): To
Page 699 and 700:
Setting the MIDI Channel Number A c
Page 701 and 702:
Creating a Hyper Set To create a ne
Page 703:
µ Choose Delete Hyper Set from the
Page 706 and 707:
Getting to Know the Event List All
Page 708 and 709:
The Event List can also display a l
Page 710 and 711:
This is particularly important for
Page 712 and 713:
You can use these filter buttons al
Page 714 and 715:
Protecting the Position of Events T
Page 716 and 717:
µ Click-hold the specific position
Page 718 and 719:
• Unselected Within Selection: Er
Page 720 and 721:
Mapped Instrument Notes If the edit
Page 722 and 723:
• Other manufacturers use various
Page 724 and 725:
Meta Events Meta events are control
Page 727 and 728:
Editing MIDI Events in the Transfor
Page 729 and 730:
Depending on your needs, it may be
Page 731 and 732:
Random Pitch, Velocity, Length Sets
Page 733 and 734:
This preset is a great creative opt
Page 735 and 736:
Reverse Pitch Inverts the pitch of
Page 737 and 738:
Velocity Limiter Limits the velocit
Page 739 and 740:
Quantize Note Length Quantizes the
Page 741 and 742:
• Delete selected events: Choose
Page 743 and 744:
• Fix: The event type is altered.
Page 745 and 746:
Using the Map 128 vertical bars ref
Page 747 and 748:
This transform set now appears at t
Page 749 and 750:
To convert MIDI note events to MIDI
Page 751:
2 Click Select And Operate. To dele
Page 754 and 755:
754 Chapter 27 Mixing • Assigning
Page 756 and 757:
756 Chapter 27 Mixing Getting to Kn
Page 758 and 759:
• Master channel strip: A global
Page 760 and 761:
760 Chapter 27 Mixing Understanding
Page 762 and 763:
762 Chapter 27 Mixing The Group Set
Page 764 and 765:
When you choose an inactive group,
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766 Chapter 27 Mixing Soloing Chann
Page 768 and 769:
768 Chapter 27 Mixing When setting
Page 770 and 771:
770 Chapter 27 Mixing To avoid clip
Page 772 and 773:
772 Chapter 27 Mixing To change the
Page 774 and 775:
The following sections explain how
Page 776 and 777:
776 Chapter 27 Mixing You can creat
Page 778 and 779:
778 Chapter 27 Mixing 4 Use the aux
Page 780 and 781:
780 Chapter 27 Mixing 2 Within the
Page 782 and 783:
782 Chapter 27 Mixing When using ou
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784 Chapter 27 Mixing To define a c
Page 786 and 787:
786 Chapter 27 Mixing 2 Double-clic
Page 788 and 789:
788 Chapter 27 Mixing • Doppler b
Page 790 and 791:
790 Chapter 27 Mixing Using the Bin
Page 792 and 793:
792 Chapter 27 Mixing Open the View
Page 794 and 795:
To assign a controller to one of th
Page 796 and 797:
• Output channel strips—used as
Page 798 and 799:
798 Chapter 27 Mixing Note: To view
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800 Chapter 27 Mixing Using Link Mo
Page 802 and 803:
To copy a mixer setup 1 Select the
Page 804 and 805:
804 Chapter 27 Mixing The Record En
Page 806 and 807:
To move to a specific channel strip
Page 809 and 810:
Working with Automation 28 Logic Pr
Page 811 and 812:
The gray automation area appears on
Page 813 and 814:
2 Click the Arrange tab, then adjus
Page 815 and 816:
To set the same automation mode for
Page 817 and 818:
2 Select checkboxes in the “Write
Page 819 and 820:
• Click outside of all track auto
Page 821 and 822:
• Delete All Automation on Select
Page 823 and 824:
A dialog asks if you want to conver
Page 825 and 826:
To offset your automation when Snap
Page 827 and 828:
Using Automation Quick Access The A
Page 829 and 830:
To activate Hyper Draw for the curr
Page 831 and 832:
To use the Note Velocity mode 1 Cho
Page 833 and 834:
Bouncing Your Project 29 You can re
Page 835 and 836:
Defining the Bounce Range Before bo
Page 837 and 838:
Setting Global Parameters in the Bo
Page 839 and 840:
• Normalize pop-up menu: You can
Page 841 and 842:
If the PCM option is unselected in
Page 843 and 844:
Select the “Use default values”
Page 845 and 846:
Simulate Write Only The “Simulate
Page 847:
You can choose between the followin
Page 850 and 851:
Creating Apple Loops in Logic Pro W
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Because one-shots are handled like
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There are two possible reasons for
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As an alternative, you can use the
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The Change Display Only mode does n
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If you want to turn an Apple Loops
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• Selecting Multiple Regions in t
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Getting to Know the Score Editor Th
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Important: Score display parameters
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To switch between the default score
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• The Display Quantize setting sh
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To display the Insert Defaults sett
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To resize the Hyper Draw area µ Gr
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The palette windows can have differ
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Note Objects in the Part Box The Pa
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Dynamic Symbols in the Part Box Dyn
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Note: The symbols in this Part box
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Apart from 2/4, 3/4, 4/4, 6/8, and
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D.S., D.C., Segno, and Coda Signs i
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Page and Line Break Symbols in the
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• Absolute Change (all values set
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To paste the Clipboard contents int
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An alias can be assigned a staff st
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Resizing Notes and Symbols in the S
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Creating and Editing Tied Notes in
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• Tuplet note values: Choose from
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• Independent Grace: These are al
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Note: Church rests cannot be longer
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These commands place the correspond
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Editing Repeat Signs and Bar Lines
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To insert text in the score 1 Selec
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Setting Special Text Object Paramet
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• Tempo Symbols: Used for the dis
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When a global text object is select
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Setting All Words and Syllables to
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µ Double-click one of the extensio
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The Chord Grid Library window consi
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Getting to Know the Chord Grid Sele
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• Number of Strings field: Displa
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After inserting chord grid symbols
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To modify the chord of an existing
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To move an existing fingering dot D
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µ Option-click an existing dot to
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To create a barre Do one of the fol
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The string is muted. To unmute a st
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• Choose Layout > Chord Grid Libr
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Importing and Exporting Chord Grid
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• Up/Downstroke: Placement is at
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Note: If you perform this procedure
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Copying Signatures You can copy tim
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µ Choose a number from the Alterna
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When simultaneously changing the se
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Quantize setting 192 384 Correspond
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• Defeat Interpretation Syncopati
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Score This parameter is accessed vi
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Changing the Horizontal Position of
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Changing the Beaming of Notes By de
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• Independent Grace Changing the
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Note: Auto Style can only be chosen
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• Voice parameters: The parameter
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To copy a staff style and assign it
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5 Click the Import button. All staf
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Size Use this parameter to determin
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Head Controls the appearance of not
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2 Draw a line (between notes) where
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You can, of course, also insert not
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Note: As always, rests are displaye
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These options allow you to have two
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Getting to Know the Score Set Windo
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Brackets and bar lines can also be
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Scaling doesn’t take place on ins
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To switch to Page Score view Do one
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Editing Local Margins You can move
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3 Start printing by choosing File >
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Displaying Folders If the current d
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Project and File Interchange 32 Mov
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Sharing is essentially broken down
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By default, all items of the matchi
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2 Click the Create button in the di
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• Format 1 can contain multiple t
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3 Choose the destination directory,
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Importing and Opening OMF Files The
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Set the start time of first importe
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Working with Soundtrack Pro STAP Fi
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3 Define the following parameters,
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Advanced Tempo Operations 33 Logic
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The Tempo track displays tempo chan
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The display range (the scale shown
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Given this behavior, you should avo
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µ Drag the Tempo tab, which change
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• Try out different tempo variati
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Scaling Tempo Changes in the Tempo
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• Tempo Response: This parameter
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Beat Mapping Regions 34 You will ge
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Once selected, short horizontal lin
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There are a number of ways to impro
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Tip: If using the “Tolerate missi
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• Creating and Editing Transposit
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Transposition events only affect MI
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µ Click the event with the Eraser
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Working in the Environment 36 It is
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You determine the MIDI signal flow
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2 Press Return to confirm the new n
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Moving Objects You can move objects
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• Object move up • Object move
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• Sequencer Input object: This re
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To make a direct output connection
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• No: Your cabling takes place, b
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To route the signal of special outp
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You can also move selections of Env
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Logic Pro maintains an internal lis
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This creates the mini Environment w
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• Chord Memorizer Objects (p. 113
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If the checkbox is not selected, th
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• No Reset: If the No Reset param
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Program Names There are 128 program
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Cabling Directly to a Sub-Channel T
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• The names of GM Standard drum s
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Custom Bank Selects Logic Pro provi
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µ Choose New > Touch Tracks from t
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Transpos (Transposition) When you d
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Don’t worry about choosing the wr
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• The Options > Apply Buffer Temp
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• Behave as Menu: Select the Beha
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Value As This parameter determines
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4-Channel Vector Mode If you set a
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Data values of 126 and 127 have a s
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The positions of events in the list
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Although you can have any number of
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• Shift-Option-dragging any fader
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For faders, the Channel parameter c
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Bank The Bank parameter hides or sh
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Keyboard Objects You can use a keyb
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Logic Pro encloses all selected obj
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An arpeggiator features parameters
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Events that do not meet the conditi
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Copy Matching Events and Apply Oper
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Meta events 122 to 127 affect trans
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• Transposition pop-up menu: Defi
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To create a new chord memorizer µ
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2 Select the Listen checkbox in the
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By default, the Sequencer Input obj
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Internal Objects Internal objects i
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Channel Strip Objects The Environme
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• Aux: Auxilliary channel strip,
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Working with Video 38 Logic Pro all
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Using the Movie Window You can drag
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Video track settings can be adjuste
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Handling QuickTime Movie Audio Trac
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Working with Surround 39 Logic Pro
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LCRS Surround Format LCRS stands fo
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7.1 (SDDS-Sony Dynamic Digital Soun
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µ Click the Preferences button in
Page 1165 and 1166:
2 Choose the surround format you wa
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µ Click one of the three Initializ
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To determine the project surround f
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To set a channel strip’s output f
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2 Click the Mixer tab, and choose a
Page 1175 and 1176:
• A number of speaker icons surro
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Using the Surround Balancer If the
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Channel mapping, panning, and mixin
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When a multi-channel plug-in is fir
Page 1183 and 1184:
Note: Use the Bounce Extensions pre
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Positioning the Surround Speakers T
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The center speaker is usually used
Page 1189 and 1190:
Synchronizing Logic Pro 40 Logic Pr
Page 1191 and 1192:
Using the Sync Button You can use t
Page 1193 and 1194:
Note: When using Pickup Clock with
Page 1195 and 1196:
Each arrange track can act as a tap
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If MIDI and Audio Are Not Synchroni
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The audio interface input and outpu
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As an example: Imagine a simple son
Page 1204 and 1205:
The last thing to do is to get arou
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Importing Split Channel Files Nothi
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Interleaved or Split Bounce File? I
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The Project Settings window feature
Page 1212 and 1213:
To open the Synchronization project
Page 1214 and 1215:
Logic Pro automatically interprets
Page 1216 and 1217:
• Deviation slider: This display
Page 1218 and 1219:
MIDI Synchronization Settings The M
Page 1220 and 1221:
Logic Pro also obeys Full Frame Mes
Page 1222 and 1223:
Metronome Settings The Metronome pr
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Recording Settings The Recording pr
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Core Audio Recording Settings • R
Page 1228 and 1229:
• User: Root Key pop-up menu: All
Page 1230 and 1231:
Detuned octaves are more noticeable
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Audio Settings The Audio project se
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MIDI Settings The MIDI project sett
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• Instrument Without MIDI Thru Fu
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• Control Changes, 0-15, 64-71, a
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The following describes the global
Page 1242 and 1243:
• Hide Muted Regions checkbox: Ex
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• Page Offset field: This value i
Page 1246 and 1247:
Logic Pro automatically converts no
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Pitch Logic Pro assigns each note t
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Chords & Grids Settings These are g
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Clefs & Signatures Settings These a
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Note: Only automatically displayed
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Note: If you have a high-resolution
Page 1258 and 1259:
This makes playback sound much more
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• Chromatic: Allows you to use tw
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• FireWire: Choose this mode to o
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Preferences in Logic Pro 44 Prefere
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A separate preference file, also st
Page 1269 and 1270:
• Create New Project using Defaul
Page 1271 and 1272:
• Pointer Tool in Arrange Provide
Page 1273 and 1274:
• Smooth Cycle Algorithm checkbox
Page 1275 and 1276:
Audio Preferences in Logic Pro Audi
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Note: When setting an output device
Page 1279 and 1280:
For full details about activating D
Page 1281 and 1282:
• Low Latency Mode checkbox and L
Page 1283 and 1284:
Bounce Extensions Pane The Bounce E
Page 1285 and 1286:
Audio Sample Editor Preferences The
Page 1287 and 1288:
Audio MP3 Preferences The MP3 pane
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Audio Nodes Preferences The Nodes p
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All selected checkboxes will send a
Page 1293 and 1294:
MIDI Sync Preferences The Sync pane
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Display Preferences in Logic Pro Di
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• Display SMPTE, Display Tempo As
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Piano Roll Display Preferences Thes
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• Floating Palette View pop-up me
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Automation Preferences in Logic Pro
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Control Surface Preferences in Logi
Page 1307:
Sharing Preferences in Logic Pro Sh
Page 1310 and 1311:
1310 Glossary ALAC Abbreviation for
Page 1312 and 1313:
1312 Glossary Auto Track Zoom Funct
Page 1314 and 1315:
1314 Glossary Browser A tab in the
Page 1316 and 1317:
1316 Glossary comping A process whe
Page 1318 and 1319:
1318 Glossary DFS An abbreviation f
Page 1320 and 1321:
1320 Glossary Event List A list tha
Page 1322 and 1323:
1322 Glossary grid The Logic Pro gr
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1324 Glossary key The scale used in
Page 1326 and 1327:
1326 Glossary master channel strip
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1328 Glossary mono Short for monoph
Page 1330 and 1331:
1330 Glossary pan, pan position The
Page 1332 and 1333:
1332 Glossary Q factor A term gener
Page 1334 and 1335:
1334 Glossary sample rate When an a
Page 1336 and 1337:
1336 Glossary Signature track Globa
Page 1338 and 1339:
1338 Glossary Surround Panner Repla
Page 1340 and 1341:
1340 Glossary Transform window Logi
Page 1342:
1342 Glossary zoom An action that e
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