Logic Pro X – 01 PDF – PDF Free Download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

The drummer now plays the crash, and this last chorus is more consistent with the previous two choruses. The drummer plays a loud beat, heavy on the crash, which could work for an outro. You will, however, make him play double-time twice as fast to end the song in a big way. Playing double-time at that fast tempo makes the sixteenth notes on the kick drum sound ridiculously fast. The performance now sounds more realistic while retaining the driving effect of its double-time groove.

The drum fill at the end of the outro is now longer. However, raising the number of fills has the undesirable effect of adding a new fill in the middle of the outro. To remove that fill, you will cut the Outro region in two. You now have two two-bar Outro regions. The outro has the required power to drive the last four measures; however, it seems like the drummer stops abruptly before he can finish his fill. Usually drummers end a song by playing the last note on the first beat of a new bar, but here a crash cymbal is missing on the downbeat at bar You will resize the last Outro region in the work- space to accommodate that last drum hit.

A moment after you release the mouse button, the Drummer region updates, and you can see a kick and a crash on the downbeat at bar The drummer finishes his fill, punctuating it with the last hit at bar You are now done editing the drum performance and can focus on the sound of the drums. Customizing the Drum Kit When recording a live drummer in a studio, the engineer often positions microphones on each drum. This allows control over the sound of each drum, so he can individually equalize or compress the sound of each kit piece.

The producer may also want the drum- mer to try different kicks or snares, or to experiment with hitting the cymbals softer before he begins recording. In Logic, when using Drummer, the sounds of each drum are already recorded.

However, you can still use several tools to customize the drum kit and adjust the sound of each drum. You will study Smart Controls in more detail in Lesson 5. In this exercise, you will use Smart Controls to quickly adjust the levels and tones of dif- ferent drums.

The Smart Controls pane opens at the bottom of the main window, replacing the Drummer Editor. It is divided into three sections: Mix, Compression, and Effects. In the Mix section, six knobs allow you to balance the levels of the drum.

To the right of each knob, a button lets you mute the corresponding drum or group of drums. On the left channel strip in the inspector, the Compressor plug-in is dimmed, indicat- ing that it is turned off.

As you drag up the knob, you will start hearing the subtle reverberation of a drum booth. In the inspector, you can see the Bus 1 Send knob move along with the Tone knob. It allows you to customize the drum kit by choosing from a collection of drums and cymbals and tuning and dampening them. You can also drag Drummer regions to another software instrument track, and they are automatically converted to MIDI regions.

You can hear the snare sample. The snare stays lit while the rest of the drum kit is in shadow. To the left, a Snares panel contains your choice of three snare drums, and to the right, an Edit panel includes three setting knobs.

The left panel shows only a limited selection of snares. To gain access to the entire collection of drum samples included with Logic Pro X, you need to choose a Producer Kit in the Library.

To the left of the inspector, the Library opens, listing patches for the selected track. The current patch, East Bay, is selected. The Drum Kit Designer window is reset. Clicking the disclosure triangle displays the individual tracks and their channel strips. You will use Track Stacks in Lesson 5.

This time the left pane displays a choice of 15 snare drums use your mouse to scroll down the list. The current snare, Black Brass, is selected. Continue previewing different snares and try listening to a verse or a chorus to hear your customized drum kit in action. The info pop-up window updates to show you information on the selected kick drum. Listen to the kick drum.

This kick is the right choice for your song, but it has a long resonance. Typically, the faster the tempo of the song, the less resonance you want on the kick; otherwise low frequencies build up and could become a problem during the mix. You may have seen drummers stuff an old blanket in their kick drum to dampen them. In Drum Kit Designer, you only have to raise the dampening level.

You will now tune the toms, which are mainly used in the bridge section. You can hear only the low and mid toms. The Edit panel opens with four tabs: All for adjusting settings of all three toms in the kit together ; and Low, Mid, and High for adjusting settings of each individual tom. You can hear the mid tom being pitched up as Kyle continues repeating the first half of the bridge. If you want, feel free to continue exploring Drum Kit Designer and adjusting the sound of the hi-hat, ride, and crash cymbals.

You have exchanged the snare for another one that sounds a little clearer, dampened the kick drum to tame its resonance, and tuned the mid tom to pitch it a bit higher.

You have now fully customized both the drum performance and the drum kit. To select all regions on a track, make sure Cycle mode is off, and click the track header. If Cycle mode is on, only the regions within the cycle area are selected. At the bottom of the main window, the Piano Roll opens, showing the contents of the selected regions, ready to be edited.

Individual drum hit are represented by note beams on a grid, making it easy to select, move, or delete any of them. You also customized the drum kit to get your desired sound.

Lesson Review 1. How do you choose a drummer? How do you choose a new drummer while keeping the current drum kit? Where do you edit Drummer regions? How do you mute or unmute drum parts? How do you make the drummer play softer or louder, simpler or more complex?

How do you access the Feel knob to make the drummer play behind or ahead of the beat? How do you open Smart Controls? How do you open Drum Kit Designer? When customizing a drum kit, how can you access all the available drum kit pieces? How do you dampen or tune an individual drum? Answers 1. Click the drummer in the character card, or from the Genre pop-up menu, choose a genre, and then click the desired drummer.

Option-click the desired drummer. In the Drummer Editor at the bottom of the main window 4. Click the drum parts in the drum kit that is displayed in the Drummer Editor.

Move the puck on the XY pad. Click the Details button at the bottom right of the Drummer Editor. Click the Smart Controls button in the control bar, or press B. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from India. There are 0 reviews and 0 ratings from India.

Top reviews from other countries. Verified Purchase. This is a great book to really understand how Logic Works. Report abuse. This is quite a good book for Logic newbies like me. It does explain the concepts of Logic X Pro well and is well illustrated. The main thing that I would have liked in this book would have been a number of worked examples of setting up projects to bring the concepts to life, otherwise it is a very good book.

One person found this helpful. No use to those who do not need to know the inner workings of logic pro x. Does not cover many crucial points. The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project. Drag the value vertically, or double-click it and enter a new value.

Option-drag the region and always release the mouse button first, followed by the Option key. Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally.

Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix.

You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project. In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.

Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac. You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion. In the following exercises, you will set up Logic to prepare for a music recording. The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal.

A gain knob lets you set a proper recording level and avoid distortion. The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves. To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate. The sample rate identifies how many times per second the audio is digitally sampled.

The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings.

Also, most modern Mac computers include a built-in audio interface. Many Mac notebook computers and iMac computers even have internal microphones.

Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.

By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed. The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium.

Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface. If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones.

The Input Device is the device into which you plug your microphones or instruments. If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices.

If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window. Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have. Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording.

When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track. The New Tracks dialog appears. You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback. You will later take precautions to avoid feedback and then record-enable the track from the track header.

A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel. Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7. More descriptive names will help you identify files in the future.

The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector.

This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound. To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in.

Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. Amp Designer opens. Here, you can dial in a sound or choose a preset. You can now hear your guitar processed through Amp Designer.

Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters.

On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter.

Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording. Working with a low-level recording is better than clipping the input.

Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase. If the Gain knob is dimmed, it means that the feature is not supported by your audio interface.

Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping. When your signal peaks below —2. When it peaks between —2. When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea.

The Tuner opens. Checking the Balance Now that the guitar is tuned, you can practice the performance and make sure that you can hear yourself and the other instruments comfortably.

If the guitar is now too loud or too soft in comparison to the other tracks, in the inspector, drag the volume fader on the Guitar channel strip to adjust the monitoring level, or drag the volume slider in the Guitar track header. Recording Audio You have set the desired sample rate, adjusted the recording and monitoring levels, inserted a plug-in to emulate the sound of a guitar amp, and tuned the instrument.

You are now ready to start recording. The playhead is positioned at bar If you need to adjust the position of the playhead, drag it left or right. The playhead and the LCD display in the control bar both turn red to indicate that Logic is recording.

The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts. You will learn how to alter both the metronome and the count-in settings later in this lesson. The new recording, Guitar 01, appears as a blue-shaded audio region. To the name of the track, Logic appends the number of the recording. The playhead jumps to the beginning of the selected region and playback starts. If you are not happy with your new recording, you can delete it and start over.

In the Finder, the audio file is moved from inside the project package to the Trash. The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary.

This alert appears only when you try to delete a recording made since you most recently opened the project. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear.

You will keep your recording so you can experiment with recording additional takes in the next exercise. Recording Additional Takes When recording a live performance, musicians can make mistakes. Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take.

To preserve multiple takes in Logic, you can record new performances over previous ones. The new recording in red appears to be recorded over the previous blue audio region.

Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below. By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface.

The take folder now contains three takes. It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. Recording in Cycle mode allows you to repeatedly record a single section, thereby creating a new take for each pass of the cycle. When you stop recording, all the takes are saved inside a take folder.

The Guitar track is automatically record-enabled. The playhead jumps a bar ahead of the cycle for a one-measure count-in, and starts recording the first take. When it reaches bar 9, the end of the cycle area, it jumps back to bar 5 and starts recording a new take. Logic keeps looping the cycle area, recording new takes until you stop recording. Record two or three takes. All the takes recorded in Cycle mode are packed into a take folder. The Guitar track is automatically disabled for recording.

To keep the last take of a cycle recording, make sure you stop the recording more than one bar after the beginning of the cycle area. The take folder closes.

Doing so allows you to record several instruments at once, placing each instrument on a separate track, so that you can later adjust their volumes and stereo positions or process them individually. You first create the desired number of tracks, making sure that each track is assigned to a different input number that corresponds to the input number on your audio interface where the microphone is plugged in.

In the following exercise, you will record two mono tracks at the same time, which you can do using the built-in Mac audio interface. To record more than two tracks at once, you need an audio interface with more than two inputs. The exercise describes recording an acoustic guitar on Input 1 and a vocal microphone on Input 2. When creating multiple tracks, selecting Ascending automatically sets the inputs or outputs to ascending settings.

In this case, you will create two tracks, so the first will be assigned to Input 1 and the second to Input 2. Make sure that you took precautions to avoid feedback, as explained at the beginning of this lesson; this time you will create record-enabled tracks. Two new tracks are added at the bottom of the Tracks area and automatically assigned to the next available audio channels Audio 8 and Audio 9.

Their inputs are set to Input 1 and Input 2, and both are record-enabled. The multitrack recording starts, and after a one-measure count-in, you see the red playhead appear to the left of the workspace, creating two red regions, one on each record-enabled track.

You now have a new blue-shaded audio region on each track. You can use the same procedure to simultaneously record as many tracks as needed. If the tracks already exist in the Tracks area, make sure you assign them the correct inputs, record-enable them, and start recording.

Punching In and Out When you want to correct a specific section of a recording—usually to fix a performance mistake—you can restart playback before the mistake, punch in to engage recording just before the section you wish to fix, and then punch out to stop recording immediately after the section while playback continues.

This technique allows you to fix smaller mistakes in a recording while still listening to the continuity of the performance. At any time, you can open the take folder and select the original recording.

There are two punching methods: on the fly and automatic. Punching on the fly allows you to press a key to punch in and out while Logic plays, whereas automatic punching requires you to identify the autopunch area in the ruler before recording. Punching on the fly is fast but usually requires an engineer to perform the punch-in and punch-out while the musician is performing. Automatic punching is ideal for the musician-producer who is working alone.

Assigning Key Commands To punch on the fly, you will use the Record Toggle command, which is unassigned by default. Click the disclosure triangle next to Global Commands. The Key Commands window lists all available Logic commands and their keyboard shortcuts, if any. When looking for a specific functionality in Logic Pro X, open the Key Commands window and try to locate the function using the search field.

A command likely exists for that functionality that may or may not be assigned. When Learn by Key Label is selected, you can press a key, or a key plus a combination of modifiers Command, Control, Shift, Option , to create a keyboard command for the selected function. An alert indicates that the R key is already assigned to the Record command. You could click Replace to assign R to Record Toggle, but then Record would no longer be assigned to a keyboard shortcut.

Control-J is now listed in the Key column next to Record Toggle, indicating that the command was successfully assigned. Punching on the Fly You will now use the Record Toggle key command you assigned in the previous exercise to punch on the Vocals track the bottom track in your Tracks area. When punching on the fly, you may first want to play the performance to determine which section needs to be re-recorded, and to be ready to punch in and out at the desired locations.

Position your fingers on the keyboard to be ready to press your Record Toggle key command when you reach the point where you want to punch in. The playhead continues moving, but Logic is now recording a new take on top of the previous recording. Keep your fingers in position to be ready to punch out. The recording stops while the playhead continues playing the project. On the Vocals track, a take folder was created.

It contains your original recording Take 1 and the new take Take 2. A comp is automatically created Comp A that combines the original recording up to the punch-in point, the new take between the punch-in and punch-out points, and the original recording after the punch-out point.

Fades are automatically applied at the punch-in and punch-out points. You will learn more about fades in Lesson 3. The take folder disappears, and you once again see the Vocals 01 region on the Vocals track. Punching on the fly is a great technique that allows the musician to focus on his performance while the engineer takes care of punching in and out at the right times. On the other hand, if you worked alone through this exercise and tried to punch in and punch out while playing your instrument or singing, you realize how challenging it can be.

When working alone, punching automatically is recommended. Punching Automatically To prepare for automatic punching, you enable the Autopunch mode and set the autopunch area.

Setting the punch-in and punch-out points in advance allows you to focus entirely on your performance during recording. First, you will customize the control bar to add the Autopunch button. The ruler becomes taller to accommodate for the red autopunch area. The autopunch area defines the section to be re-recorded. You can define the autopunch area with more precision when you can clearly see where the mistakes are on the audio waveform.

Logic zooms in, and the selected region fills the workspace. Here we have a vocal recording in which the two words around bar 3 need to be re-recorded. Listen while watching the playhead move over the waveform to determine which part of the waveform corresponds to the words you need to replace. You can drag the edges of the autopunch area to resize it, or drag the entire area to move it. Red vertical guidelines help you align the punch-in and punch-out points with the waveform.

Playback starts. When the playhead reaches the punch-in point the left edge of the autopunch area , the Record button turns solid red and Logic starts recording a new take.

When the playhead reaches the punch-out point the right edge of the autopunch area , the recording stops but the playback continues. A take folder, Vocals: Comp A, is created on the track. Logic zooms out so you can see the entire take folder filling the workspace. Just as when you punched on the fly in the previous exercise, a comp is automatically created that plays the original recording up to the punch-in point, inserts the new take between the punch-in and punch-out points, and continues with the original recording after the punch-out point.

When a marquee selection is present, starting a recording automatically turns on the Autopunch mode, and the autopunch area matches the marquee selection. Recording Without a Metronome Musicians often use a tempo reference when recording. In most modern music genres, when live drums are used, drummers record their performance while listening to a metronome or a click track.

When electronic drums are used, they are often recorded or programmed first, and then quantized to a grid so that they follow a constant tempo. The other musicians later record their parts while listening to this drum track. Still, some musicians prefer to play to their own beat and record their instrumental tracks without following a metronome, click track, or drum track. When recording audio in Logic, you can set up Smart Tempo to analyze a recording and automatically create a tempo map that follows the performance so that the notes end up on the correct bars and beats.

Subsequent recording or MIDI programming can then follow that tempo map, ensuring that all tracks play in sync. An empty project template opens, and the New Tracks dialog opens. To make Logic analyze the audio recording and create a corresponding tempo map, you should set the Project Tempo mode to Adapt. The orange color indicates that those parameters will be affected by a new recording.

Get ready to record. Because the Project Tempo mode is set to Adapt, the metronome does not automatically play unlike the Project Tempo mode set to Keep mode. You no longer need it! Try playing something that has an obvious rhythmic quality to it, such as a staccato rhythm part in which you can clearly distinguish the individual chords or notes.

During the recording, Logic displays red vertical lines over the recording when it detects beats. An alert offers to open the File Tempo Editor so you can preview the recording and adjust the positions of the beat markers that Logic created while analyzing the file.

In the Global Tempo track, you can see multiple tempo changes. In that case, perform this exercise again, making sure you can hear a strong rhythmic reference in your recording. For example, try tapping a very basic beat with your fingers in front of the microphone. You have recorded a rubato performance without listening to a timing reference. Logic automatically detected your tempo changes and applied them to the project tempo.

Some settings do not affect the quality of the audio recording but can alter the behavior of your project during recording or change the audio file format used for recordings.

The next few exercises will show you how those settings affect the audio recording process and explain how to modify them. Setting the Count-In The count-in is the time you have to prepare yourself and get in the groove before the actual recording begins.

The take folder is deleted. Until now, every time you pressed Record, the playhead jumped to the beginning of the previous measure so you could have a four-beat count-in. However, sometimes you may want to start recording without a count-in. The playhead starts from its current position, and Logic starts recording right away. At other times, you may need a longer count-in, or you may want Logic to count in for a specific number of beats.

The audio region is removed from the workspace, but the audio file is still in the project folder. The playhead jumps two bars ahead to bar 3, and playback starts. When the playhead reaches bar 5, Logic starts recording. Setting the Metronome By default, the metronome is turned off during playback and automatically plays during recording. In this exercise, you will change the default behaviors using the Metronome button and later go into the Metronome settings to adjust its sounds.

The metronome is on. The metronome is off. The metronome is back on. You now have inverted the default behavior: the metronome is on during playback and is automatically turned off during recording. The Metronome Settings window opens. There are settings for two metronomes: Audio Click also known as Klopfgeist, which is German for knocking ghost , which you are using, and MIDI Click, which is now off. Under the name of each metronome, you can adjust the pitch and velocity of the notes playing on each bar and beat.

The metronome sounds a little low compared to the drum loop on track 1. In fact, you can hear it only when no drum hit occurs on that beat. At the bottom of the Metronome Settings window, you can drag a couple of sliders to adjust the sound of the metronome.

The metronome sound changes, and you can start hearing a pitch. When a project already contains a drum track, you may need the metronome only during the count-in to get into the groove before the song starts. You hear the metronome for one measure, and then it stops playing as the song and the recording start at bar 1. It places a number of samples in an input buffer for recording and in an output buffer for monitoring.

When a buffer is full, Logic processes or transmits the entire buffer. The larger the buffers, the less computing power is required from the CPU.

The advantage of using larger input and output buffers is that the CPU has more time to calculate other processes, such as instrument and effects plug-ins. The drawback to using a larger buffer is that you may have to wait a bit for the buffer to fill before you can monitor your signal. That means a longer delay between the original sound and the one you hear through Logic, a delay called roundtrip latency. Usually, you want the shortest possible latency when recording and the most available CPU processing power when mixing so that you can use more plugins.

The Audio preferences pane opens. When choosing a different audio device, make sure you click Apply Changes to update the Resulting Latency value displayed. The latency is now shorter. If your Mac has a multicore CPU, you can see a meter for each core. You can monitor the amount of work each core is doing. When the CPU works harder, you might hear pops and crackles while the song plays. When playing the project becomes too much work for the CPU, playback stops and you will see an error alert.

Deleting Unused Audio Files The Project Audio Browser shows all the audio files and audio regions that have been imported or recorded in your project. During a recording session, the focus is on capturing the best possible performance, and you may want to avoid burdening yourself with the decision making that comes with deleting bad takes.

You may also have several unused audio files in the Project Audio Browser that make the project package or folder bigger than it needs to be.

To find an Apple Authorized Training. Provider near you, please visit training. Veteran producer and composer David Nahmani uses step-by-step, project-basedinstructions and straightforward explanations to teach everything from basic music creation to sophisticated productiontechniques.

You will create both acousticand electronic virtual drum performances using Drummer tracks with Drum Kit Designer and Drum Machine Designer. You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible. Self publishing. Share Embed Flag. TAGS download logic ebook audio midi drum certification ebooks audiobook downloadable. Do you know the secret to free website traffic? Insider knowledge.

Veteran producer and composer David Nahmani uses step-by-step, project-based instructions and straightforward explanations to teach everything from basic music creation to sophisticated production techniques.

 
 

 

Logic pro x pdf free

 
Apple Logic Pro X • User guide • Download PDF for free and without registration! Start reading Logic Pro X for free online and get access to an unlimited library of academic and non-fiction books on Perlego. Welcome to the official Apple Pro Training Series course for. Logic Pro X This book is a comprehensive introduction to profes- sional music production.

 
 

Logic pro x pdf free

 
 
Mar 14,  · A Great Primer on Logic Pro X I was hitting walls left and right as a new user to Logic Pro X. There are very few resources out there on this version and it’s drastically different than all the free out-dated Logic 9 material on the Internet. Athough this User Guide does not go into great detail on any of the features, it certainly covers the /5(83). Official Apple Support. Logic Pro X – The Complete Guide Mixing Checklist replace.me Mixing Checklist (Print and tick the boxes or make a digital copy (File > Make a copy) and right click on boxes to change to ticks) Channel preparation Group all .