Apple Logic Pro 9 User manual

Logic Pro 9

User Manual

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Welcome to Logic Pro17Preface

About Logic Pro17 About the Logic Pro Documentation18 Additional Resources19

Introducing Logic Pro21Chapter 1

Creating Music in Logic Pro21 Understanding the Basics of Projects and Regions23

Setting Up Your System27Chapter 2

Designing Your Music Production System27 Connecting Your Audio and MIDI Devices34 Using External MIDI Devices42 Using External Audio Effects43 Configuring Your Audio Hardware43 Using Distributed Audio Processing45

Overview of the Logic Pro Interface51Chapter 3

Opening Logic Pro52 Introducing the Arrange Window52 Working in the Arrange Area54 Using the Toolbar55 Using the Transport Bar55 Using the Inspector56 Working in the Media Area58 Working in the Notes Area66 Working in the Lists Area68 Working in the Editing Area72 Understanding Common Elements of Logic Pro Windows76 Understanding How Arrange Window Areas Interact80 Using Logic Pro Interface Elements83 Using the Computer Keyboard85

Customizing Your Window Setup87Chapter 4

Understanding the Window Types88 Opening and Closing Windows90 Moving and Resizing Windows93 Working at Different Hierarchy Levels97 Selecting the Working Area98 Zooming the Working Area100 Understanding Relationships Between Windows105 Hiding or Showing the Transport Bar108 Customizing the Arrange Toolbar108 Hiding or Revealing the Inspector109 Adjusting the Bar Ruler Display110 Displaying Global Tracks111 Using Screensets114

Navigating Your Project119Chapter 5

Setting the Playhead Position120 Using the Transport Buttons123 Using Transport Key Commands124 Using Transport Shortcut Menus125 Using Apple Remote126 Using Cycle Mode127 Using the Chase Events Function133 Customizing the Transport Bar135

Working with Markers143Chapter 6

Opening Marker Areas and Windows144 Creating Markers146 Copying Markers149 Selecting Markers149 Deleting Markers149 Naming Markers150 Changing the Appearance of Marker Text153 Editing Markers154 Navigating with Markers156 Switching Between Marker Alternatives158 Customizing the Marker Display in the Marker List158 Importing, Removing, and Exporting Marker Information158

Working with Projects159Chapter 7

Learning About Projects159 Creating Projects160

4 Contents

Opening Projects163 Opening and Creating Projects Automatically166 Previewing Projects with Quick Look166 Importing Data and Settings from Other Projects167 Checking and Repairing Projects174 Setting Project Properties175 Managing Projects183 Saving Projects186 Closing and Quitting189

Basic Operations191Chapter 8

Using the Mouse191 Entering Numerical Values192 Entering Text193 Working with Key Commands194 Working with Tools202 Working with Help Tags209 Using the Shortcut Menu210 Using Selection Techniques211 Working with the Clipboard216 Undoing and Redoing Edit Operations217

Working with Tracks221Chapter 9

Understanding Tracks and Channel Strips222 Configuring the Track Header224 Reclaiming Workspace Used by the Track Header226 Creating Tracks and Channel Strips227 Creating Tracks Only232 Deleting Tracks in the Arrange Area234 Selecting Tracks in the Arrange Area235 Rearranging Tracks in the Arrange Area235 Naming Tracks in the Arrange Area236 Assigning Tracks in the Arrange Area239 Zooming Tracks in the Arrange Area240 Assigning Track Icons in the Track Parameter Box242 Muting Tracks in the Arrange Area243 Soloing Tracks in the Arrange Area245 Record-Enabling Tracks in the Arrange Area246 Freezing Tracks in the Arrange Area246 Hiding Tracks in the Arrange Area250 Protecting Tracks in the Arrange Area251 Using Track Button Slide Activation252 Drum Replacement or Doubling in the Arrange Area252

5Contents

Bouncing Regions and Tracks in Place255

Working with Instruments and Effects261Chapter 10

Getting to Know the Arrange Channel Strips261 Working with Plug-ins266 Working with Channel Strip Configurations272 Opening, Closing, and Resizing Plug-in Windows277 Adjusting Plug-in Parameters279 Using Common Plug-in Window Functions281 Using the Library to Choose Plug-in Settings288 Understanding the Library Folder and Menu Structure289 Learning About Effect Routings290 Working with Instruments295 Working with ReWire Applications309 Working with External Audio Effects311 Using Plug-ins from Other Manufacturers313

Adding Prerecorded Media317Chapter 11

Learning About File Formats Supported by Logic Pro317 Accessing Media Files in the Browser319 Finding Apple Loops in the Loop Browser325 Adding and Removing Audio Files335 Adding MIDI and Project Files343

Getting to Know Regions345Chapter 12

What Are Regions?345 MIDI and Audio Regions Compared348 Handling Regions in the Audio Bin and Sample Editor350

Creating Your Arrangement361Chapter 13

Getting to Know the Arrange Area362 Snapping Region Edits to Time Positions364 Using Drag Modes367 Scrubbing Your Arrangement369 Using Shortcut Menus370 Muting Regions370 Soloing Regions371 Naming Regions372 Assigning Colors to Regions375 Selecting Regions376 Adding, Recording, and Removing Regions380 Restoring Removed Regions381 Moving Regions382

6 Contents

Resizing Regions387 Cutting, Copying, and Pasting Regions393 Adding or Removing Arrangement Passages394 Creating Region Aliases398 Creating Region Clones401 Converting Regions to a New Sampler Track402 Creating Multiple Copies of Regions404 Creating Region Loops404 Dividing Regions408 Demixing MIDI Regions411 Merging Regions (General Tools and Commands)412 Merging MIDI Regions413 Merging Audio Regions413 Working with Folders415 Creating Crossfades and Fades on Audio Regions419 Setting Region Parameters424

Recording in Logic Pro431Chapter 14

Checking Hardware Connections and Settings for Recording432 Setting the Project Sample Rate432 Setting the Project Bit Depth433 Setting Up the Metronome for Recording435 Enabling Software Monitoring for Recording437 Setting the Monitoring Level for Recording439 Defining the Recording Folder439 Naming Audio Recordings440 Choosing the Recording File Type440 Setting the Recording Format442 Record-Enabling Tracks443 Getting to Know Audio Recording444 Audio Take Recording445 Audio Multitrack Recording451 Audio Punch Recording451 Audio Replace Recording454 Deleting Audio Recordings455 Getting to Know MIDI Recording455 MIDI Take Recording456 MIDI Multitrack Recording461 MIDI Merge Recording465 MIDI Replace Recording466 Retrospective Recording of MIDI Regions467 Switching Instruments to Software Instrument Live Mode468 Filtering MIDI Events When Recording468

7Contents

Turning MIDI Thru Off When Recording469 Using Advanced Recording Commands470 Coloring Takes While Recording470 Marking a Good Take While Recording472 MIDI Step Input Recording473

Editing Audio Take Recordings481Chapter 15

Getting to Know Take Folders482 Previewing Take Folder Recordings482 Toggling Take Folder Editing Mode484 Creating Comps486 Editing Comps487 Resizing Take Regions492 Cutting Take Folders and Take Regions493 Moving Take Folders and Take Regions496 Duplicating Comps or Creating New Comps498 Renaming Takes or Comps500 Deleting Takes or Comps503 Exporting Takes or Comps to New Tracks507 Moving Takes or Comps to New Tracks511 Flattening and Merging Take Folders515 Unpacking Take Folders518 Packing Regions into a Take Folder522 Opening Take Folders in the Sample Editor523

Flex Time Editing525Chapter 16

Turning on Flex View526 Choosing Flex Modes526 Getting to Know the Flex Modes529 Getting to Know Transient, Flex, and Tempo Markers531 Working with Flex Markers532 Time Stretching Using Marquee Selections538 Time Stretching Using Region Borders539 Snapping Flex Markers to Transient Markers540 Splitting Audio Regions at Transient Marker Positions541 Using the Flex Tool541 Using Varispeed to Alter Playback Speed and Pitch545

Editing Audio in the Sample Editor547Chapter 17

Opening the Sample Editor548 Getting to Know the Sample Editor549 Playing Audio Files in the Sample Editor550 Navigating Audio Files in the Sample Editor553

8 Contents

Making Selections in the Sample Editor554 Audio Editing and Processing in the Sample Editor558 Adjusting the Project Tempo in the Sample Editor569 Using Sample Editor Loop Functions569 Undoing Edit Steps in the Sample Editor570 Creating Manual Backups in the Sample Editor570 Customizing Waveform Amplitude Scale in the Sample Editor572 Customizing the Ruler in the Sample Editor572 Customizing Waveform Display in the Sample Editor574 Getting to Know the Sample Editor’s Digital Factory575 Using the Sample Editor’s “Time and Pitch Machine”576 Using the Sample Editor’s Groove Machine581 Using the Sample Editor’s Audio Energizer583 Using the Sample Editor’s Silencer586 Using the Sample Editor’s “Audio to Score”588 Using the Sample Editor’s Quantize Engine591 “Audio to MIDI Groove Template”593 Using an External Sample Editor593 Using AudioSuite Plug-ins595

Working with Tempo and Audio Regions597Chapter 18

Automatic Tempo Matching597 Setting the Project Tempo to Match an Audio Region599 Time Stretching Regions601 Using Beat Detection to Create Tempo Changes603 Importing, Removing, and Exporting Tempo Information605

Removing Silent Passages from Audio Regions607Chapter 19

Opening the Strip Silence Window607 Getting to Know the Strip Silence Window608 Removing Silent Passages from a Selected Region609 Automatic Anchor Creation610 Understanding How You Can Use Strip Silence610

Managing Audio Files613Chapter 20

Sorting, Grouping, and Renaming Files in the Audio Bin613 Moving Audio Files620 Copying or Converting Audio Files621 Deleting Audio Files623 Optimizing Audio Files623 Converting Regions into Independent Audio Files624 Exporting Tracks as Audio Files625 Exporting or Importing Region Information625

9Contents

Finding and Replacing Orphaned Audio Files625

Quantizing Audio and MIDI629Chapter 21

Understanding Region- and Event-based Quantization630 Understanding the Quantize Grid Options630 Fine-Tuning the Quantize Grid Options631 Quantizing Audio or MIDI Regions633 Quantizing Phase-Locked Audio Tracks635 Quantizing MIDI Regions Permanently637 Quantizing MIDI Events638 Working with Groove Templates640

Introduction to MIDI Editing647Chapter 22

Getting to Know the MIDI Editors647 Opening the MIDI Editors648 Hearing MIDI Events When Editing651 Editing MIDI Events in the Arrange Area651 Monitoring and Resetting MIDI Events653

Editing MIDI Events in the Piano Roll Editor655Chapter 23

Opening the Piano Roll Editor655 Getting to Know the Piano Roll Editor656 Creating and Editing Note Events in the Piano Roll Editor659 Splitting Chords in the Piano Roll Editor674 Using Hyper Draw in the Piano Roll Editor675 Customizing the Piano Roll Editor677 Using Piano Roll Editor Shortcuts677

Editing MIDI in the Hyper Editor679Chapter 24

Opening the Hyper Editor679 Getting to Know the Hyper Editor681 Creating and Editing Events in the Hyper Editor681 Working with Event Definitions691 Using the Event Definition Parameter Box696 Working with Hyper Sets699

Editing MIDI Events in the Event List705Chapter 25

Getting to Know the Event List706 Selecting and Creating Events711 Editing Events714 Deleting and Muting Events717 Soloing and Renaming Regions or Folders718 Learning About Event Types718 The Event Float Window724

10 Contents

Editing MIDI Events in the Transform Window727Chapter 26

Getting to Know the Transform Window727 Choosing and Using Transform Sets728 Learning About the Transform Presets729 Using the Transform Window Parameters740 Creating Your Own Transform Sets746 Importing Transform Sets From Other Projects747 Usage Examples747

Mixing753Chapter 27

Opening the Mixer754 Getting to Know the Mixer756 Understanding Channel Strip Types in the Mixer757 Understanding Channel Strip Controls in the Mixer758 Understanding the Basic Mixing Stages760 Working with Mixer Groups761 Muting Channel Strips765 Soloing Channel Strips766 Setting Channel Strip Levels767 Setting Pan, Balance, or Surround Position in the Mixer772 Adding and Routing Effects in the Mixer773 Controlling Signal Flow in the Mixer776 Using Surround Panning in the Mixer784 Using Binaural Panning in the Mixer785 Working with MIDI Channel Strips in the Mixer791 Customizing the Mixer795 Using the I/O Labels Window800 Adjusting Mixer Channel Strips in Record or Playback Mode801 Copying Entire Mixer Setups801 Adjusting Elements of Multiple Mixer Channel Strips802 Navigating Within the Mixer805 Assigning Colors to Channel Strips in the Mixer806 Renaming Tracks in the Mixer806 Linking Control Surfaces to the Mixer807

Working with Automation809Chapter 28

Displaying Track Automation810 Setting an Automation Mode814 Writing Track Automation Data817 Selecting Automation Nodes and Lines818 Creating Automation Nodes819 Deleting Track Automation Data820

11Contents

Copying and Moving Automation Data821 Editing Track Automation Data in the Track Header823 Snapping Automation to Grid Positions824 Offsetting Automation824 Editing Track Automation Data in the Event List826 Writing Track Automation with External Controllers826 Using Hyper Draw in the Arrange Area828 Conversion of Automation Data832

Bouncing Your Project833Chapter 29

Creating a Bounce833 Routing Channel Strips to an Output834 Defining the Bounce Range835 Defining Parameters in the Bounce Window836 Setting the Bounce Filename and Folder846 Bouncing and Dithering846

Creating Apple Loops849Chapter 30

Creating Apple Loops in Logic Pro850 Creating Apple Loops in the Apple Loops Utility853 Converting ReCycle Files into Apple Loops854 Adding Apple Loops to the Loop Browser856 Adding Acid Loops to the Loop Browser857 Using Global Tracks with Apple Loops857 Converting Apple Loops to Audio Files859 Converting the Sample Rate of Apple Loops860

Working with Notation861Chapter 31

Opening the Score Editor862 Getting to Know the Score Editor864 Understanding the Basic Scoring Stages864 Entering Notes and Symbols in the Score Editor868 Working with the Part Box874 Learning About Part Box Groups877 General Editing in the Score Editor889 Editing Notes in the Score Editor896 Creating and Inserting Rests in the Score Editor902 Editing Clefs in the Score Editor904 Editing Slurs and Crescendi in the Score Editor905 Editing Repeat Signs and Bar Lines in the Score Editor908 Working with Standard Text909 Working with Automatic Text916 Working with Lyrics917

12 Contents

Working with Chords918 Working with Chord Grids921 Working with Tablature Markings943 Working with Time and Key Signatures944 Transcribing MIDI Recordings951 Default Settings for New MIDI Regions951 Selecting Multiple Regions in the Score Editor952 Display Parameters953 Hidden MIDI Regions958 Using Note Attributes to Change Individual Notes958 Working with Staff Styles964 Using Score Sets to Create Scores and Parts985 Preparing the Score Layout for Printing991 Exporting the Score as a Graphic File996 Customizing the Score Editor’s Appearance997

Project and File Interchange1001Chapter 32

Sharing Logic Pro Data over a Network1002 Backing Up Audio Files1006 Backing Up and Sharing Projects1007 Working with Standard MIDI Files1008 Working with GarageBand Projects1011 Working with OMF Files1012 Working with OpenTL Files1013 Working with AAF Files1015 Working with Final Cut Pro XML Files1016 Working with Soundtrack Pro STAP Files1017 Exporting Individual Regions as Audio Files1018 Exporting Individual or Multiple Tracks as Audio Files1020

Advanced Tempo Operations1025Chapter 33

Using the Tempo Display in the Transport Bar1025 Using the Tempo Track1026 Recording Tempo Changes in Logic Pro1031 Adjusting the Tempo to Fit Audio Regions1031 Using the Tempo List1032 Using the Tempo Operations Window1035 Using the Tempo Interpreter Window1037 Using the Tempo Fader1040

Beat Mapping Regions1041Chapter 34

Understanding the Concept of Beat Mapping1041 Beat Mapping MIDI Regions1042

13Contents

Beat Mapping Audio Regions1044 Automatic Beat Mapping of Regions1045 Beat Mapping to Scene Markers1047 Beat Mapping to Markers1047

Editing Transposition with the Chord and Transposition Tracks1049Chapter 35

Opening the Chord and Transposition Tracks1050 Understanding How MIDI Events and Apple Loops Are Transposed1051 Creating and Editing Transposition and Chord Events1052 Using the Chord Track to Analyze MIDI Regions1054

Working in the Environment1057Chapter 36

Opening the Environment1057 Getting to Know the Environment1058 Working with Layers1059 Working with Objects1062 Creating Your MIDI Signal Path1066 Exchanging Environments1074 Customizing the Environment Display1077

Environment Objects Reference1081Chapter 37

Opening the Object Parameter Box1082 Getting to Know Common Object Parameters1082 Standard Instrument Objects1084 Multi-Instrument Objects1086 Mapped Instrument Objects1090 Touch Track Objects1095 Fader Objects1099 Alias Objects1116 Ornament Objects1118 GM Mixer Objects1118 MMC Record Buttons Objects1121 Keyboard Objects1122 Monitor Objects1122 Macro Objects1123 Arpeggiator Objects1125 Transformer Objects1127 Delay Line Objects1133 Voice Limiter Objects1134 Channel Splitter Objects1135 Chord Memorizer Objects1135 Physical Input Objects1138 Sequencer Input Objects1139

14 Contents

MIDI Click Objects1140 Internal Objects1142 Channel Strip Objects1144

Working with Video1149Chapter 38

Opening a Movie1149 Using the Movie Window1151 Using the Video Track1152 Working with Movie Scene Markers1153 Handling QuickTime Movie Audio Tracks1155

Working with Surround1157Chapter 39

Knowing the Surround Formats Supported by Logic Pro1158 Understanding the Channels Used by Surround Formats1161 Configuring Logic Pro for Surround1162 Setting the Project Surround Format1168 Setting the Input Format of Channel Strips1169 Setting the Output Format of Channel Strips1170 Changing the Appearance of Surround Level Meters1172 Working with the Surround Panner1173 Inserting Surround Effect Plug-ins1177 Using the Down Mixer Plug-in1178 Working with Multi-Channel Effects1179 Working with the Surround Master1182 Bouncing Surround Audio Files1182 Positioning Your Speakers1184 Encoding Surround Bounce Files1187

Synchronizing Logic Pro1189Chapter 40

Understanding the Synchronization Protocols1189 The Synchronization Master and Slave Relationship1190 Using External Synchronization1190 Displaying and Using SMPTE Positions1192 MIDI Machine Control1194 Synchronization Problems and Solutions1196

Working with Plug-in Latencies1199Chapter 41

Understanding Plug-in Latency in Logic Pro1199 Working in Low Latency Mode1200 Working with Plug-in Latency Compensation1201

Working with Split Channel Audio File Formats1205Chapter 42

Importing Split Channel Files1206 Working with Split Stereo Files1206

15Contents

Exporting Split Channel Files1207

Project Settings in Logic Pro1209Chapter 43

Accessing Project Settings1209 Saving Project Settings1211 Synchronization Project Settings1211 Metronome Settings1222 Recording Settings1224 Tuning Settings1226 Audio Settings1232 MIDI Settings1234 Score Settings1238 Video Project Settings1261 Assets Project Settings1263

Preferences in Logic Pro1265Chapter 44

Accessing Preferences1265 Saving Preferences1266 General Preferences in Logic Pro1267 Audio Preferences in Logic Pro1275 MIDI Preferences in Logic Pro1290 Display Preferences in Logic Pro1295 Score Preferences in Logic Pro1300 Video Preferences in Logic Pro1302 Automation Preferences in Logic Pro1303 Control Surface Preferences in Logic Pro1305 Sharing Preferences in Logic Pro1307

1309Glossary

16 Contents

Welcome to Logic Pro

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

This preface covers the following:

• About Logic Pro (p. 17)

• About the Logic Pro Documentation (p. 18)

• Additional Resources (p. 19)

About Logic Pro

Logic Pro allows you to record and edit both audio and MIDI, add high-quality effects, and mix your music in stereo or Surround. The final mix can be exported to one or more standard audio files, or burned to an audio CD or DVD that can be played on any computer, home stereo, or imported into other applications and devices.

Preface

Some of the things you can do with Logic Pro include:

• 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 Pro software instruments.

• Create, arrange, and edit MIDI projects, make use of the powerful Score Editor, then print musical notation via a printer connected to your computer.

• Edit the timing of audio files—Flex time editing—by shortening or expanding the distance between transients in the audio.

• 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.

• Make use of the integrated software instruments, including Sculpture, Ultrabeat, ES1, ES2, EVP88, EVB3, EVD6, EXS24 mkII, over a dozen high-quality GarageBand instruments, or third-party Audio Units instruments.

• Load projects or channel strips from GarageBand, and enhance them with the additional processing and editing possibilities afforded by Logic Pro.

• Mix your MIDI and audio tracks, including effects and software instrument settings, via a sophisticated total recall mix automation system. Logic Pro includes high-quality effects that you can use in your projects. You can also install and use third-party Audio Units effects and instruments.

• Bounce (mix down) all audio data, including instruments, effects and mix automation settings, to stereo ormultiple Surround format files for masteringor further processing.

• Work in real time: You can work on Logic Pro 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.

• Use existing loop libraries: Logic Pro directly supports Apple Loops files, and is compatible with a wide variety of existing audio file types, including those created in ReCycle.

• Locate and preview files easily: The Media area, part of the Logic Pro interface, provides powerful file browsing and search features, making it easy to locate audio files and other supported file types.

About the Logic Pro Documentation

Logic Studio comes with various documents that will help you get started as well as provide detailed information about the included applications.

• Logic Pro User Manual: The onscreen user manual is a comprehensive document that describes the Logic Pro interface, commands, and menus and gives step-by-step instructions for creating Logic Pro projects and for accomplishing specific tasks. It is written for users of all levels of experience. The user manual is available in Logic Pro Help (in Logic Pro, choose Help > Logic Pro Help).

• Exploring Logic Pro: This booklet presents the basics of Logic Pro in an easy, approachable way. Each chapter presents major features and guides you in trying things out. A PDF version of the printed manual is available in Logic Pro Help (in Logic Pro, choose Help > Exploring Logic Pro).

• Logic Pro Control Surfaces Support: This onscreen manual describes the configuration and use of control surfaces with Logic Pro.

• Logic Pro TDM Guide: This onscreen manual describes the essential aspects of using TDM in Logic Pro.

• Logic Studio Instruments: This onscreen manual provides comprehensive instructions for using the powerful collection of instruments included with Logic Pro and MainStage.

• Logic Studio Effects: This onscreen manual provides comprehensive instructions for using the powerful collection of effects included with Logic Pro, MainStage, and WaveBurner.

18 Preface Welcome to Logic Pro

• Logic Studio Working with Apogee Hardware: This onscreen manual describes the use of Apogee hardware with Logic Pro.

Additional Resources

Along with the documentation that comes with Logic Studio, there are a variety of other resources you can use to find out more.

Release Notes and New Features Documents

Each application offers detailed documentation that covers new or changed features and functions. This documentation can be accessed in the following location:

• Click the Release Notes and New Features links in the application Help menu.

Logic Pro Website

For general information and updates, as well as the latest news on Logic Pro, go to:

• http://www.apple.com/logicstudio/logicpro

Apple Service and Support Websites

For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles.

• http://www.apple.com/support

For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Logic Pro, go to:

• http://www.apple.com/support/logicpro

For discussion forums forall Apple products from around the world, where you can search for an answer, post your question, or answer other users’ questions, go to:

• http://discussions.apple.com

19Preface Welcome to Logic Pro

Introducing Logic Pro

This chapter gives you a conceptual overview of Logic Pro and provides an example of a common workflow when creating music in the application.

This chapter covers the following:

• Creating Music in Logic Pro (p. 21)

• Understanding the Basics of Projects and Regions (p. 23)

Creating Music in Logic Pro

Logic Pro 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.

Stage 1: Creating a Project

You begin working in Logic Pro 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 details can be found in Understanding the Basics of Projects and Regions.

Stage 2: Creating and Importing Your Musical Material

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

• Making new audio or MIDI data recordings (the lattercan be played back through either external MIDI synthesizers or software instruments).

• 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 Mac.

MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are played back through your audio interface orthe Mac audio outputs. Not only can you record the notes of yourperformance, but you can also record and play backinformation 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, for example.

Stage 3: Arranging and Editing

Once your musical material has been imported or recorded into Logic Pro, you will generally organize it into a “project structure.” This is done in the main Logic Pro 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) make it easy to see, and create, the overall song structure.

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

• 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.

• You have made a MIDI keyboard recording that is perfect except for one note that should have been a C, but is a B. No problem. Simply drag the MIDI note event from B to C.

More details can be found in Understanding the Basics of Projects and Regions.

Stage 4: Mixing, Automating, and 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.

22 Chapter 1 Introducing Logic Pro

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 Pro features numerous effects that can be used to turn your basic song into a professionally finished project.

Logic Pro allows 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:

• 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.

• Performances are rarely consistent. For example, a vocalist will often sing louder or softer during different sections of his or her 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.

• 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 levelthroughout tend to sound flat and lifeless.

Stage 5: Exporting and Bouncing

The final step of the Logic Pro music creation process is exporting your final product. Logic Pro allows you to produce a stereo file of your completed mix in a variety of audio file formats. You can also produce several stem files, formatted for most common Surround encoding schemes. You do this in the Bounce window; simply choose the desired outcome(s) in the available menus and click the onscreen Bounce button. You can even burn a stereo mix directly to a CD or DVD, or create an MP3, with one simple step.

Understanding the Basics of Projects and Regions

This section will provide you with an introduction to the basic elements and terminology of a Logic Pro project. Detailed, step-by-step instructions on working with projects, regions, and events are provided in later chapters.

Understanding the Basics of Projects

You start working in Logic Pro 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 Pro, like word processors, also allows you to have multiple documents (projects) open at the same time, and transfer media and other data between them.

23Chapter 1 Introducing Logic Pro

A Logic Pro 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 your hard disk. You have the choice of including these, and other file types, in the project folder.

This approach has two main benefits:

• Saving a project without its assets (audio, video, sample files, and so on) minimizes the memory requirements for project (and project backup) file storage.

• Saving a project with assets simplifies tasks such as archiving and transport to other Logic Pro-based studios—either physically or as email attachments.

A project can consist of the complete collection of files used, including the project itself, project backups, all audio, sampler instruments, and samples for the EXS24 or Ultrabeat, Space Designer reverb impulse response files and video. These are collectively known as the project assets.

When youcreate a new project, a project folder is created, named, and a hard disk location is specified. New recordings are automatically placed intoan Audio Files sub-folder within the project folder.

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

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

Understanding the Basics of Regions

The main window of Logic Pro 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.

24 Chapter 1 Introducing Logic Pro

Audio Regions and Audio Files

Audio region 1

Audio file

Audio region 2

Audio

region 3

Audio regions 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 only a few seconds long, playing a small portion of the audio file that they point to.

Any audio file used in Logic Pro 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. For example, 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 Pro 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.

You do this 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. You do this in the Sample Editor and Media area.

25Chapter 1 Introducing Logic Pro

MIDI Regions and Events

MIDI region

MIDI note events MIDI controller 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.

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 Pro. MIDI performances are generally created with a MIDI keyboard, but can also 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.

You can also edit individual events within a MIDI region. You do this 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 can freely enter MIDI data with your MIDI keyboard, the mouse, or computer keyboard in these editors.

For more information about MIDI and MIDI event types, see Introduction to MIDI Editing.

26 Chapter 1 Introducing Logic Pro

Setting Up Your System

Logic Pro automatically finds and configures supported audio and MIDI hardware when first installed and opened. There are many circumstances in which you may want to enhance or extend this basic automatic configuration. This chapter will help you to optimize your hardware for use with Logic Pro. It also includes background information about components your music production system can incorporate.

This chapter covers the following:

• Designing Your Music Production System (p. 27)

• Connecting Your Audio and MIDI Devices (p. 34)

• Using External MIDI Devices (p. 42)

• Using External Audio Effects (p. 43)

• Configuring Your Audio Hardware (p. 43)

• Using Distributed Audio Processing (p. 45)

Designing Your Music Production System

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

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

• A Mac computer and related peripherals, such as a mouse or other pointing device, keyboard, displays, and so on

• Additional Mac computers, which can be used to boost the processing power of your Logic Pro system via network connections. These are referred to as Logic Pro Nodes.

• Audio and MIDI interfaces

• External MIDI sound generators, such as samplers and synthesizers

• External audio devices, such as mixers, audio converters, pre-amplifiers, channel strips, effects units, and more

• External MIDI control surfaces and keyboards. Even external MIDI-controlled lighting can be driven by Logic Pro.

• Amplification and speakers for stereo or multi-channel surround mixes

• Additional software that runs alongside, and integrates with, Logic Pro. This includes a range of ReWire applications and audio or MIDI software.

• Additional effect and instrument plug-ins, including those that are DSP-accelerated, such as PowerCore

Computer

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

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

How Fast Should Your Computer 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 processors of your Mac, 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 Mac as the basis for your Logic Pro system, or perhaps considering the viability of a portable computer for on-the-road composition. The good news is that portable Mac computers are ideal for Logic Pro 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 available to notebook computers, 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 Mac, you can easily transfer projects and other data between them, and take advantage ofthe Node functionality, which harnesses the processing power of both computers for your projects.

28 Chapter 2 Setting Up Your System

Hard Disk Drives and Storage Locations

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

Consider buying a separate, large capacity hard disk 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 Pro. This will allow Logic Pro 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 Pro 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, make sure that it is certified to run on Mac hardware. If the device requires a driver, check that it is compatible with the Mac OS X version required by Logic Pro.

Logic Pro 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 about setting up your audio interface hardware can be found in Configuring

Your Audio Hardware.

29Chapter 2 Setting Up Your System

MIDI Interface

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

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

Types of MIDI Devices

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

MIDI Keyboard

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

If you don’t have a MIDI keyboard handy, Logic Pro offers the Caps Lock Keyboard, which allows you to use the computer keyboard for MIDI note entry. See Using the Caps Lock

Keyboard for MIDI Step Input.

Control Surfaces

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

Recording Light Plug-in

Logic Pro facilitates the use of a control surface plug-in, called the Recording Light, to control an external device via MIDI events. This allows you to control an external recording light or sign, warning visitors not to enter the recording studio before or during recording. Logic Pro sends a MIDI signal to turn on the external device when a track is record-enabled or when recording starts. Logic Pro sends another MIDI signal to turn off the device when tracks are made record-safe or when recording stops.

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