Apple Logic Express - 8 User Manual

Logic Express 8

User Manual



Apple Inc.

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Preface 15 Logic Express 8: Documentation and Resources

16 Logic Express 8 Documentation Conventions

Logic Express Onscreen Help Apple Websites

Chapter 1 19 An Introduction to Logic Express

20 Creating Music in Logic Express

The Basics: Projects and Regions

Chapter 2 27 Overview of the Logic Express Interface

28 A Tour of the Logic Express Interface

Common Features of Logic Express Windows Interactions Between Arrange Window Areas Using Logic Express Interface Elements Using the Computer Keyboard

Chapter 3 59 Customizing Your Window Setup

59 Window Types

Opening and Closing Windows Moving and Resizing Windows Working at Different Hierarchy Levels Selecting the Working Area Zooming Relationships Between Windows Customizing the Transport Bar Customizing the Arrange Window Toolbar Hiding or Revealing the Inspector Adjusting the Bar Ruler Display Displaying Global Tracks Using Screensets

Chapter 4 83 Setting Up Your System

83 Designing Your Music Production System

Connecting Your Audio and MIDI Devices Using External MIDI Devices Using External Audio Effects Configuring Your Audio Hardware

Chapter 5 103 Navigating Your Project

10 3 Setting the Playhead Position 10 6 Using the Transport Buttons 10 7 Using Transport Key Commands 10 8 Using Cycle Mode

11 4 Using the Chase Events Function 11 6 Customizing the Transport Bar

Chapter 6 123 Working With Markers

12 4 Opening Marker Areas and Windows 12 5 Creating Markers 12 8 Selecting Markers 12 8 Deleting Markers 12 9 Naming Markers 131 Changing the Appearance of Marker Text 13 2 Editing Markers 13 4 Navigating With Markers 13 5 Customizing the Marker Display in the Marker List

Chapter 7 137 Working With Projects

13 7 Learning About Projects 13 9 Creating Projects 141 Opening Projects

14 3

Opening and Creating Projects Automatically

14 4

Importing Settings From Other Projects

14 5

Checking and Repairing Projects

14 6

Setting Project Properties

15 3

Managing Projects

15 5

Saving Projects

157

Closing and Quitting

Chapter 8 159 Basic Operations

15 9

Using the Mouse

160

Entering Numerical Values

161

Entering Text

162

Working With Key Commands

17 0

Working With Tools

Contents

17 6 Working With Help Tags 17 7 Using the Shortcut Menu 17 7 Selection Techniques 183 Working With the Clipboard 18 4 Undoing and Redoing Editing Operations

Chapter 9 187 Working With Tracks

18 9 Configuring the Track Header 19 0 Reclaiming Workspace Used by the Track Header

191 Creating Tracks and Channels 19 8 Deleting Tracks 19 8 Selecting Tracks 19 9 Rearranging Tracks 19 9 Naming Tracks 201 Assigning Tracks to Channels

203 Zooming Individual Tracks 204 Assigning Track Icons 205 Muting Tracks 207 Soloing Tracks 208 Record-Enabling Tracks 208 Freezing Tracks

212 Hiding Tracks

213 Protecting Tracks

214 Using Track Button Slide Activation

Chapter 10 215 Working With Instruments and Effects

216 A Quick Mixer and Channel Strip Primer

220 Inserting, Moving, and Removing Plug-ins 228

Loading and Removing Entire Channel Strip Configurations

232

Using the Plug-in Window

235

Common Plug-in Window Functions

242

Using the Library to Choose Plug-in Settings

243

Learning About Effect Routings

247

Working With Instruments

260

Working With ReWire Applications

261

Working With External Audio Effects

262

Using Plug-ins From Other Manufacturers

Chapter 11 265 Adding Pre-Recorded Media

265

Supported File Formats

266

About Pre-Recorded Media Types Supported by Logic Express

267

Accessing Media Files in the Browser

273

Finding Apple Loops in the Loop Browser

Contents

281 Adding and Removing Audio Files

290 Adding MIDI and Project Files

Chapter 12 291 Getting to Know Regions

291 What Are Regions?

295 MIDI and Audio Regions Compared 296 Handling Regions in the Audio Bin and Sample Editor

Chapter 13 307 Creating Your Arrangement

309 Making Region Edits Faster and Easier

319 Selecting Regions 320 Selecting Parts of a Region 322 Adding and Recording Regions 322 Removing and Restoring Regions 324 Moving Regions 328 Resizing Regions 334 Cutting, Copying, and Pasting Regions 335 Adding or Removing Song Passages 339 Repeating Regions

346 Dividing, Demixing, and Merging Regions 354 Using Folders

358 Creating Crossfades and Fades on Audio Regions

362 Setting Region Parameters

Chapter 14 367 Recording in Logic Express

367 Recording Audio 367 A Quick Overview of the Recording Steps

368 Preparations for Recording

377 Setting Up Track Channels 379 Making an Audio Recording

390 Handling Audio Recordings

391 Creating Comps

394 Managing Take Folders 396 Recording MIDI 396 Recording MIDI Regions in Real Time 402 MIDI Step Input Recording 407 Using the Caps Lock Keyboard

Chapter 15 409 Introduction to MIDI Editing

410 Opening the Editors

412 Hearing MIDI Events When Editing

412 Editing MIDI Events in the Arrange Area

413 Monitoring and Resetting MIDI Events

Contents

Chapter 16 415 Editing MIDI Events in the Piano Roll Editor

415 Learning the Piano Roll Editor Interface

418 Creating and Editing Note Events 432 Splitting Chords 433 Using Hyper Draw

434 Customizing the Piano Roll Editor 435 Piano Roll Editor Shortcuts

Chapter 17 437 Editing MIDI in the Hyper Editor

439 Creating and Editing Events in the Hyper Editor 448 Working With Event Definitions

455 Working With Hyper Sets

Chapter 18 459 Editing MIDI Events in the Event List

460 Learning and Using the Event List Interface 463 Selecting and Creating Events 466 Editing Events 468 Deleting and Muting Events 469 Soloing and Renaming Regions or Folders 469 Learning About Event Types

475 The Event Float Window

Chapter 19 477 Quantizing MIDI Events

478 Quantizing Regions

483 Event and Note Quantization 485 Creating Groove Templates

Chapter 20 491 Editing MIDI Events in the Transform Window

492 Choosing and Using Transform Sets

501 Using the Transform Window Parameters

508 Creating Your Own Transform Sets 508 Importing Transform Sets From Other Projects 509 Usage Examples

Chapter 21 515 Editing Audio in the Sample Editor

516 Playing Audio Files

518 Navigating Audio Files

519 Changing the X and Y Axis Scales 521 Displaying the Waveform as Sample Bits 522 Making Selections 523 Copying, Pasting, Deleting, and Cutting 524 Destructive Audio Editing and Processing 529 Adjusting the Project Tempo 530 Sample Loop Functions

Contents 7

530 Undoing Editing Steps in the Sample Editor 531 Creating Manual Backups 533 Working With the Digital Factory

548 Using an External Sample Editor

Chapter 22 549 Removing Silent Passages From Audio Regions

549 How You Can Use Strip Silence

551 Using Strip Silence

Chapter 23 553 Adjusting the Tempo of Audio Regions

553 Automatic Tempo Matching 554 Setting the Project Tempo to Match an Audio Region 555 Time Stretching Regions 556 Using the Follow Tempo Function

Chapter 24 559 Managing Audio Files

559 Sorting, Grouping, and Renaming Files in the Audio Bin

564 Moving Audio Files 565 Copying or Converting Audio Files 566 Deleting Audio Files

567 Optimizing Audio Files 567 Saving Regions as Individual Audio Files

568 Exporting Tracks as Audio Files

569 Dealing With SDII Files 569 Finding and Replacing Orphaned Audio Files

Chapter 25 571 Mixing

573 Basic Mixing Steps 575 Channel Strip Elements 576 Setting Channel Strip Levels 579 Setting the Pan or Balance Control

580 Soloing and Muting Channels 582 Adding Effects: Using Inserts 582 Working With Sends 582 Working With Channel Strip Settings

583 Monitoring With Effect Plug-ins 583 Arming Channel Strips 583 Changing the Channel Input Format 583 Setting the Automation Mode

584 Handling Mixer Inputs and Outputs 584 Adjusting Elements of Multiple Channel Strips 586 Adjusting Channel Strips in Record or Playback Mode

587 Working With Groups

590 Channel Strip Types

8 Contents

598 Customizing the Mixer 603 Using the I/O Labels Window

Chapter 26 605 Working With Automation

606 Displaying Track Automation 609 Setting an Automation Mode

612 Writing Track Automation Data

613 Editing Track Automation in the Arrange Area

618 Editing Track Automation Data in an Event List

618 Writing Track Automation With External Controllers

620 Using Hyper Draw 624 Conversion of Automation Data

Chapter 27 625 Bouncing Your Project

626 Creating a Bounce 626 Routing Channels to an Output 627 Defining the Bounce Range 627 Using the Bounce Window

636 Setting the Bounce File Name and Folder 637 Bouncing and POW-r Dithering

Chapter 28 639 Creating Apple Loops

640 Creating Apple Loops in Logic Express 642 Creating Apple Loops in the Apple Loops Utility 643 Converting ReCycle Files into Apple Loops 644 Adding Apple Loops to the Loop Browser 645 Global Tracks and Apple Loops 647 Converting Apple Loops to Audio Files 648 Apple Loops and Sample Rates

Chapter 29 649 Project and File Interchange

650 Sharing Logic Express Data Over a Network 654 Backing Up Audio Files

655 Backing Up and Sharing Projects

656 Working With Standard MIDI Files

659 Importing GarageBand Projects

660 Working With OMF Files

661 Working With OpenTL Files

663 Opening, Importing, and Exporting AAF Files 664 Importing and Exporting Final Cut Pro XML Files 665 Exporting Regions 665 Exporting Tracks as Audio Files

Contents 9

Chapter 30 667 Advanced Tempo Operations

667 Tempo Display

668 Using the Tempo Track

672 Recording Tempo Changes 673 Adjusting the Tempo to Fit Audio Regions 673 Using the Tempo List 676 Using the Tempo Operations Window 679 Using the Tempo Interpreter 681 Using the Tempo Fader

Chapter 31 683 Beat Mapping Regions

684 Beat Mapping With MIDI Regions 686 Beat Mapping With Audio Regions

687 Beats From Region

688 Beat Mapping to Scene Markers 688 Beat Mapping to Markers

Chapter 32 689 Transposition With the Chord and Transposition Tracks

690 How MIDI Events and Apple Loops Are Transposed

691 Creating and Editing Transposition and Chord Events 693 Analyzing MIDI Regions

Chapter 33 695 Working With Notation

696 Learning About the Score Editor 702 Entering Notes and Symbols in the Score Editor 702 Real Time MIDI Recording 703 Step Input 704 Mouse Input (Using the Part Box) 707 Using Hyper Draw in the Score Editor 708 Working With the Part Box

711 Learning About Part Box Groups

721 Editing Notes and Symbols: Basic Operations 721 Using the Shortcut Menu 721 Changing Several Objects Simultaneously 722 Deleting Objects From the Score Editor 723 Moving or Copying Objects With the Mouse 726 Working With Aliases in the Score Editor 727 Changing the Graphical Position of Objects

728 Resizing Notes and Symbols 729 Editing Notes and Symbols: Advanced Operations 729 Editing Notes

735 Creating and Inserting Rests 736 Editing Clefs

10 Contents

738 Editing Slurs and Crescendi 740 Editing Repeat Signs and Bar Lines 742 Working With Text 742 Inserting Text 744 Editing Text 745 Using Musical Symbol Fonts 745 Learning About Text Styles 746 Working With Text Styles 747 Working With Global Text 749 Working With Automatic Text Objects 749 Creating Lyrics 751 Creating Chord Symbols 755 Working With Time and Key Signatures 756 Creating Time Signatures 757 Creating Key Signatures 757 Selecting Signatures 758 Copying Signatures 759 Editing Signatures 759 Deleting Signatures 760 Creating and Choosing Signature Alternatives 761 Transcribing MIDI Recordings 762 Default Settings for New MIDI Regions 763 Selecting Multiple Regions in the Score Editor 763 Display Parameters 769 Hidden MIDI Regions 769 Using Note Attributes to Change Individual Notes 775 Working With Staff Styles

796 Using Score Sets to Create Scores and Parts 804 Printing the Score 804 Preparing the Score Layout for Printing 808 Printing the Score 809 Exporting the Score as a Graphic File 809 Preparing the Export 809 Exporting the Score

810 Customizing the Score Editor’s Appearance

810 Choosing a Color Mode

810 Displaying Folders

811 Displaying Global Tracks 811 Displaying Instrument Names 811 Project Settings for Score Display

812 Global Score Settings

816 Numbers & Names

820 Guitar Tab

Contents 11

824 Clefs & Signatures 826 Layout 828 MIDI Meaning 830 Colors

832 Score Preferences

Chapter 34 835 Working With Video

836 Using the Movie Window 837 Using the Video Track 838 Working With Scene Markers 839 Creating Scene Markers

840 Handling QuickTime Movie Audio Tracks

841 Video Project Settings

843 Video Preferences

Chapter 35 845 Synchronizing Logic Express

846 The Synchronization Master and Slave Relationship 846 Using External Synchronization 849 Synchronization Project Settings

859 Displaying and Using SMPTE Positions 861 MIDI Machine Control

863 Synchronization Problems and Solutions

Chapter 36 865 Working With Plug-in Latencies

865 About Latency 866 Working With the Low Latency Mode

867 Working With Plug-in Delay Compensation

Chapter 37 871 Working With Split Channel Audio File Formats

871 Importing Split Channel Files 872 Working With Split Stereo Files 873 Exporting Split Channel Files

Chapter 38 875 Working in the Environment

876 Using the Environment 876 An Introduction to the Environment 877 Working With Layers

880 Customizing the Environment Display 882 Working With Objects 886 The MIDI Signal Path 893 Common Environment Object Parameters 895 Exchanging Environments 899 The Environment Objects 899 Standard Instruments

12 Contents

901 Multi Instruments

907 Mapped Instruments

911 GM Mixer 914 MMC Record Buttons 914 Keyboard 915 Monitor Object 915 Channel Splitter Object 916 Arpeggiator 918 Transformer Object

923 Delay Line Object 924 Voice Limiter Object 925 Chord Memorizer Object

927 Touch Tracks Object 930 Physical Input and Sequencer Input Objects

932 MIDI Click Object

933 Internal Objects 934 Alias

935 Ornament

936 Macros

938 Faders

957 Channel Strip Objects

Chapter 39 961 Project Settings and Preferences

962 Saving Project Settings and Preferences 962 Project Settings 962 Synchronization Settings 963 Metronome Settings 965 Recording Settings

967 Tuning Settings

973 Audio Settings

974 MIDI Settings

975 Score Project Settings

975 Video Project Settings

975 Assets Project Settings

976 Preferences

976 Global Preferences

981 Audio Preferences

987 MIDI Preferences 990 Display Preferences 993 Score Preferences 993 Video Preferences 993 Automation Preferences 994 Control Surfaces Preferences

Contents 13

994 Sharing Preferences

Appendix 995 Learning More, Service, and Support

996 AppleCare Service and Support Information

Glossary 997

Index 1029

14 Contents

Logic Express 8: Documentation and Resources

Logic Express 8 offers an extensive documentation collection that will help you to learn and make full use of all application features.

Further information about Logic Express, including data on updated versions and support texts, can be found on the Apple web site.

Logic Express 8 ships with the following documentation: Â Logic Express 8 User Manual: This book is the final arbiter on all things in

Logic Express, and covers all areas of the program in detail, with the exception of plug-ins.

Â Logic Express 8 Getting Started: This book is designed to quickly get you up and

running with Logic Express.

Â Logic Express 8 Control Surfaces Support: This document covers the use of control

surfaces with Logic Express 8.

Â Logic Express 8 Working With Apogee Hardware: This document covers the use of

Apogee hardware in Logic Express 8.

Â Logic Express 8 Instruments and Effects: This book covers the use of all Logic Express

effect and instrument plug-ins. It does not cover the application-specific use of plugins—only the plug-in functions, parameters, and usage are discussed.

Â Late-Breaking News: This document is published online and may be updated as new

versions of Logic Express 8 are released, or new information becomes available

Preface

Important: All topics described in this manual were accurate at the date of writing. For

up to date information on changes or additions made after writing, please refer to the Late-Breaking News document in the Logic Express Help menu, and to the Update Info, included with each Logic Express update.

Logic Express 8 Documentation Conventions

The following section introduces you to conventions used throughout the Logic Express 8 documentation.

Menu Functions

For functions that can be reached via hierarchical menus, the different menu levels are illustrated as follows: Menu > Menu entry > Function.

Important Entries

Some text will be shown as follows:

Important: Information on function or parameter.

These entries discuss a key concept or technical information that should, or must, be followed or taken into account. Please pay special attention to these entries.

Notes

Some sections provide additional information or tips that will assist your use of Logic Express. These are displayed as shown below:

Note: Information on function or parameter.

Key Commands

Many Logic Express functions can be activated or accessed with key commands— computer keyboard shortcuts. The key commands mentioned in this guide are based on the standard key command set.

Tips

A number of shortcuts, alternative methods, or general working tips are included throughout the documentation. These may help your workflow, or provide additional information on other uses for functions. Tips are shown as below:

∏ Tip: Information on function or parameter.

Warnings

A few warning messages are included for functions that are destructive, and could result in irretrievable data loss, or could cause damage to your equipment. Warnings are displayed as follows:

Warning: Information on function or parameter.

Please pay special attention to these entries, as they can save you from making costly mistakes.

16 Preface Logic Express 8: Documentation and Resources

Logic Express Onscreen Help

The Logic Express Help incorporates the Logic Express 8 user documentation in electronic form. These documents have the advantage of being at your fingertips whenever you need them, and are searchable, making it quick to find the information you need.

Â The Logic Express Help menu also provides additional features, including direct

access to the Logic Express pages on the Apple website.

Â A comprehensive bookmark list allows you to quickly choose (and tag) what you

want to see, and navigates to the resource when the link is clicked.

Late-Breaking News

This document is published online and may be updated as new versions of Logic Express 8 are released, or new information becomes available.

To check for recent updates, choose Late-Breaking News from the Help menu. The LateBreaking News PDF file is downloaded. If Safari is the default web browser for your system, the Late-Breaking News PDF file is displayed directly in Safari. Other web browsers may not have the ability to display PDF files directly, in which case the PDF file is downloaded to the default download location.

Apple Websites

There are a variety of discussion boards, forums, and educational resources related to Logic Express on the web.

Logic Express Websites

The following websites provide general information, updates, and support information for Logic Express, as well as the latest news, resources, and training materials.

For information about Logic Express go to:

http://www.apple.com/support/logicexpress

For information on Apple Training Programs go to:

http://www.apple.com/training

To provide comments and feedback to Apple about Logic Express, go to the Apple discussion forums:

http://discussions.apple.com/category.jspa?categoryID=156

Preface Logic Express 8: Documentation and Resources 17

Apple Service and Support Website

This is the place to go for software updates and answers to the most frequently asked questions for all Apple products, including Logic Express. You’ll also have access to product specifications, reference documentation, plus Apple and third-party product technical articles.

To access Apple’s Service and Support web page:

m Open your Internet browser, and type in http://www.apple.com/support.

Other Websites

Â http://www.apple.com: Start at the Apple home page to find the latest information

on Apple products.

Â http://www.apple.com/quicktime: QuickTime is Apple’s industry-standard technology

for handling video, sound, animation, graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a high level of performance, compatibility, and quality for digital video delivery. Go to the QuickTime website for information on the types of media supported, a tour of the QuickTime interface, specifications, and more.

Â http://www.apple.com/firewire: FireWire is one of the fastest peripheral standards

ever developed, which makes it great for use with multimedia peripherals, such as audio interfaces, video camcorders, and the latest high-speed hard disk drives. Visit this website for information on the benefits of FireWire technology, FireWire software information, and details on third-party FireWire products.

Â http://www.apple.com/pro: This website provides news, information, and other

resources on seminars, events, and third-party tools used in web publishing, document design and printing, CAD, music and audio, desktop movies, digital imaging, modelling and animation, and the media arts.

Â http://store.apple.com: Go here to buy software, hardware, and accessories direct

from Apple. You can also find special promotions and deals that include third-party hardware and software products.

18 Preface Logic Express 8: Documentation and Resources

1 An Introduction to Logic Express

Logic Express is a sophisticated, fully-featured audio and MIDI application that provides all the tools you need to create professional-quality music productions.

Logic Express allows you to record audio and MIDI, edit audio loops plus MIDI and software instrument parts, add high-quality effects, and mix your music in stereo. The final mix can be exported to a standard audio file, or burned to an audio CD or DVD that can be played on any computer, home stereo, or imported into other applications and devices.

Some of the things you can do with Logic Express include: Â Record MIDI information via connected MIDI input devices, such as keyboards, and

play back this information via any connected MIDI device (such as a synthesizer keyboard or module) or the integrated Logic Express software instruments.

Â Create, arrange, and edit MIDI projects, and print out musical notation via a printer

connected to your computer.

Â Digitally record acoustic and electric instruments, or vocal performances, into your

projects, and process these audio recordings with a huge array of built-in, real time effects.

Â Make use of the integrated software instruments, including: Ultrabeat, ES1, ES2,

EXS24 mkII, over a dozen high-quality GarageBand instruments, or third-party Audio Unit instruments.

Â Load projects or channel strips from GarageBand, and enhance them with the

additional processing and editing possibilities afforded by Logic Express.

Â Mix your MIDI and audio tracks, including effects and software instrument settings,

via a sophisticated total recall mix automation system. Logic Express includes highquality effects that you can use in your projects. You can also install and use thirdparty Audio Unit effects and instruments.

Â Bounce (mix down) all audio data, including instruments, effects and mix automation

settings, to a stereo file for mastering or further processing.

Â Work in real time: You can work on Logic Express projects in real time; adding to,

and editing audio and MIDI parts while the project is playing, and hearing the results of your changes immediately.

Â Use existing loop libraries: Logic Express directly supports Apple Loops files, and is

compatible with a wide variety of existing audio file types, including those created in ReCycle.

Â Locate and preview files easily: The Media area, part of the Logic Express interface,

provides powerful file browsing and search features, making it easy to locate audio files and other supported file types.

Creating Music in Logic Express

Logic Express can be used in a variety of ways, ranging from the simple to the incredibly sophisticated. The following section outlines a common workflow example that many projects adhere to. The structure of this manual will follow this basic workflow, where applicable.

Step 1: Creating a project

You begin working in Logic Express by creating a new project, or opening an existing one.

A project file contains MIDI data recordings plus information about the audio and other files used, including pointers to these files.

All files (audio, video, samples, and so on) can be saved in a project folder. All project files are automatically placed into appropriate sub-folders within the project folder.

More detail can be found in “The Basics: Projects and Regions” on page 23.

Step 2: Creating and importing your musical material

Getting musical material into Logic Express can basically be broken down into two methods:

Â Making new audio or MIDI data recordings (the latter can be played back through

either external MIDI synthesizers or software instruments).

Â Importing existing audio recordings (audio files, samples, loops) or MIDI (and other

file data) into your projects. You can import existing audio recordings by simply dragging them from the Media area, shown at the right of the Arrange window.

Recordings are made through suitable MIDI or audio hardware that is connected to, or installed in, your Macintosh.

20 Chapter 1 An Introduction to Logic Express

MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are calculated on the Macintosh CPU, and played back through your audio interface or the Macintosh audio outputs. Not only can you record the notes of your performance, but you can also record and play back information such as synthesizer parameter changes—all in real time.

Audio recordings can be made by playing an instrument (such as a guitar) or singing into a microphone, as examples.

Step 3: Arranging and editing

Once your musical material has been imported or recorded into Logic Express, you will generally organize it into a “song structure”. This is done in the main Logic Express window, called the Arrange window.

Musical material appears as rectangular blocks, known as regions. These regions run from left to right across the Arrange area, and are positioned on vertically stacked lanes, known as tracks. You may freely copy, repeat, loop, move, shorten, lengthen, or delete regions—either on a track, or across tracks. This grid-like layout and the use of building blocks (regions) makes it easy to see, and create, the overall song structure.

There will be many occasions where you’ll need to perform more detailed edits to your MIDI or audio data recordings than is possible at the region level. Logic Express offers a number of editing windows that allow you to modify your musical material at a variety of levels. As examples of where this might be useful:

Â You have made a recording of a great main vocal performance, but can hear a thud

in the silent passages between two phrases, where the vocalist kicked the microphone stand. It probably goes without saying that this isn’t a sound you’d like to have on the finalized CD. No problem. Simply edit the recording by inserting silence during the thud, or perhaps cut that portion out of the recording entirely.

Â You have made a MIDI keyboard recording that is perfect but for one note that

should have been a C, but is a B. No problem. You can simply drag the MIDI note event from B to C.

More detail can be found in “The Basics: Projects and Regions” on page 23.

Step 4: Mixing, automating, using plug-ins

Following the creation of your arrangement and any edits that may have been required, you would commonly move on to the mixing phase of your project. Mixing, as a term, generally refers to balancing the relative levels of each song component. Put another way, the main vocal needs to be louder than the bass, guitars, drums, and keyboards, thus allowing the lyrics to be heard.

Chapter 1 An Introduction to Logic Express 21

Mixing also entails the use of audio effects, which change, enhance, or suppress particular song components, adding up to a unified and polished final product. Logic Express features numerous effects that can be used to turn your basic song into a professionally finished project.

Logic Express enables you to record, or automate, changes you make to track, instrument, and effect parameters, such as volume, pan, filters, and other controls. This can be done in real time or offline—with the mouse or an external MIDI device. These changes play back when you play the project, and can be edited independently of the musical material. This is very useful for a number of reasons:

Â You can only adjust one level or setting of a playback track, if using the computer

mouse. The ability to record and play back multiple adjustments of all track elements allows for a sophisticated mix.

Â Performances are rarely consistent. To clarify, a vocalist will often sing louder or softer

during different sections of their performance, so you may need to even out these level changes over the course of the song, or to balance the soft and loud vocal sections against the musical backing.

Â Song dynamics (the loud and soft sections of a song) benefit from animation. In

other words, building the intensity of a song section can often be achieved by gradual or immediate level changes. Songs that are of a consistent level throughout tend to sound flat and lifeless.

Step 5: Exporting and bouncing

The final step of the Logic Express music creation process is exporting your final product. Logic Express allows you to produce a stereo file of your completed mix in a variety of audio file formats. This is achieved in the Bounce window; simply choose the desired outcome(s) in the available menus, and press the onscreen Bounce button. You can even burn a stereo mix directly to CD or DVD with one simple step.

22 Chapter 1 An Introduction to Logic Express

The Basics: Projects and Regions

This section will provide you with an introduction to the basic elements and terminology of a Logic Express project. Detailed, step-by-step instructions on working with projects, regions, and events are provided in later chapters. If you are an experienced user, you may wish to skip ahead to “A Tour of the Logic Express Interface” on page 28.

Projects

You start working in Logic Express by creating a project, or opening an existing one. This is similar to using a word processing application, that requires a document to be opened before you can begin typing. Logic Express, like word processors, also allows you to have multiple documents (projects) open at the same time, and transfer media and other data between them.

A Logic Express project file contains all MIDI events and parameter settings, information about the audio and video files to be played, and all edits to MIDI and audio data.

It is important to note that the project file points to your audio and video files, which are stored as separate entities on disk. You have the choice of including these, and other file types, in the project folder.

This approach has two main benefits: Â Saving a project without its “assets” (audio, video, sample files, and so on) minimizes

the memory requirements for project (and project backup) file storage.

Â Saving a project with assets simplifies tasks such as archiving and transport to other

Logic Express-based studios.

The Project Folder

A project can consist of the complete collection of files used, including the “song” (the project document) itself, song backups, all audio, sampler instruments, and samples for the EXS24 or Ultrabeat, and video.

These are collectively known as the project assets.

When you create a new project, a project folder is generated, named, and a hard disk location is specified. New recordings are automatically placed into an Audio Files subfolder within the project folder.

If you choose to include the project assets, further sub-folders will be created automatically. These can include Audio Files, Project Backups, Samples, Video, ReCycle, and Sampler Instruments folders.

Chapter 1 An Introduction to Logic Express 23

The sub-folder structure of all projects is identical, making it easy and consistent to navigate both your projects and those of other Logic Express users.

Project Folder

Project file (“song”)

Movie Files folder

Audio Files folder

Project assets

Sampler Instruments folder

Ultrabeat Samples folder

Regions

The main window of Logic Express is known as the Arrange window. This is the window that you first see when you open the application, and a project is loaded. This is also the window that is used for recording, editing, and arranging your projects. Your audio and MIDI files appear in the Arrange window as rectangular areas called regions. Audio files are represented by audio regions, MIDI files by MIDI regions.

Audio Regions and Audio Files

Audio regions simply refer to (point to) an underlying audio file. Audio regions are used as playback markers (start and end points) that can be as long as the entire audio file, or may only be a few seconds long, playing a small portion of the audio file that they point to.

Audio file

Audio region 1

Audio region 2

Audio

region 3

24 Chapter 1 An Introduction to Logic Express

Any audio file used in Logic Express is automatically linked to at least one audio region that is, by default, the length of the entire audio file.

You can freely create as many audio regions as you require. To give you an example of where this may be useful, imagine a live stereo drum track that runs for the duration of your project. During the second chorus, the drummer played perfectly, but was a little sloppy during all other chorus sections.

Logic Express allows you to create an audio region that points to the second chorus section of the overall (drum track) audio file, and use this perfect take in multiple places in the project.

This is achieved by creating one audio region (that points to chorus 2 in the drum track audio file), and copying it to each position that the chorus occurs in the Arrange area.

A great benefit of working with audio regions, rather than audio files is that they use very little memory, whereas multiple copies of the same section of the audio file would require a lot of hard disk storage space.

It is, of course, possible to directly edit, copy, and move audio files. This is achieved in the Sample Editor and Media area.

MIDI Regions and Events

MIDI regions, by comparison, actually contain MIDI data events. They are not related to information stored in external files. MIDI regions can be saved as individual files, but they can also be, and generally are, stored as part of the project.

MIDI region

MIDI note events MIDI controller events

The MIDI data events stored within MIDI regions include; note, controller, program change, and other information. These data events represent MIDI performances that you have recorded into Logic Express. MIDI performances are generally created with a MIDI keyboard, but can certainly be generated with MIDI controllers, MIDI guitars, your computer keyboard or the mouse.

MIDI data events can be affected as a group by processing the MIDI region that contains them. Such processing includes; transposition, quantization (timing correction, which is similar to the spell checker of a word processor, when dealing with the language of music), timing delays, and more.

Chapter 1 An Introduction to Logic Express 25

You can also edit individual events within a MIDI region. This is achieved by opening the region in one of the MIDI editors. These windows allow you to precisely alter the position, length, and pitch of MIDI note events. Other MIDI event types can also be altered in various ways. You may freely enter MIDI data with your MIDI keyboard, the mouse, and/or computer keyboard in these editors.

More information on MIDI and MIDI event types can be found in Chapter 15, “Introduction to MIDI Editing,” on page 409.

26 Chapter 1 An Introduction to Logic Express

2 Overview of the

Logic Express Interface

The Logic Express interface features several areas, each specialized for particular tasks. The main workspace is the Arrange window, which can incorporate all areas and editors.

This chapter introduces you to the Arrange window. You’ll learn how it interacts with other Logic Express windows and editors. Detailed information about these editors and their functions can be found in cross referenced chapters.

You are encouraged to open Logic Express to view these windows and familiarize yourself with them. Click and explore the various parts of the Logic Express interface as they are discussed. This will give you a feel for where things are, a brief overview of what they do, and how they work with each other.

To open Logic Express:

m In the Finder or Dock, double-click the Logic Express icon in the Applications folder.

When you open Logic Express for the first time, the Templates dialog is displayed, allowing you to select a template for the project type you want to create (for more information on the New dialog, see “Creating Projects” on page 139). The layout of the Logic Express interface depends on the chosen template.

A Tour of the Logic Express Interface

The following section will introduce you the various elements of the Logic Express interface. This is principally a “getting to know you” exercise, where the fundamentals of each area are covered. Full details on all options, functions, and uses are covered in dedicated chapters that appear later in the user manual.

The Arrange Window

The Arrange window can incorporate all working areas and editors. It features a Toolbar at the top and a Transport bar at the bottom.

You have the choice of displaying additional areas, as follows:

Â Editing area, horizontally tiled, below the Arrange area. Â Media or Lists area, vertically tiled, right of the Arrange (and editing) area. Â Inspector, vertically tiled, left of the Arrange (and editing) area.

If an area is not visible, clicking on the appropriate Toolbar or Arrange area button will open it, and resize any existing areas to accommodate the new area.

∏ Tip: Many of the editor and other areas can also be opened as separate windows,

independent of the Arrange window. This is done in the Window menu (or with the corresponding key commands).

Arrange window

Toolbar

Click this button to

display the Inspector

Inspector

Transport bar

Arrange area

Click these buttons to display one of the editors

Click this button to display the Toolbar

Click this button to display the Lists area

Media area

Â Arrange area: This is where you record audio and instrument parts as regions, and

arrange these audio and MIDI regions into a song structure.

28 Chapter 2 Overview of the Logic Express Interface

Â Media or Lists area: Use the various tabs to locate and preview audio files (Browser

tab), select effects, instruments, and their settings (Library tab), and more, when the Media button in the Arrange Toolbar is clicked. When the Lists button is clicked, you have the choice of viewing MIDI events (Event List), tempo events (Tempo List), and more. You can also enable the Media or Lists area via the Arrange window View menu (or use the corresponding key commands).

Â Editing area: You can open or close the Mixer, Piano Roll Editor, Hyper Editor, Score

Editor, or Sample Editor directly in the Arrange window by clicking any of the buttons along the lower edge of the Arrange area. These windows allow you to precisely modify, delete, or add different types of data.

Â Transport bar: Used to navigate through your project. The current playback,

recording, or editing position is indicated by the playhead—the thin, vertical line that appears in all Logic Express windows that offer real time display of playback— namely the Arrange and editor windows.

Â Inspector: Used to set track and region parameters when working in the Arrange

area, or the parameters of the editing window with key focus. As examples: Â Clicking the Score Editor area at the bottom of the editor area shows all scoring

symbols in the Inspector.

Â Clicking the Hyper Editor area displays the parameters of the currently selected

hyper definition (selected row in the Hyper Editor window).

The Arrange Toolbar

The Toolbar appears at the top of the Arrange window. It contains buttons for frequently used commands.

The Toolbar can be customized to include buttons that show the Inspector, Media, and Lists areas, create new tracks, add audio files, and other common functions. For more information, see “Customizing the Arrange Window Toolbar” on page 74.

The Transport Bar

The Transport bar spans the entire lower edge of the Arrange window. You can use it to move through your project and start recording. It contains buttons that will be immediately familiar if you’ve used a tape recorder or CD/DVD player, such as Play, Rewind, Pause, and so on. The Transport bar also incorporates a number of features that simplify tasks you will perform in Logic Express, such as recording over a repeatedly cycled section, or listening to a part in isolation.

Chapter 2 Overview of the Logic Express Interface 29

Track list

The Transport bar consists of three parts:

Transport buttons Display area Mode buttons

Â Transport buttons: Used to navigate your project. Â Display area: Provides information that helps with project navigation. Â Mode buttons: Enable advanced recording and playback functions.

You can alter the Transport bar by adding or removing buttons and displays, providing faster access to the functions you need most often. You can also open an independent SMPTE or Bar display window. For more information, see “Customizing the Transport

Bar” on page 73.

Arrange Area

The Arrange area is shown directly below the Toolbar. It is used to record, import, collate, and organize MIDI and audio data containers, known as regions, in a project.

Bar ruler

Arrange grid

Â Bar ruler: A linear bar divided into bar and beat segments. The Bar ruler can also

display time in hours, minutes, seconds, and finer divisions. It offers a number of facilities that can be used to mark project sections for different playback and recording tasks. More detail in Chapter 5, “Navigating Your Project,” on page 103.

Â Arrange grid: This where all MIDI and audio regions are displayed on horizontal lanes,

called tracks, aligned to time positions in a grid-like layout.

Â Track list: This is where you set the destination channel strip for playback of the MIDI

or audio regions on each horizontal track lane. The headers of each track list lane can display the track name, icons, and several track buttons.

30 Chapter 2 Overview of the Logic Express Interface

Media Area

The Media area can be opened or closed by clicking on the Media button in the Toolbar. The Media area is where you manage all files associated with your project, including audio, video, and plug-in settings. It has four tabs:

Â Audio Bin: Helps you to manage all audio files used in the project. Â Loop Browser: Used to search for loop files (Apple Loops, for example). Â Library This is where you search for (and can directly assign) plug-in, channel strip,

and MIDI instrument settings.

Â Browser: Used to search for all Logic Express related files.

Getting to Know the Audio Bin

The Audio Bin shows all audio files used in the project. You can picture the Audio Bin as an audio file catalog for the project. It also provides an overview of regions that are derived from each audio file.

You can define new, edit, delete, or rename existing audio files and regions in the Audio Bin. All audio files and regions can be dragged directly from the Audio Bin into the Arrange area, where you can edit, move, and copy them. You can also add files that aren’t yet used in the arrangement to the Audio Bin, allowing easy access during song construction.

Chapter 2 Overview of the Logic Express Interface 31

Â Name column: Displays all audio files in the current project by name. The disclosure

triangle to the left of the file name reveals all regions associated with the selected audio file.

Â Info column: Displays audio file and region information. Horizontal bars indicate the

overall audio file length. Colored sections of these bars indicate the location and size of regions within the audio file. Additional data, including the sample rate, bit depth, mono or stereo status, and file size are also shown in the Info column. Mono files are identified by a single circle symbol, stereo files by a double, interlocked circle symbol.

Â Play button: Click to hear the selected audio file or region. Click a second time to

stop playback.

Â Loop button: Click to hear the selected audio file or region repeatedly. Click a second

time to stop playback.

When you open the Audio Bin as an independent window, and resize it, the Audio Bin’s Info column can display waveform overviews of audio files and regions.

32 Chapter 2 Overview of the Logic Express Interface

Getting to Know the Loop Browser

The Loop Browser is designed to make finding Apple Loops intuitive and fast.

You can search for loops by using keywords, perform text searches, preview loops, view information about loops, and limit the display to loops from a specific Jam Pack or loop library. Matching files are displayed in the Search Results list. When you find files you want to use, you can add them to your project by dragging them into the Arrange area.

View menu

Volume slider

View buttons

Search field

Category buttons

Click to narrow the search for appropriate loops

Search Results list

Displays all loops that match the set search criteria

The Loop tab has three views: Column view, Music view, and Sound Effects view. The default Music view displays 54 buttons, each featuring a musically-related category. Simply click on the desired buttons in the matrix to narrow your search for appropriate Apple Loops. Activated buttons are highlighted.

Chapter 2 Overview of the Logic Express Interface 33

The Sound Effects view offers effect-related category buttons such as Explosions, Foley, or People.

Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genres, By Instruments, By Moods, and Favorites search criteria.

Category columns

Â View buttons: Click to switch between the three views. The left button switches to

Column view, the second button (featuring the note icon) switches to Music view, and the third button (featuring the FX icon) switches to Sound Effects view.

Â View pop-up menu: Restricts displayed loops to a specific loop library. Â Search field: Type text in the field to display files with names that contain the search

text string.

Â Category buttons (Music and Sound Effects view only): Click to display files which

match the category in the Search Results list.

Â Category columns (Column view only): Choose a category column to display its sub-

categories.

Â Search Results list: Displays all loops that match the search criteria. Â Volume slider: Adjusts the playback level of the selected file.

34 Chapter 2 Overview of the Logic Express Interface

Getting to Know the Library

The Library is a powerful tool that you can use to access the following file types.

Â Channel strip settings (.cst) Â Plug-in settings (.pst) Â EXS instruments (.exs) Â Environment instruments, and programs or banks of MIDI instruments created in the

Audio MIDI Setup utility

Â ReWire MIDI instruments, and active ReWire hosts

The Library automatically displays setting files that match the selected channel strip type and section (Channel Strip Settings menu, Insert slot, Instrument slot). A white frame indicates the selected section of the Arrange channel strips.

You can browse for files by opening folders, or search by performing text searches. Matching setting files are displayed in the Search Results list. When you find a file you want to use, you can load it by simply selecting it.

Chapter 2 Overview of the Logic Express Interface 35

Getting to Know the Browser

The Browser allows you to navigate to, or search for all file types that can be used in Logic Express, enabling easy access to (and use) of this data during production. It displays the following file types on any connected media volume:

Â Logic project files Â Song files of older Logic versions Â GarageBand projects Â All project interchange file formats Logic Express is compatible with (OMF, AAF,

OpenTL, XML, MIDI files)

Â Audio files Â QuickTime movies

Computer, Home,

Path menu

and Project buttons

View buttons

Back and Forward

buttons

Play button

Search field

Search filters

File list

Action pop-up menuVolume slider

Â Back and Forward buttons: Move through previously viewed levels of the folder

hierarchy.

Â Path pop-up menu: Displays the levels of the file path to the current location,

allowing you to move back to a previous level.

36 Chapter 2 Overview of the Logic Express Interface

Â Computer button: Displays the contents of the local hard disk, optical drive, and other

storage media connected to your computer, if applicable.

Â Home button: Displays the contents of your home directory. Â Project Folder button: Displays the contents of the current project folder. Â View buttons: Switches the file list between column and list view modes. Â Search field: Type text in the field to display files with a name that contains the

search text. In addition to searching for files by name, you can search by other criteria (further information stored with your files). Click the plus button to display additional search filters. Logic Express always searches at the displayed location.

Â Search filters: Use the menus to narrow down your search to specific file types, file

formats, date, size, and other criteria.

Â File list: Displays Logic-related files and folders at the current location. In column

view, you can browse folder contents by clicking the desired folders.

Â Action pop-up menu: Choose menu items to add a selected audio file to the Audio

Bin, or show the file location in the Finder.

Â Volume slider: Adjust the playback volume. Â Play button: Click to play the selected audio file.

Lists Area

The Lists area can be opened or closed by clicking the Lists button in the Toolbar. It provides four independent tabs that show a listing of the following types of data:

Â Event List: Displays regions or MIDI events. Â Marker List: Lists all markers in your project. Â Tempo List: Displays all tempo changes. Â Signature List: Shows all time signature and key change events in the project.

The list tabs are well suited for a number of precise editing tasks, and when a complete view of all data is required.

Chapter 2 Overview of the Logic Express Interface 37

Hierarchy button

Create and Filter buttons

Event type buttons

Getting to Know the Event List

The Event List presents a list of all events in your project, such as MIDI note events or region start events. Use it whenever you need to make precise alterations to recorded data, and where the graphic display of the other editors is not as well-suited to the task. You can restrict the types of events that are shown, making it easier to find specific event types.

The Event List can display two types of data: Region related or event related. The information that is displayed depends on the current hierarchy level—in other words, whether you are viewing information at the Arrange level, or looking inside one or more MIDI regions in the Arrange area. Further information about the display hierarchy can be found in “Working at Different Hierarchy Levels” on page 65.

Region display Event display

List area

Â Hierarchy button: Click to move up one level in the Event List hierarchy. This allows

you to see all regions in the current project.

Â Create and Filter buttons: Determine the function of the event type buttons. When

you enable the Create button, clicking the event type button adds the selected event type. When you activate the Filter button, you can use the event type buttons to filter specific event types from the display. This merely hides the events from the display, it does not affect playback.

38 Chapter 2 Overview of the Logic Express Interface

Marker Text Area button

Create button

Marker list area

Â Event type buttons: Click to filter specific event types from the display, or add them

(depending on the status of the Create and Filter buttons).

Â List area: Shows the actual list of events or regions, separated into columns. Details

in Chapter 18, “Editing MIDI Events in the Event List.”

Getting to Know the Marker List

The Marker List displays all markers in the project. You can use it to create new markers, edit existing ones, and to select markers for text editing. It also serves as a navigation aid—you can click on a marker name to jump to (move the playhead to) a marker position.

Marker Text area

Â Create button: Creates a new marker. Â Marker list area: Displays all markers in your project. Â Marker Text Area button: Click to display the optional Marker Text area, allowing you

to enter or edit marker text.

Â Marker Text area: Enter text for the selected marker here.

Chapter 2 Overview of the Logic Express Interface 39

Create button

Tempo list

Getting to Know the Tempo List

The Tempo List displays all tempo changes in the project. You can also use it to create new tempo events, or to edit existing ones.

Â Create button: Click to create a new tempo event. Â Tempo list: Displays all tempo changes, and their positions in the project.

40 Chapter 2 Overview of the Logic Express Interface

The initial time and key

signature of the project is

always displayed at the

top of the list, without

bar position indicators.

Getting to Know the Signature List

The Signature List shows all time and key signature events in the project. Score symbols, if present in the score of the project, are also shown. These include: Repeat signs and double bar lines (including end of score events), half/short bar lines, hidden bar lines and manually inserted bar lines.

You can use the Signature List to create, copy, move, and delete time and key signature events.

Chapter 2 Overview of the Logic Express Interface 41

The Inspector

The Inspector can be displayed or hidden by clicking on the Inspector button in the Toolbar. The Inspector content depends on the area in key focus: Either the Arrange or one of the editing areas below it. The following screenshot shows the Inspector when the Arrange area is in key focus.

Region Parameter box

Track Parameter box

Arrange channel strips

Â Region Parameter box: Used to set playback parameters, such as transposition and

quantization, for individual regions on track lanes. None of the parameters in the Region Parameter box actually alter the original data in the region. They only affect the way the region (and events within the region) are played back. These parameter alterations occur in real time, as the region is played. Clicking on the small triangle to the left of the name shows or hides the contents of the box.

Â Track Parameter box: Used to alter various aspects of track channel strips. All regions

on the track lane will be affected by any changes made here (as all regions are routed through this channel strip). Clicking on the small triangle to the left of the name shows or hides the contents of the box. Closing the box provides room for the elements below.

42 Chapter 2 Overview of the Logic Express Interface

Â Arrange channel strips: The left-hand channel strip controls the output of the

selected arrange track. The right-hand channel strip can vary, dependent on actions performed in the left channel strip. As examples, the right channel strip can display the first aux or output destination channel strip for the left-hand channel strip. This facility makes it quick and easy to set up flexible effects and audio routing schemes. It also provides an at-a-glance view of processing and routing for the selected arrange track, and you can access all of the mixer channel functions (volume, pan, sends, inserts, and so on) directly from the Arrange area. Any adjustments you make to a track’s Arrange channel strip will be reflected in the corresponding Mixer channel strip, and vice-versa.

Note: The horizontal size of the Inspector can not be altered. In situations where the area in key focus does not provide a parameter area, the Inspector for the Arrange area is displayed.

As the Inspector updates to display the parameters of the window with key focus, usage details are found in the chapters for each window.

Chapter 2 Overview of the Logic Express Interface 43

The Editing Area

You can open the Mixer, Sample Editor, Piano Roll Editor, Score Editor, and Hyper Editor directly in the Arrange window by clicking the corresponding button at the bottom of the Arrange window. Here’s a brief overview of what each window offers.

Getting to Know the Mixer

The Mixer is where you mix your project. Each track is played back through a channel strip. You can adjust the level and pan position of a channel strip, add effects, mute and solo tracks, and send the output of a channel strip to other channel strip types, such as output and auxiliary channels.

Filter buttonsView buttons

Channel strips

Â Channel strips: Use the channel strip controls to adjust the level and other aspects of

the audio signal played through the channel strip.

Â View buttons: Switch the Mixer between the Single, Arrange, and All Mixer views,

limiting the Mixer view to channel strips required for the task at hand.

Â Filter buttons: Filter the display of specific channel strip types.

Full details can be found in Chapter 25, “Mixing,” on page 571.

44 Chapter 2 Overview of the Logic Express Interface

Ruler

Waveform display

Anchor

Getting to Know the Sample Editor

The Sample Editor displays the contents of audio files as waveform graphics. You can use the Sample Editor to precisely edit audio files (and regions). The Sample Editor also features a number of useful destructive processing tools—these allow you to time stretch and pitch shift audio, change sample rates, extract MIDI grooves from the audio, and even quantize audio.

Info displayWaveform overview

PlayheadRegion area

Â Ruler: Shows the position of the region in the arrangement. If you have not yet

added the audio file to the arrangement, the position marker lines are dotted, indicating no time connection exists.

Â Info display: Shows the start point and length of the selected area. Â Waveform overview: Displays a miniature view of the entire waveform. The white

frame shows the extent of the section visible in the waveform display. The dark gray frame shows the currently selected area.

Â Waveform display: Provides a detailed waveform display. If you’re dealing with a

stereo file, both channels are displayed, with the left side on top, and the right side below. Left of the waveform display is the amplitude scale.

Â Playhead: The gray line in the waveform display shows the current position of the

playhead.

Â Anchor: Sets a temporal reference point for an audio region. When you move a

region in the Arrange area, Logic Express displays the position of the anchor in the help tag, and snaps the region’s anchor to the selected Snap menu grid division.

Â Region area: Edit this beam to adjust the length of the region.

Chapter 2 Overview of the Logic Express Interface 45

Getting to Know the Piano Roll Editor

The Piano Roll Editor displays MIDI notes as beams on a grid. The piano keyboard to the left is aligned with the note pitches represented by each beam. Note length is indicated by the relative length of each beam. Note position is displayed from left to right—a ruler and vertical grid lines make it easy to see where notes begin and end. Note velocity (how hard a note is struck, and usually how loud) is indicated by color.

Full details can be found in Chapter 16, “Editing MIDI Events in the Piano Roll Editor,” on page 415.

Getting to Know the Score Editor

The Score Editor uses traditional music notation to display the MIDI note events (plus pedal and other event types) of MIDI regions. You can insert and edit MIDI note events in staffs, and use musical symbols to clarify their meaning in this editor. Text, such as lyrics, titles, and comments, can also be integrated into the score. The Print function allows you to print complete scores, with staff numbers only limited by the paper size.

46 Chapter 2 Overview of the Logic Express Interface

Event Definition

Parameter box

Event definitions

Details on Score Editor use can be found in Chapter 33, “Working With Notation,” on page 695.

Getting to Know the Hyper Editor

The Hyper Editor displays MIDI note or controller events as vertical beams, placed along a user-defined time grid. This makes the Hyper Editor the ideal place to:

Â Add or edit controller data, such as note velocities. It makes some editing tasks—

such as data scaling—much faster.

Â Quickly create and edit MIDI drum parts.

MIDI events

Â Event definition: Each horizontal row (or lane) provides an event definition, which

determines the type of event displayed/affected. When you select a row in the name column, its event definition is shown in the Inspector’s Event Definition Parameter box.

Â MIDI events: Each MIDI event is represented by a vertical beam, aligned with a

particular time position. The value of the controller, or velocity of the note, is indicated by the height of the beam. Taller beams indicate higher values.

Chapter 2 Overview of the Logic Express Interface 47

Common Features of Logic Express Windows

All Logic Express windows, including the Arrange area, feature a number of common elements. This consistent approach between windows makes your life easier, as you will find these elements in the same place throughout the application.

Local Menu Bars

A window’s local menu bar contains buttons that access functions which are specific to the window. As an example, the Score Editor provides an enharmonic shift function, which is relevant to notation, but not to Piano Roll editing.

Local menu bar

Tool Menus

The tools available in the Tool menus of each window are specific to tasks performed in the window. As examples: the Arrange area provides tools for different arrangement tasks, such as cutting or moving regions, and automation editing. The Score Editor provides tools used for score layout, and tasks such as voice separation.

The left Tool menu assigns the default tool. The right menu assigns a secondary tool. A further tool menu will appear if the right mouse button is not assigned to other tasks. For more information, see “Working With Tools” on page 170.

48 Chapter 2 Overview of the Logic Express Interface

Catch, Link, and Hierarchy Buttons

Most windows contain Catch, Link, and Hierarchy buttons. These are used to tie or associate Logic Express windows, and can aid in navigating through different levels of your song structure. As an example of where this is useful, if you click on a MIDI region in the Arrange area, the contents of a linked window (the Piano Roll editor, for example) will update immediately to show the events within the region.

Hierarchy button Link button

Catch button

Scroll Bars

Vertical and horizontal scroll bars are shown at the right and bottom edges of the window. These enable you to view sections that fall outside the visible display area.

Zoom Sliders

Vertical and horizontal sliders are shown at the bottom right corner of the window. These allow you to horizontally or vertically resize the contents of the window, enabling a closer or more distant view of data.

Bar Ruler

All linear editing windows feature a Bar ruler at the top. The position of regions and events within a project are aligned with Bar ruler positions. The Bar ruler displays markers and locators, and reflects time signature changes. It also indicates three important operational modes—solo, recording, or synchronized.

Chapter 2 Overview of the Logic Express Interface 49

Global Tracks

All linear editing windows also feature global tracks, which are displayed just below the Bar ruler, when opened. Click the disclosure triangle to the left of the Bar ruler (labeled Global Tracks) to view the global tracks.

Â Marker track: Contains markers, which are used to identify bar positions and parts of

the project. Their length, text, and color can be edited freely (for details, see “Working With Markers” on page 123).

Â Tempo track: Contains all tempo changes in the project. For further information, see

“Using the Tempo Track” on page 668.

Â Beat Mapping track: Allows you to assign the desired bar position to any musical

event (both MIDI notes and distinct accents in audio regions). This makes it possible to adjust the musical timeline to the original timing of a MIDI or audio region that has been recorded rubato (free time, including speeding up and slowing down), or just without a metronome click. The audible outcome remains unchanged, but the resulting display will fit the musical timeline.

Â Signature track: Contains the basic key of the project, along with all time and key

signatures, as they are displayed in the Score Editor.

Â Chord track: Contains chord symbols that can be derived from MIDI regions or

created with the mouse. These chord symbols may also be inserted into the score. The root notes of the chords determine the transposition (pitch shifting) of all Apple Loops, and can also affect the playback of MIDI regions.

Â Transposition track: Shows global transposition events. It is linked to the progression

of the chord root notes in the Chord track: Changing a chord root will be reflected in the Transposition track, and vice-versa.

Â Video track: Displays frames of a QuickTime movie as thumbnails that are perfectly

synchronized with the music, making it ideal for film scoring. Cuts in the movie can be automatically detected and marked.

50 Chapter 2 Overview of the Logic Express Interface

Interactions Between Arrange Window Areas

The Arrange window contains various sections that interact with each other. These provide you with access to all files, editing methods, track and channel parameters in one place, making your workflow much faster. Please follow the steps outlined below to learn how these Arrange window elements work in harmony, to accelerate music production.

To see how Arrange window areas interact:

1 Open the Media area by clicking the Media Browser button in the Toolbar.

2 Click the Browser tab, then browse to a folder that contains audio files. 3 Click-hold the audio file name, and drag it onto an audio track lane in the Arrange area.

Release the mouse button when the help tag displays position 1 1 1 1. A region will be created in the Arrange area.

4 Click the Sample Editor button at the bottom of the Arrange area.

Chapter 2 Overview of the Logic Express Interface 51

The Sample Editor is shown, displaying the contents of the region you just created in the Arrange area.

5 Click the Audio Bin tab.

The Audio Bin contains the audio file you just added to the project.

6 Click the Loops tab, then click a category button to see matching loops in the Loops

tab’s Search Results list.

52 Chapter 2 Overview of the Logic Express Interface

7 Select a loop with a green icon and drag it to a software instrument track in the

Arrange area.

Release the mouse button when the help tag displays position 1 1 1 1. A MIDI region will be created in the Arrange area.

∏ Tip: If no software instrument track exists, you can also drag the Apple Loop from the

Loop Browser directly into the blank Arrange area (or below existing tracks). A track and corresponding channel strip (including instrument and effect settings) are automatically created, and the Apple Loop is loaded.

8 Click the Piano Roll button at the bottom of the Arrange area.

The Piano Roll Editor is shown, displaying the contents of the region you just created in the Arrange area.

9 Move the playhead to the beginning of your project by clicking the Go to Beginning

button in the Transport bar.

10 Play your project by clicking the Play button in the Transport bar.

You will hear the audio file and instrument loop you added to the project. You may like the melody of the software instrument loop, but not its sound. Utilize the Library to assign another sound to the software instrument track.

Chapter 2 Overview of the Logic Express Interface 53

11 Select the software instrument track, then click the Inspector button.

The left channel strip displays the software instrument and effect(s) of the selected track.

12 Click the Library tab, and browse through the displayed channel strip settings.

As this is a software instrument track/channel strip, only software instrument channel strip settings are shown in the Library.

13 Select one of the channel strip settings to load it.

14 Start playback again to audition the new sound.

54 Chapter 2 Overview of the Logic Express Interface

Using Logic Express Interface Elements

You can access all of the buttons, switches, sliders, and menus discussed above with the mouse and computer keyboard. Use of these Logic Express interface elements is outlined below:

Checkboxes and Buttons

Checkboxes are square boxes that are turned on when you click them, in order to activate an option (or function). Click the checkbox a second time to turn it off, and deactivate the option.

Some buttons behave in a similar fashion, where the function they represent is temporarily enabled (while the button is pressed, and usually illuminated).

A second click on the button will disable the function. Good examples of these types of buttons include the Mute and Solo buttons.

A different type of checkbox is the round radio button. A number of grouped buttons (each representing a different option) are available, and you need to select one of them. They differ from checkboxes and other button types in that only one of them can be activated at any given time. A good example are the Type radio buttons in the New Tracks dialog.

Chapter 2 Overview of the Logic Express Interface 55

Pull-Down and Pop-Up Menus

Pull-down menus open when you click on the desired menu item. Pop-up menus open when you click on certain input fields or buttons.

In some menus, an arrow is shown beside one or more items, indicating a sub-menu. To choose an item from a sub-menu, move the mouse in the direction of the arrow, and then move vertically over the desired item. Click to activate the chosen command or setting.

If you wish to select an item that is outside the visible section of the menu, move the mouse over the arrow at the top or bottom edge of the menu. The menu will scroll.

Shortcut Menus

Shortcut menus (also called contextual menus) are accessed by Control-clicking or right-clicking in different areas of various Logic Express windows. These offer a number of selection, editing, and other area-specific commands, providing quick access to commonly used functions.

Note: Right-click functionality is dependent on the Right Mouse Button: Opens Shortcut Menu option being chosen in the Logic Express > Preferences > Global > Editing tab.

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Using the Computer Keyboard

You can access most Logic Express functions with key commands. Whenever this manual mentions a key command, this refers to a function or option that can be accessed with a computer keyboard keystroke (or keystroke combination, such as pressing both the Control and W keys on your keyboard).

Use of key commands, rather than the mouse, can greatly accelerate your Logic Express workflow. Throughout this manual, you will encounter a number of practical usage examples, often in step form, that include the default key commands for particular functions.

It is recommended that you follow the steps outlined in the manual, and make use of these default key commands while familiarizing yourself with Logic Express. Not only will this help you to remember them, but will also aid you in developing good (and faster) working practices from the outset.

Once you have a good understanding of Logic Express fundamentals, and how you like to work, you can freely assign your own set of key commands. Logic Express functions and options that can be assigned to key commands can also be assigned to MIDI commands, sent from your MIDI controller. More details on these advanced topics can be found in “Working With Key Commands” on page 162.

Chapter 2 Overview of the Logic Express Interface 57

3 Customizing Your Window Setup

Logic Express allows you to customize your window setup to fit both your working style and the task at hand.

While you will perform most of your work in the Arrange, you can open different combinations of windows (even several of the same type) and adjust each individually. It is also easy to save different window arrangements (called screensets, discussed in “Using Screensets” on page 79), and recall them by pressing a key.

All open windows in a project are constantly updated as they follow the position of the playhead. Alterations made in one window are immediately reflected in all other open windows. As an example, if the pitch of a note event is changed in the Score Editor, this change is instantly shown in an open Piano Roll Editor window.

This chapter outlines how you can customize and save your overall window setup. The display options of individual windows or editors are not covered in this chapter.

Window Types

There are two different types of windows in Logic Express: normal windows and floating windows.

Normal Windows

You can open as many normal windows as desired, including several of the same type. Even though the contents of all windows are constantly updated, only one window ever has the status of being the top, or active window. This is the window that is in the foreground when several normal windows overlap, or are shown alongside each other. It is referred to as having “key focus”.

Key focus windows can be recognized by a title bar that is illuminated, and black title bar text (the project name).

To assign key focus to a window or area, do one of the following:

m Click on the window title bar, or within the working area.

Take care with the latter, as you may accidentally insert an event or region, if the Pencil tool is active in the window.

m Choose Window > Cycle Through Windows (or use the corresponding key command).

This assigns key focus to the next open window, if it is fully obscured by other windows.

The Arrange window can obviously incorporate several other windows in different areas. These can be given key focus by clicking the background or title bar of the window (the area of the Arrange you want to use), or by using a tool in the window.

∏ Tip: You can also use Tab or Shift-Tab to cycle through the Arrange window areas: Tab

cycles forward, Shift-Tab cycles backwards.

The main characteristic of the key focus window (or area of the Arrange window) is that key commands only affect this window, and not any of the others.

Handling Background Windows

Background windows are not fully obscured, and are identified by a dimmed title bar (they can be positioned next to the top window, or tiled underneath it) and a faded name.

In background windows, you can not only observe changes, but make almost any kind of change, without needing to give the window key focus before making alterations.

Independent tool selection is memorized for each window, allowing you to directly edit the contents of any window, whether it has key focus or not. As soon as any such edits are made, the window is automatically made the key focus window. As an example, an Arrange window with Piano Roll and Event List editor visible: the Pointer is active in the Arrange area, the Pencil tool is active in the Piano Roll, and the Eraser tool is active in the Event List editor. The tool automatically becomes active as you drag the mouse cursor across the boundaries of each area in the Arrange window.

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Floating Windows

Floating windows are so named because they always float in the foreground, even above the key focus window (opening numerous float windows inevitably leads to them covering each other—just click on the desired one to move it to the foreground).

In general, most of the Logic Express helper windows, such as the Preferences or Project Settings windows, are floating windows.

Floating windows are usually recognizable by their narrower, gray title bar (except the plug-in window, which has a different title bar style). Mouse operations performed in floating windows behave in the same way as in normal windows.

Opening and Closing Windows

You can open all main Logic Express windows by choosing the window type (Arrange, Score, and so on) in the Window menu. Each window type has a corresponding key command that opens the window, without using the mouse. As examples, Command-1 opens the Arrange window, Command-2 opens the Mixer, and so on. The key command designations are shown beside each window name in the Window menu. It is highly recommended that you learn and use these key commands, rather than the mouse, as they will speed up your workflow.

You can open multiple windows of the same type, if required. This may be useful when you want to individually display and alter the contents of several regions in a particular editor type.

You can also open all Logic Express editors in the Arrange window by clicking the buttons at the bottom of the Arrange window.

Chapter 3 Customizing Your Window Setup 61

Double-clicking an Arrange audio region opens the Sample Editor at the bottom of the Arrange window. Double-clicking an Arrange MIDI region opens the default editor at the bottom of the Arrange window. You can determine the default editor with the “Double-clicking a MIDI region opens” menu in the Global preferences window. Option–double-click on a region to open the default editor as a separate window.

The Toggle … Window key commands allow you to define one key command to open or close the window, or area of the assigned type in the active Arrange window. If the window is not available as an Arrange window area, it will be opened as an independent window. As examples in the Arrange window: You can open and close (toggle) the Lists and Media areas with the Toggle File Browser, Toggle Library, and so on key commands.

You can close the window with key focus (usually the topmost, or foreground window) by choosing File > Close in the main menu bar (or by using the Close Window key command, default: Command-W).

Windows can also be closed by clicking the close symbol at the top left.

Option-click the close symbol to close all windows of the active project.

Note: If you close all open windows of a project, Logic Express assumes that you want to close the project, and asks if you want to save your changes.

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Moving and Resizing Windows

You can move and resize all open windows individually, even across multiple monitors. You can also alter the size of all window elements that feature the resize bar.

The size relationship of the editing and Arrange areas within the Arrange window can also be adjusted, by clicking between them, and dragging vertically. The cursor changes to a Resize pointer. The vertical height of the Mixer area is memorized independently. All other editing areas share the same height.

You can not resize the other Arrange window elements (the Inspector and Media or Lists area). You may only open or close these areas.

Here is an example of a possible window setup: Imagine you want to edit the MIDI notes of various MIDI regions. You may want to increase the height of the Piano Roll Editor to work at a high zoom level, thus decreasing the height of the Arrange area. You would then reduce the Arrange area zoom level, as it only needs to be used for region selection duties.

Resize pointer

To move a window:

m Click-hold the title bar and drag the window to the desired position.

Chapter 3 Customizing Your Window Setup 63

To adjust the size of a window, do one of the following:

m Drag the lower right-hand corner of the window, as with any window in the Finder.

m Position the mouse pointer over the window edge. When the mouse pointer turns into

the Resize pointer, drag in the desired direction.

To adjust the size of window elements:

1 Move the mouse over the resize bar. 2 When the mouse pointer turns into the Resize pointer, drag the window element in the

desired direction.

To maximize a window, do one of the following:

m Select the window, the choose Window > Zoom. m Click the zoom button (the right-most button of the three window controls) in the top

left corner of the window title bar.

A second click on the icon will restore the original window size.

To minimize a window, do one of the following:

m Select the window, then choose Window > Minimize (or use the corresponding key

command, default: Command-M).

m Click the minimize button (the middle button of the three window controls) in the top

left corner of the window title bar. This places an icon (minimized version of the window) in the Dock. The window can be

restored by clicking on the icon in the Dock.

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Working at Different Hierarchy Levels

Logic Express allows you to view projects at an overview level (Arrange level) and also at the microscopic level (editor level). These different hierarchical levels are designed for different types of tasks, such as arranging project sections or refining instrument parts, as examples. In many cases, you can switch between these different display levels directly, without needing to open or access another window.

Clicking the Hierarchy button in the top left corner of a window or window area moves the displayed view up one level (generally to the Arrange level).

Note: Double-clicking on the background of the editing area of a window also moves up one display level.

About Display Levels in the Editors

Normally, the editors are at the lowest display level, which shows individual events within the selected region.

In the Piano Roll and Hyper Editors, a step up the display hierarchy will show the events of all regions in the Arrange area.

Clicking the Hierarchy button in the Event List moves you up one level in the display hierarchy, just like the other editors. In the Event List, however, the display remains much the same but shows a list of regions, rather than a listing of individual events— along with region positions, names, track numbers, and lengths. The MIDI region that you were just editing will be selected within the list of region names.

Double-clicking on a MIDI region (or using the Go Into Folder or Region key command) returns you to the lowest display level, and shows the contents of the MIDI region.

Double-clicking on an audio region opens it in the Sample Editor.

In the Score Editor, clicking on the Hierarchy button takes you to the higher display level. Unlike the other editors, individual events can also be edited while in higher display levels in the Score Editor. Double-clicking on a staff (at an empty point), reverts to a lower display level.

Chapter 3 Customizing Your Window Setup 65

Selecting the Working Area

The scroll bars at the right and bottom edges of a window enable you to move through the working area in either the vertical or horizontal dimension.

Scroll bar

You can move the visible section by clicking the arrows, or dragging the scroller. There are two points to note:

Â The size relationship of the scroller to the overall scroll bar length corresponds to the

size of the visible section of the window, in relation to the overall window size.

Â The visible section changes as you move the scroller.

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Use the Page Up, Page Down, Page Left, and Page Right key commands to scroll one page up, down, left, or right, as if you had clicked in the gray area (in the scroll bar) above or below the vertical scroller, or to the left or right of the horizontal scroller.

Click the gray area below the vertical scroller to scroll one page down

The Page Top, Page Bottom, Page Left-Most, and Page Right-Most key commands move the visible section of the working area to the top, bottom, left, or right, just as if you had grabbed one of the scrollers, and moved it to one of its extreme positions.

In the Arrange area, Event List, Hyper and Piano Roll Editors, View > Scroll to Selection moves the visible section of the edit window to the first set of selected events. This function is available as a key command which works in the key focus window.

To scroll both vertically and horizontally at the same time, do one of the following:

m Press Shift-Control, click-hold the Arrange window background, then drag in the

desired direction.

m Click-hold the Arrange window background with the third mouse button (the mouse

wheel, for example), then drag in the desired direction. The distance of the mouse pointer position from the initial clicked position determines

the scrolling speed.

Note: This only works if you haven’t assigned the third mouse button to a global command, such as Expose, for example,

Chapter 3 Customizing Your Window Setup 67

Zooming

The zoom controls are used to zoom in and out on the working display area. Selection of different zoom values reduces or increases the size of events or regions in the displayed screen section. This allows you to:

Â See more events or regions in the same amount of screen space (zoom out). Â See a detailed display of events or regions (zoom in).

While zooming, the top-left (selected) event or region is kept in the visible area of the screen. In other words, the first selected region or event will be retained in the zoomed window. If no selected region or event is visible, zooming is centered around the playhead. It the playhead isn’t visible, the current center of the window will be retained.

The horizontal and vertical zoom controls are located to the bottom-right of the working area of the window.

Vertical zoom control

Horizontal zoom control

To zoom out:

m Click on the more closely spaced bars to decrease the zoom level.

To zoom in:

m Click on the widely spaced bars to increase the zoom level.

You can drag the zoom sliders to step through several zoom levels. Any relative size differences between tracks will be retained when zooming.

Command-clicking a value in the zoom control sets the zoom slider to the respective zoom level.

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Zooming With the Scroll Bars

The scroll bars not only allow you to move through your arrangement and editing windows. They can also be used for zooming.

To zoom with the scroll bars:

m Click-hold on the zoom handles at either end of the scroll bar, and drag:

Â Up or down on the vertical scroll bar. Â Left or right on the horizontal scroll bar.

As you drag, the window contents will be zoomed.

Zooming the Waveform of Audio Regions

The Arrange area offers a unique Waveform Zoom tool, found to the left of the horizontal zoom slider. This allows you to visually resize the waveform, making it easier to determine hit points, which can be useful for some editing tasks.

To zoom the waveform of audio regions:

1 Click-hold on the Waveform Zoom button, and a slider is shown.

2 Drag the slider, and as you do so, the waveform shown in all audio regions is increased

or decreased in size. An active Waveform Zoom button is displayed in dark gray. Click it to switch off the

Waveform Zoom display.

Note: This is a purely visual function. The amplitude (level) of the waveform is not affected.

Chapter 3 Customizing Your Window Setup 69

Storing and Recalling Zoom Settings

You can store three different zoom settings for each window via use of the Save as Zoom 1–3 key commands. Use the Recall Zoom 1–3 key commands to recall your zoomed settings. These commands only apply to the active window or window area.

Zooming in on One Section of the Screen

To enlarge a section of the screen to fill the whole window, rubber band select the desired area with the Zoom tool.

You can do this repeatedly, if you need to zoom in further.

∏ Tip: You can access the Zoom tool when other tools are selected by holding Control-

Option.

Reverting to the Previous Zoom Setting

Click on the window background with the Zoom tool. This will return the zoom level to the original setting, or will backtrack through previous zoom steps if the tool was used multiple times.

Zoom Navigation Key Commands

You can set, and recall, up to thirty zoom level and window scroll-bar positions for each window. These allow you to navigate through a number of window zoom levels, and scroll bar positions, making repetitive editing tasks much faster.

You can use the following commands to zoom selected events, or a region defined by the locators, to fit the screen. The use of all zoom commands creates a new step in the navigation path.

Â Zoom to fit Selection vertically and horizontally, store Navigation Snapshot: Displays the

current selection as large as possible, and saves it in the navigation path.

Â Zoom to fit Selection horizontally, store Navigation Snapshot: Displays the current

selection as large as possible horizontally, and saves it in the navigation path.

Â Zoom to fit Locators, store Navigation Snapshot: Displays the current locator area as

large as possible, and saves it in the navigation path.

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The navigate key commands allow you to recall the previous or next zoom settings. Â Store Navigation Snapshot: The current zoom and scroll bar (window position)

settings are saved as a step in the navigation path.

Â Navigation: Back: Recalls the previous step in the navigation path. Â Navigation: Forward: Advances to the next step in the navigation path.

As an example of where the navigation path commands could be useful, imagine cutting and pasting sections of an audio region to several other locations, in a project with hundreds of tracks. One step in your navigation path would be a zoomed view of the audio region. Another step could be a vertically zoomed in version of several tracks (the target tracks for the pasted region sections). A further step could be a horizontally zoomed out section of the project, allowing you to paste the region segments to a later position.

Note: There are no default key commands for most of these navigation options, so you will need to assign them in the Key Commands window. Choose Logic Express > Preferences > Key Commands and type “nav” in the Find field. This will display the entries described above. For more information about assigning key commands, refer to “Assigning Key Commands to Computer Keys” on page 166.

Relationships Between Windows

Logic Express allows you to independently link or unlink windows, providing you with flexible viewing options. This enables you to set up two Event List windows for example, with one showing Arrange regions, and the other showing the contents of the regions. You can simply click on the desired region name to update the contents of the second event list.

The two buttons at the top left of most windows determine its relationship to:

Â The playhead position (Catch) Â Other windows (No Link, Same Level Link, or Content Link)

Chapter 3 Customizing Your Window Setup 71

Catch

Enable the Catch button to ensure that the visible section of a window follows the playhead during playback or recording.

If the button is disabled, the display does not update, even when the playhead moves past the right edge of the visible portion of the window.

The “Catch when Logic starts” (Logic Express > Preferences > Global > Catch) option enables Catch mode whenever you press Play or Pause.

The “Catch when moving playhead” preference enables Catch mode whenever you move the playhead.

Scroll in Play

The View menus of all windows that display time horizontally (Arrange area, Score Editor, Piano Roll Editor, and Hyper Editor) offer the View > Scroll in Play setting. If the Catch function of the window is also activated, the playhead will remain in the middle of the window, while the background scrolls smoothly from right to left.

No Link, Same Level Link, and Content Link Modes

These display options allow you to define how information is shown when working with related editor windows.

To set any of these modes:

m Control-click (or right-click) the Link button, and choose the required mode from the

menu.

Â No Link: Unlinks the window from others. Â Same Level Link: When activated in a given window, this window always displays the

same contents as the key focus window. The display updates whenever the selection (of data) in the key focus window changes. Here’s an example: Imagine the key focus window is a Piano Roll Editor. In Same Level Link mode, the Score Editor and Event List will display the same data in another form.

Â Content Link: This mode results in the window always showing the contents of the

region selected in the key focus window. The display is therefore always one level below that of the top window. Here’s a Content Link example: If the Arrange area is the active window, any opened MIDI editor window will show the events of the selected MIDI region. Selecting a different MIDI region in the Arrange area will update the display of the linked editor to show the contents of the newly-selected region. You could also use Content Link mode in one Arrange area, to display the folder contents of another Arrange area.

∏ Tip: You can also quickly switch between these modes by clicking the Link

button: clicking it once switches between No Link and Same Level Link mode. Doubleclicking the Link button switches to Content Link mode.

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The symbol on the Link button reflects the chosen display mode:

Same Level Link mode Contents Link mode

Content Catch Mode

Content Catch mode is commonly used in the Arrange area, with linked MIDI editor windows updating to show the events within the MIDI region that is currently being played (on the selected Arrange track).

Initially, this is equivalent to Content Link mode, but when the playhead reaches the next region on the same track, the contents of this region are then displayed.

To enable Content Catch mode:

1 Click the Catch button to turn it on. 2 Control-click (or right-click) the Link button, and choose Content Link mode.

Customizing the Transport Bar

You can customize the Transport bar by adding or removing buttons and displays, allowing access to the functions you need most often. This in turn, has an impact on the size of the Transport window. You can also open an independent SMPTE or Bar display window. For more information, refer to “Customizing the Transport Bar” on page 116.

Chapter 3 Customizing Your Window Setup 73

Customizing the Arrange Window Toolbar

You can customize the Toolbar by adding buttons for the commands you use most often. You can also configure the display to show only the button’s icons, or only their labels.

To add a button to the Logic Express Toolbar:

1 Control-click (or right-click) the Arrange window Toolbar, and choose Customize

Toolbar from the shortcut menu.

2 Drag the buttons you want to add from the Customize Toolbar dialog to any empty

area along the top of the window.

If you drag a button to a location between two existing buttons, they will move to make space for the new button.

Note: You may also choose to drag the entire default set from the bottom of the Customize Toolbar dialog, if your customizations don’t work out as well as you’d hoped.

3 Click Done when finished.

To remove a Toolbar button:

m Control-click (or right-click) the desired button, then choose Remove Item from the

menu.

To change the appearance of Toolbar items:

m The shortcut menu and Show menu in the Customize Toolbar dialog also allow you to

view Toolbar items as Icon & Text, Icon Only, or Text Only. Simply choose the preferred viewing option.

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When you resize the Arrange window, the Toolbar may not offer enough space to keep all buttons visible.

To keep a Toolbar button visible when you resize the Arrange window:

m Control-click (or right-click) the desired button, then choose Keep Item Visible from the

menu.

Hiding or Revealing the Inspector

You can hide the entire Inspector area to the left of the Arrange and editor windows, providing more workspace for regions, events, and other data.

To hide or show the Inspector in the Arrange window, either:

m Click the Inspector button in the Toolbar. m Choose View > Inspector (or use the Hide/Show Inspector key command).

To hide or show the Inspector in the editing windows:

m Choose View > Inspector (or use the Hide/Show Inspector key command).

If there is not enough vertical room to display all areas of the Inspector, you can click the disclosure triangles to hide the individual boxes.

Adjusting the Bar Ruler Display

You can switch the Bar ruler between four display modes:

Â Time: Displays a SMPTE time ruler, divided into hours, minutes, seconds, and frames.

Â Bar: Displays a Bar ruler, divided into bars, beats, divisions, and ticks. Dependent on

the zoom settings (see “Zooming” on page 68), the bars are shown at the top edge in units of 1, 4, 8, or 16. Time signature changes are also shown here. In the bottom third, there is a vertical line for each bar. The shorter lines represent one beat, but are not always visible (depending on the zoom setting).

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Â Bar and Time: Displays the Bar ruler above the SMPTE ruler.

Â Time and Bar: Displays the SMPTE ruler above the Bar ruler.

To set the Bar ruler display mode:

m Click on the small down arrow icon to the right of the Bar ruler, and choose the desired

display mode in the shortcut menu.

The Marquee Stripe setting hides or shows the marquee stripe—a tool used for selection tasks. For further information see “Selecting Parts of a Region” on page 320.

You can also use the following key commands to switch the ruler display: Â Event Position and Length in SMPTE Units: Switches between the Bar and SMPTE ruler

if one ruler is displayed, and switches the position of the Bar and SMPTE ruler if both are displayed.

Â Secondary Ruler: Switches the display of the second ruler.

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Displaying Global Tracks

All linear editing windows can display global tracks just below the Bar ruler. You can limit the display to particular global tracks, resize, and move them.

To hide or show global tracks, do one of the following ways:

m Click the Global Tracks disclosure triangle to the left of the Bar ruler.

m Choose View > Global Tracks (or use the Toggle Global Tracks key command). m Use one of the following key commands:

Â Hide All Global Tracks Â Show All Global Tracks

Showing and Hiding Individual Global Tracks

By default, the global Marker, Signature, and Tempo tracks will be visible when you use any of the methods above to open the global tracks lanes.

To hide or show particular global tracks:

1 Do one of the following:

Â Control-click (or right-click) anywhere in the global tracks header area, and choose

Configure Global Tracks from the shortcut menu.

Â Choose View > Configure Global Tracks (or use the Configure Global Tracks key

command).

2 Do one of the following in the Configure Global Tracks dialog:

Â Click the corresponding checkboxes to display or hide each global track type.

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Â Click the Enable All or Disable All buttons to show or hide all global tracks,

respectively.

The choices made in the Configure Global Tracks dialog only affect the active window. Each window can have an independent global track display configuration.

Note: You can also assign, and use, any of the following Toggle key commands for each individual global track: Marker, Transposition, Chord, Signature, Tempo, Beat Mapping, and Video. This will have an immediate impact, and will not open the Configure Global Tracks dialog.

Resizing and Moving Global Tracks

You can resize global tracks individually, and can resize the entire global tracks area.

To resize individual global tracks, do one of the following:

m Click the disclosure triangle in the upper left corner of each global track.

The track height is expanded and additional controls become visible. A further click on the triangle reduces the track height.

m Position the mouse pointer over the lane dividers between global tracks in the header

area, then drag up or down.

To resize the entire global tracks area:

m Position the mouse pointer over the dividing line between the global tracks and the

Arrange tracks, then drag up or down.

To change the order of global tracks:

m Grab anywhere (except on the control elements) in the header area of the global track

you want to move, and drag up or down. The display order of global tracks is saved independently for each window.

∏ Tip: If the Track Protect buttons are visible (View > Configure Track Header > Protect

Buttons), you can prevent unintentional changes to individual global tracks by clicking on the corresponding Protect button.

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Using Screensets

You will position windows in a way that suits your working methods. This layout of various windows, including the display size, zoom levels, and position of each window (and other settings) is called a screenset. Once defined, you can save, and freely switch between different screensets, much as you might swap between different computer monitors.

Saving and Recalling Screensets

Screensets are numbered from 1 to 99 (using only the 1 to 9 computer keys—the 0 key is assigned to the Stop command by default).

You don’t need to save screensets with an explicit command. It happens automatically, as soon as you switch to another screenset. Thus, without any effort, your current working view is always stored as the current screenset.

To create a screenset:

1 Press a numerical key, say 7.

For two-digit screensets, hold down Control while entering the first digit.

2 Arrange your windows as desired, including changes to zoom settings, relationship of

the Arrange area and editor areas, open or closed Inspector and Media or Lists areas, and so on.

Note: When you choose a screenset number that has not been saved, a maximized Arrange window opens.

To recall, or switch between screensets, do one of the following:

m Input the number of the desired screenset (1 to 9).

For two-digit screensets, hold down Control while entering the first digit.

m Choose the desired screenset from the Screenset menu. m Use the Next Screenset or Previous Screenset key commands.

Recalling Screensets 1 to 9 via Key Commands

Screensets 1 to 9 can be recalled by freely-defined key commands, not only the number keys on your computer keyboard. This allows you to use the number keys for other purposes, such as opening or closing windows. The 1 to 9 key commands are called Recall Screenset 1 (… 9, respectively) in the Key Commands window.

Sequencer Controlled Screenset Switching

You can automatically switch screensets through the use of meta event # 49—just add it to a MIDI region in the Event List.

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To switch a screenset automatically:

1 Select the MIDI region into which you want to insert the meta event. 2 Set the playhead to the point where you’d like the screenset to change. 3 Click the Create button in the Event List, then click the Meta Events button.

The inserted meta event has a default value of 50 (Project Select).

4 Alter the number in the Num column from 50 to 49.

This changes the name to screenset.

5 Input the desired screenset number in the Val column.

You can stop screenset switching by muting the MIDI region that contains the meta 49 event.

Protecting, Copying, Renaming, and Deleting Screensets

Logic Express allows you to protect, copy, rename, and delete a screenset, making it easy to manage screensets.

To prevent the current screenset from being altered:

m Choose Screensets > Lock Screenset (or use the Lock/Unlock Current Screenset key

command, default: Shift-L).

A bullet appears in front of the screenset number to indicate that it is locked. Reuse the key or menu command to unlock the screenset.

Important: The File > New command deactivates all screenset locks.

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To copy screensets:

1 Switch to the screenset you would like to copy, and choose Screensets > Duplicate (or

use the corresponding key command).

2 In the Duplicate Screenset window that opens: Type in the target screenset number

(the screenset number that you want to copy to), and enter a name.

To rename the current screenset:

m Choose Screensets > Rename (or use the corresponding key command), and type the

desired name in the Rename Screenset window.

Click the Auto Name button to automatically name the screenset. This defaults to the visible window names (“Arrange/Piano Roll” or “Arrange/Mixer” as examples). The name is automatically updated whenever a window or view is opened or closed.

To delete the current screenset:

m Choose Screensets > Delete (or use the corresponding key command).

Importing Screensets From Another Project

You can import screensets from another project.

To import all screensets from another project:

1 Open the Import Settings window by doing one of the following:

Â Choose File > Project Settings > Import Settings (or use the Import Settings key

command).

Â Click the Settings Toolbar button, then choose Import Settings from the pop-up

menu.

2 In the Import dialog, click the Screensets option. 3 Browse to, and select, the desired source project (the one that you wish to import

from).

4 Click Open (or double click on the source project name).

The settings are imported into the active project.

Chapter 3 Customizing Your Window Setup 81

Reverting to Saved Screensets

The Revert to Saved Screenset (or the corresponding key command) resets your screen to its original state—prior to changing any aspect of the current screenset.

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4 Setting Up Your System

Logic Express automatically finds and configures supported audio and MIDI hardware when first installed and run. There are many circumstances where you may wish to enhance or extend this basic automatic configuration.

This chapter will help you to optimize your hardware for use with Logic Express. It also includes a lot of background information about components your music production system can incorporate. If you’re new to Logic Express, and would like to get “hands on” with the application, please skip ahead. You can always return to the following sections when considering the addition of a device to your system, but this isn’t essential to know before using Logic Express.

Designing Your Music Production System

Your music production system can incorporate far more than your computer and Logic Express software.

A complete Logic Express studio could conceivably consist of any, or all, of the following components:

Â A Macintosh computer and related peripherals, such as a mouse or other pointing

device, keyboard, displays, and so on

Â Audio and MIDI interfaces Â External MIDI sound generators, such as samplers and synthesizers Â External audio devices, such as mixers, audio converters, pre-amplifiers, channel

strips, effects units, and more

Â External MIDI control surfaces and keyboards. Even external MIDI-controlled lighting

can be driven by Logic Express.

Â Amplification and speakers

Â Additional software that runs alongside, and integrates with, Logic Express. This

includes a range of ReWire applications and audio or MIDI software.

Â Additional effect and instrument plug-ins, including those that are DSP-accelerated,

such as PowerCore.

Read this section if considering components that you want to integrate into your Logic Express music production system. If you already have all components, and their integration meets your needs, feel free to skip this section.

Computer

This section outlines several computing factors that you should consider for your Logic Express system. System requirements are covered in the Before You Install document, found in the Documentation folder of the Logic Express installation discs.

Note: System requirements may change between Logic Express releases, so you should always check the Apple website and the latest Before Your Install document included with Logic Express updates.

How Fast Your Computer Should Be

Audio processing is complex, so the general rule is: the more powerful your computer, the better. This involves not only the speed of the CPU(s) of your Macintosh, but also includes larger main memory sizes, the speed of busses, and the general efficiency of communication with connected devices.

A Portable or Fixed Studio?

You may be wavering between a desktop or portable Macintosh as the basis for your Logic Express system, or perhaps considering the viability of a laptop machine for onthe-road composition. The good news is that portable Macintosh computers are ideal for Logic Express use. They offer excellent audio and MIDI hardware expansion capabilities in the form of FireWire and USB connectors, and are fast enough to allow extensive software instrument and effect use. Due to the power-saving nature of portable computers, slower hard disk drives are usually included, resulting in a lower track count than is possible with a desktop equivalent.

Obviously, desktop computers offer additional expansion slots, extending the range of MIDI and audio hardware possibilities, and can incorporate multiple processors. CPU and hard disk speeds are generally higher, thus allowing higher track playback counts, and the simultaneous use of more software instruments and effects.

∏ Tip: If you have both a portable and desktop Macintosh, you can easily transfer

projects and other data between them.

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Hard Drives and Storage Locations

Music production generates a huge number of large files. These include samples for audio instruments, loop libraries, audio recordings, video files, and more.

Consider buying a separate, large capacity hard drive (or several) for your audio files and sample libraries.

You should also look at a reliable, high-capacity backup system, and should automate your backup routine, preferably as a daily occurrence.

Audio and MIDI Interfaces

An audio interface is required—to get sound signals into, and out of, your computer. A MIDI interface is required for MIDI input and output signals.

When using optional audio and MIDI interfaces, you should install their drivers before starting Logic Express. This will allow Logic Express to find and use these devices at startup.

Audio interfaces should be supported by a Core Audio driver and MIDI interfaces should be supported by a Core MIDI driver. Check with the manufacturer of your equipment for details on Mac OS X support.

Audio Interface

When an analog audio signal arrives at the inputs of your audio interface, it must be converted into digital information before the computer can deal with it. This process is called analog to digital conversion and is handled by the analog to digital converter of the audio interface.

There are countless optional audio interfaces available, and at least as many ways that they can be set up and used with Logic Express and external audio gear. Given the differing requirements and working methods of people across the world, there is no one size fits all audio interface solution. In the simplest scenario, you would use the internal audio interface of your computer to monitor and record audio.

When choosing an audio interface, ensure that it is certified to run on Macintosh hardware. If the device requires a driver, check that it is compatible with the Mac OS X version required by Logic Express.

Logic Express supports input from digital audio interfaces up to a maximum sample rate of 192 kHz, and a maximum bit depth of 24 bits.

Full details on setting up your audio interface hardware, including information on optimizations, drivers, and more can be found in “Configuring Your Audio Hardware” on page 99, and the topic areas that follow this section.

Chapter 4 Setting Up Your System 85

MIDI Interface

Your Macintosh computer does not provide MIDI in or outputs. If you want to use MIDI devices equipped with MIDI ports, a MIDI interface is required for communication with your computer. MIDI interfaces are generally connected to your Macintosh USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Macintosh.

Note: Many modern MIDI devices, particularly keyboards, include a USB or FireWire connection port that enables MIDI (and audio, in some cases) communication with your computer. Such devices do not require an additional MIDI (or audio) interface. Some require the installation of driver software, and others are automatically recognized by Mac OS X. Check the websites of MIDI device manufacturers for further information.

Types of MIDI Devices

A vast array of MIDI equipped devices exist. These include MIDI keyboards and sound modules, control surfaces, effect processors, mixers, lighting controllers, and more.

MIDI Keyboard

The most likely candidate for inclusion in your Logic Express system will be a MIDI keyboard. MIDI keyboards are used to input note (and controller) information into Logic Express. Some MIDI keyboards are simply input devices (often called controller keyboards) and some also include their own synthesis engines (synthesizer and sampling keyboards). Logic Express can be used to record keyboard performances as MIDI data, and can play them back through any connected MIDI device or internal software instrument.

If you don’t have a MIDI keyboard handy, don’t fret! Logic Express offers the Caps Lock Keyboard, which allows you to use the computer keyboard for MIDI note entry. See “Using the Caps Lock Keyboard” on page 407.

Control Surfaces

Control surfaces are hardware devices that feature a variety of controls, which can include faders, rotary knobs, switches, and displays. These controls can be mapped to functions in Logic Express, allowing you to change parameters with more precision and speed than is possible when using your mouse and computer keyboard. You can also control multiple parameters at the same time. Detailed information on the setup and use of control surfaces can be found in the Control Surfaces Support manual.

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Synthesizers and MIDI Controlled Effects

Logic Express provides plenty of software instruments and effects, and can also act as a host for Audio Unit plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Chapter 10, “Working With Instruments

and Effects,” on page 215.

You can also incorporate hardware MIDI instruments and MIDI controlled effects units to your Logic Express music production system. These are connected via a MIDI interface, using MIDI cables (see “Connecting Your Audio and MIDI Devices” on page 90).

MIDI controlled effects units do not process MIDI data. Rather, they are audio processors (such as reverb or multi-effect devices) that can be controlled via MIDI messages. This allows you to automate the parameters of these devices—such as delay time or flanger speed—from Logic Express.

Typically, you would connect all external devices, such as synthesizers and MIDI controlled effects units, to either your audio interface or a hardware mixing console. MIDI controlled effects units would be connected in a send/return loop, using either:

Â A pair of audio ins and outs (or auxiliary in/out, if available) on your audio interface Â An auxilliary in/out (sometimes called FX send/return) pair on your mixing console

Both methods allow the use of Logic Express’s In/Out plug-in, enabling you to freely route audio information through the external effects unit—and the MIDI connection provides control over the effects parameters. In many ways, this is much like using one of Logic Express’s internal effect plug-ins.

Note: It is only practical to use the In/Out plug-in for external device routing when you’re using an audio interface equipped with multiple in and out ports.

Both MIDI instruments and effects will allow remote patch (preset) selection from Logic Express. This (and control) information can be stored as part of Logic Express project files, ensuring perfect playback from your MIDI devices the next time the project is loaded.

Chapter 4 Setting Up Your System 87

Ancillary Audio Devices

No discussion of a Logic Express audio system would be complete without covering a number of options that you should seriously consider, in order to make the most of the application.

Audio Playback System

Your audio interface provides inputs and outputs between the real world and your computer. When performing audio playback, the audio interface translates computer data into something you can hear and understand—sound and music.

To facilitate this, an amplifier and speakers are required. You can certainly use headphones, connected to the headphone jack of your audio interface, or the home hifi to monitor Logic Express playback, but this is not recommended in the long term.

You should look at a dedicated set of reference monitors (speakers), and a matching reference amplifier. Many monitoring systems today have powered speakers, negating the need for a separate amplifier.

Note: Reference monitors are specially designed speakers that offer a flat frequency response across a wide range (usually 20 Hz to 20 kHz). These are not your average home hi-fi speakers, and are usually only available from professional music and studio equipment dealers.

This type of system is recommended due to the precision it offers. Logic Express is capable of delivering CD or higher quality audio, and creating your mixes on a home hi-fi will generally result in music that is not properly balanced.

Put another way, most home hi-fi speakers tend to enhance particular areas of the frequency spectrum, resulting in mixes that have too much bass, mid, or treble frequency when played back on other systems. Reference monitors and amplifiers are designed to provide a flat frequency response, avoiding emphasis of particular areas of your mix. This translates to a final product that will sound good (or at least, passable) on most monitoring systems—car stereos, home hi-fis, portable players, and so on.

Headphones

A good set of studio headphones is handy for particular tasks, such as precise EQ-ing and sample editing. Given the design of most headphones, and the fact that they’re used so close to the ears, most people find that headphone mixes tend to be too bright or too bass-heavy.

As such, they are not recommended for general monitoring duties, but they are useful tools nonetheless. If you are recording groups of people, you will probably need several pairs of headphones, a headphone distribution amplifier, and a mixing console.

∏ Tip: You should not use headphones for longer than ten or twenty minutes at a time,

as they can cause listening fatigue, resulting in you making poor choices for your mix.

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Audio Mixing Consoles

The inclusion of an audio mixer—analog or digital—is heavily based on your typical studio use. It is also dependent on the number of inputs and outputs provided by your audio interface and your working preferences.

To explain, if you are most likely to record bands, several MIDI synthesizers, or drum kits in your studio, you will need numerous microphone and line-level inputs to simultaneously record the performances of the musicians and vocalists in the group.

Microphone inputs differ from line level inputs in that they provide power (known as phantom power), which is used to amplify the incoming signal from condenser microphones.

Multiple mixer outputs and a headphone distribution amplifier are also beneficial in group recording situations, as different signals can be sent to each performer. As examples: a click track to the drummer, a light drum mix and click track to the bass player, a composite mix to the vocalist and guitarist, with a touch of reverb for the singer, and so on. This different strokes approach is commonly used, as it facilitates the best performances from each group member.

Mixers can also include several auxiliary or bus channels that can be used to simplify a number of jobs. As examples, sending different signals (or mixes, if you like) to multiple locations—such as a front of house P.A. and a multitrack recorder, adding individual effects to multiple channels, re-routing processed audio back to a different position in the signal path and much more.

Many of these mixing tasks can be performed with a multi input/output audio interface—using Logic Express (and the interface control software, if applicable) to adjust levels and routings. The catch-22 with this is twofold: it is not as immediate as physically moving a slider or knob on a mixing console, and your computer generally needs to be turned on, to allow control. To balance the equation, you can add a control surface to your Logic Express system, enabling hands-on operation. On the latter point, a number of current audio interfaces can be used in standalone mode, but the problem of level control remains unless the computer is turned on.

Microphones

If you are recording acoustic performances—spoken, sung, or played—into Logic Express, you need one or more microphones. The array of microphones available these days is mind-boggling, but to simplify things, they basically fall into two categories: condenser and dynamic.

Â In general terms, condenser microphones are more sensitive, and are commonly

used for vocal recording. They are also used for ambience recording, and for instruments such as guitars and woodwinds.

Â Dynamic microphones are often used for recordings with high sound pressure levels

(loud signals, in other words), such as drums and percussion.

Chapter 4 Setting Up Your System 89

Ultimately, either microphone type can be used for any recording job, but each will offer a distinct advantage—sonically—in different recording situations. To further clarify, both condenser and dynamic microphones come in a variety of forms, with many specifically designed for the recording of certain instruments. As such, there’s no one size fits all microphone for every recording you will make, so purchasing or hiring several microphones for different projects is advisable.

Note: Condenser microphones require power to function. This can be provided by a separate pre-amplifier or a phantom powered mixing console.

Connecting Your Audio and MIDI Devices

You need to connect your external audio and MIDI devices to your computer to allow communication between Logic Express and the devices. The following section introduces you to Macintosh expansion capabilities, audio and MIDI cabling, and other things you should consider when connecting audio and MIDI interfaces to your system.

Computer Expansions

Current Macintosh computers offer the following expansion capabilities, which can be used for audio and MIDI interfaces:

Â FireWire Â USB Â PCI Â ExpressCard

Note: Data transfer rates discussed in the following sections are theoretical maximums. In real-world use, this will be reduced due to system overheads. In general, protocols with faster theoretical maximums will deliver data more quickly than slower protocols.

FireWire (IEEE 1394)

FireWire is a professional and consumer standard that can be used for both audio and MIDI devices, plus hard disks and other peripherals. It combines fast data-transfer rates, high storage capacities, and plug-and-play connection. All current Macintosh computers offer FireWire connectors, and a number of FireWire audio and MIDI interfaces are available. FireWire 1.0 transfers data at 400 MBits per second. FireWire 2.0 transfers data at 800 MBits per second.

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There are two kinds of FireWire connectors: a 4-pin connector (typically found on video equipment, such as camcorders) and a 6-pin connector (used for computer and audio equipment).

FireWire 400 (6-pin) (Sometimes labeled iLINK)

FireWire 400 (4-pin)

USB (Universal Serial Bus)

USB is a consumer standard used for computer peripherals and other devices. USB 1.1 offers a much lower data-transfer rate than FireWire (11 Mbits per second). USB 2.0, however, transfers data at 480 MBits per second. It supports plug-and-play operation and the ability to connect several devices in sequence (daisy-chaining). Some USB devices draw their power over the USB cable, while others require a separate power connection. USB 2.0 ports are included on all current Macintosh computers.

There are two kinds of USB connectors:

Â A connector, typically used to connect a device to a USB hub. Â B connector, typically used to connect devices together, and also to connect a device

to a computer.

Note: USB audio interfaces should always be directly connected to your computer, not via a hub or to the computer’s display, keyboard, or another peripheral.

USB (Universal Serial Bus)

PCI

PCI (Peripheral Component Interconnect) interfaces, unlike FireWire and USB interfaces, require the installation of a dedicated card in your computer. PCI provides extremely high bandwidth and fast data-transfer rates, allowing you to record and play back large numbers of files at the highest possible sample rates and bit depths.

ExpressCard

ExpressCard is an updated version of PC Card (PCMCIA) or CardBus, found on MacBook Pro computers. ExpressCard is much like the PCI interfaces described above, but the cards slide into a slot on the outside of your notebook. Express Cards and PC Cards available include audio interfaces, hard disks, networking, and SCSI interfaces, wireless adapters, and more.

Chapter 4 Setting Up Your System 91

Audio Cabling

The following types of audio cables and connectors are usually used on professional and consumer audio equipment:

Â XLR Â 1/4-Inch audio and 1/8-Inch miniplug Â RCA (Cinch) Â Toslink Â AES-EBU, S/PDIF, ADAT

XLR

XLR cables and connectors are used on professional-quality microphones, monitors, and other musical equipment. They provide a high-quality, balanced signal at a +4 dB level.

XLR connector (balanced)

1/4-Inch Audio

1/4-inch connectors (sometimes called phono or phone plugs) are used on a wide variety of professional and consumer musical equipment, including musical instruments and amplifiers, speakers, and external effects devices. They can be either balanced or unbalanced. Some devices require Tip-Ring-Sleeve (TRS) connectors. These three-contact connectors are used for balanced mono signals and unbalanced stereo signals.

1/8-Inch Miniplug

Miniplug connectors are used for audio input and output to computers, and on some consumer electronic devices, particularly portable ones.

RCA (Cinch)

RCA connectors are used on consumer audio equipment such as home stereo systems and video cassette recorders.

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1/4-inch Tip-Ring Sleeve (TRS) connector

1/4-inch Tip-Sleeve (TS) connector

Stereo miniplug connector (unbalanced)

RCA connector (unbalanced)

AES/EBU, S/PDIF, and ADAT

The AES/EBU, S/PDIF, and ADAT protocols provide a digital connection between professional and consumer audio equipment, including audio interfaces, DAT (digital audio tape) machines, mixing consoles, hardware samplers, and more.

Toslink optical digital connector

S/PDIF and AES/EBU provide two channels of audio, and ADAT optical provides eight channels of audio. You can use optical TOSLINK connectors to carry digital audio streams between S/PDIF and ADAT components.

Connecting Your Audio Interface

Logic Express supports plug and play for audio interfaces, making it possible to connect and switch on a new audio interface while Logic Express is running. An alert appears when you connect a new device, and will prompt you to select and confirm the audio interface and driver that you would like to use.

All digital audio interfaces can be susceptible to latency—a noticeable delay between the time the audio signal is produced, and when you hear it. You should always attach your audio interface directly to the computer, rather than through a hub, or daisychaining it through another device. Doing so can cause an unacceptable amount of latency, particularly with slower USB 1.1 devices.

MIDI Cabling

MIDI is an abbreviation for Musical Instrument Digital Interface—a universal 5-pin connection standard and computer language—that allows communication between MIDI devices.

MIDI Connector

Chapter 4 Setting Up Your System 93

Connecting Your MIDI Keyboard and Modules

If using a simple MIDI master keyboard, without internal tone generation facilities, you only need to connect the MIDI Out port of the keyboard to a MIDI In port on your MIDI interface—using a MIDI cable.

Keyboard

Out port

In port

Computer

MIDI interface

If the keyboard can generate its own sounds, you should also connect the MIDI Out port of the MIDI interface to the keyboard MIDI In port. If your MIDI interface offers more than one MIDI output, connect any other tone generators (or other MIDI devices, such as control surfaces that require bi-directional MIDI communication) to these.

Keyboard

Out port

In port

Computer

In port

Out port

In port

MIDI interface Tone generator

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If the MIDI interface connected to your computer only offers one MIDI output, you need to connect the MIDI In of the second tone generator to the keyboard MIDI Thru port. A third device can be connected to the MIDI Thru of the second unit, and so on.

Keyboard

MIDI Thru port

Out port

In port

Computer

In port

Out port

MIDI interface

In port

Tone generator 2

In port

Tone generator 3

The MIDI Thru port replicates the signals coming into the MIDI In port of the device. It is preferable to use a direct connection from the computer MIDI Out to a device, rather than chaining too many units, one after the other. Doing so can cause timing problems in the chain, if numerous MIDI commands are sent quickly. This is due to the slight delays introduced by each MIDI In to MIDI Thru transaction. As such, a multi input/ output MIDI interface is recommended in studios with several MIDI tone generators and controllers.

Using Multi-Channel MIDI Devices

Most modern MIDI tone generators can simultaneously receive MIDI data on multiple MIDI channels (multi-timbral MIDI devices). Each MIDI channel can be assigned a tone/ sound, such as piano, strings, bass, and so on.

To take full advantage of the capabilities of each connected multi-timbral device, you need to use separate MIDI Out ports (from the computer MIDI interface to the MIDI In ports) for each device. To explain further, imagine a scenario where:

Â There are four MIDI tone generators that are capable of receiving data on multiple

channels.

Â All devices can receive on all 16 MIDI channels Â There is only one MIDI Out from the computer, and all devices are daisy-chained via

MIDI Thru to MIDI In connections

Logic Express is capable of channelizing MIDI data (routing it to MIDI channels 1 to 16) and is also capable of sending this channelized data to specific MIDI Out ports. Unfortunately, in the scenario above, there is only one MIDI Out port available.

Chapter 4 Setting Up Your System 95

As such, all data sent on MIDI channel 1 will be sent to all four of the daisy-chained MIDI tone generators. Each MIDI tone generator will play the incoming data with the sound assigned to channel 1, which may be:

Â Bagpipes on module 1 Â A drumkit on module 2 Â A helicopter effect on module 3 and so on

While this would be colorful, it would hardly be musical, unless your tastes lean towards the avante-garde. The same applies to the other 15 MIDI channels.

MIDI, as you can see from the example, can be separated onto 16 different channels, but it can’t be separated between devices, unless a multi output MIDI interface is used.

Using the scenario above, but substituting a single output MIDI interface with a 4 output MIDI interface—connected from MIDI Out ports A, B, C, and D—to the respective MIDI In ports of each device. There are no MIDI Thru connections, which allows Logic Express to assign and send:

Â A recording/performance on MIDI channel 1 to port A/module 1. Â A separate recording/performance—also on MIDI channel 1—can be sent to port B/

module 2.

Â A further recording/performance on MIDI channel 1 to port C/module 3, and so on

with subsequent channels and modules.

In effect, having a multi output MIDI interface is somewhat like having more MIDI channels. In this scenario, it would be like having 64 independent MIDI channels—with 16 channels per port (A, B, C, and D).

Not only does this allow you to play up to 64 different sounds simultaneously through your tone generators, it also allows full MIDI control for each channel of each device. This becomes increasingly important when arranging and orchestrating such a large number of instrument parts.

If your computer offers several MIDI inputs, you can connect the MIDI outputs of other MIDI expanders and controllers to it.

USB MIDI Keyboards

If using a MIDI keyboard fitted with a USB connector, you don’t require a separate MIDI interface, as it is already built into the keyboard. Just be sure to install the driver, if needed, and connect the keyboard to your computer with a USB cable. Some modern USB keyboards and controllers are automatically recognized by Mac OS X.

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Separating a MIDI Keyboard From Its Sound Generator

If your MIDI keyboard has an internal sound source, it is important that you stop the keyboard from generating sounds directly from its own keyboard.

To explain: If you buy a new keyboard that is to be used without a sequencer, and connect it to an amplifier, you would expect the device to make a sound when you press its keys—in other words, the keyboard is directly connected to the sound generator.

When using the MIDI keyboard with Logic Express, however, this is not desirable. In this situation, the keyboard is used as a computer input device, and Logic Express will pass the incoming performance information back to the keyboard’s sound generator (or to an internal software instrument or another connected sound module, if you wish).

If the direct connection between the keyboard and its tone generator isn’t cut, this will result in a doubling of each note—one played directly from the keyboard to the internal tone generator, and another sent through Logic Express back to the tone generator.

Not only does this cause a phased sound, but it also halves the polyphony of the keyboard’s tone generator. In situations where you want to control or record another sound module or software instrument with your keyboard, you would hear both the keyboard sound (due to the direct keyboard to tone generator connection) and the sound of the software or MIDI instrument. This is why the keyboard must be separated from its own internal sound generator.

This function is known as Local Off, and is set directly on your keyboard. Don’t worry about losing the ability to use the tone generator of your keyboard. Logic Express will still be able to communicate with your keyboard tone generator just like any other connected, keyboardless, sound module or software instrument.

Note: If you cannot find the Local Off function in the MIDI menu of your keyboard, consult its manual on sequencer use. Some keyboards allow you to select from: Local, MIDI, or Both for each of their Parts (individual MIDI channels/sounds in multi-timbral MIDI devices). The MIDI setting, if applicable to your keyboard, is the equivalent of Local Off.

Chapter 4 Setting Up Your System 97

Using External MIDI Devices

Logic Express recognizes all MIDI devices set up in the Audio MIDI Setup (AMS) utility, the integrated audio and MIDI configuration tool of Mac OS X. You can find the AMS utility in the Applications/Utilities folder. For more information on use, see the AMS Help.

The Library tab displays all MIDI devices found by the AMS utility (separated into MIDI channels, if multi-channel devices) when an External MIDI track is selected. You can simply select the desired MIDI device/sub-channel to assign it to the track.

You can configure external MIDI devices in the Inspector. For more information, see “Standard Instruments” on page 899, “Multi Instruments” on page 901, and “Mapped

Instruments” on page 907.

Using External Audio Effects

If you want to send audio to an external (MIDI controlled) audio effect device, you need to insert the In/Out plug-in into one of the Insert slots of the audio channel you want to process. For further information, see “Working With External Audio Effects” on page 261.

Note: It is only practical to use the In/Out plug-in for external device routing when you have an audio interface equipped with multiple in and out ports.

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Configuring Your Audio Hardware

To use particular audio interfaces with Logic Express, the driver for the device needs to be installed, activated, and configured correctly. Drivers are software programs that enable various pieces of hardware and software to be used with Mac OS X. This allows the device to be recognized by applications, such as Logic Express, and enables data routing between software and hardware, in a format understood by both.

Selecting, activating, and configuring a particular audio driver in Logic Express is achieved in the Audio Devices preferences.

To open the Audio Devices preferences, do one of the following:

m Choose Logic Express > Preferences > Audio (or use the Open Audio Preferences key

command), then click the Devices tab.

m Click the Preferences Toolbar button, choose Audio from the pop-up menu, then click

the Devices tab.

In Mac OS X, all audio devices are accessed via Core Audio, an integral part of the operating system. Core Audio is a high-performance, low-latency audio system that allows audio interface hardware to be used by several applications at the same time.

Logic Express is compatible with all audio hardware that offers a Core Audio driver.

Chapter 4 Setting Up Your System 99

Setting Up Core Audio Devices

Logic Express automatically recognizes any installed Core Audio hardware, and will use the default settings—as defined in the Audio MIDI Setup utility (Applications/Utilities/ Audio MIDI Setup). It can, however, be advantageous to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device. This is done in the Logic Express > Preferences > Audio > Core Audio tab.

Enabled

Click this box to enable the Core Audio driver.

Note: In situations where the preferred hardware is unavailable, such as when your audio interface is not connected (or is turned off), Logic Express will automatically select the built-in audio hardware of your Macintosh.

System Memory Requirement

The amount of free RAM required (outside the memory assigned to Logic Express) is indicated here. The requirement value changes as you alter the parameters described below.

Device

Allows you to choose between any installed Core Audio device, including the internal sound hardware. This also includes aggregate audio devices, consisting of several audio interfaces. See the Audio MIDI Setup Help for information on aggregate devices.

I/O Buffer Size

This parameter determines the size of the buffer used by the audio hardware—for both input and output. The smaller the buffer size, the less latency you will encounter when monitoring while recording, or using software instruments.

Some points to note: Â As this parameter value is reduced, it places a higher strain on the CPU(s) of the

system.

Â There may be a point where the selected I/O Buffer Size is too small for your system,

and begins to affect playback. This usually takes the form of clicks, pops, and crackles in your audio.

Â You should, therefore, aim for the lowest possible I/O Buffer Size value that doesn’t

introduce these types of artefacts.

∏ Tip: If you find a higher I/O Buffer Size setting provides suitably low latency during

record monitoring and software instrument playback, you should use it. This will minimize the impact on the CPU(s) of your system.

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Apple Logic Express - 8 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Logic Express 8: Documentation and Resources

Logic Express 8 Documentation Conventions

Logic Express Onscreen Help

Apple Websites

Logic Express Websites

Apple Service and Support Website

Other Websites

1 An Introduction to Logic Express

Creating Music in Logic Express

The Basics: Projects and Regions

Projects

Regions

A Tour of the Logic Express Interface

The Arrange Window

Common Features of Logic Express Windows

Local Menu Bars

Tool Menus

Catch, Link, and Hierarchy Buttons

Scroll Bars

Zoom Sliders

Bar Ruler

Global Tracks

Interactions Between Arrange Window Areas

Using Logic Express Interface Elements

Checkboxes and Buttons

Pull-Down and Pop-Up Menus

Shortcut Menus

Using the Computer Keyboard

3 Customizing Your Window Setup

Window Types

Normal Windows

Floating Windows

Opening and Closing Windows

Moving and Resizing Windows

Working at Different Hierarchy Levels

Selecting the Working Area

Zooming

Zooming With the Scroll Bars

Zooming the Waveform of Audio Regions

Storing and Recalling Zoom Settings

Zooming in on One Section of the Screen

Reverting to the Previous Zoom Setting

Zoom Navigation Key Commands

Relationships Between Windows

Catch

No Link, Same Level Link, and Content Link Modes

Content Catch Mode

Customizing the Transport Bar

Customizing the Arrange Window Toolbar

Hiding or Revealing the Inspector

Adjusting the Bar Ruler Display

Displaying Global Tracks

Showing and Hiding Individual Global Tracks

Resizing and Moving Global Tracks

Using Screensets

Saving and Recalling Screensets

Protecting, Copying, Renaming, and Deleting Screensets

Importing Screensets From Another Project

Reverting to Saved Screensets

4 Setting Up Your System

Designing Your Music Production System

Computer

Audio and MIDI Interfaces

Types of MIDI Devices

Ancillary Audio Devices

Connecting Your Audio and MIDI Devices

Computer Expansions

Audio Cabling

Connecting Your Audio Interface

MIDI Cabling

Connecting Your MIDI Keyboard and Modules

Using External MIDI Devices

Using External Audio Effects

Configuring Your Audio Hardware

Setting Up Core Audio Devices