Logic Pro 9 User Manual - Help Library - Apple

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7 Insert the effects in the Insert slots of the channel strip. As the track is routed to an instrument channel strip (which is being used for an external MIDI sound module), it behaves just like a standard software instrument track, which means that you can record and play back MIDI regions on it—with the following benefits: • You can take advantage of the sounds and synthesis engine of your MIDI module, with no overhead on your system processor (apart from the effects used on the channel strip). • You can use insert effects, obviously, but can also use Send effects by routing the instrument channel strip to aux channel strips. • You can bounce your external MIDI instrument parts—with or without effects—to an audio file, in real time. This makes the creation of a mix, inclusive of all internal and external devices and tracks, a one-step process. Note: You cannot use the Freeze function on such tracks, nor can you perform an offline bounce. Playing Software Instruments Software instrument plug-ins respond to MIDI note messages, whereas effect plug-ins do not. The output signal of a software instrument is fed into the input (the Instrument slot) of the instrument channel strip, where it can be processed via inserted effect plug-ins, or sent to busses. Logic Pro supports up to 255 discrete instrument channel strips. The number of software instruments that you can run simultaneously depends on the computer-processing resources available. After an instrument plug-in is inserted, the instrument channel strip can be driven by a recorded MIDI region, or direct MIDI input—playing your MIDI keyboard, in other words. Understanding Live Mode Live mode instruments need to stay in Live mode while the audio engine is running (when Logic Pro is in playback or record mode), because switching a software instrument track out of Live mode creates a gap (or noise) in the audio stream. Obviously, this is unacceptable. Software instruments that are live (ready for playing) require considerably more processing power than those that are merely playing back existing regions. If selecting a software instrument track automatically activates Live mode, switching between multiple instrument tracks would compound the problem, possibly resulting in system overloads. 306 Chapter 10 Working with Instruments and Effects
The Record button of selected software instrument tracks gives visual feedback of the current state of a software instrument: Instrument in live mode Selected instrument, not yet in live mode Switching Instruments to Software Instrument Live Mode When you select a software instrument track, it does not immediately switch into Live or Performance mode. You must send a MIDI event before Live mode is activated, but this takes around 100 milliseconds to engage, which is more than enough time to destroy the timing of your first played note. If you require perfect timing for the first played note, you need to send silent MIDI events in advance; press the sustain pedal, or make a small move of the pitch bender or modulation wheel, for example. This will turn on Live mode. Saving Software Instrument Processing Resources The Bounce function allows the entire instrument track to be recorded as an audio file. This bounced audio file can then be used (as an audio region) on a standard audio track, allowing you to reassign the available processing power for further software instrument tracks. For more details, see Bouncing Your Project. You can also make use of the Freeze function to capture the output of a software instrument track, again saving processing power. For details, see Freezing Tracks in the Arrange Area. Chapter 10 Working with Instruments and Effects 307
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Logic Pro 9 User Manual
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Preface Chapter 1 Chapter 2 Chapter
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Chapter 8 Chapter 9 163 166 166 167
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Chapter 14 387 393 394 398 401 402
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Chapter 18 Chapter 19 Chapter 20 55
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Chapter 38 Chapter 39 Chapter 40 Ch
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Welcome to Logic Pro Logic Pro is a
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• Logic Studio Working with Apoge
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MIDI recordings are used to trigger
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A Logic Pro project file contains a
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MIDI Regions and Events MIDI region
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• External MIDI control surfaces
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MIDI Interface Your Mac computer do
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To facilitate this, an amplifier an
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Note: Condenser microphones require
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Note: USB audio interfaces should a
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AES/EBU The AES/EBU (Audio Engineer
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If the MIDI interface connected to
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For example, if you buy a new keybo
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µ Click the Preferences button in
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Networking Considerations The prima
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The Track Node buttons have four po
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Overview of the Logic Pro Interface
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The following is an overview of the
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• Track list: This is where you s
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The following image shows the Inspe
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You can add, edit, delete, and rena
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Introducing the Loop Browser The Lo
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Introducing the Library The Library
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• Path menu: Displays the levels
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Introducing Project Notes The Proje
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The Event List can display two type
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Introducing the Tempo List The Temp
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Introducing the Mixer The Mixer is
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Introducing the Piano Roll Editor T
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Local Menu Bars A window’s local
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Global Tracks All linear editing wi
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The Sample Editor is shown, display
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11 Select the software instrument t
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If you want to select an item that
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Customizing Your Window Setup 4 Log
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Key focus areas within windows—su
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To open a window Do one of the foll
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µ Click the close button at the to
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To adjust the size of a window Do o
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µ Set the default size for plug-in
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You can move the visible section by
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To zoom in µ Click the widely spac
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To change the zoom level using the
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Note: When a marquee selection is a
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• Content Link: This mode results
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2 Drag the buttons you want to add
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• Time and Bar: Displays the Bar
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µ Control-click (or right-click) a
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Note: Screensets 1 to 9 can be reca
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To delete the current screenset µ
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Setting the Playhead Position The p
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When typing in a full position usin
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• Play from Left Window Edge: Pla
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• Jump Between Cycle- and Project
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The cycle area is defined by the po
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This has no impact on the Bar ruler
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Defining a Cycle with Markers Dragg
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2 Click the Chase tab, then select
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2 Turn on or turn off individual fu
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• Signature/Division: The (Time)
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To open a new SMPTE or Bar Display
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2 Choose one of the following setti
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Opening Marker Areas and Windows Th
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Creating Markers You can create mar
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Markers created in these ways are a
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• Select the markers, then choose
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2 Type the new marker name in the M
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3 Choose settings in the Font windo
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To adjust a marker to fit a cycle
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Switching Between Marker Alternativ
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When you create a new project (or u
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3 Browse to the location where you
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If a project is already loaded, you
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Opening and Creating Projects Autom
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You can also import the following s
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Tip: You can customize the column v
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The Browser tab updates to show a t
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• Click the Settings button in th
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µ Click the Sample Rate display in
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Time signatures do not affect the p
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µ Open the Signature track, and do
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Click the Dim Master Volume button
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The following should be taken into
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Saving Projects When you choose Fil
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Saving a Project as a Template You
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Basic Operations 8 There are a numb
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2 Type in 45, followed by the Retur
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• Save a new key command set: Ent
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Assigning Key Commands to Computer
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The Assignments field displays the
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Tools are accessed in the Tool menu
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• Opens Tool Menu: Right-clicking
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• Marquee Tool Click Zones: When
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Flex Tool The Flex tool provides yo
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Using Selection Techniques Whenever
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To select all events (of a specifie
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• Edit > Select Equal Colored Reg
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Paste at Original Position This com
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To erase the Undo History µ Choose
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Understanding Tracks and Channel St
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Configuring the Track Header The tr
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• Buttons section: Select the che
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To create one or more new tracks (a
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Software Instrument Tracks You can
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Creating Tracks Only The commands a
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Creating Tracks for Selected Region
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Naming Tracks in the Arrange Area Y
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To create a track name Do one of th
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Assigning Tracks to Environment Obj
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Assigning Track Icons in the Track
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A bullet to the left of the track n
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Soloing When the Track Solo Buttons
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To freeze a track 1 Click the Freez
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You can now perform your edits, and
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Clicking a Track Protect button tog
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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 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
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Snapping Edits to Zero Crossings If
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Updating the Audio Region Arrangeme
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• Creating Multiple Copies of Reg
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4 In the Colors window that opens,
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To snap to an absolute, not relativ
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To change the drag mode µ Choose o
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Using Shortcut Menus Many selection
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2 Drag to select or Shift-select th
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To assign the same name to multiple
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c Click the OK button to replace th
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2 Drag the marquee rectangle to mak
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Using the Marquee Selection to Crea
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To restore a deleted audio region D
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µ Choose the View > Event Position
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• Nudge Region/Event Position Rig
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Note: If Hyper Draw or automation i
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Adjusting the Start or End Point of
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• Set the value in the Transport
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To copy a region (method 1) µ Opti
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To remove gaps between regions 1 Se
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All selected regions are cut at the
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The alias appears on the selected t
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2 In the dialog that appears, set t
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Note: The EXS instrument is saved t
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2 Select (turn on) the Loop option
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2 Choose Region > Loops > Convert t
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All selected regions located wholly
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Merging Regions (General Tools and
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No Mixdown Situation If there are s
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When opened, folders look just like
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You should ensure that the folder i
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Creating Fades A fade in starts at
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µ Select a region, then edit the F
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To change the playback speed Do one
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Editing Several Regions Simultaneou
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• Advanced Quantization: Q-Flam:
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Recording in Logic Pro 14 This chap
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µ Click the Sample Rate display in
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Setting Up the Metronome for Record
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For details about the Metronome pro
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Tip: You can leave the Input Monito
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To choose the recording file type 1
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Record-Enabling Tracks You can make
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• Multitrack recording: You can r
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Imagine a guitar solo being perform
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5 Open the take folder by doing one
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Audio Multitrack Recording You can
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The Autopunch feature can be used f
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5 Stop recording by clicking the St
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The recording appears as a single M
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4 Set a cycle area by doing one of
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Only the actual recording of MIDI e
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To record several MIDI tracks in Cy
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When you stop recording, you can wo
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2 Open the Overlapping Recordings p
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3 Select the checkboxes that corres
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To color a take in an open or close
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MIDI Step Input Recording The Step
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4 Click a key in the Step Input Key
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Triplets, Dotted Note Groups The
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The Space bar provides a Sustain fu
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Getting to Know Take Folders You wi
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The following key commands enable y
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Creating Comps You can use quick sw
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Extending a take region section (dr
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To alternate selected comp areas be
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Resizing Take Regions You can edit
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To cut a take folder µ Click the t
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The first cut occurs at the clicked
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To create a new take lane for a tak
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To create a new comp from the activ
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3 Type the new name in the dialog t
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To delete a take 1 Click the arrow
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2 Click the arrow in the top right
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To export an active take to a new t
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To export an active comp to a new t
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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
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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
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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
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2 Click in the upper half of the se
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A yellow guideline appears in the o
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µ Using the Flex tool, place the p
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To time stretch using region border
Page 547 and 548:
Editing Audio in the Sample Editor
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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
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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
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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
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• Disabled: Double-clicking a MID
Page 651 and 652:
2 Click the Editing tab, then choos
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• Deleting or moving portions of
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Editing MIDI Events in the Piano Ro
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• The vertical position of note e
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When the Link Button Is Turned Off
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The Snap menu setting applies to th
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• Click the original note with th
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Important: A Redo list is not displ
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• Nudge Region/Event Position Lef
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• 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,
Page 766 and 767:
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
Page 784 and 785:
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
Page 800 and 801:
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
Page 852 and 853:
Because one-shots are handled like
Page 854 and 855:
There are two possible reasons for
Page 856 and 857:
As an alternative, you can use the
Page 858 and 859:
The Change Display Only mode does n
Page 860 and 861:
If you want to turn an Apple Loops
Page 862 and 863:
• Selecting Multiple Regions in t
Page 864 and 865:
Getting to Know the Score Editor Th
Page 866 and 867:
Important: Score display parameters
Page 868 and 869:
To switch between the default score
Page 870 and 871:
• The Display Quantize setting sh
Page 872 and 873:
To display the Insert Defaults sett
Page 874 and 875:
To resize the Hyper Draw area µ Gr
Page 876 and 877:
The palette windows can have differ
Page 878 and 879:
Note Objects in the Part Box The Pa
Page 880 and 881:
Dynamic Symbols in the Part Box Dyn
Page 882 and 883:
Note: The symbols in this Part box
Page 884 and 885:
Apart from 2/4, 3/4, 4/4, 6/8, and
Page 886 and 887:
D.S., D.C., Segno, and Coda Signs i
Page 888 and 889:
Page and Line Break Symbols in the
Page 890 and 891:
• Absolute Change (all values set
Page 892 and 893:
To paste the Clipboard contents int
Page 894 and 895:
An alias can be assigned a staff st
Page 896 and 897:
Resizing Notes and Symbols in the S
Page 898 and 899:
Creating and Editing Tied Notes in
Page 900 and 901:
• Tuplet note values: Choose from
Page 902 and 903:
• Independent Grace: These are al
Page 904 and 905:
Note: Church rests cannot be longer
Page 906 and 907:
These commands place the correspond
Page 908 and 909:
Editing Repeat Signs and Bar Lines
Page 910 and 911:
To insert text in the score 1 Selec
Page 912 and 913:
Setting Special Text Object Paramet
Page 914 and 915:
• Tempo Symbols: Used for the dis
Page 916 and 917:
When a global text object is select
Page 918 and 919:
Setting All Words and Syllables to
Page 920 and 921:
µ Double-click one of the extensio
Page 922 and 923:
The Chord Grid Library window consi
Page 924 and 925:
Getting to Know the Chord Grid Sele
Page 926 and 927:
• Number of Strings field: Displa
Page 928 and 929:
After inserting chord grid symbols
Page 930 and 931:
To modify the chord of an existing
Page 932 and 933:
To move an existing fingering dot D
Page 934 and 935:
µ Option-click an existing dot to
Page 936 and 937:
To create a barre Do one of the fol
Page 938 and 939:
The string is muted. To unmute a st
Page 940 and 941:
• Choose Layout > Chord Grid Libr
Page 942 and 943:
Importing and Exporting Chord Grid
Page 944 and 945:
• Up/Downstroke: Placement is at
Page 946 and 947:
Note: If you perform this procedure
Page 948 and 949:
Copying Signatures You can copy tim
Page 950 and 951:
µ Choose a number from the Alterna
Page 952 and 953:
When simultaneously changing the se
Page 954 and 955:
Quantize setting 192 384 Correspond
Page 956 and 957:
• Defeat Interpretation Syncopati
Page 958 and 959:
Score This parameter is accessed vi
Page 960 and 961:
Changing the Horizontal Position of
Page 962 and 963:
Changing the Beaming of Notes By de
Page 964 and 965:
• Independent Grace Changing the
Page 966 and 967:
Note: Auto Style can only be chosen
Page 968 and 969:
• Voice parameters: The parameter
Page 970 and 971:
To copy a staff style and assign it
Page 972 and 973:
5 Click the Import button. All staf
Page 974 and 975:
Size Use this parameter to determin
Page 976 and 977:
Head Controls the appearance of not
Page 978 and 979:
2 Draw a line (between notes) where
Page 980 and 981:
You can, of course, also insert not
Page 982 and 983:
Note: As always, rests are displaye
Page 984 and 985:
These options allow you to have two
Page 986 and 987:
Getting to Know the Score Set Windo
Page 988 and 989:
Brackets and bar lines can also be
Page 990 and 991:
Scaling doesn’t take place on ins
Page 992 and 993:
To switch to Page Score view Do one
Page 994 and 995:
Editing Local Margins You can move
Page 996 and 997:
3 Start printing by choosing File >
Page 998 and 999:
Displaying Folders If the current d
Page 1001 and 1002:
Project and File Interchange 32 Mov
Page 1003 and 1004:
Sharing is essentially broken down
Page 1005 and 1006:
By default, all items of the matchi
Page 1007 and 1008:
2 Click the Create button in the di
Page 1009 and 1010:
• Format 1 can contain multiple t
Page 1011 and 1012:
3 Choose the destination directory,
Page 1013 and 1014:
Importing and Opening OMF Files The
Page 1015 and 1016:
Set the start time of first importe
Page 1017 and 1018:
Working with Soundtrack Pro STAP Fi
Page 1019 and 1020:
3 Define the following parameters,
Page 1021 and 1022:
Page 1023 and 1024:
Page 1025 and 1026:
Advanced Tempo Operations 33 Logic
Page 1027 and 1028:
The Tempo track displays tempo chan
Page 1029 and 1030:
The display range (the scale shown
Page 1031 and 1032:
Given this behavior, you should avo
Page 1033 and 1034:
µ Drag the Tempo tab, which change
Page 1035 and 1036:
• Try out different tempo variati
Page 1037 and 1038:
Scaling Tempo Changes in the Tempo
Page 1039 and 1040:
• Tempo Response: This parameter
Page 1041 and 1042:
Beat Mapping Regions 34 You will ge
Page 1043 and 1044:
Once selected, short horizontal lin
Page 1045 and 1046:
There are a number of ways to impro
Page 1047:
Tip: If using the “Tolerate missi
Page 1050 and 1051:
• Creating and Editing Transposit
Page 1052 and 1053:
Transposition events only affect MI
Page 1054 and 1055:
µ Click the event with the Eraser
Page 1057 and 1058:
Working in the Environment 36 It is
Page 1059 and 1060:
You determine the MIDI signal flow
Page 1061 and 1062:
2 Press Return to confirm the new n
Page 1063 and 1064:
Moving Objects You can move objects
Page 1065 and 1066:
• Object move up • Object move
Page 1067 and 1068:
• Sequencer Input object: This re
Page 1069 and 1070:
To make a direct output connection
Page 1071 and 1072:
• No: Your cabling takes place, b
Page 1073 and 1074:
To route the signal of special outp
Page 1075 and 1076:
You can also move selections of Env
Page 1077 and 1078:
Logic Pro maintains an internal lis
Page 1079:
This creates the mini Environment w
Page 1082 and 1083:
• Chord Memorizer Objects (p. 113
Page 1084 and 1085:
If the checkbox is not selected, th
Page 1086 and 1087:
• No Reset: If the No Reset param
Page 1088 and 1089:
Program Names There are 128 program
Page 1090 and 1091:
Cabling Directly to a Sub-Channel T
Page 1092 and 1093:
• The names of GM Standard drum s
Page 1094 and 1095:
Custom Bank Selects Logic Pro provi
Page 1096 and 1097:
µ Choose New > Touch Tracks from t
Page 1098 and 1099:
Transpos (Transposition) When you d
Page 1100 and 1101:
Don’t worry about choosing the wr
Page 1102 and 1103:
• The Options > Apply Buffer Temp
Page 1104 and 1105:
• Behave as Menu: Select the Beha
Page 1106 and 1107:
Value As This parameter determines
Page 1108 and 1109:
4-Channel Vector Mode If you set a
Page 1110 and 1111:
Data values of 126 and 127 have a s
Page 1112 and 1113:
The positions of events in the list
Page 1114 and 1115:
Although you can have any number of
Page 1116 and 1117:
• Shift-Option-dragging any fader
Page 1118 and 1119:
For faders, the Channel parameter c
Page 1120 and 1121:
Bank The Bank parameter hides or sh
Page 1122 and 1123:
Keyboard Objects You can use a keyb
Page 1124 and 1125:
Logic Pro encloses all selected obj
Page 1126 and 1127:
An arpeggiator features parameters
Page 1128 and 1129:
Events that do not meet the conditi
Page 1130 and 1131:
Copy Matching Events and Apply Oper
Page 1132 and 1133:
Meta events 122 to 127 affect trans
Page 1134 and 1135:
• Transposition pop-up menu: Defi
Page 1136 and 1137:
To create a new chord memorizer µ
Page 1138 and 1139:
2 Select the Listen checkbox in the
Page 1140 and 1141:
By default, the Sequencer Input obj
Page 1142 and 1143:
Internal Objects Internal objects i
Page 1144 and 1145:
Channel Strip Objects The Environme
Page 1146 and 1147:
• Aux: Auxilliary channel strip,
Page 1149 and 1150:
Working with Video 38 Logic Pro all
Page 1151 and 1152:
Using the Movie Window You can drag
Page 1153 and 1154:
Video track settings can be adjuste
Page 1155 and 1156:
Handling QuickTime Movie Audio Trac
Page 1157 and 1158:
Working with Surround 39 Logic Pro
Page 1159 and 1160:
LCRS Surround Format LCRS stands fo
Page 1161 and 1162:
7.1 (SDDS-Sony Dynamic Digital Soun
Page 1163 and 1164:
Page 1165 and 1166:
2 Choose the surround format you wa
Page 1167 and 1168:
µ Click one of the three Initializ
Page 1169 and 1170:
To determine the project surround f
Page 1171 and 1172:
To set a channel strip’s output f
Page 1173 and 1174:
2 Click the Mixer tab, and choose a
Page 1175 and 1176:
• A number of speaker icons surro
Page 1177 and 1178:
Using the Surround Balancer If the
Page 1179 and 1180:
Channel mapping, panning, and mixin
Page 1181 and 1182:
When a multi-channel plug-in is fir
Page 1183 and 1184:
Note: Use the Bounce Extensions pre
Page 1185 and 1186:
Positioning the Surround Speakers T
Page 1187 and 1188:
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
Page 1197:
If MIDI and Audio Are Not Synchroni
Page 1200 and 1201:
The audio interface input and outpu
Page 1202 and 1203:
As an example: Imagine a simple son
Page 1204 and 1205:
The last thing to do is to get arou
Page 1206 and 1207:
Importing Split Channel Files Nothi
Page 1208 and 1209:
Interleaved or Split Bounce File? I
Page 1210 and 1211:
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
Page 1224 and 1225:
Recording Settings The Recording pr
Page 1226 and 1227:
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
Page 1232 and 1233:
Audio Settings The Audio project se
Page 1234 and 1235:
MIDI Settings The MIDI project sett
Page 1236 and 1237:
• Instrument Without MIDI Thru Fu
Page 1238 and 1239:
• Control Changes, 0-15, 64-71, a
Page 1240 and 1241:
The following describes the global
Page 1242 and 1243:
• Hide Muted Regions checkbox: Ex
Page 1244 and 1245:
• Page Offset field: This value i
Page 1246 and 1247:
Logic Pro automatically converts no
Page 1248 and 1249:
Pitch Logic Pro assigns each note t
Page 1250 and 1251:
Chords & Grids Settings These are g
Page 1252 and 1253:
Clefs & Signatures Settings These a
Page 1254 and 1255:
Note: Only automatically displayed
Page 1256 and 1257:
Note: If you have a high-resolution
Page 1258 and 1259:
This makes playback sound much more
Page 1260 and 1261:
• Chromatic: Allows you to use tw
Page 1262 and 1263:
• FireWire: Choose this mode to o
Page 1265 and 1266:
Preferences in Logic Pro 44 Prefere
Page 1267 and 1268:
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
Page 1277 and 1278:
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
Page 1289 and 1290:
Audio Nodes Preferences The Nodes p
Page 1291 and 1292:
All selected checkboxes will send a
Page 1293 and 1294:
MIDI Sync Preferences The Sync pane
Page 1295 and 1296:
Display Preferences in Logic Pro Di
Page 1297 and 1298:
• Display SMPTE, Display Tempo As
Page 1299 and 1300:
Piano Roll Display Preferences Thes
Page 1301 and 1302:
• Floating Palette View pop-up me
Page 1303 and 1304:
Automation Preferences in Logic Pro
Page 1305 and 1306:
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
Page 1324 and 1325:
1324 Glossary key The scale used in
Page 1326 and 1327:
1326 Glossary master channel strip
Page 1328 and 1329:
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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