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In this example, You usually change documentation on the first two numbers, Thanks for the tip but it looks like this is the same as the Web link on the Apple support page. For some reason that doesn't seem to work for me either. The contents menu pops up but the disclosure triangles don't work so it's impossible to navigate from topic to topic. This could just be an issue with my browser but chrome is pretty popular so you would think it would be supported.
Maybe it's just user error as well but that is why I want a pdf because I don't want to be dealing with Web browsers at all. I just want something that I can read like a book, not a tangle of Web links. If you go here. Note: Click Load more results to see the Instruments and Effects. Edgar, I just finished your free automation book and I really liked it. I am definitely sold on your series but I have a quick question before I buy the next installment. Does the "Details" book overlap with the "how it works" book or is entirely different material?
I've been using Logic for a couple of years so I am pretty good at doing things in my own way. My problem is that I find I am doing some things the hard it feels like. I am wondering, do I need to get both books or should I just go straight to the "Details" since I already have a lot experience in Logic? Also, thanks again for the pdf link, but I was wondering, do you also have links to the old instruments and effects pdf's from that time?
Thanks for your time and help. It is a continuation with all the remaining features of Logic that I haven't covered in the first book. They are useful for any user level, because I introduce each topic in case a user is not familiar with it. A user can implement any of those trips, trick, features into any workflow right away. I often get response from customers that they say they are experienced Logic user, but they still found information in my book that they didn't know in Logic.
How about the following challenge which is only for you and not for the public in general. I have a copy of it so I went to this URL and put in the following that you see in the image, then clicked on Search.
Click on it to get the PDF. EdgarRothermich I think the value of an old fashioned index is that unlike a boolean search it lets the author create useful semantic links. For instance, the index entry "tracking" could take you to sections on recording audio and other sections on recording MIDI, even though the word "tracking" might appears in neither. You will often refer to a position or a length with those four numbers.
A sixteenth note contains ticks. Note that by default, in the control bar, the LCD displays the position of the playhead using only the first two units, bars and beats. However, Good Life Beat is a bit too loud. Now the two drum loops blend together. It feels sparse, but the beat is original enough to capture attention, which is the role of an intro. Then at bar 5 both the Good Life Beat and Skyline Bass regions on tracks 2 and 3 come in, making the beat sound complete and introducing the melody.
To be able to edit the Fine Line Beat region in the intro without affecting its loops to the right, you first have to copy the region to bar 5. When Option-dragging to copy regions, always make sure you release the mouse button first and the Option key last. If you try to release both at the same time, you may sometimes release the Option key slightly before the mouse button without noticing, and then the region is moved instead of copied.
The new Fine Line Beat. To create a break, you need to stop the region from looping. To resize the region comfortably, you need to zoom in until you can clearly see the individual drum hits on the waveform. To use the zoom tool, you hold down Control and Option and then drag the area you want to magnify.
The area you highlighted expands to fill the workspace, and you can clearly see individual drum hits on the waveform. Zooming in and out efficiently to see exactly what you need takes practice. You can Control-Option-drag to zoom in multiple times and Control-Option-click the workspace multiple times to zoom back out through the same zoom levels.
To create the break at the end of the Fine Line Beat region, you will drag its lower-right corner to the left until the final two drum hits are hidden. The mouse pointer turns into a Resize pointer you can drag to determine where the region stops playing. The drum break creates a sudden void at the end of the intro, which reinforces the impact of the drums and bass. But a void calls out to be filled! That break in the drum loop is the perfect time to capture the attention of the listener by introducing the bass a few notes earlier.
This time you will copy the bass region from bar 5 to bar 1, and resize the bass region in the intro from the left so it plays only the final few notes. This time you will use the Z key to zoom in and out of the selection. The Skyline Bass. The workspace zooms out to display all the regions. You can use zoom sliders or key commands to fine-tune the zoom level.
The workspace zooms out horizontally, and you can see a few more bars in your ruler. In that case, the left edge of the region stays at the same position on your screen.
When the playhead is offscreen, the content to the left of the workspace stays at the same position on your screen.
When zooming vertically with the zoom sliders or Command-Arrow keys, the selected region stays at the same position on your screen.
If no regions are selected, the selected track stays at the same position on your screen. It works! You start with an original but commanding beat with kicks and handclaps—then all of a sudden, the bass announces the melody with a few pickup notes while the beat drops. On the first beat of the next bar, all three tracks play the entire groove together. That little break at the end of the intro really calls attention to the layered drum and bass groove that starts after the intro.
Remember your newly acquired navigation and zooming skills. You will continue using them to finish this arrangement, and throughout the rest of this book and long after. Build Up the Arrangement Now that you have the rhythmic foundation of your project the drums and bass , you can continue building up the arrangement and avoid monotony by adding melodic elements. Adding Lead Synths In the next exercise, you will add a couple of synth arpeggio loops.
And rather than let them loop throughout the song, you will keep things moving by alternating between the two synth melodies. You already have a solid rhythmic section with bass and low kick drums, so now you are looking for rather clean and high-pitched sounds. If necessary, adjust the zoom level in the workspace so you can comfortably drag both loops to two new tracks. You will resize the Deal Breaker Arpeggio region to make it one bar long, the same length as the Barricade Arpeggio region.
You will now copy both regions so they play alternately. The two synths bring much-needed melody and movement to the song, and they work well in answering each other, each one successively playing its melody.
Currently, both synths sound as if they are coming from the center of the stereo field. To give them a little space, you can spread them apart acoustically by positioning them to either side of the stereo field. If tracks are selected automatically when you select regions on those tracks, you can change this behavior in Logic preferences.
The track selection is unaffected by the region selection. You can now hear the two synths playing from opposite sides of the stereo field, which adds dimension to the music and helps separate the two instruments.
Creating a Break Until now, you have kept your project interesting by introducing new elements on a regular basis: the bass at the end of the intro, the drums at bar 5, a synth at bar 9, and another synth at bar But if you keep building your song by adding more elements, at some point those additions may backfire.
The song can become bloated, with the arrangement losing focus, the mix becoming muddy, and the listeners tuning out. Who wants that? By the end of the new synth section, the listeners are so used to hearing the drums and the bass that they may no longer pay attention to them.
If you remove them, you can create a big impact. At the top of the Tracks area, look at the tool menus: The menu to the left corresponds to the tool assigned to the mouse pointer. The menu to the right corresponds to the tool assigned to the mouse pointer when holding down Command.
Currently, the left-click tool is assigned to the Pointer tool arrow icon and the Command-click tool is assigned to the Marquee tool crosshair icon.
Click it again to close it. The Loop Browser sometimes shows multiple loops with similar names, and that usually means that the loops all follow the same groove, they all follow the same chord progression, or they are meant to work together. The results list shows loops containing Skyline in their names. The loops sound like they would all work great together because they all follow the same harmony and rhythm. You will now create the break by deleting the drums in track 2 and the bass in track 3 for the entire time the piano is playing.
The Marquee tool places a white highlight rectangle around the selected section of the loops. The section of the loops selected by the Marquee tool is deleted. Some loops are turned into regions before and after the empty space, so the tracks stop and resume playing at the beginning and end of the removed section.
The mouse pointer turns into a Loop tool. Dragging offers the advantage of seeing the exact position in a help tag. The Fine Line Beat. The break brings much needed space and silence, interrupts the flow of the rhythmic section, and automatically shines a light on the two remaining elements: the drum loop and the piano.
After the break, the rhythmic section resumes, but the ending at bar 21 is too abrupt. You will finally shorten the new copy of the piano region so it ends with a sustaining note, which will work better for an ending. You have arranged your first song.
Then two synths share the lead melody for a few bars before the bass and drums abruptly stop to leave room for a piano break. Finally, the bass and drums groove returns, and the song finishes with a few sustained piano notes.
Really nice! You will now quickly mix the song and later export it to share it. Mixing the Song Now that you have arranged your regions in the workspace, you can focus on the sound of each instrument and how they sound as an ensemble. Choosing Names and Icons for Tracks and Channel Strips You will open the Mixer and name your channel strips so you can easily determine which instrument they control.
You will then adjust the Volume faders and Pan knobs to change levels and stereo positions, and use plug-ins to process some of the instruments. At the bottom of the main window, the Mixer opens. The channel strips are named after the Apple Loops that you previously dragged to the workplace. To more quickly locate instruments, you can assign the channel strips more descriptive names.
To edit the name on a track header and on its corresponding channel strip, you can double-click either and type the new name. A text entry box appears, and the current name—Fine Line Beat—is selected. Both the first channel strip in the Mixer and track 1 in the Tracks area are renamed Beat Loop. A text entry box opens. This time you will enter a name and open the text entry box of the next track with a single key command.
Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip. Notice that track 2 has only a generic audio waveform icon. A shortcut menu displays icons organized in categories. A collection of various drum icons appears. The icon is now visible in the track header.
The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment. When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating.
Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument! Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes.
You can see your new names at the bottom of the channel strips. You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips. You will learn about those options as needed. In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options.
With the Mixer open and occupying most of the main window, the workspace is much smaller. Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible. To remedy that, you will now adjust the locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments. If necessary, scroll or zoom out in the workspace so you can see your entire arrangement. Remember: to see all your regions, click the background of the workspace and press Z.
Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments.
Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing. Synth 2 is significantly louder than Synth 1. Continue adjusting the Volume fader until the Gain display reads The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays.
Synth 2 is now quieter and closer to the level of Synth 1. You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image. The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones. The two synths come back closer to the center of the stereo field. Now they sound like they belong in the mix.
Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments. In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano.
When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used. The Power button dims to indicate that the plug-in is off. You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant. The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character.
The bass amp also made the bass a bit louder. In fact, it is a little too loud now. You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano.
The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great. In the inspector, look at the peak level display on the Output channel strip. When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted. In this project, the highest peak in the song is under 0 dB FS, and no distortion is created.
In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds. You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad.
Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware. In this exercise, you will bounce the project to a stereo audio file. By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions.
You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website. Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining.
A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file. When the progress bars disappear, your MP3 file is ready on your desktop. Logic Pro X is hidden, and you can see your desktop.
To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family! Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain? Where is the workspace and what does it contain? When multiple panes are open, how do you make sure the desired pane reacts to key commands?
Describe two ways to adjust a numerical value in Logic. How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins? In the help tag, what are the units of the four numeric values used to determine the length and position of a region? How many ticks are there in a sixteenth note?
How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected. The Tracks area is in the center of the main window. It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions.
The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project.
Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key. Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally.
Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix.
You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project.
In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching. Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac.
You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording.
The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion. The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves.
To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate.
The sample rate identifies how many times per second the audio is digitally sampled. The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings.
Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones. Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.
By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed.
The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium.
Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface. If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones.
The Input Device is the device into which you plug your microphones or instruments. If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices. If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window.
Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have. Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording.
When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track. The New Tracks dialog appears.
You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback. You will later take precautions to avoid feedback and then record-enable the track from the track header. A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel.
Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7. More descriptive names will help you identify files in the future. The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector. This delay is called latency.
You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound.
To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in. Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed.
Amp Designer opens. Here, you can dial in a sound or choose a preset. You can now hear your guitar processed through Amp Designer. Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters. On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.
Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording.
Working with a low-level recording is better than clipping the input. LPXColorizer adds comfort and logic to your DAW, coloring objects differently for easier tracking and smarter correlations. A theme is a file made of color profiles. You can think of it as an outfit. When you apply a theme with LPXColorizer, Logic Pro needs to re-launch to put on this new outfit, which will become from here on out the standard graphic colors, and that until your apply another theme or revert to the default interface.
You can collect as many themes as it pleases you, a theme takes just 60KB of space on your hard drive! Here is an example of color-coding applied to the piano roll. This smart grid helps you identify the value of your midi notes at glance. The orange bars are measure dividers separating whole notes. There are a plethora of operations where color adjustment can help.
Actually over the course of an entire day, these enhancements become big time-savers. Aching to give your region colors a slight different style? You will be able to bring the perfect contrast between your regions and the main background. Better yet, you can get regions to be white or black according to your preferences.
The application interface is pretty simple : Select a theme from the theme list and hit the Colorizer button. Publication Year. Number of Pages.
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