Logic Pro 9 User Manual - Help Library - Apple

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Flex Time Editing 16 Flex Time editing—similar to what is often referred to as elastic audio in other applications—is a nondestructive form of audio editing in <strong>Logic</strong> <strong>Pro</strong>. It is a process that allows you to correct a single note or the timing of an entire region, all within the Arrange window. Flex Time editing greatly simplifies the process required for altering the timing of audio material. It allows you to compress or expand the time between specified points in an audio region without the need for more traditional processes like cutting, nudging, and crossfading. This chapter introduces you to the techniques used for Flex Time editing as well as the track-based settings that determine how the timing of your audio will be altered—either by using time compression or expansion algorithms, by manipulating invisibly sliced segments, or by speeding up or slowing down the material. You edit the timing of audio material using flex markers. When you move a flex marker, it time compresses or expands the area around it. The initial boundaries within which this is done is determined by the transient markers. Transient markers denote significant points—or transients—in an audio file. The audio on a track is analyzed for transients the first time you enable that track for Flex Time editing. Any detected transients in the file are marked with transient markers. You manipulate flex markers either in the Arrange area’s Flex view, or invisibly using the Flex tool. You can create single or multiple flex markers in an audio file, allowing you to manipulate the position of single notes or complete phrases. This chapter covers the following: • Turning on Flex View (p. 526) • Choosing Flex Modes (p. 526) • Getting to Know the Flex Modes (p. 529) • Getting to Know Transient, Flex, and Tempo Markers (p. 531) • Working with Flex Markers (p. 532) • Time Stretching Using Marquee Selections (p. 538) • Time Stretching Using Region Borders (p. 539) • Snapping Flex Markers to Transient Markers (p. 540) • Splitting Audio Regions at Transient Marker Positions (p. 541) 525
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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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µ Click the Preferences button in
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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
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To bounce regions in place 1 Select
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The Bounce Track in Place dialog ap
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• Include Volume/Pan Automation c
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The Arrange (and Mixer) channel str
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Setting Channel Strip Input Format
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To set the Pan or Balance position
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A menu appears, showing all availab
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To use the Hand tool in the Arrange
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µ On channel strips where Insert s
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The Library displays all channel st
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You can remotely switch between cha
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The plug-in window opens automatica
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To adjust a parameter slider Do one
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When the Link Button Is Switched Of
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• Choose the Load Setting command
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Replacing Setting-Compatible Plug-i
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Hiding and Showing Extended Paramet
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Learning About Effect Routings Ther
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Similarly, you can completely chang
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A post fader signal level, routed t
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Tip: Many of the setup and routing
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3 Click GM Device in the left colum
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To reassign tracks to channels usin
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• If you use the Track Parameter
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• Program, Volume, and Pan: Trans
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7 Insert the effects in the Insert
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Tuning Software Instruments The Fil
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Important: Start Logic Pro first, t
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2 Connect the output (or output pai
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You can see the results of the vali
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Disabling Plug-ins The Audio Units
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Logic Pro also supports Broadcast W
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Navigating in the Browser You can s
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Restricting the search to a particu
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To remove a single advanced conditi
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To access the Loop Browser in the A
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When you place Software Instrument
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Column view offers a standard Mac O
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As you can see from this example, t
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Creating a Collection of Your Favor
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4 Click the Play button to preview
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The dialog below opens. 2 Browse to
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Audio regions that point to compres
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2 Choose settings in the Import ReC
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Getting to Know Regions 12 When aud
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It is, of course, possible to direc
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Feature Quantize parameter availabl
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The Sample Editor opens, with the e
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To open the Audio Bin window µ Cho
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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
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 516 and 517: To flatten a take folder 1 Click th
Page 520 and 521: This command—Unpack Take Folder,
Page 522 and 523: This command—“Unpack Take Folde
Page 526 and 527: • Using the Flex Tool (p. 541)
Page 528 and 529: After assigning a flex mode to an a
Page 530 and 531: Rhythmic Rhythmic flex mode time st
Page 532 and 533: • Tempo markers: Displayed as blu
Page 534 and 535: • If you click in the area where
Page 536 and 537: 536 Chapter 16 Flex Time Editing If
Page 538 and 539: To delete multiple flex markers Do
Page 540 and 541: This action time stretches the enti
Page 542 and 543: You can use the Flex tool for the f
Page 544 and 545: µ Make a selection in the region w
Page 546 and 547: To turn Varispeed mode on or off µ
Page 548 and 549: • Customizing Waveform Amplitude
Page 550 and 551: • Waveform display: Provides a de
Page 552 and 553: To scrub audio µ Click-hold the ru
Page 554 and 555: Making Selections in the Sample Edi
Page 556 and 557: To change the start or end point of
Page 558 and 559: Audio Editing and Processing in the
Page 560 and 561: When you turn on Transient Editing
Page 562 and 563: To move a transient marker in an au
Page 564 and 565: As long as the mouse button is held
Page 566 and 567: You can set the desired maximum lev
Page 568 and 569: 3 Select the S Curve checkboxes if
Page 570 and 571: Undoing Edit Steps in the Sample Ed
Page 572 and 573: Customizing Waveform Amplitude Scal
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Time is measured from the start of
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Using the Sample Editor’s “Time
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• Algorithm menu: You can choose
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• Harmonic Correction: When audio
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Setting Groove Machine Parameters H
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2 Choose Factory > Audio Energizer
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Using the Sample Editor’s Silence
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The process of Noise Reduction is s
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Setting “Audio to Score” Parame
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2 Choose Factory > Quantize Engine
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2 Click the Sample Editor tab, then
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Working with Tempo and Audio Region
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Note: The Follow Tempo option does
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Time Stretching Regions Logic Pro a
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Using Beat Detection to Create Temp
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4 Click the Advanced Options disclo
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Removing Silent Passages from Audio
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• Search Zero Crossings: Select t
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Using Strip Silence to Create Segme
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Sorting Audio Files Information on
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2 Choose View > Create Group (or Co
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This expands or collapses all group
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• If the file is half of a split
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3 Choose settings in the “Copy/co
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To delete sections of audio files t
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• You have renamed the files in t
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Quantizing Audio and MIDI 21 Quanti
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• Swing quantization: The 8F Swin
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Tip: To obtain the best Q-Range res
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Important: Unlike other region play
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This triggers a process where quant
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This pop-up menu contains the same
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Tip: Two-bar MIDI regions work part
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3 To add them to the Quantize pop-u
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While the “Audio to MIDI Groove T
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• Event List: Shows all MIDI even
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µ Drag the Event List tab in the L
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To create an empty MIDI region µ C
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This transmits control change messa
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To open the Piano Roll Editor as a
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Understanding Note Velocities Each
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To snap events to a grid µ Choose
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When no notes are selected, the inf
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Events of the same type, but on dif
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2 Click the Editing tab, then selec
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To change the start point (and leng
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To copy or move notes Do one of the
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Protecting the Position of Events i
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To change the color of notes Do one
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2 Click at different points in the
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Note: If using an independent Piano
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µ Drag the Hyper Editor button, wh
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You can, of course, record events w
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• Framed Values: Shows a hollow f
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As you do so, you see the line trai
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To delete similar or equal events 1
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Moving Events via Key Commands Edit
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Selecting and Creating Event Defini
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Tip: It’s a good idea to create a
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On the left (Convert), you can see
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If Control is chosen in the Status
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• GM Drum Kit: Offers lanes that
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A dotted line links the two instrum
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Editing MIDI Events in the Event Li
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µ Drag the Event tab, which change
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As a practical example of where the
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To view events outside the display
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Important: Events can only be creat
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In some instances, clicking the inf
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If a parameter of one of several se
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Note Events Note events are used to
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• Val(ue): Value of the controlle
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Poly Pressure Events Poly(phonic) p
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• The type or name of the selecte
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A number of preset transform sets a
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Random Pitch Sets a random pitch fo
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• If you want a less dynamic cres
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Humanize Adds a random value to the
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Exponential Velocity Alters the sca
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Maximum Note Length Sets the maximu
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Using the Transform Window Paramete
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To set all other selection conditio
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• Mul: The parameter value is mul
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Exchanging Parameter Values You can
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To add a mod wheel controller event
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• Operations area: Set Pitch to +
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Mixing 27 The Mixer is an area in L
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µ Drag the Mixer button, which cha
Page 757 and 758:
Understanding Channel Strip Types i
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• Channel EQ: Allows you to add a
Page 761 and 762:
Working with Mixer Groups Prior to
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• Mute checkbox: Changing the mut
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While Group Clutch is activated, al
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Logic Pro intelligently scans the e
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Signal clipping occurs when too lou
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Understanding a Channel Strip’s L
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For example, imagine the concert st
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Routing Audio in the Mixer via Send
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Enter a number, then choose setting
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Logic Pro supports the multiple out
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An aux channel strip appears to the
Page 783 and 784:
To define the stereo output 1 Open
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Using Binaural Panning in the Mixer
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Getting to Know the Binaural Panner
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• If set to Spherical, the result
Page 791 and 792:
As you are unlikely to have the tec
Page 793 and 794:
• Program button: Allows you to s
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To configure GS or XG effects 1 Cho
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To automatically create a track for
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Viewing Track Notes in the Mixer Tr
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To create new I/O labels for the In
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To deselect multiple channel strips
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To adjust the send destination of a
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The new name is applied to all sele
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• Offsetting Automation (p. 824)
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This can be the Volume fader, pan p
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To view all recorded automation dat
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If a channel strip or an external (
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• Choose a parameter in the arran
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Nodes will be created along the lin
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This allows fine adjustment of the
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To adjust the track automation data
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Editing Track Automation Data in th
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Enabling and Disabling Automation Q
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To set the MIDI Channel µ Choose a
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• Hyper Draw: Pitch Bend • Hype
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Stage 2: Define the Bounce Range De
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Defining Parameters in the Bounce W
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• Start and End fields: These fie
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• Dithering pop-up menu: Ditherin
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• Quality pop-up menu: Keep this
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• “Add to iTunes library” che
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Setting the Bounce Filename and Fol
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Creating Apple Loops 30 You can sav
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• Set the file type, which can be
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You can use one of the following op
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3 In the Add Region to Apple Loops
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Adding Acid Loops to the Loop Brows
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The global Transpose track transpos
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Working with Notation 31 The Score
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µ Drag the Score button, which cha
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• Stage 4: Inputting Events, Symb
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This function can also be used on m
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• Fast input of symbols by assign
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When working in Full Score view (wh
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You can make the multiple MIDI regi
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To change the arrangement of groups
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• Three times selects the dotted
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Sustain Pedal Symbols in the Part B
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The gray note head makes a note’s
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Key Signature Symbols in the Part B
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The trill line and arpeggio lines c
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Note: The tempo indicators in the T
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General Editing in the Score Editor
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To restrict movement to one directi
Page 893 and 894:
To delete an object Do one of the f
Page 895 and 896:
Using the Layout Tool The Layout to
Page 897 and 898:
µ Grab one (or several) notes with
Page 899 and 900:
Creating and Editing N-Tuplets in t
Page 901 and 902:
The method described above also all
Page 903 and 904:
• They can be moved vertically. A
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To change the size of clef changes
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Particular Attributes of Certain Sy
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1st and 2nd Endings Following the i
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Each text object (except text in th
Page 913 and 914:
To open the Text Styles window µ C
Page 915 and 916:
Score sets determine which instrume
Page 917 and 918:
These automatic text objects can be
Page 919 and 920:
2 Enter the text for the chord. A c
Page 921 and 922:
Transposing Chord Symbols Chord sym
Page 923 and 924:
Getting to Know the Instrument Edit
Page 925 and 926:
• Left-Handed checkbox: Change th
Page 927 and 928:
To insert a chord grid symbol 1 Do
Page 929 and 930:
To align selected chord grid symbol
Page 931 and 932:
To display higher frets in the chor
Page 933 and 934:
To define the finger number on a fi
Page 935 and 936:
µ Click the area at the top of the
Page 937 and 938:
To delete a barre µ Select a barre
Page 939 and 940:
The string is open. Creating, Renam
Page 941 and 942:
3 In the Create Library dialog that
Page 943 and 944:
4 Enter a name for the library, and
Page 945 and 946:
To view the Signature List Do one o
Page 947 and 948:
To create a key signature Do one of
Page 949 and 950:
If you make a cut in the middle of
Page 951 and 952:
Transcribing MIDI Recordings Tradit
Page 953 and 954:
Display Parameters This section out
Page 955 and 956:
Fixing the Score Quantize Value The
Page 957 and 958:
When set to off, the score display
Page 959 and 960:
To change note attributes Do one of
Page 961 and 962:
• Flats To Sharps • Sharps To F
Page 963 and 964:
Changing the Syncopation of Notes B
Page 965 and 966:
Assigning Staff Styles to MIDI Regi
Page 967 and 968:
Staff style Viola Violoncello # Dru
Page 969 and 970:
A staff style includes the followin
Page 971 and 972:
Copying Voices or Staffs into Other
Page 973 and 974:
Name Double-clicking in the name bo
Page 975 and 976:
Note: The Automatic Key Transpositi
Page 977 and 978:
In addition, you can also use Score
Page 979 and 980:
One solution is to use a staff styl
Page 981 and 982:
To beam notes that do not belong to
Page 983 and 984:
Prior to defining the details of a
Page 985 and 986:
Using Score Sets to Create Scores a
Page 987 and 988:
Full Name Click any line in this co
Page 989 and 990:
Editing Score Sets Once you have cr
Page 991 and 992:
For the default All Instruments set
Page 993 and 994:
Note: If you drag more bars into a
Page 995 and 996:
• Page Display Options > Show Mar
Page 997 and 998:
To export the score as an image 1 S
Page 999:
Changing the Length of Duration Bar
Page 1002 and 1003:
Sharing Logic Pro Data over a Netwo
Page 1004 and 1005:
• When you try to back up/share d
Page 1006 and 1007:
You have the choice of your own acc
Page 1008 and 1009:
They either: • Stay where they ar
Page 1010 and 1011:
The MIDI file is loaded as a new pr
Page 1012 and 1013:
Working with OMF Files The OMF (Ope
Page 1014 and 1015:
3 Click Create to have all exported
Page 1016 and 1017:
To import an AAF file Do one of the
Page 1018 and 1019:
The audio file is opened as a new a
Page 1020 and 1021:
• One File per Channel Strip: Cre
Page 1022 and 1023:
Page 1024 and 1025:
Page 1026 and 1027:
To change the format of the tempo d
Page 1028 and 1029:
Creating Tempo Curves in the Tempo
Page 1030 and 1031:
µ Double-click either range value
Page 1032 and 1033:
Using the Tempo List The Tempo List
Page 1034 and 1035:
To copy tempo changes from a passag
Page 1036 and 1037:
Creating Tempo Curves in the Tempo
Page 1038 and 1039:
If Logic Pro “hears” a Tap Temp
Page 1040 and 1041:
Using the Tempo Fader You can creat
Page 1042 and 1043:
Assuming accurate beat mapping, eve
Page 1044 and 1045:
Beat Mapping Audio Regions Beat map
Page 1046 and 1047:
To use the automatic Beat Mapping f
Page 1049 and 1050:
Editing Transposition with the Chor
Page 1051 and 1052:
Understanding How MIDI Events and A
Page 1053 and 1054:
To create a chord event in the Chor
Page 1055:
To insert chords from the Chord tra
Page 1058 and 1059:
To open the Environment window µ C
Page 1060 and 1061:
Understanding Protected Layers The
Page 1062 and 1063:
Working with Objects As with all wi
Page 1064 and 1065:
2 Select the objects you want to mo
Page 1066 and 1067:
Using Advanced Selection Commands Y
Page 1068 and 1069:
For example, the output of an arran
Page 1070 and 1071:
Cabling Environment Objects The cab
Page 1072 and 1073:
A cable connection to another layer
Page 1074 and 1075:
2 Select the destination object and
Page 1076 and 1077:
Note: This complex task involves a
Page 1078 and 1079:
Tip: You can prevent the accidental
Page 1081 and 1082:
Environment Objects Reference 37 Th
Page 1083 and 1084:
An Object Parameter box containing
Page 1085 and 1086:
• Channel: Sets the MIDI channel
Page 1087 and 1088:
You will generally use multi-instru
Page 1089 and 1090:
With modern synths, there’s a goo
Page 1091 and 1092:
• Sent to one of up to 16 output
Page 1093 and 1094:
Velocity Use to set a velocity offs
Page 1095 and 1096:
The letter in parentheses next to t
Page 1097 and 1098:
The Touch Tracks Window Double-clic
Page 1099 and 1100:
Fader Objects Faders are used to se
Page 1101 and 1102:
Recording Fader Movements You don
Page 1103 and 1104:
Buttons Button style faders can onl
Page 1105 and 1106:
• -1- (0 to 127): Defines the fir
Page 1107 and 1108:
For controllers, the MSB uses the I
Page 1109 and 1110:
µ Change an existing fader’s Out
Page 1111 and 1112:
Meta event 125 126 127 Controlled L
Page 1113 and 1114:
The corresponding SysEx message is
Page 1115 and 1116:
Value option One Byte MSB/LSB LSB/M
Page 1117 and 1118:
This creates a meta fader, with a -
Page 1119 and 1120:
The GM mixer is intended for contro
Page 1121 and 1122:
2 Choose the controller you want fr
Page 1123 and 1124:
To create a monitor object µ Choos
Page 1125 and 1126:
Macro Parameters Macros have the fo
Page 1127 and 1128:
• Snap To: Unless this value is s
Page 1129 and 1130:
Configuring a Transformer Object Do
Page 1131 and 1132:
• The data byte 2 value sets the
Page 1133 and 1134:
Delay Line Objects A delay line obj
Page 1135 and 1136:
Channel Splitter Objects A channel
Page 1137 and 1138:
Working in the Chord Memorizer Wind
Page 1139 and 1140:
To create a Physical Input object
Page 1141 and 1142:
To create a MIDI Click object µ Ch
Page 1143 and 1144:
To manually create a ReWire object
Page 1145 and 1146:
The Arrange channel strips contain
Page 1147:
Input channel strips can be used as
Page 1150 and 1151:
Note: You will need a fast hard pro
Page 1152 and 1153:
• Fullscreen: Expands the Movie w
Page 1154 and 1155:
To search a movie for scene cuts µ
Page 1156 and 1157:
• Control-click (or right-click)
Page 1158 and 1159:
• Using the Down Mixer Plug-in (p
Page 1160 and 1161:
6.1 (ES/EX) Surround Format The 6.1
Page 1162 and 1163:
µ Ls = Left Surround (Rear Left)
Page 1164 and 1165:
Setting the Surround Preferences Th
Page 1166 and 1167:
µ Click one of the three Initializ
Page 1168 and 1169:
To change the bounce extensions 1 C
Page 1170 and 1171:
• Stereo: Two interlocked circles
Page 1172 and 1173:
If you add an audio file to a track
Page 1174 and 1175:
Using the Mono-to-Surround Panner I
Page 1176 and 1177:
The separation square is visible if
Page 1178 and 1179:
Tip: It is possible to release the
Page 1180 and 1181:
• LR, C, and Ls-Rs shown on three
Page 1182 and 1183:
Working with the Surround Master Wh
Page 1184 and 1185:
Positioning Your Speakers The physi
Page 1186 and 1187:
The reason, put simply, is due to t
Page 1188 and 1189:
SACD: Super Audio Compact Disc Basi
Page 1190 and 1191:
Tip: Logic Pro also supports manual
Page 1192 and 1193:
You can, however, manually set the
Page 1194 and 1195:
To avoid having to do this by trial
Page 1196 and 1197:
• Following an MMC-controlled rec
Page 1199 and 1200:
Working with Plug-in Latencies 41 A
Page 1201 and 1202:
2 Set the Limit slider to the desir
Page 1203 and 1204:
There are, however, some limitation
Page 1205 and 1206:
Working with Split Channel Audio Fi
Page 1207 and 1208:
You can now edit both sides of the
Page 1209 and 1210:
Project Settings in Logic Pro 43 Th
Page 1211 and 1212:
Saving Project Settings Project set
Page 1213 and 1214:
• MTC: MIDI Time Code mode. Logic
Page 1215 and 1216:
Audio Synchronization Settings Use
Page 1217 and 1218:
• MTC Trigger + Auto Speed Detect
Page 1219 and 1220:
• Transmit MIDI Clock: Destinatio
Page 1221 and 1222:
• SMPTE Mode Refresh checkbox: Ac
Page 1223 and 1224:
MIDI Click Settings • Bar checkbo
Page 1225 and 1226:
• x Bar: The recording begins wit
Page 1227 and 1228:
Software Instrument Pitch Settings
Page 1229 and 1230:
To simplify this example: Imagine t
Page 1231 and 1232:
Hermode Tuning can help with this p
Page 1233 and 1234:
• Playback Pre-Roll checkbox: Whe
Page 1235 and 1236:
General MIDI Settings The following
Page 1237 and 1238:
Chase Settings If you start playbac
Page 1239 and 1240:
Global Score Settings The Global Sc
Page 1241 and 1242:
If you only use Proportional Spacin
Page 1243 and 1244:
Note: For each of these options, yo
Page 1245 and 1246:
• Hide Bar Numbers in Linear View
Page 1247 and 1248:
Note: Up to eight strings are shown
Page 1249 and 1250:
A further point to note is that not
Page 1251 and 1252:
• Alignment pop-up menu: Determin
Page 1253 and 1254:
Key and Time Signatures Settings
Page 1255 and 1256:
Layout Settings The Layout pane is
Page 1257 and 1258:
MIDI Meaning Settings The settings
Page 1259 and 1260:
Color Settings The Colors pane dete
Page 1261 and 1262:
Video Project Settings In the Video
Page 1263:
Assets Project Settings The project
Page 1266 and 1267:
These and several other access meth
Page 1268 and 1269:
To open General preferences Do one
Page 1270 and 1271:
General Editing Preferences The Edi
Page 1272 and 1273:
• “Select Regions on Track sele
Page 1274 and 1275:
General Caps Lock Keys Preferences
Page 1276 and 1277:
Core Audio Device Preferences Logic
Page 1278 and 1279:
20- and 24-bit files use one-and-a-
Page 1280 and 1281:
• CPU-saving (Slow Response): Cho
Page 1282 and 1283:
Output Pane The Output pane consist
Page 1284 and 1285:
Input Pane The Input pane consists
Page 1286 and 1287:
• “Store undo files in project
Page 1288 and 1289:
• Quality pop-up menu: Keep this
Page 1290 and 1291:
MIDI Preferences in Logic Pro MIDI
Page 1292 and 1293:
MIDI General Preferences The Genera
Page 1294 and 1295:
• MTC Pickup Delay field: This pa
Page 1296 and 1297:
General Display Preferences This pa
Page 1298 and 1299:
Mixer Display Preferences These pre
Page 1300 and 1301:
Score Preferences in Logic Pro Scor
Page 1302 and 1303:
Video Preferences in Logic Pro Vide
Page 1304 and 1305:
• Ramp Time field: Determines the
Page 1306 and 1307:
To open Control Surfaces preference
Page 1309 and 1310:
Glossary AAC Abbreviation for Advan
Page 1311 and 1312:
ASCII Acronym for American Standard
Page 1313 and 1314:
Beat Mapping track Global track use
Page 1315 and 1316:
channel strip A channel strip is a
Page 1317 and 1318:
cutting The act of reducing a level
Page 1319 and 1320:
dynamics Refers to changes in volum
Page 1321 and 1322:
flex time editing A process that al
Page 1323 and 1324:
importing The process of bringing f
Page 1325 and 1326:
locators Lower two sets of numbers,
Page 1327 and 1328:
MIDI region Data container for MIDI
Page 1329 and 1330:
notch filter This filter type cuts
Page 1331 and 1332:
plug-in window A window that opens
Page 1333 and 1334:
egion Regions can be found on arran
Page 1335 and 1336:
SDII Sound Designer II audio file f
Page 1337 and 1338:
SPP Abbreviation for Song Position
Page 1339 and 1340:
tempo The playback speed of a piece
Page 1341 and 1342:
Voice Separation tool You can separ
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