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.

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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.

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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.

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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.

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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.

30 Chapter 2 Setting Up Your System

Note: This control surface plug-in requires additional hardware that is not included with Logic Pro.

Synthesizers and MIDI-Controlled Effects

Logic Pro provides plenty of software instruments and effects, and can also act as a host for Audio Units plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Working with Instruments and Effects.

You can also incorporate hardware MIDI instruments and MIDI-controlled effects units to your Logic Pro music production system. These are connected via a MIDI interface, using MIDI cables. (See Connecting Your Audio and MIDI Devices.)

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 Pro.

Typically, you would connect all external devices, such as synthesizersand 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:

• A pair of audio ins and outs (or auxiliary in/out, if available) on your audio interface

• An auxilliary in/out (sometimes called FX send/return) pair on your mixing console

Both methods allow the use of Logic Pro’s In/Out plug-in, allowing 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 Pro’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 allow remote patch (preset) selection from Logic Pro. This (and control) information can be stored as part of Logic Pro project files, ensuring perfect playback from your MIDI devices the next time the project is loaded.

Ancillary Audio Devices

No discussion of a Logic Pro 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.

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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 hi-fi to monitor Logic Pro 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 usuallyonly available from professional music andstudio equipment dealers.

This type of system is recommended due to the precision it offers. Logic Pro 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-fi, portable players, and so on.

Headphones

A good set of studio headphones is handy for particular tasks, such as precise EQing 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.

Audio Mixing Consoles

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

For example, 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.

32 Chapter 2 Setting Up Your System

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; for example, a click track tothe drummer, a light drummix and click track to the bassplayer, 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 auxilliary or bus channels that can be used to simplify a number of jobs; for example, 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, rerouting 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 Pro (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 Pro 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 Pro, 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.

• 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.

• Dynamic microphones are often used for recordings with high sound pressure levels (loud signals, in other words), such as drums and percussion.

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 hiringseveral microphones for different projects is advisable.

33Chapter 2 Setting Up Your System

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 Pro and the devices. The following sections introduce you to Mac expansion capabilities, audio and MIDI cabling, and other things you should consider when connecting audio and MIDI interfaces to your system.

Computer Expansions

Depending on your Mac system, some or all of the following expansion capabilities are available, which can be used for audio and MIDI interfaces:

• FireWire (IEEE 1394)

• USB

• PCI Express

• ExpressCard/34

Note: Data transfer rates discussed in the following sections are theoretical maximums. In real-world use, this will be reduced dueto 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, as well as hard disks and other peripherals. It combines fast data transfer rates, high storage capacities, and plug-and-play connection. All current Mac computers offer FireWire connectors, and a number of FireWire audio and MIDI interfaces are available.

FireWire 400

FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is an inexpensive and easy way to capture and output high-quality digital video using a variety of camcorders and decks and is capable of data rates as high as 400 Mbps. Standard FireWire cables can be up to 4.5 meters long.

34 Chapter 2 Setting Up Your System

There are two kinds of FireWire connectors: a 4-pin connector (typically found on video

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

FireWire 400 (4-pin)

FireWire 800 (9-pin)

equipment such as camcorders or decks) and a 6-pin connector (used for computer equipment). However, some newer video equipment uses the 6-pin connector, and some video interfaces use the 4-pin connector. See your equipment’s documentation for more information.

FireWire 800

FireWire 800, also called IEEE 1394b, is the next generation of FireWire after IEEE 1394a, a higher-bandwidth version capable of data transfer speeds of up to 800 Mbps. FireWire 800 is also capable of supporting cable distances of up to 100 meters.

In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and 9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older devices to a FireWire 800 interface.

Note: FireWire 800 is commonly used to connect hard disks and other data peripherals to your computer, but this connector is rarely used to connect video devices.

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 Mbps). USB 2.0, however, transfers data at 480 Mbps. 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 Mac computers.

There are two kinds of USB connectors:

• A connector, typically used to connect a device to a USB hub

• B connector, typically used to connect devices together, and also to connect a device to a computer

35Chapter 2 Setting Up Your System

Note: USB audio interfaces should always be directly connected to your computer, not

USB (Universal Serial Bus)

XLR connector (balanced)

via a hub or to the computer’s display, keyboard, or another peripheral.

PCI Express

PCIe (Peripheral Component Interconnect Express) interfaces, unlike FireWire and USB interfaces, require that you install a dedicated card in your computer. PCIe 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/34

The ExpressCard/34 slot supports both PCIe and USB 2.0 connectivity. ExpressCards available include audio interfaces, hard disk controller (eSATA) cards, networking, wireless adapters, and more.

Audio Cabling

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

• XLR

• 1/4-inch (6.35 mm) audio

• 1/8-inch (3.5 mm) miniplug

• RCA (Cinch)

• S/PDIF

• AES/EBU

• TOSLINK Optical and ADAT Lightpipe

XLR

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

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1/4-inch (6.35 mm) Audio

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

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

Stereo miniplug connector (unbalanced)

RCA connector (unbalanced)

S/PDIF optical digital connector

1/4-inch (6.35 mm) 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 (3.5 mm) 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 videocassette recorders.

S/PDIF

Sony/Philips Digital Interface Format is a consumer-level variation of the AES/EBU digital audio protocol. S/PDIF audio data can be transmitted several ways, including:

• Via coaxial cables with an RCA connector

• Via optical TOSLINK

Connectors for S/PDIF signals are found on most consumer digital equipment, such as DAT (digital audio tape) recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces.

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AES/EBU

XLR connector

TOSLINK connector

MIDI Connector

The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for transferring digital audio typically uses XLR connectors in professional studio environments. The data protocol is essentially identical to S/PDIF.

TOSLINK Optical and ADAT Lightpipe

TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal formats, although most devices support only one of these formats:

• S/PDIF (stereo digital)

• AC-3 and DTS (5.1-channel surround)

• ADAT Lightpipe (an 8-channel digital signal)

ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This signal format uses TOSLINK optical connectors. Eight channels are supported at sample rates of 44.1 and 48 kHz using 24 bits per sample.

Connecting Your Audio Interface

Logic Pro supports plug-and-play for audio interfaces, making it possible to connect and turn on a new audio interface while Logic Pro is open. An alert appears when you connect a new device, and prompts you to select and confirm the audio interface and driver that you want 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 daisy-chaining 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.

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Connecting Your MIDI Keyboard and Modules

Computer

MIDI interface

Out port

Keyboard

In port

Computer

MIDI interface Tone generator

Out port

Keyboard

In port

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.

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 bidirectional MIDI communication) to these.

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If the MIDI interface connected to your computer only offers one MIDI output, you need

Computer

MIDI interface

Out port

Keyboard

In port

MIDI Thru port

Tone generator 2

Tone generator 3

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.

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 or 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:

• There are four MIDI tone generators that are capable of receiving data on multiple channels.

• All devices can receive on all 16 MIDI channels.

• There is only one MIDI Out from the computer, and all devices are daisy-chained via MIDI Thru to MIDI In connections.

Logic Pro 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.

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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:

• Bagpipes on module 1

• A drumkit on module 2

• 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 avant-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 four-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 Pro to assign and send:

• A recording/performance on MIDI channel 1 to port A/module 1

• A separate recording/performance—also on MIDI channel 1—to port B/module 2

• 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-outputMIDI interface is something like having more MIDI channels. In this scenario, it would be like having 64 independent MIDIchannels—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.

Using 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.

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.

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For example, 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 Pro, however, this is not desirable. In this situation, the keyboard is used as a computer input device, and Logic Pro passes the incoming performance information back to the keyboard’s sound generator (or to an internal software instrument or another connected sound module, if you like).

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

Using External MIDI Devices

Logic Pro 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, ifmulti-channel devices) when an External MIDI track is selected.You can simply select the MIDI device/sub-channel to assign it to the track.

You can configure external MIDI devices in the Inspector. For more information, see

Standard Instrument Objects, Multi-Instrument Objects, and Mapped Instrument Objects.

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Using External Audio Effects

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

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.

Configuring Your Audio Hardware

To use particular audio interfaces with Logic Pro, 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 Pro, and enables data routing between software and hardware, in a format understood by both.

You select, activate, and configure a particular audio driver in Logic Pro in the Audio Devices preferences.

To open the Audio Devices preferences

Do one of the following:

Choose Logic Pro > Preferences > Audio (or use the Open Audio Preferences key

command), then click the Devices tab.

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Click the Preferences button in the Arrange toolbar, choose Audio from the pop-up menu,

then click the Devices tab.

The Devices pane contains three further tabs: Core Audio, DAE, and Direct TDM.

In Mac OS X, all audio devices (with the exception of DAE and Direct TDM 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 Pro is compatible with all audio hardware that offers a Core Audio driver.

Logic Pro also supports DAE (Digidesign Audio Engine) and Direct TDM. These drivers are used for the operation of Digidesign HD system hardware, and allow Logic Pro to access the on-board DSP chips of these devices.

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All information about the DAE and Direct TDM panes can be found in the Logic Pro TDM Guide.

Setting Up Core Audio Devices

Logic Pro automatically recognizes any installed Core Audio hardware, and uses 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. If possible, you should avoid using different audio devices for input and output.

For details about setting up your Core Audio device preferences (in the Logic Pro > Preferences > Audio > Core Audio pane), see Core Audio Device Preferences.

DAE and TDM

All information on using the DAE (Digidesign Audio Engine) and TDM hardware with Logic Pro can be found in the Logic Pro TDM Guide.

Using Distributed Audio Processing

Distributed audio processing allows you to expand the processing capacity of your Logic Pro system. It does this by offloading calculations for software instruments or effects to additional Mac Node computers, connected via Gigabit Ethernet. This is perfect when using numerous instances of processor-intensive software synthesizers or effects, such as Sculpture or Space Designer.

Additional Mac computers do not require further copies of Logic Pro, nor any MIDI or audio hardware.

You can find the Logic Pro Node Installer on the Logic Pro Installation DVD. Install it, and set the system volume of your Node machine as the destination. The Logic Pro Node application has no parameters or GUI elements. It simply needs to be open on the Node machine before you start Logic Pro.

Tip: If you plan to use a Mac solely as a Node machine, you may want to place the Logic Pro Node application in the Startup Items folder. You may also consider using Apple Remote Desktop to control additional Mac computers from your primary system. In this scenario, your Node machines don’t need their own monitors or keyboards.

Considerations for Distributed Audio Processing

Distributed audio processing actually uses the built-in networking capabilities of Mac OS X. You will need to set up an Ethernet network connection between all computers, via the Network pane of the System Preferences. See Mac Help for details on setting up a network.

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Networking Considerations

The primary (host) computer will be a Macintosh computer with an Intel core processor, equipped with a Gigabit Ethernet port. Ideally, node machines need one or more Intel processors (a Gigabit Ethernet port is standard on all Intel Mac computers).

If you want to run multiple nodes, a Gigabit Ethernet switch is required.

It is recommended that you only use the network for distributed audio processing when Nodes are active—other activities will affect performance.

Note: You must disable the software firewall. If you want to access the Internet via your network, use of a router with a hardware firewall (or separate computer with a firewall), is recommended.

Plug-in Considerations

Some Audio Units effects may not support the Node functionality of Logic Pro. You can disable the Node processing for incompatible Audio Units effects in the AU Manager application.

A number of Node-compatible third-party Audio Units effect plug-ins may open a dialog on the Node machine. You will not see this dialog on the host machine (unless Remote Desktop is in use). The Open dialog will lead to timing errors, and the connection to the Node will be disrupted.

Important: You can only process a plug-in on Node machines when all Nodes have an

identical version of this plug-in installed.

Enabling Distributed Audio Processing

The following assumes that you have correctly installed the Logic Pro Node application (and have an identical plug-in set) on all Node machines, and that it is open.

To set up, and activate, nodes in Logic Pro

1 Open the Nodes preferences by doing one of the following:

• Choose Preferences > Audio (or use the Open Audio Preferences key command), then click the Nodes tab.

46 Chapter 2 Setting Up Your System

• Click the Preferences button in the Arrange toolbar, choose Audio from the pop-up menu, then click the Nodes tab.

2 Select the Enable Logic Nodes checkbox, and select computers in the list below:

• Selected (active) Nodes are used by the host (Logic Pro system).

• Dimmed (inactive) Nodes are due to one of the following:

• The machine is not connected to the network.

• The machine does not have the Logic Pro Node application running.

• The machine is in use by other hosts. They can remain checked for future use (when

Logic Pro is next opened).

• Unselected Nodes are not used by the host—they are, however, available to other hosts.

• The list retains a history of previously connected Nodes. You can remove Nodes by clicking the Remove button. This is useful if you’ve renamed a Node machine, or if you’re sure that a Node machine will never be used again.

3 In the Arrange area, configure the track header to display the Track Node buttons:

a Open the Track Configuration window by choosing View > Configure Track Header (or

use the corresponding key command). You can also Control-click (or right-click) any track header in the track list.

b Select the Track Node button’s checkbox.

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The Track Node buttons have four possible status indicators:

Disabled

Enabled and inactive

Enabled and active

Sync pending

• Disabled: The track is calculated on the local host (in Logic Pro, as per usual).

• Enabled and inactive: This track can potentially be calculated on the Node.

• Enabled and active (glowing): The track is actually being calculated on the Node.

• Sync pending: Data synchronization between the host and Node has not yet been established (if the Node is not running, for example).

4 Click a Track Node button in the track list to offload that track’s processing duties to a

Node.

Tip: You can use track button slide activation to enable distributed audio processing on multiple tracks. See Using Track Button Slide Activation.

5 Click an active Track Node button to disable distributed audio processing for the track.

Important Information on Using Nodes

Logic Pro automatically determines if enabled tracks are actually calculated on a Node (and which Node, if multiple Node machines are available), or on the host computer. This depends on system resources and network traffic.

The distribution of tasks to Nodes is based on an estimate of the processing resources a certain stream will cost the host system. While the processing load of audio effects is relatively constant, the performance of software instruments may vary greatly, depending on the chosen setting, and on the number of simultaneously played voices.

Compensation of latencies caused by the network and processing occurs on playback tracks—audio or software instrument, resulting in perfect timing—but this is obviously not possible for live performance tracks.

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What Can’t Be Processed on a Node

The Node buttons are available for all audio and software instrument tracks. There are, however, some exceptions:

• EXS instruments: These are always calculated on the host. The reason for this is the potentially demanding transfer of samples via the network, resulting in a slowdown of audio processing over the network. The sample library needs to be present on the host computer itself.

• Multi-output instruments such as Ultrabeat: Further to this, Ultrabeat also has a similar problem to the EXS24 with sample-based kits.

• Audio Units software instruments: When an Audio Units software instrument track is selected, the Node button is automatically turned off.

The Logic Pro Node application can process Audio Units effects.

It is possible, however, that some Audio Units effects may not support the Node functionality of Logic Pro. You can disable the Node processing for incompatible Audio Units effects in the Audio Units Manager.

It is not possible to calculate input, output, bus, or aux channels on a Node.

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Overview of the Logic Pro Interface

The Logic Pro interface features several areas, each specialized for particular tasks. This chapter introduces you to the Arrange window, which can incorporate all areas and editors. You’ll learn how it interacts with other Logic Pro windows and editors. You are encouraged to open Logic Pro to view these windows and editors, and to familiarize yourself with them. Click and explore the various parts of the Logic Pro 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.

Note: Detailed information about the various editors and their functions can be found in cross-referenced chapters.

This chapter covers the following:

• Opening Logic Pro (p. 52)

• Introducing the Arrange Window (p. 52)

• Working in the Arrange Area (p. 54)

• Using the Toolbar (p. 55)

• Using the Transport Bar (p. 55)

• Using the Inspector (p. 56)

• Working in the Media Area (p. 58)

• Working in the Notes Area (p. 66)

• Working in the Lists Area (p. 68)

• Working in the Editing Area (p. 72)

• Understanding Common Elements of Logic Pro Windows (p. 76)

• Understanding How Arrange Window Areas Interact (p. 80)

• Using Logic Pro Interface Elements (p. 83)

• Using the Computer Keyboard (p. 85)

Opening Logic Pro

There are several ways to open Logic Pro.

To open Logic Pro

Do one of the following:

Double-click the Logic Pro icon in the Finder > Applications folder.

Click the Logic Pro icon in your Dock.

Double-click a Logic Pro project file.

When you open Logic Pro 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 Templates dialog, see Creating Projects.) The setup of the Logic Pro interface depends on the chosen template.

Introducing the Arrange Window

The Arrangewindow can incorporate allworking areas and editors. It features the following areas, each of which can be displayed or hidden within the Arrange window:

• Toolbar, at the top of the window

• Transport bar, at the bottom of the window

• Editing area, horizontally tiled, below the Arrange area

• Media, Notes, or Lists area, vertically tiled, right of the Arrange (and editing) area

• Inspector, vertically tiled, left of the Arrange (and editing) area

If an area is not visible, clicking the appropriate toolbar or Arrange area button opens it, and resizes any existing areas to accommodate the new area.

Tip: Many areas can also be opened as separate windows, independent of the Arrange window. This is done using the Windowmenu (or withthe corresponding key commands) or by dragging the appropriate area out of the Arrange window.

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Click this button to display the Toolbar.

Arrange area

Click this button to

display the Lists area.

Click this button to display the Inspector.

Arrange window

Toolbar

Click this button to

display the Notes area.

Click these buttons to display one of the editors.

Transport bar

Media area

Inspector

The following is an overview of the main elements in the Arrange window:

• Arrange area: This is where you record audio and instrument parts as regions, and arrange these audio and MIDI regions into a project structure.

• Toolbar: Thisis where you have quick access to buttons for frequently used commands.

• Transportbar: This is where you find the controls 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 Pro windows that offer real-time display of playback—namely the Arrange window and editors.

• Inspector: There is where you set track and region parameters when working in the Arrange area, or the parameters of the editing window with key focus. For example:

• Clicking the Score Editor button (above the Transport bar) shows all scoring symbols

in the Inspector.

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• Clicking the Hyper Editor button (above the Transport bar) displays the parameters

Bar ruler

Track list

Composition area

of the currently selected hyper definition (selected row within the Hyper Editor).

• Notes area: This is where you’ll find tabs to view or edit project and track notes, when the Notes button in the toolbar is clicked.

• Lists area: This is where you’ll find various tabs to view MIDI events (Event List), tempo events (Tempo List), and more, when the Lists button in the toolbar is clicked.

• Media area: This is where you’ll find 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 toolbar is clicked.

• Editing area: This is where you can open or close the Mixer, Sample Editor, Piano Roll Editor, Score Editor, or Hyper Editor directly in the Arrange window. Simply click 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.

Working in the Arrange Area

The Arrange area is showndirectly below the Arrange toolbar. It is used to record, import, collate, and organize MIDI and audio data containers, known as regions, in a project. The following are some of the main elements you’ll find in the Arrange area:

• 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 functions that can be used to mark project sections for different playback and recording tasks. For detail, see Navigating Your Project.

• Composition area: This is where all MIDI and audio regions are displayed on horizontal lanes, called tracks, aligned to time positions in a grid-like layout.

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

Display areaTransport buttons Mode buttons

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

Using the Toolbar

The toolbarappears at thetop of theArrange window and containsbuttons for frequently used commands. It can be displayed or hidden by clicking the button in the top-right corner of the Arrange window.

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 Toolbar.

Using 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 Pro, such as recording over a repeatedly cycled section, or listening to a part in isolation.

The Transport bar consists of three parts:

• Transport buttons: Used to navigate your project.

• Display area: Provides information that helps with project navigation.

• 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 orBar display window. For more information, seeHiding or Showing the Transport

Bar.

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Using the Inspector

The Inspector can be displayed or hidden by clicking the Inspector button in the Arrange toolbar. The horizontal size of the Inspector cannot be altered. The content displayed in the Inspector depends on the area in key focus: either the Arrange area or one of the editing areas below it. In situations where the area in key focus does not provide a parameter area, the Inspector for the Arrange area is displayed.

Note: The Inspector updates to display the parameters of the window with key focus. Details of window-specific parameters are found in the chapters for each window.

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The following image shows the Inspector when the Arrange area is in key focus.

Region Parameter box

Track Parameter box

Arrange channel strips

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

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

quantization, for individual or multiple regions on track lanes. None of the parameters in the Region Parameter box actually alters 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.

on the track lane are affected by any changes made here (as all regions are routed through this channel strip).

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• Arrange channelstrips: The left channel strip controls the output of the selected arrange track. The righ channel strip can vary, depending on actions performed in the left channel strip. For example, the right channel strip can display the first aux or output destination channel strip for the left channel strip. This feature 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 strip functions (volume, pan, sends, inserts, and so on) directly from the Arrange area. Any adjustments you make to a track’s arrange channel strip are reflected in the corresponding Mixer channel strip, and vice versa.

To show or hide the contents of the Region or Track Parameter boxes

Click the disclosure triangle to the left of the name in either box.

The contents of that box are displayed or hidden. Closing either box provides room for the elements below.

To open the Region Parameter box as a floating area

Do one of the following:

Control-click (or right-click) the Region Parameter box, then choose Region Inspector

Float (or use the corresponding key command, default assignment: Option-R).

Double-click the Region Parameter box.

Working in the Media Area

The Media area can be opened or closed by clicking the Media button in the Arrange 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:

• Audio Bin: Helps you to manage all audio files used in the project.

• Loop Browser: Used to search for loop files (Apple Loops, for example).

• Library: Used to search for (and can directly assign) plug-in, channel strip, and MIDI instrument settings.

• File Browser: Used to search for all Logic Pro related files.

Introducing the Audio Bin

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

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You can add, edit, delete, and rename audio files and regions in the Bin. All audio files

Name column

Loop button

Play button

Info column

and regions can be dragged directly from the 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 Bin, allowing easy access during project construction.

• Name column: Displays all audio files in the current project by name. The disclosure triangle tothe left ofthe filename reveals all regionsassociated with the selected audio file.

• 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, stereo, or surround 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, and surround files by five circle symbols.

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

• Loop button: Click to hear the selected audio file or region repeatedly. Click a second time to stop playback.

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

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Introducing the Loop Browser

Search field

Category buttons

Click to narrow the search for appropriate loops.

Search Results list

Displays all loops that match the search criteria.

View buttons (Music view is the default view.)

View menu

Volume slider

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

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

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

Category columns

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.

• 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.

• View pop-up menu: Restricts displayed loops to a specific loop library.

• Search field: Type text in the field to display files with names that contain the search text string.

• Category buttons(Music viewand SoundEffects view only): Click to display files matching the category in the Search Results list.

• Category columns (Column view only): Select a category column to display its subcategories.

• Search Results list: Displays all loops that match the set search criteria.

• Volume slider: Adjusts the playback volume of the selected file.

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Introducing the Library

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

• Channel strip settings (.cst)

• Plug-in settings (.pst)

• EXS instruments (.exs)

• Environment instruments, and programs or banks of MIDI instruments created in the Audio MIDI Setup utility

• 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 files are displayed in the Search Results list. When you find a file you want to use, you can load it by selecting it.

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View buttons

Back and Forward buttons

Action pop-up menu

Search field

Search filters

File list

Path menu

Computer, Home, and Project buttons

Play button

Volume slider

Introducing the File Browser

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

• Logic project files

• Song files of older Logic versions

• GarageBand projects

• All project interchange file formats Logic Pro is compatible with (OMF, AAF, OpenTL, XML, MIDI files)

• Audio files

• QuickTime movies

• Back andForward buttons: Move through previously viewed levels of the folder hierarchy.

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• Path menu: Displays the levels of the file path to the current location, allowing you to move back to a previous level.

• Computer button: Displays the contents of the local hard disk, optical drive, and other storage media connected to your computer, if applicable.

• Home button: Displays the contents of your home directory.

• Project button: Displays the contents of the current project folder.

• View buttons: Switches the file list between Column and List view.

• 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 Pro always searches at the displayed location.

• Search filters: Use the menus to narrow down your search to specific file types, file formats, date, size, and other criteria.

• File list: Displays Logic-related files and folders at the current location. In Column view, you can browse folder contents by selecting the folders.

• 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.

• Volume slider: Adjust the playback volume of the selected file.

• Play button: Click to hear the selected file. Click a second time to stop playback.

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Working in the Notes Area

The Notes area can be opened or closed by clicking the Notes button in the Arrange toolbar. It provides two independent tabs that show the following information:

• Project Notes: Displays notes that are associated with the project.

• Track Notes: Displays notes that are associated with individual tracks.

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Introducing Project Notes

The Project pane displays project-specific notes, of which there can only be one set per project. You can use this pane to create, edit, or delete project notes.

• Project Text area: Enter project-specific text here.

• Project Text Edit button: Activates project text editing mode.

• Project name field: Displays the project name.

Introducing Track Notes

The Track pane displays track-specific notes, of which there can only be one set per channel strip object. You can use this pane to create, edit, or delete track notes.

• Track Text area: Enter track-specific text here.

• Track Text Edit button: Activates track text editing mode.

• Track number and name: Display the number and name of the current track selection.

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Working in the Lists Area

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

• Event List: Displays regions or MIDI events in the project.

• Marker List: Lists all markers in the project.

• Tempo List: Displays all tempo changes in the project.

• 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.

Introducing 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 when 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.

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The Event List can display two types of data: region-related or event-related. The

Event type buttons

Region display Event display

Hierarchy button

Create and Filter buttons List area

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.

• Hierarchy button: Click to move up one level in the Event List hierarchy. This allows you to see all regions in the current project.

• Create and Filter buttons: Determine the function of the event type buttons. When you activate 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.

• 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).

• List area: Shows the actual list of events or regions, separated into columns. For details, see Editing MIDI Events in the Event List.

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Introducing the Marker List

Marker Text Edit button

Create button

Marker List area

Marker Text area

Marker Text Area button

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 canclick a marker name to jump to (move the playheadto) that marker position.

• Create button: Creates a new marker.

• Marker List area: Displays all markers in your project.

• Marker Text Area button: Click to display the optional Marker Text area, allowing you to enter or edit marker text.

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

• Marker Text Edit button: Activates marker text editing mode.

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Introducing the Tempo List

Create button

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.

• Create button: Click to create a new tempo event.

• Tempo list: Displays all tempo changes, and their position in a project.

• Additional Infobutton: Displays all additional tempo changes located on a tempo curve, and their position in a project.

Introducing 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.

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

The initial time and key signature of the project is always displayed at the top of the list, without bar position indicators.

events.

Working in the Editing Area

You can open the following editing areas directly in the Arrange window by clicking the corresponding button at the bottom of the window.

• Mixer

• Sample Editor

• Piano Roll Editor

• Score Editor

• Hyper Editor

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Introducing the Mixer

Channel strips and channel strip controls

Filter buttons

View buttons

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 channel strips.

• Channel strips: Use to process audio or MIDI information that is routed from arrange tracks.

• Channel strip controls: Use to adjust the level and other aspects of the audio signal played through the channel strip.

• View buttons: Use to switch the Mixer between Single, Arrange, and All views, limiting the Mixer view to channel strips required for the task at hand.

• Filter buttons: Use to filter the display of specific channel strip types.

Full details can be found in the Mixing chapter.

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Introducing the Sample Editor

Info display

Region area

Waveform overview

Ruler

Waveform displayAnchor

Playhead

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). TheSample Editor alsofeatures 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.

• Ruler: Indicates the position and length of the region selected in the Arrange area, or in the Audio Bin.

• Info display: Displays the start point and length of the selected area.

• Waveform overview: Displays a miniature view of the entire audio waveform.

• Waveform display: Provides a detailed view of the waveform area selected in the waveform overview.

• Playhead: Reflects the current playback position.

• Anchor: Indicates the absolute start point of the audio file.

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

Full details can be found in Editing Audio in the Sample Editor.

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Introducing 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 Editing MIDI Events in the Piano Roll Editor.

Introducing 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.

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Details on using the Score Editor can be found in Working with Notation.

Event Definition Parameter box

MIDI events

Event definitions

Introducing 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:

• Add or edit controller data, such as note velocities. It makes some editing tasks—such as data scaling—much faster.

• Quickly create and edit MIDI drum parts.

• Event definition: Each horizontal row (or lane) provides an event definition, which determines the type of event displayed or affected. When you select a row in the name column, its event definition is shown in the Inspector’s Event Definition Parameter box.

• 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.

Full details can be found in Editing MIDI in the Hyper Editor.

Understanding Common Elements of Logic Pro Windows

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

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Local Menu Bars

Local menu bar

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

Tool Menus

The tools available in the Tool menus of each window are specific to tasks performed in the window. For example, 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-click Tool menu assignsthe Left-click tool. The Command-click Tool menu assigns the Command-click tool. A further Tool menu (Right-click Tool menu) appears if the right mouse button is assigned to a tool. For full details, see Working with Tools.

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Catch, Link, and Hierarchy Buttons

Hierarchy button

Catch buttonLink button

Most windows contains Catch, Link, and Hierarchy buttons. These are used to tie or associate Logic Pro windows, and can aid in navigating through different levels of your project structure. For example, if you click a region in the Arrange area, the contents of a linked window (the Piano Roll Editor, for example) update immediately to show the events within the region.

Scroll Bars

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

Zoom Sliders

Vertical and horizontalsliders are shown at thebottom-right corner of thewindow. These allow you to horizontally or vertically resize the contents of the window, giving you a closer or more distant view of data.

Bar Ruler

All linear editing windows feature a Bar ruler at the top. Theposition of regions and events

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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.

Global Tracks

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

• Marker track: Contains markers, which are used to label bar positions and parts of the project. Their length, text, and color can be edited freely. For further information, see

Working with Markers.

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

Using the Tempo Track.

• Beat Mapping track: Allows you to assign a bar position to any musical event (both MIDI notes and distinct accents in audio regions). This makes it possible to adjust the musical timelineto the original timing of aMIDI 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. For further information, see Beat Mapping Regions.

• Signature track: Contains the basic key of the project, along with all time and key signatures, as they are displayed in theScore Editor. For further information, see Working

with Time and Key Signatures.

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• 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 note of the chords determines the transposition (pitch shifting) of all Apple Loops, and can also affect the playback of MIDI regions. For further information, see Editing

Transposition with the Chord and Transposition Tracks.

• 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 is reflected in the Transposition track, and vice versa. For further information, see Editing Transposition

with the Chord and Transposition Tracks.

• 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 detected automatically and marked. For further information,see Using the Video Track.

Understanding How Arrange Window Areas Interact

The Arrange window contains various areas that interact with each other. This gives you access to all files, editing methods, and track and channel strip parameters in one place, making your workflow much faster. The following task outlines how these Arrangewindow areas work in harmony, to accelerate music production.

To understand how Arrange window areas interact

1 Open the Media area by clicking the Media button in the Arrange toolbar.

2 Click the File Browser tab, then browse to a folder that contains audio files.

3 Select the audio filename and drag it to an audio track lane in the Arrange area.

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

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

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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 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 Loop

Browser’s Search Results list.

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 is created in the Arrange area.

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Tip: If no software instrument track exists, you can also drag the Apple Loop from the Loop Browser directly into the blank Arrange area. A track and corresponding channel strip 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.

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

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

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

Because 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.

Using Logic Pro Interface Elements

You can access all of the buttons, switches, sliders, and menus in the Logic Pro interface using the mouse and computer keyboard.

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Checkboxes and Buttons

Checkboxes are square boxes that are selected 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 asimilar fashion, in that the function they represent is temporarily enabled (while the button is clicked, and usually illuminated).

A second click on the button disables the function. 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. Agood example are the Type radio buttons in the NewTracks dialog.

Pull-Down and Pop-Up Menus

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

In some menus, an arrow is shown beside one or more items, indicating a submenu. To choose an item from a submenu, 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.

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If you want 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 Pro 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 Pro > Preferences > General > Editing pane.

Using the Computer Keyboard

You can access most Logic Pro functions with key commands. Whenever this documentation 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 Pro workflow. Throughout this documentation, 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 documentation, and make use of these default key commands while familiarizing yourself with Logic Pro. Not only will this help you to remember them, but will also aid you in developing good (and faster) working practices from the outset.

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Once you have a good understanding of Logic Pro fundamentals, and how you like to work, you can freely assign your own set of key commands. Logic Pro functions and options that can be assigned to key commands can also be assigned to MIDI commands, sent from your MIDI controller. More detail on these advanced topics can be found in

Working with Key Commands.

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Customizing Your Window Setup

Logic Pro 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 window, 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), and recall them by pressing a key. All open windows in a project are constantly updated, following the position of the playhead. Alterations made in one window are immediately reflected in all other open windows. For 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 and editors are covered in their respective chapters.

This chapter covers the following:

• Understanding the Window Types (p. 88)

• Opening and Closing Windows (p. 90)

• Moving and Resizing Windows (p. 93)

• Working at Different Hierarchy Levels (p. 97)

• Selecting the Working Area (p. 98)

• Zooming the Working Area (p. 100)

• Understanding Relationships Between Windows (p. 105)

• Hiding or Showing the Transport Bar (p. 108)

• Customizing the Arrange Toolbar (p. 108)

• Hiding or Revealing the Inspector (p. 109)

• Adjusting the Bar Ruler Display (p. 110)

• Displaying Global Tracks (p. 111)

• Using Screensets (p. 114)

Understanding the Window Types

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

Working in Normal Windows

You can open as many normal windows as you like, including several of the same type. Even though the contents of all windows are constantly updated, only one window is ever the top, or active, window. This is the window that is in the foreground when several normal windows overlap. It is referred to as having key focus.

Key focus windows can be recognized by a title bar that is illuminated (with the title bar text in black) and a white focus frame around the window content.

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Key focus areaswithin windows—such as theArrange window—are indicated by a white focus frame around the focused area.

To assign key focus to a window or area

Do one of the following:

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

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

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

Be careful if using the latter option, as you may accidentally insert an event or region if the Pencil tool is active in the window.

The Arrange window can 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 window 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 backward.

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.

Working in Floating Windows

Floating windows are so-named because they always float in the foreground, even above the key focus window. (Opening numerous floating windows inevitably leads to them covering each other—click the one you want to move to the foreground.)

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The Preferences and Project Settings windows are examples of 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.

Handling Background Windows

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

In background windows, you cannot 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. For example, suppose you have an Arrange window with the Piano Roll Editor and Event List visible: the Pointer tool is active in the Arrange area, the Pencil tool is active in the Piano Roll Editor, and the Eraser tool is active in the Event List. The tool automatically becomes active as you drag the mouse pointer across the boundaries of each window.

Opening and Closing Windows

There are various ways to open and close windows in Logic Pro.

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To open a window

Do one of the following:

Choose Window > [window type] (Arrange, Score, and so on) in the main menu bar (or

use the corresponding key command).

Each window type has a corresponding key command that opens the window, without using the mouse. For example, Command-1 opens the Arrange window, Command-2 opens the Mixer, and so on. The key command designations are shown beside each window namein the Windowmenu. It’s a good ideato learn anduse these key commands, rather than the mouse, as they will speed up your workflow.

Drag the appropriate tab (Audio Bin, Event List, and so on) out of the Arrange window.

The tab you drag becomes an independent window.

You can open multiple windows of the same type, which may be useful when you want to individually display and alter the contents of several regions in a particular editor type. However, in order to streamline window management and avoid accidentally opening multiple windows of the same type, the following behavior is observed when opening windows:

• If the requested window type is in the background of the screenset, it is brought to the foreground.

• If the requested window type is already in the foreground, another window of the requested type is opened.

• If the requested window is not open in the current screenset, it is opened.

There are also a number of ways to open the Logic Pro editors in the Arrange window.

To open the Logic Pro editors

Do one of the following:

Click the appropriate button at the bottom of the Arrange window.

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Drag a button at the bottom of the Arrange window. The button changes to the editor

window as you drag it.

Double-click an audio region in the Arrange area to open the Sample Editor at the bottom

of the Arrange window.

Double-click a MIDI region in the Arrange area to open the default editor at the bottom

of the Arrange window.

Note: You can determine the default editor by choosing a menu item from the “Double-clicking a MIDI region opens” pop-up menu in the Logic Pro > Preferences > General > Editing pane.

Hold down the Option key and double-click 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 areaof the assigned type in the active Arrange window. If the window is not available as an Arrange window area, it is opened as an independent window. For example, in the Arrange window you can open and close (toggle) the Lists and Media areas with the Toggle File Browser key command, Toggle Library key command, and so on.

There are also a number of ways to close windows in Logic Pro.

To close a window

Do one of the following:

Choose File > Close in the main menu bar (or use the Close Window key command, default

assignment: Command-W).

This closes the window with key focus.

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Click the close button at the top-left corner of the window.

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

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

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 pointer changes to a Resize pointer. The vertical height of the Mixer area is memorized independently. All other editing areas share the same height.

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

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Here is an example of a possible window setup: Imagine you want to edit the MIDI notes

Resize pointer

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, because it only needs to be used for region selection duties.

To move a window

Click and hold the title bar and drag the window to a new position.

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To adjust the size of a window

Do one of the following:

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

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

the Resize pointer, drag in any 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.

To maximize a window

Do one of the following:

Select the window, then choose Window > Zoom.

Click the zoom button (the rightmost button of the three window controls) in the top-left

corner of the window.

Click the zoom button again to restore the original window size.

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To minimize a window

Do one of the following:

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

command, default assignment: Command-M).

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

corner of the window.

An icon (a minimized version of the window) is placed in the Dock. The window can be restored by clicking the icon in the Dock.

To adjust the size of a plug-in window

Do one of the following:

Drag the lower-right corner of the plug-in window. This scaling applies to individual

plug-ins.

Choose the window size in the plug-in window’s View menu. This scaling applies to

individual plug-ins.

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Set the default size for plug-in windows in the Logic Pro > Preferences > Display > Mixer

pane. This scaling applies to all plug-ins.

Working at Different Hierarchy Levels

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

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

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 the background of the editing area of a window also moves up one display level.

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In the Piano Roll and Hyper Editors, a step up the display hierarchy shows the events of

Scroll bar Scroll bar

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 list of individual events, along with region positions, names, track numbers, and lengths. The MIDI region that you were just editing is selected within the list of region names.

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

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

Selecting the Working Area

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

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You can move the visible section by clicking the scroll arrows, or dragging the scroller.

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

There are two points to note:

• 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.

• The visible section changes as you move the scroller.

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.

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 moved one of the scrollers to one of its extreme positions.

In the Arrange area, Event List, Hyper Editor, and Piano Roll Editor, 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 and works in the currently active window.

Note: When a marquee selection is active, using this key command moves the visible section of the edit window to mirror the marquee selection.

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To scroll both vertically and horizontally at the same time

Vertical zoom control

Horizontal zoom control

Do one of the following:

Press Shift-Control, click-hold the Arrange window background, thendrag it in the desired

direction.

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 from the initial clicked position determines the scrolling speed.

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

Zooming the Working Area

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

• See more events or regions in the same amount of screen space (zoom out)

• See a detailed display of events or regions (zoom in)

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

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

To zoom out

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

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Apple Logic Pro 9 User manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Welcome to Logic Pro

About Logic Pro

About the Logic Pro Documentation

Additional Resources

Introducing Logic Pro

Creating Music in Logic Pro

Understanding the Basics of Projects and Regions

Understanding the Basics of Projects

Understanding the Basics of Regions

Audio Regions and Audio Files

MIDI Regions and Events

Setting Up Your System

Designing Your Music Production System

Computer

How Fast Should Your Computer Be?

A Portable or Fixed Studio?

Hard Disk Drives and Storage Locations

Audio and MIDI Interfaces

Audio Interface

MIDI Interface

Types of MIDI Devices

MIDI Keyboard

Control Surfaces

Recording Light Plug-in

Synthesizers and MIDI-Controlled Effects

Ancillary Audio Devices

Audio Playback System

Headphones

Audio Mixing Consoles

Microphones

Connecting Your Audio and MIDI Devices

Computer Expansions

FireWire (IEEE 1394)

USB (Universal Serial Bus)

PCI Express

ExpressCard/34

Audio Cabling

1/4-inch (6.35 mm) Audio

1/8-inch (3.5 mm) Miniplug

RCA (Cinch)

S/PDIF

AES/EBU

TOSLINK Optical and ADAT Lightpipe

Connecting Your Audio Interface

MIDI Cabling

Connecting Your MIDI Keyboard and Modules

Using Multi-Channel MIDI Devices

Using USB MIDI Keyboards

Separating a MIDI Keyboard from Its Sound Generator

Using External MIDI Devices

Using External Audio Effects

Configuring Your Audio Hardware

Setting Up Core Audio Devices

DAE and TDM

Using Distributed Audio Processing

Considerations for Distributed Audio Processing

Networking Considerations

Plug-in Considerations

Enabling Distributed Audio Processing

Important Information on Using Nodes

What Can’t Be Processed on a Node

Overview of the Logic Pro Interface

Opening Logic Pro

Introducing the Arrange Window

Working in the Arrange Area

Using the Toolbar

Using the Transport Bar

Using the Inspector

Working in the Media Area

Introducing the Audio Bin

Introducing the Loop Browser

Introducing the Library

Introducing the File Browser

Working in the Notes Area

Introducing Project Notes