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My new Logic Pro Book is out! Great, David! Mac mini 3. Before this was limited. Legacy plug-ins, instruments, and channel strip settings can be accessed by Option-clicking each respective button. Project packages - everything contained in one package instead of a folder still supports folder structure if desired. I also suggest the major features that were removed be documented directly. Especially the fact that the pr bridge is now gone.
Click the plus button on the channel strip as many times as you need to separate things I don't see that. First of all I reloaded a LP 9. Sounds like you're using the old key commands manual logic pro x pdf free. Logic Pro X should have asked if you wanted to continue using the old manual logic pro x pdf free or change to the dpf ones. In the new ones the "T" toggles ppdf tool menu. Here's a real time saver regarding flex on and off for tracks: manual logic pro x pdf free swipe up and down!
Logic X I hope it does it clip-based, because if thats the case this is some very nice integration right there. Record screen in quicktime, open. So no Apparently not, that option manual logic pro x pdf free missing from the pfd dialog. Another one for the "removed features" thread.
At the same time, even though I often used it, I can live without out it, although I really do not understand at all why they've removed it? I kogic remember a single person having issues because of that option. Mac mini 2. I really don't understand the removal of features. Unless they directly conflict with new software updates. Seems like the motto should be add rather than subtract. I actually like this better, to be honest. Although it would be жмите go have some control of the file start and end points - now Fre assume with share you'll bounce anything between the project start- and end marker?
OK, I think everybody using "share to iTunes" should read this carefullybecause you will not immediately spot жмите the Share dialog if cycle mode is still on When you share a project to iTunes, the entire project, from the beginning to the end of the last region, is exported.
Any silence at the beginning or end of the project is trimmed. I feel it should also show locators like in 'normal' bouncing. But if I use U. Select the command, click the Learn by Key Label button turns bluehit T. Hit Learn by Key Label button again, close window, done. You can post now and register later. If you have an account, sign in now to post with your account. Paste as plain text instead.
Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. By mq9311 hours ago in Logic Pro. By joshj1 hour ago in Logic Pro. By Ananna2 hours ago in Logic Pro. Click here! Logic Pro Manual logic pro x pdf free More sharing options Followers по ссылке. Reply to this topic Start new topic.
Recommended Posts. David Nahmani Posted July 22, Posted July 22, Link читать comment Share pdr other sites More sharing options Jordi Torres Posted July 22, I'll keep adding to it as I find things to add. Feel free to manual logic pro x pdf free to it too! Nice feature is that LPX will automatically try to assign a proper icon from sounds dragged from the loop browser, also from 3rd party logkc, probably by analyzing the naming of a file.
Where can the discount coupons used toward the purchase of LPX be found? Manual logic pro x pdf free Pro X Cool, I've added the ones you've contributed guys, thanks. Keep 'em coming! Posted July 23, Another thing that keeps being asked. The default shortcut for the tool menu is "T. Mac OS X David Nahmani Posted July 23, Thanks teed, adding those too. Great idea, David. Bass Amp Designer and new stompboxes in Pedalboard. Round robin sample support in EXS Alternatives integrated versioning. Autosave in the background.
Here's my tip for the day. With Drummer, you can have separate outs. Initiate drummer track 2. Jordi Torres Posted July 23, Chris D Posted July 23, Posted July 23, edited. Edited July 23, by Chris D. Eriksimon Posted July 23, Cool, animated gif! How did you create читать полностью Please say it's a freeware смотрите подробнее Why did the chicken cross the Mobius ring?
The ability to create your own color palette is gone in Logic X. Ploki Posted July 23, FoolsGold Posted July 23, Is there a way to do Bounce to iTunes Library? Macbook Pro 2. I sorta liked it, saved having to go folder diving through the finder to find your bounce. Eric Cardenas Posted July 23, Nola Posted July 23, Sorry but back to the letter T for the tools list - I specifically said "Yes" the first mwnual I started LPX when it asked me if I wanted to use the new set of key commands designed for LPX - but Esc is still what brings up the tool list for me, and T does nothing??
You know that can assign it it manually /24537.txt you want? Type manual logic pro x pdf free in its' search box optional, it's just for easier searching 2. Oh yes, I know it's all customizable. Thanks for the tip.
- Logic Pro X - Apple Pro Tr - David Nahmani -
Then at bar 5 both the Good Life Beat and Skyline Bass regions on tracks 2 and 3 come in, making the beat sound complete and introducing the melody. To be able to edit the Fine Line Beat region in the intro without affecting its loops to the right, you first have to copy the region to bar 5.
When Option-dragging to copy regions, always make sure you release the mouse button first and the Option key last. If you try to release both at the same time, you may sometimes release the Option key slightly before the mouse button without noticing, and then the region is moved instead of copied. The new Fine Line Beat. To create a break, you need to stop the region from looping. To resize the region comfortably, you need to zoom in until you can clearly see the individual drum hits on the waveform.
To use the zoom tool, you hold down Control and Option and then drag the area you want to magnify. The area you highlighted expands to fill the workspace, and you can clearly see individual drum hits on the waveform. Zooming in and out efficiently to see exactly what you need takes practice. You can Control-Option-drag to zoom in multiple times and Control-Option-click the workspace multiple times to zoom back out through the same zoom levels.
To create the break at the end of the Fine Line Beat region, you will drag its lower-right corner to the left until the final two drum hits are hidden. The mouse pointer turns into a Resize pointer you can drag to determine where the region stops playing. The drum break creates a sudden void at the end of the intro, which reinforces the impact of the drums and bass.
But a void calls out to be filled! That break in the drum loop is the perfect time to capture the attention of the listener by introducing the bass a few notes earlier. This time you will copy the bass region from bar 5 to bar 1, and resize the bass region in the intro from the left so it plays only the final few notes.
This time you will use the Z key to zoom in and out of the selection. The Skyline Bass. The workspace zooms out to display all the regions. You can use zoom sliders or key commands to fine-tune the zoom level. The workspace zooms out horizontally, and you can see a few more bars in your ruler. In that case, the left edge of the region stays at the same position on your screen.
When the playhead is offscreen, the content to the left of the workspace stays at the same position on your screen. When zooming vertically with the zoom sliders or Command-Arrow keys, the selected region stays at the same position on your screen. If no regions are selected, the selected track stays at the same position on your screen. It works!
You start with an original but commanding beat with kicks and handclaps—then all of a sudden, the bass announces the melody with a few pickup notes while the beat drops. On the first beat of the next bar, all three tracks play the entire groove together. That little break at the end of the intro really calls attention to the layered drum and bass groove that starts after the intro.
Remember your newly acquired navigation and zooming skills. You will continue using them to finish this arrangement, and throughout the rest of this book and long after. Build Up the Arrangement Now that you have the rhythmic foundation of your project the drums and bass , you can continue building up the arrangement and avoid monotony by adding melodic elements. Adding Lead Synths In the next exercise, you will add a couple of synth arpeggio loops.
And rather than let them loop throughout the song, you will keep things moving by alternating between the two synth melodies. You already have a solid rhythmic section with bass and low kick drums, so now you are looking for rather clean and high-pitched sounds. If necessary, adjust the zoom level in the workspace so you can comfortably drag both loops to two new tracks.
You will resize the Deal Breaker Arpeggio region to make it one bar long, the same length as the Barricade Arpeggio region. You will now copy both regions so they play alternately.
The two synths bring much-needed melody and movement to the song, and they work well in answering each other, each one successively playing its melody. Currently, both synths sound as if they are coming from the center of the stereo field. To give them a little space, you can spread them apart acoustically by positioning them to either side of the stereo field.
If tracks are selected automatically when you select regions on those tracks, you can change this behavior in Logic preferences. The track selection is unaffected by the region selection.
You can now hear the two synths playing from opposite sides of the stereo field, which adds dimension to the music and helps separate the two instruments.
Creating a Break Until now, you have kept your project interesting by introducing new elements on a regular basis: the bass at the end of the intro, the drums at bar 5, a synth at bar 9, and another synth at bar But if you keep building your song by adding more elements, at some point those additions may backfire.
The song can become bloated, with the arrangement losing focus, the mix becoming muddy, and the listeners tuning out. Who wants that? By the end of the new synth section, the listeners are so used to hearing the drums and the bass that they may no longer pay attention to them.
If you remove them, you can create a big impact. At the top of the Tracks area, look at the tool menus: The menu to the left corresponds to the tool assigned to the mouse pointer. The menu to the right corresponds to the tool assigned to the mouse pointer when holding down Command.
Currently, the left-click tool is assigned to the Pointer tool arrow icon and the Command-click tool is assigned to the Marquee tool crosshair icon. Click it again to close it. The Loop Browser sometimes shows multiple loops with similar names, and that usually means that the loops all follow the same groove, they all follow the same chord progression, or they are meant to work together.
The results list shows loops containing Skyline in their names. The loops sound like they would all work great together because they all follow the same harmony and rhythm.
You will now create the break by deleting the drums in track 2 and the bass in track 3 for the entire time the piano is playing. The Marquee tool places a white highlight rectangle around the selected section of the loops. The section of the loops selected by the Marquee tool is deleted. Some loops are turned into regions before and after the empty space, so the tracks stop and resume playing at the beginning and end of the removed section.
The mouse pointer turns into a Loop tool. Dragging offers the advantage of seeing the exact position in a help tag. The Fine Line Beat. The break brings much needed space and silence, interrupts the flow of the rhythmic section, and automatically shines a light on the two remaining elements: the drum loop and the piano.
After the break, the rhythmic section resumes, but the ending at bar 21 is too abrupt. You will finally shorten the new copy of the piano region so it ends with a sustaining note, which will work better for an ending.
You have arranged your first song. Then two synths share the lead melody for a few bars before the bass and drums abruptly stop to leave room for a piano break. Finally, the bass and drums groove returns, and the song finishes with a few sustained piano notes. Really nice! You will now quickly mix the song and later export it to share it. Mixing the Song Now that you have arranged your regions in the workspace, you can focus on the sound of each instrument and how they sound as an ensemble.
Choosing Names and Icons for Tracks and Channel Strips You will open the Mixer and name your channel strips so you can easily determine which instrument they control. You will then adjust the Volume faders and Pan knobs to change levels and stereo positions, and use plug-ins to process some of the instruments. At the bottom of the main window, the Mixer opens.
The channel strips are named after the Apple Loops that you previously dragged to the workplace. To more quickly locate instruments, you can assign the channel strips more descriptive names. To edit the name on a track header and on its corresponding channel strip, you can double-click either and type the new name. A text entry box appears, and the current name—Fine Line Beat—is selected. Both the first channel strip in the Mixer and track 1 in the Tracks area are renamed Beat Loop.
A text entry box opens. This time you will enter a name and open the text entry box of the next track with a single key command. Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip. Notice that track 2 has only a generic audio waveform icon. A shortcut menu displays icons organized in categories.
A collection of various drum icons appears. The icon is now visible in the track header. The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment. When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating.
Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument!
Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes.
You can see your new names at the bottom of the channel strips. You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips.
You will learn about those options as needed. In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options. With the Mixer open and occupying most of the main window, the workspace is much smaller. Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible. To remedy that, you will now adjust the locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments.
If necessary, scroll or zoom out in the workspace so you can see your entire arrangement. Remember: to see all your regions, click the background of the workspace and press Z. Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments. Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing.
Synth 2 is significantly louder than Synth 1. Continue adjusting the Volume fader until the Gain display reads The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays. Synth 2 is now quieter and closer to the level of Synth 1. You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image.
The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones. The two synths come back closer to the center of the stereo field. Now they sound like they belong in the mix. Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments.
In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano.
When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used. The Power button dims to indicate that the plug-in is off.
You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant. The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character. The bass amp also made the bass a bit louder. In fact, it is a little too loud now. You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano.
The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great. In the inspector, look at the peak level display on the Output channel strip. When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted.
In this project, the highest peak in the song is under 0 dB FS, and no distortion is created. In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds.
You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad. Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware. In this exercise, you will bounce the project to a stereo audio file. By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions.
You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website. Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining.
A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file. When the progress bars disappear, your MP3 file is ready on your desktop. Logic Pro X is hidden, and you can see your desktop.
To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family! Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain? Where is the workspace and what does it contain? When multiple panes are open, how do you make sure the desired pane reacts to key commands? Describe two ways to adjust a numerical value in Logic.
How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins? In the help tag, what are the units of the four numeric values used to determine the length and position of a region?
How many ticks are there in a sixteenth note? How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected. The Tracks area is in the center of the main window. It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions.
The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project. Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key. Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally.
Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix.
You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project.
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching. Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac.
You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording.
The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion.
The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves. To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate.
The sample rate identifies how many times per second the audio is digitally sampled. The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings.
Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones. Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone. By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects.
Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed. The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium.
Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface. If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones.
The Input Device is the device into which you plug your microphones or instruments. If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices. If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window. Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have.
Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording. When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track. The New Tracks dialog appears. You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback.
You will later take precautions to avoid feedback and then record-enable the track from the track header. A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel. Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7. More descriptive names will help you identify files in the future.
The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector. This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording.
Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound. To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in. Note that you are still recording a dry guitar sound.
The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. Amp Designer opens. Here, you can dial in a sound or choose a preset.
You can now hear your guitar processed through Amp Designer. Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters. On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.
Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording. Working with a low-level recording is better than clipping the input.
Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase. If the Gain knob is dimmed, it means that the feature is not supported by your audio interface. Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping.
When your signal peaks below —2. When it peaks between —2. When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Here's a real time saver regarding flex on and off for tracks: just swipe up and down!
Logic X I hope it does it clip-based, because if thats the case this is some very nice integration right there. Record screen in quicktime, open. So no Apparently not, that option is missing from the bounce dialog. Another one for the "removed features" thread. At the same time, even though I often used it, I can live without out it, although I really do not understand at all why they've removed it?
I cannot remember a single person having issues because of that option. Mac mini 2. I really don't understand the removal of features. Unless they directly conflict with new software updates. Seems like the motto should be add rather than subtract. I actually like this better, to be honest. Although it would be nice go have some control of the file start and end points - now I assume with share you'll bounce anything between the project start- and end marker?
OK, I think everybody using "share to iTunes" should read this carefully , because you will not immediately spot in the Share dialog if cycle mode is still on When you share a project to iTunes, the entire project, from the beginning to the end of the last region, is exported.
Any silence at the beginning or end of the project is trimmed. I feel it should also show locators like in 'normal' bouncing. But if I use U. Select the command, click the Learn by Key Label button turns blue , hit T. Hit Learn by Key Label button again, close window, done. You can post now and register later. If you have an account, sign in now to post with your account. Paste as plain text instead. Only 75 emoji are allowed. Turn on flex in the Audio Track Editor 1. Open the Audio Track Editor by doing one of the following:.
Change the pitch of a note 1. When Show Advanced Tools is selected in the Advanced preferences pane, you can also edit the timing of individual notes, chords, or sounds in the Audio Track Editor using Flex Time. You can also open the Audio File Editor to make permanent destructive edits to the source audio file for a region. You can choose from different genres, and choose different drummers in each genre.
Each drummer has a specific drum kit and playing style. You can choose a drummer preset, edit drum settings to adjust the playing style, exchange drum kits, and choose individual drum sounds. To work with Drummer, you add a Drummer track to the project. A Drummer track is similar to a software instrument track, but it contains only Drummer regions, rather than MIDI regions.
Both track and region parameters can be edited in the Drummer Editor. In the Logic Pro toolbar, lick the Add Tracks button. Click the Drummer icon the drum kit at the top of the New Tracks dialog. A Drummer track is added, along with one 8-bar region.
The Library opens, and a default patch is loaded to the track. Choose a genre and drummer 1. In the Logic Pro Library, click a genre.
The available drummers for the selected genre appear to the right of the genres. A preset consists of a number of region settings, visible to the right of the presets area. The farther right you place the puck, the more complex the sound becomes; the higher you place the puck, the louder the sound plays.
Choose a pattern variation for a drum or percussion instrument In the Logic Pro Drummer Editor, do any of the following:. Exchange a drum 1. The Exchange panel opens to the left if exchange pieces are available for that kit piece. Click the Info button of a selected kit piece to view its description. Click the kit piece that you want to exchange in the Exchange panel.
You may need to scroll in order to find the one you want to use. The piece is exchanged and the respective drum sound is loaded. Click anywhere in the plug-in window background to close the panels. You can click the lock to prevent any changes to the fills setting when switching presets or drummers.
Note: The presence of ghost notes depends on the chosen drummer and the complexity setting. Note: This is relevant only if the Hi-Hat is selected in the drum kit representation. Any changes or selections you make in the Drummer Editor affect only the selected region, not the entire track. Each Smart Control includes a set of screen controls that you can adjust to control the sound of the patch.
Smart Controls typically include EQ or tone controls, reverb and other effects controls, and controls specific to the type of track or instrument. For example, the Smart Control for a synthesizer might include screen controls for choosing the waveform and adjusting the resonance and filter cutoff, while one for a string instrument might include controls for changing the articulation. When you open the Smart Controls pane, you see the screen controls for the selected track. Each screen control is labeled to make its function easy to understand.
Each screen control has a text label indicating what aspect of the sound it controls. You can also change the layout for a Smart Control, save your own Smart Controls, map screen controls to channel strip and plug-in parameters, and assign controllers on your MIDI devices to screen controls. With Live Loops, you can play, arrange, and record new musical ideas in real time. Each musical phrase or loop exists in a cell in the Live Loops grid. You can start and stop playback of cells freely, while keeping everything in sync with the beat and the project tempo.
You can start using Live Loops with an empty grid, or choose a Live Loops template with a set of instruments and prerecorded cells from the Project Chooser.
You can also add regions or loops from the Tracks area to the grid, and record a Live Loops performance to the Tracks area. Create an empty Live Loops project 1. Choose a Live Loops template 1. For more information about working with Live Loops, see the Live Loops overview. In the Mixer, each track has a channel strip that corresponds to its track type. You can also add effect plug-ins, change plug-in settings, and control the signal flow using sends and auxiliary aux channel strips.
You can try out the following tasks using either the inspector channel strips or the channel strips in the Mixer. When you solo a channel strip, the Mute buttons of all unsoloed channel strips flash. Choose a different plug-in In the Logic Pro Mixer, do one of the following:. For more information about channel strip controls, see Channel strip controls in Logic Pro.
Get started with Apple Loops in Logic Pro Apple Loops are prerecorded musical patterns that you can use to quickly add drum beats, rhythm parts, and other musical phrases to a project. Apple Loops contain musical patterns that can be repeated over and over, seamlessly. After you add a loop to the Tracks area, you can extend it to fill any amount of time. When you add an Apple Loop to a project, it automatically matches the project tempo and key.
Apple Loops are available in a variety of instruments, genres, and moods in the Loop Browser. You can also convert Drummer loops to software instrument loops by adding them to software instrument tracks, or convert them to audio loops by adding them to audio tracks. Keywords with no matching loops are dimmed. You can adjust the preview volume, and choose a different key for the loop. After you add the loop to the Tracks area, you can drag it left or right to adjust the point where it starts playing.
You can also search for loops by name, key, or time signature. Get started with Smart Tempo With Smart Tempo you can record a performance without the metronome and have Logic Pro adapt the project tempo to match the tempo of the recording, or keep the project tempo and flex the recording to match it.
You can create remixes using audio files and MIDI regions with different tempos that all conform to the project tempo, or adapt the project tempo to the tempo of an imported audio file or MIDI region. You can also use Smart Tempo with multitrack audio recordings. You can set the default Project Tempo mode for a project in the Smart Tempo project settings.
In the Logic Pro Tracks area, select the audio region. It also follows any changes to the project tempo. You can view and edit Smart Tempo analysis results in the Smart Tempo Editor, including beat markers and other tempo information. After you record an audio or MIDI region or import a file using Smart Tempo, you can refine the tempo analysis and correct any tempo detection errors to define the musical intent more accurately.
When Adapt is the Project Tempo mode, tempo and time signature changes are transferred to the project tempo and time signature tracks.
You can make quick tempo, beat, and timing adjustments, or make more complex edits to the tempo information for a single beat, a selection, or the entire file or region.
If you have a SoundCloud account, you can share a project to SoundCloud, choose the quality and visibility level, and set permissions for the shared project from within Logic Pro.
Share the project to your iTunes library 1. To rename the shared file, select the name in the Title field, then enter a new name. Type artist, composer, and album information for the shared file in the respective text fields. Choose the quality level for the shared file from the Quality pop-up menu. When you share a project to iTunes, the entire project, from the beginning to the end of the last region, is exported. Any silence at the beginning or end of the project is trimmed.
If Cycle mode is on when you share the project, the part of the project between the start and end of the cycle region is exported.
The shared project appears in the iTunes library, where you can add it to playlists, convert it, or burn it to a CD. The format of the shared project is determined by the iTunes import settings. To rename the shared file, select the name in the File name field, then enter a new name. Choose the quality setting for the shared file from the Quality pop-up menu.
The entire project, from the beginning to the end of the last region, is exported. Share a project to SoundCloud 1. Projects must have a title in the Title field. The remaining information is optional. To return to Logic Pro without sharing the project, click Close. For details about sharing your projects, see Overview of sharing in Logic Pro. Logic Pro is a powerful, full-featured music app with all the tools you need to create professional-quality music productions.
You can record, arrange, and edit audio and MIDI regions, add high-quality effects, mix your music in stereo or surround, and export the final mix in a variety of formats for distribution. Using Logic Pro you can create many different kinds of projects, from simple songs to complex ensemble arrangements. Logic Pro gives you the flexibility to customize the app to suit your way of working. You can also play and record third-party Audio Units software instruments.
You can also define sections of the project and quickly rearrange them using arrangement markers. You can record automation changes in real time and edit them later.
Use markers to define and quickly move to different sections of a project. Logic Pro workflow overview To give you an idea of the possibilities, some major steps in putting together a Logic Pro project are described below. You could, for example, go all the way through mixing and adding effects, then add more recordings or media files to your project before finalizing the mix and sharing the finished project.
Create a project You start working in Logic Pro by creating a new project to hold your musical material and all the changes you make. You can add tracks for your recordings and for media files you want to add to the project. Media files and other assets can be saved in the project, or referenced in their current location. Record your material Add musical material by recording your performances in the Tracks area.
You can record vocals, instruments, and other sounds on audio tracks. Using a USB keyboard or other MIDI controller, you can play and record a wide variety of software instruments on software instrument tracks. Apple Loops are prerecorded audio and MIDI files optimized to create repeating patterns that can be extended to fill any amount of time.
You can also add audio files, movies, and other prerecorded media files to a project. Recordings, loops, and other media files appear in the Tracks area as regions that you can can copy, move, resize, loop, and edit in other ways.
You can also use arrangement markers to define and easily rearrange entire sections of a project. For audio regions, you can also precisely edit the timing of individual notes and other events using Flex Time, and adjust the pitch of notes using Flex Pitch.
You can also edit Drummer regions in the Drummer Editor. Mix and add effects As your project takes shape, you mix it to balance the individual parts and blend them into a cohesive whole. In the Mixer, you can adjust volume levels and pan balance positions of tracks, and use routing and grouping to control the signal flow.
Logic Pro features a set of professional-quality effects plug-ins that you can use to enhance particular song components and create a polished final mix. You can control changes to mix, effects, and other parameters over time using automation. Make global changes You can manipulate different aspects of an overall project using global tracks, including the Arrangement track, Marker track, Signature track, Tempo track, and Transposition track.
For movie projects, you can also access the Movie track to view video frames and synchronize them with musical events. Share your project When your project is ready to share, you can export a stereo file of your final mix in one of several standard audio file formats. You can also produce multiple stem files, formatted for most common surround encoding schemes.
The main window is organized into different areas to help you focus on different aspects of your project, such as recording, arranging, and mixing. Buttons in the control bar show or hide different areas of the app. You can customize the control bar to suit your way of working. You can show and hide the toolbar to optimize available screen space. The available parameters change depending on the area in which you are working, and what type of item is selected.
You can view and edit channel strip controls, customize routing options, and add and edit plug-ins in the Mixer. You can show or hide different areas as part of the main window. Some can also be opened as separate, movable windows.
You can also open multiple instances of the main window, and configure each one differently. The main elements of the Tracks area include:. The ruler lets you align items in the Tracks area and mark project sections, and has additional uses for various playback and recording tasks.
The workspace is the primary area for recording and arranging audio and MIDI regions. You can use the playhead to help align regions and other items, and for editing tasks, such as splitting regions. For information about working in the Tracks area, see Logic Pro Tracks area overview. Categories appear on the left, and patches for the selected category are displayed on the right.
You can search for patches, create, save, and delete patches, and choose routing options. When a Drummer track is selected, you can choose drum genres and drummers in the Library, which apply to all regions in the Drummer track.
You can choose preset settings for the selected drummer from the left side of the Drummer Editor. Open the Library Do one of the following:. For information about using the Library, see Logic Pro patches overview. Logic Pro Inspector interface You can view and edit parameters for regions, tracks, and other items in the various inspectors.
The parameters displayed depend on the type of item selected, and which working area has key focus. If you change region parameters while the project is playing, you hear the changes immediately. All regions on the track are affected by the track parameters.
The right channel strip shows the output for the left channel strip by default, but can also show an aux used by the left channel strip if one exists. You can adjust the level, pan, sends, and inserts, change effects, and control audio routing for these channel strips without opening the Mixer. Inspectors for other working areas, such as the Event inspector, Display Parameters inspector, and Score inspector are described in their respective chapters. Open the inspector Do one of the following:.
Logic Pro Mixer interface The Mixer shows the channel strips for every track in your project, including auxiliary and output channel strips, and the master channel strip. This makes it easy to see and adjust relative levels and pan balance positions. You can also add effects, mute and solo tracks, use busses and sends to control the signal flow, and use groups to control multiple channel strips. Open the Mixer Do one of the following:. For more information about the Mixer, see Overview of mixing in Logic Pro.
For information about using channel strip controls, see Channel strip controls in Logic Pro. Logic Pro Smart Controls interface Smart Controls let you quickly view and adjust the most important parameters of the selected track, without opening the Mixer or individual plug-in windows.
Each Smart Control features a set of screen controls. Adjusting a single screen control can modify one or more channel strip or plug-in parameters for the track. Each Smart Control has a set of screen controls optimized for the type of track or instrument.
Screen controls are labeled to make their functions easier to understand. Open the Smart Controls pane Do one of the following:.
Using the Audio Track Editor grid, you can precisely align edits with specific points in time. When Flex Pitch is turned on, you can quantize the timing and pitch of audio regions, and adjust their pitch and gain in the Audio Track Editor inspector. All edits in the Audio Track Editor are non-destructive, so you can always return to your original recordings.
Open the Audio Track Editor Do one of the following:. The position of each note on the grid shows the time position where it starts playing, its duration length , and pitch. Note velocity is indicated by color. You can edit individual notes by moving them, resizing them, dragging them vertically to change their pitch, and in a variety of other ways.
Open the Piano Roll Editor Do one of the following:. The Drummer Editor shows settings for the selected Drummer region, including presets, an XY pad for adjusting the complexity and loudness of the region performance, and controls for editing performance parameters, including kit piece pattern variations and fill settings.
You can view and select a genre to view drummers for that genre, and then select a drummer, in the Library when a Drummer track is selected. A preset consists of all region settings, visible to the right of the presets area. You can use the default settings, or you can edit them and save your own presets. You also have the option to play half time or double time for kick and snare. Adjust the shuffle feel of the region performance using the Swing knob.
Click the Details button to reveal additional performance controls. Open the Drummer Editor Do one of the following:. The Drummer Editor opens below the Tracks area. Lyrics, titles, and other text can also be included in the score. You can control the display of individual staffs, extract parts from the score, modify the overall score layout, and print or export complete scores, partial scores, and parts. Select musical symbols to add to the score, and customize the order of symbols in the Part box.
For more information about using the Score Editor, see Logic Pro music notation overview. You can easily add or edit note velocities or other controller data making some editing tasks, such as data scaling, much faster , or quickly create and edit MIDI drum parts. When you select a row in the name column, its event definition is shown in the Lane inspector.
Controller values, note velocity, and other values are indicated by the height of each beam taller beams indicate higher values. It displays the audio waveform of regions on an audio track. In the Audio File Editor, you can destructively edit audio files and regions , and use audio processing tools to quantize audio, change sample rates, and extract MIDI grooves from audio files. Open the Audio File Editor Do one of the following:. Logic Pro project notes interface You can create, view, and edit notes for a project in the Project Notes pane.
Each project can contain one set of project notes. You can also double-click the Project Text area. Open the Project Notes pane Do one of the following:. Logic Pro track notes interface You can create, view, and edit notes for each track in the Track Notes pane. You can also double-click the Track Text area. Open the Track Notes pane Do one of the following:. For more information about track notes, see Add track notes in Logic Pro.
You can use it to make precise edits, and for other tasks better suited to numeric rather than graphic edits. You can display all events or limit them by category. This view lets you see all regions in the current project. For more information, see Logic Pro Event List editor overview. You can create, select, and edit markers in the Marker List, and click a marker name to move the playhead to that marker position.
Use this area to enter or edit text for the selected marker. Open the Marker List Do one of the following:. Logic Pro Tempo List interface The Tempo List displays all the tempo events in the project, and lets you create and edit tempo events. Logic Pro Signature List interface The Signature List shows all the time and key signature changes in your project, as well as any score symbols in the project score.
You can create, copy, move, and delete time and key signature events in the Signature List. You can browse for loops or search using various criteria, preview matching loops, and add them to your project by dragging them into the Tracks area. Matching loops appear in the results list below. Click a loop to preview it, and drag a loop from the results list into the Tracks area to add it to your project. Logic Pro Project Audio Browser interface The Project Audio Browser shows the audio files used in the project, and displays an overview of the regions derived from each audio file.
You can add, edit, delete, and rename audio files and regions in the Project Audio Browser. Click the disclosure triangle to the left of an audio file to reveal regions associated with the file. Also indicates file length using horizontal bars. Colored sections indicate the location and size of regions within the audio file.
The Info column can also display waveform overviews. Click again to stop playback. Use in combination with the Play button. Open the Project Audio Browser Do one of the following:. You can also import GarageBand projects into the current project. Click the plus button to display additional search filters that allow you to narrow your search further.
Results are displayed in the File list below. Open the All Files Browser Do one of the following:. A project is the document that contains all your recordings, the location of media files you add, and all the changes you make. You can have multiple projects open at the same time, and transfer media and other data between them.
Projects can also contain assets including audio files, a movie file, instruments, and other files. You can save assets with the project or reference them in another location. When Show Advanced Tools is selected in the Advanced preferences pane, you can save a project as either a single file package , or as a project folder containing the project file and subfolders for project assets. The basic elements of a Logic Pro project include the following:. Tracks The horizontal rows in the Tracks area are called tracks.
Tracks help you organize and control the sound of the recordings, loops, and other material in a project.
You record your performances on tracks, and arrange the regions representing the recordings, loops, and other material in a project on tracks. There are several types of tracks you can use in a Logic Pro project:. Folder tracks are not assigned to a channel strip in the Mixer. There are additional track types that do not contain regions, including auxiliary aux and output tracks, used for routing the output of other tracks; global tracks, used to control aspects of the overall project; and the master track, which you can use to control the overall volume level of the project.
For information about working with global tracks, see Logic Pro global tracks overview. Regions Regions are the building blocks of a project. Each time you make a recording, drag an Apple Loop to the Tracks area, or add a media file to your project, a region representing the recording or file appears in the Tracks area. Different types of regions correspond to different track types and types of material.
An audio region can represent the entire audio file or only a portion of one. When you edit the region in the Tracks area or the Audio Track Editor, the original audio file is not changed. They are stored as part of the project, but can also be saved as individual files. In the Tracks area, you can move, copy, and work with both audio and MIDI regions in a variety of ways to build your arrangement. When Show Advanced Tools is selected in the Advanced preferences pane, you can edit the source audio files for audio regions in the Audio File Editor.
For more information about working with regions, see Logic Pro regions overview. Patches You can control the sound of the tracks in your project using patches. A patch can contain one or more channel strips, each with its own settings and plug-ins, as well as a set of Smart Controls. Patches can also contain auxiliary channel strips for more complex routing.
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