Logic pro x instruments manual pdf free –
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Logic So I understand that Apple is for some reason only releasing logic pro manuals as iBooks these days, so my question is how are non ios users supposed to access these manuals? Is there any way to convert the iBooks version to pdf or does anyone know if such a converted version logic pro x instruments manual pdf free available somewhere? I know I could just access the manual on my mac but I don’t just read the manual when I’m using logic; I like to dig deeper into the manual at my leisure which means I am not at my desktop computer.
I don’t own an iPad and I no longer use an iPhone. That shouldn’t mean that I don’t have convenient access to something as basic as a user manual for purchased software. Any thoughts, ideas, or suggestions are appreciated. My Studio. I think this was the last pdf file published for Logic Pro X. It is for version 1.
However I don’t understand what you want. You don’t want to read on am iPad and not on a computer because you use it for Logic. Does it mean you want a pdf file that you can print out as a hard copy? In that case it would be better to buy a book.
Have a look on my website with all the links, also to the iBooks Store where you can download free samples of all my books. When I mentioned that I find the lack of a good index problematic, you suggested the iBook format is more browsable and has better search and annotation capabilities. But to have them in iBook format I’d have to buy them all over again.
I think that for me your series would be most effective in print, to savor and explore, because of the way you wrote it, as an exposition. Last edited by Fernand; 12th January at PM. Fernand, I always release my books in all three formats: pdf, iBooks, and printed books.
The iBooks usually take a month or two longer due to the reformatting and additional glossary. The pdfs and the printed books have an index for the terms. Regarding search, I find the pf the best, because you can do boolean searches and search for phrases using quotation marks around the phrase. BTW, I never used anything else than the Preview app to read pdfs, which is much better pdf-reader than Adobe’s own app. You don’t have to go back and forth searching the index. Logic pro x instruments manual pdf free faster and more logic pro x instruments manual pdf free leaning experience.
You don’t logic pro x instruments manual pdf free an iPad or iPhone to read the iBooks, you can use the iBooks app on your Mac and you still have all the interactivity.
Just download the the free book samples to experience for yourself. BTW, thanks for buying my books. I really appreciate it. Attached Thumbnails. The /6564.txt help is available on the web. To find the current help, you just do that from Logic Pro Logic pro x instruments manual pdf free. Once you get the URL, you can use your Samsung tablet or any mobile device. As you can see I’ve pointed out it says 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 logic pro x instruments manual pdf free 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 windows 10 home button and cortana not working free 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 logic pro x instruments manual pdf free for you and not for logic pro x instruments manual pdf free 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 нажмите чтобы узнать больше audio and other sections on recording MIDI, even though the word “tracking” might appears in neither.
Make sense? I understand logic pro x instruments manual pdf free wrote the first book, then logic pro x instruments manual pdf free into details, wrote the second. It’s great for someone to read in that order. But having to use boolean search in two books doesn’t make a lot of sense if you’re trying to jump to answers.
My case I don’t think is unique. I’d love to sit by the fireplace and read your books, but what I really need is a fast way to zoom in and read e. And boolean searches pre-suppose I know the terminology, while I might not yet know what it’s called in Logic. What I’m getting at is that there’s an additional value-added layer you could offer that would use your familiarity with Logic and other apps to create something like an uber-index, a semantic converter, that would help anyone, even say a Cubase or ProTools user, to zoom in on the specific Logic stuff that logic pro x reverb tutorial free download be discussed in multiple sections and books.
Another example. Понравились! windows server 2012 r2 standard os free думаю working with a score, but I don’t know how Logic controls which regions and which tracks show up on the page. Узнать больше I’m asking “how do I hide these tracks”, I search for “score hide tracks” but nothing comes up.
In reality it’s not a matter of hiding them, but I don’t know how the page presentation is built, so I don’t know how else to express it. Thus a table of contents and even a fancy boolean search for specific words won’t help.
But YOU could build a smarter index. If this makes no sense to you, I give up. Last edited by Fernand; 14th January at AM. That is the exact link I posted in my first response.
It is the old Logic Pro X v1. That’s why it’s better than to use the web link to view the most current update information or do what I just did. I downloaded the iBooks which are epubs and converted them to HTML but the way I set it up, you can have them on a local folder and then click on the index. This link shows how you can also put them on a web site if you wanted to.
I was going to ask why not just use the. PDF, but you’re saying you can’t find the User Guide. Or is there some advantage to using the HTML? Are ANY logic pro x instruments manual pdf free the Apple docs up to date, to Which ones? With the most current update, when I renamed as suggested above and opened the index in safari – I just got jibberish Was trying to extract the control surfaces manual.
But used your site as the source. I then decided to try do the CS manual as well the epub in iBooks which is when I encountered the issue. Any chance you could try it on your end and see if you see different results.
Pdf Download | Apple Logic Pro X User Manual ( pages).
Setting up a Template project with a few tweaks here and there could save you time in the future and increase your workflow. Because if you follow this tutorial, you should have to do everything just once and then hopefully your future production life will be easier. This is an ideal scenario for the majority of us who use Logic Pro X in the same way and for the same kinds of music production, whenever we boot the software up to compose.
So stick with us while we guide you through the process of setting up a project, tailoring it to suit you and your music, creating templates and speeding up your workflow. And if you are an experienced user, who knows, you might see Logic in a new light, and you might save time too. Focus On — Your Audio Interface You will need a decent audio interface when recording with Logic and our tutorial helps you assign and set up a Template project for use with one. You can get really simple ones that allow a couple of tracks to be recorded and played back, or complex multi input and output interfaces that allow entire band performances to be recorded into Logic for editing later.
We will create a new Template file…. Select your audio input device and sample rate from the drop down menus on the left. Similarly you want the main outputs of Logic linked to the speakers that you have connected to the outputs of your interface. All of this is included and you should only have to do this here very often it will already be set up for you.
In this case we want this track to be our record input so have assigned it to 1 on the Saffire. In our case we simply have the mono input from a synth.
Here they are shown as channels 1 and 2 out. Our main inputs and outputs for our project are now set and our interface assigned. If we hit the mixer icon top left we can see our track and its Input is set to channel 1 on our interface. This tutorial is endorsed by Point Blank. You can study sound to picture on their Music Production Diploma courses, with pro industry tutors. Tone Empire Firechild compressor review: The vari-mu king gets convolved.
Logic pro x instruments manual pdf free. Follow the Author
Rename each channel as you go, so you know which channel is which in Satellite Sessions. That means it will capture the audio after processing здесь compressors, EQs, effect plugins etc if Satellite Audio is placed after such plugins. To capture the dry signal, place Satellite Audio before any processing plugins. Here is how to get started: Download and install Satellite Sessions from logic pro x instruments manual pdf free.
Create New Logic pro x instruments manual pdf free Enter a name for the Session. You will be prompted to enter the Key and Scale of your project. Leave blank if undecided. Changes to the bpm or sample rate in your project will generate a Sync button in Satellite Sessions. You are the Host of the session. Any pre-shared audio stems will be visible and audible in your Satellite Sessions plugin. Press play in Logic to play the stems inside Satellite Sessions.
They do not need to be downloaded to Logic to be instryments, and only you посмотреть еще hear what you are listening to. If you wish, download any stems logoc the Session to your Logic project by dragging the top-right corner of each stem to a spare audio channel.
Session Dashboard /15129.txt and load your previous sessions logic pro x instruments manual pdf free. Access your invitation history. Capturing Audio Add Satellite Audio to any channel manula wish to share. Satellite Audio can be placed after a Software or External Instrument, or as an insert Audio Unit on /37.txt Audio channel, anywhere in the insert chain. You can trigger Software Instruments, or audio samples, or play External Instruments live into your Satellite Audio-enabled channel s.
– (PDF) Logic Pro X Instruments | asd asd –
Top reviews from other countries. This is a great book to really understand how Logic Works. Report abuse. No use to those who do not need to know the inner workings of logic pro x.
Does not cover many crucial points. 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.
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There are no fixed rules when it comes to the choice of grain shape, given the infinite variety of source audio material. Therefore, you may want to experiment to achieve the required results. The parameters in this section are shown when the Sampler button is active in a source subpage.
The sampler section is available only when you import an audio sample using either granular or sampler mode. The sampler section allows audio files, known as samples, to be played directly. Samples played at a higher pitch than the original play back at a faster speed. Samples played at a lower pitch than the original play back at a slower speed.
The sample waveform is displayed in the center. A progress bar indicates the current playback position for the most recently triggered note. When multiple elements are used in a source, use this control to set the relative level of the sampled component. The parameters in this section are shown when the VA Virtual Analog button is active in a source subpage.
When you click the Name bar File button, and choose Initialize Preset from the pop-up menu to initialize Alchemy to default settings, the VA element is automatically enabled. Basic saw, sine, square, and triangle and many specialized waveforms are provided. You can also step through the available waveforms with the Previous and Next buttons the arrows.
When multiple elements are used in a source, use this control to set the relative level of the oscillator component. When a square wave is active, Symmetry acts as a pulsewidth control. These have different spectral characteristics that can be further refined with filters.
You can step through the available waveforms with the Previous and Next buttons the arrows. When multiple elements are used in a source, use this control to set the relative level of the noise component. All frequencies above this value are allowed to pass. All frequencies below are attenuated. All frequencies below this value are allowed to pass. All frequencies above are attenuated. The Low Cut and High Cut parameters work in conjunction with each other to act as a bandpass filter, where the noise signal that falls within the two cutoff ranges is allowed to pass.
Logic Pro Alchemy source modulations Source components are shown only in advanced view. Parameters that have a modulation assignment are indicated by an orange arc around the control. Note: Parameters that are morphed and have a modulation assignment show both an orange and green arc around the control. This section focuses on Position, which is a modulation target. The principles discussed apply equally to other source parameter targets.
Position determines the playback position of audio data. When modulated, the playback path through the audio data is controlled by the selected modulation source. In sampler mode, the note-on modulation value determines the initial offset for the play position within the audio data.
Beginning at that position, the rest of the sound plays in a normal manner, although looped as if the Loop mode is set to All. In additive, spectral, or granular mode, Position can be continuously modulated forward or backward at any rate including zero. Create tempo-synced loops by modulating position Synchronized playback of looped audio with the Logic Pro X tempo is easy to achieve by modulating the Position parameter.
This technique is possible with any synthesis method that permits continuous modulation of Position. This example uses the granular engine, but the same technique can be applied to the additive and spectral engines. When Position is modulated and Speed has a value greater than zero, the playback path is determined by a combination of modulation value whenever this value changes and the normal path at a rate determined by Speed whenever the modulation value is static.
In source A, import a rhythmic or melodic sample that loops evenly. You will hear that playback is frozen at the very beginning of the sample. Do one of the following:. Note the orange arc that appears around the Position knob. This indicates that the parameter has a modulation assignment. Also in the LFO, turn off the Bipolar button.
This routing increases Position smoothly so that the entire sample plays back from beginning to end, then jumps immediately back to the beginning and continues to loop. Finally, adjust the Logic Pro X tempo as you play additional notes to confirm that the loop is properly synchronized.
Logic Pro Alchemy morph controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the Morph button to view and use the morph controls. The morph controls determine how the four Alchemy sources interact.
There are two basic types of interaction. This is equivalent to turning the Amp knobs in each source to attain the desired mix.
If you crossfade from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, the high source fades out as the low source fades in. In the middle of the crossfade you hear both sources. If you morph from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, you hear a single sound during the morph.
The sound tuning falls smoothly from the high value to the low one. Morphing provides more scope than simple crossfades between sources. It also allows cross-synthesis, where you can combine different aspects of different sound elements.
For example, you could apply the formants or other characteristics of an additive source to the spectral element of another source. See the tutorials found in Logic Pro Alchemy elemental morphs overview.
Morphed parameters are indicated by a green arc around the control. Parameters that are morphed and have a modulation assignment show both an orange and green arc around the control. Parameter settings are shared across all morphed sources, which means that changing a parameter in one source results in the corresponding parameter being changed for all morphed sources. Note: Parameters that do not directly participate in the morph, including most buttons and pop-up menus, are indicated with a lock icon displayed at the top left of the control the lock icons are shown only in source subpages.
Where there is a parameter pairing of an On button and a pop-up menu, only the button shows the lock icon. Neither parameter participates in the morph. Regions of each source encompassed by corresponding warp markers are time- aligned in the morph. See Logic Pro Alchemy zone waveform editor. Also controls VA morph position if the VA element is active. Also controls sampler morph position if the sampler element is active.
Also controls morphing of the source filter knobs. These controls morph the timing of the sound. In cases where source A has a short attack and source B has a long attack, for example, the length of the attack varies as you change the X knob.
Turn off for the best morphing quality. As an example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources. Auto Align is automatically turned off when you set warp markers manually.
Regions of each source encompassed by corresponding warp markers are time-aligned in the morph. See Logic Pro Alchemy elemental morphs overview. Use Elements to view and edit the X values of five parameters. Morphs affect only the chosen group of sources.
This also controls the sampler morphing position if the sampler element is active. Turn off for higher morphing quality. For example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources. Drag the point to change the X or Y value, or both. Drag each point to change the corresponding X and Y values. Edit buttons are shown on all source subpages. Shown at the top right of all edit windows. By default, the Main edit window is shown.
Further Additive and Spectral edit windows can be opened by clicking the buttons at the top of the window. These windows provide additional parameters that let you precisely edit and sculpt your sounds. The Main edit window is divided into three areas that interact with each other. You can edit parameters graphically in the keymap or waveform editor or can use corresponding fields and other parameters in the inspector. This area interacts with the zone parameters in the inspector.
See Logic Pro Alchemy keymap editor. The source edit window is opened by clicking the Edit button on any source subpage. Click the close window icon X to close the source edit window. The source inspector is divided into three main parameter groupings: global and source parameters, group parameters, and zone parameters.
Click the X icon at the top right of the active window to close it. You can also click the Previous and Next buttons the arrows to step through available waveform data. All other sources are muted. Logic Pro Alchemy inspector group controls Source components are shown only in advanced view.
Click the close window icon X at the top right to close the window. The new group name is added below existing group names in the Group list shown under the Group pop-up menu. A sequentially assigned number is appended to the new group name. Control-click a group name to choose the Delete command. Attack triggers group zones when note-on messages are received. Release triggers group zones for note-off messages. This mode is useful for instruments with a distinctive end-of-note sound such as a key click or hammer thump.
Such sounds can be included as a separate group with release triggering enabled. You can also use this feature creatively to add abstract reverb tails or to create a pad sound that changes dramatically during the release stage.
Apply a fade in time value ranging from 0 to for note-off events when the release trigger mode is active. This parameter is primarily intended for use in conjunction with release triggering, to create a crossfade between the main body of the note and the release sample. A common use of this feature is to create a group containing an open and a closed hi-hat sample.
If you set group polyphony to one, either the closed or open hi-hat sample can play, but not both at the same time. You can create and combine multiple rules using boolean logic. The normal state for any newly created group is a single rule set to Always, unless that group was defined as a Round Robin group in the Import browser Dropzone.
Click the field to choose a rule. This adds a new rule pop-up menu below the first and displays a Logic pop-up menu to the right. Choose Delete from the pop-up menu to remove a rule. At least two round robin groups must exist for this parameter to have an effect. Each group is assigned a different value. If two groups are assigned to the same value, both zones are triggered simultaneously. Each note-on sequentially triggers a round robin group from lowest to highest.
Once the highest group number is triggered, the sequence starts again from the lowest group number. Drag vertically in the field or use the arrows to set a value. No Order pop-up menu is shown. You can also assign keyswitching to a MIDI note or range of notes which prevents the group from triggering until one of these notes is played. Two pop-up menus are displayed, where you can choose keyswitch conditions. For example, set the first field to Snap2 and the second field to Snap4, which results in the group being triggered only when the Transform pad is at position 2, 3, or 4.
Assign multiple groups to different ranges to switch between up to eight different groups. See Logic Pro Alchemy Transform pad. This knob is visible only when the Keysw options are chosen in these menus. For example, set the first field to Keysw1 and the second to Keysw5, which results in the group being triggered when the Keyswitch knob is set to a value that falls within this range.
Up to 10 Keyswitch knob positions are available, enabling you to switch between groups with the knob. Because the Keyswitch knob is available as a modulation target, this lets you create complex automated group switches. Play a note in this range to switch to a group, which remains active until another group is chosen. Three pop-up menus are displayed where you can choose the controller type and set controller values.
You can set other groups with the same type but with a different control range to switch between groups with a single controller. Because the Control 1 knob used in the example is available as a modulation target, this lets you create complex automated group switches.
Drag vertically in the fields or use the arrows to set a value. The different logic conditions result in different outcomes. Crossfade to a different group of samples on note-off 1. Select a sample or multiple samples representing the main sustain portion of your sound, and import using any of the available import modes. Alchemy analyzes each sample to determine the root pitch if not defined in the filename , set the root key, key range, and velocity range for each sample zone such that they span the entire keyboard and the entire dynamic range, and add all zones to a group named Group 1.
Select a sample or multiple samples representing the release portion of your sound, and import the import mode is automatically set to match the existing group. Alchemy again analyzes each sample and adds all zones to a group named Group 2. Double-click Group 2, then click the Trig field and change it to Release. Zones in Group 2 will now trigger when you release each key, playing over zones in Group 1 which continue to sound until AHDSR1 reaches the end of the release stage.
Double-click Group 1 in the list, then click the Fade field and change it to a value other than 0. Zones in Group 1 will now fade out when the note is released, allowing Group 2 to be heard during the release stage of the sound.
Higher Fade values result in slower fades. As an option, double-click Group 2 in the list, then click the Fade field and change it to a value other than 0. Zones in Group 2 will now fade in when the note is released, creating a crossfade between Groups 1 and 2 at note-off.
Higher values result in slower fades. Fading in the release group may be unnecessary if your release samples already have a natural fade in at the start, however, or undesirable if a percussive transient is required at note-off. Try to set Fade values for Group 1 and 2 to an identical small value to create a sudden but click-free crossfade at the end of each note.
Create random round robin variations 1. Select a sample or multiple samples representing the second of your round robin variations, and import the import mode is automatically set to match the existing group. Alchemy will again analyze each sample and add all zones to a group named Group 2. Any notes you play will now randomly trigger either group 1 or group 2, but not both together. Note that if you play a chord, each individual note is randomly assigned to one of those groups.
Repeat steps 7 to 9 as needed to configure a group for each further variation you require. Assign the source Keysw knob to switch between groups 1. Click the Rule field, and change it from Always to Keyswitch. Click the first range field, and change it to Keysw1. The second range field also changes to the same value. As an option, you can click the second range field and increase the value to specify a range of values that will trigger this group, instead of just a single value.
Select a sample or multiple samples representing the second of your variations, and import the import mode is automatically set to match the existing group. Click the Rule field below Group 2, and change it from Always to Keyswitch. Click the first range field, and change it to the first unused Keysw value. If the second range field for Group 1 is set to Keysw3, choose Keysw4. As an option, you can click the second range field and increase the value to specify a range of values that will trigger Group 2, instead of just a single value.
Click the X symbol at the top right to close the source edit window. A new Keysw knob is visible in the source pane, to the left of the Keyscale field. Rotate the Keysw knob to switch between the groups you created.
Control-click this knob to add modulation routings from the shortcut menu. Create round robin variations for just one Transform pad position 1. It is automatically assigned the number 1 in the sequence, and a second rule set to Always is added below. Leave the first range field for rule 2 set to Snap1, and change the second range field to Snap7.
It is automatically assigned the number 2 in the sequence, and a second rule set to Always is added below. Set the first Range field for rule 2 to Snap8. The second field is automatically set to the same value. Played notes only trigger zones in Group 1 unless the Transform pad is at position 8, in which case Groups 1 and 2 play alternately, in a round robin fashion.
Repeat steps 10 to 14 as needed to configure a group for each further variation you require. Newly imported samples are added to the current configuration. Each new sample results in a new zone. Click to open a pop-up menu where you can select other source zones. Note: The keymap editor lets you select multiple zones simultaneously. In this case the zone name field shows Multiple to indicate a multi-zone selection.
Any parameter changes are applied to all selected zones. The chosen note triggers playback of the sound at its original pitch. A pitched sample should ideally be mapped to a matching root key.
If the root note is defined as part of the filename, the Key parameter is set accordingly when the file is imported. If the root note is not in the filename, samples are analyzed on import to calculate their original pitch and a suitable root key setting. The button is automatically turned off once the root key has been learned.
Note: The loop start and loop end points can be edited in the source main edit page. In VA mode, a raw oscillator noise source is used rather than loopable data, so VA synthesis elements are not affected by the Loop mode setting. This parameter is also useful for level- matching multiple selected zones. Alternatively, drag the left edge of the highlighted zone in the keymap editor. Alternatively, drag the right edge of the highlighted zone in the keymap editor.
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. Make sense? I understand you wrote the first book, then got into details, wrote the second.
It’s great for someone to read in that order. But having to use boolean search in two books doesn’t make a lot of sense if you’re trying to jump to answers. My case I don’t think is unique. I’d love to sit by the fireplace and read your books, but what I really need is a fast way to zoom in and read e.
And boolean searches pre-suppose I know the terminology, while I might not yet know what it’s called in Logic. What I’m getting at is that there’s an additional value-added layer you could offer that would use your familiarity with Logic and other apps to create something like an uber-index, a semantic converter, that would help anyone, even say a Cubase or ProTools user, to zoom in on the specific Logic stuff that might be discussed in multiple sections and books.
Another example. I’m working with a score, but I don’t know how Logic controls which regions and which tracks show up on the page. So I’m asking “how do I hide these tracks”, I search for “score hide tracks” but nothing comes up. In reality it’s not a matter of hiding them, but I don’t know how the page presentation is built, so I don’t know how else to express it. Thus a table of contents and even a fancy boolean search for specific words won’t help.
But YOU could build a smarter index. If this makes no sense to you, I give up. Last edited by Fernand; 14th January at AM.. That is the exact link I posted in my first response. It is the old Logic Pro X v1. That’s why it’s better than to use the web link to view the most current update information or do what I just did. I downloaded the iBooks which are epubs and converted them to HTML but the way I set it up, you can have them on a local folder and then click on the index.
This link shows how you can also put them on a web site if you wanted to. Press “A” on your computer keyboard to display the Automation parameters and select the parameters from the Parameter Automation menu. Also check Parameter Automation. Also indicates file length using horizontal bars. Colored sections indicate the location and size of regions within the audio file. The Info column can also display waveform overviews. Click again to stop playback. Use in combination with the Play button.
Open the Project Audio Browser Do one of the following:. You can also import GarageBand projects into the current project. Click the plus button to display additional search filters that allow you to narrow your search further. Results are displayed in the File list below. Open the All Files Browser Do one of the following:. A project is the document that contains all your recordings, the location of media files you add, and all the changes you make.
You can have multiple projects open at the same time, and transfer media and other data between them. Projects can also contain assets including audio files, a movie file, instruments, and other files. You can save assets with the project or reference them in another location. When Show Advanced Tools is selected in the Advanced preferences pane, you can save a project as either a single file package , or as a project folder containing the project file and subfolders for project assets.
The basic elements of a Logic Pro project include the following:. Tracks The horizontal rows in the Tracks area are called tracks. Tracks help you organize and control the sound of the recordings, loops, and other material in a project.
You record your performances on tracks, and arrange the regions representing the recordings, loops, and other material in a project on tracks.
There are several types of tracks you can use in a Logic Pro project:. Folder tracks are not assigned to a channel strip in the Mixer. There are additional track types that do not contain regions, including auxiliary aux and output tracks, used for routing the output of other tracks; global tracks, used to control aspects of the overall project; and the master track, which you can use to control the overall volume level of the project. For information about working with global tracks, see Logic Pro global tracks overview.
Regions Regions are the building blocks of a project. Each time you make a recording, drag an Apple Loop to the Tracks area, or add a media file to your project, a region representing the recording or file appears in the Tracks area. Different types of regions correspond to different track types and types of material.
An audio region can represent the entire audio file or only a portion of one. When you edit the region in the Tracks area or the Audio Track Editor, the original audio file is not changed. They are stored as part of the project, but can also be saved as individual files. In the Tracks area, you can move, copy, and work with both audio and MIDI regions in a variety of ways to build your arrangement.
When Show Advanced Tools is selected in the Advanced preferences pane, you can edit the source audio files for audio regions in the Audio File Editor. For more information about working with regions, see Logic Pro regions overview. Patches You can control the sound of the tracks in your project using patches.
A patch can contain one or more channel strips, each with its own settings and plug-ins, as well as a set of Smart Controls.
Patches can also contain auxiliary channel strips for more complex routing. Custom patches can be saved in the Library. For more information about working with patches, see Logic Pro patches overview. Channel strips Each track in a project is represented and controlled by a channel strip corresponding to the track type. Channel strips contain controls to adjust the volume level and pan position of the track, mute and solo the track, insert plug-ins, route the output signal, and control the track in other ways.
You can view and edit the channel strips for a project in the Mixer. In addition to track channel strips, projects contain output channel strips and a master channel strip which controls the overall volume of the project. They can also contain auxiliary channel strips, which are used to route the output from multiple tracks to a single destination. For more information about working with channel strips in the Mixer, see Overview of mixing in Logic Pro.
Plug-ins Logic Pro includes a collection of professional-quality plug-ins you can use to shape the sound of your recordings and other material. There are several types of plug-ins used in Logic Pro channel strips: MIDI plug-ins, effects plug-ins, and instrument plug-ins. In general, they modify the sound the input signal of the channel strip. For more information about working with instrument and effects plug-ins, see Overview of plug-ins in Logic Pro.
The contents of each window update to show your latest changes. Only one window can have key focus at a given time, this is called the active window. When several normal windows overlap, the active window is the window in the foreground. The title of the window with key focus is black the titles of other open windows are gray. Inside a window, the area with key focus for example, the Tracks area is bordered by a blue frame. In the Logic Pro main window, different areas can be given key focus by clicking the background or title bar of the window, or by using a tool in the window.
Key commands only affect the window or area with key focus. Some areas, including the Preferences and Project Settings windows, open as floating windows in the foreground, above even the key focus window. When one floating window covers another, click the one you want to move to the foreground. If the window is open but in the background, it comes to the foreground. Tip: The key commands for opening different working areas as separate windows are shown beside the window name in the Window menu.
When clicking in the working area, be careful not to accidentally insert an event or region if the Pencil tool is active in the window. This command assigns key focus to the next open window, if it is fully obscured by other windows. You can also cycle through working areas using Tab cycles forward and Shift-Tab cycles backward. Note: If you close all open windows of a project, Logic Pro asks if you want to save your changes.
Move and resize Logic Pro windows You can move and resize open windows individually, even across multiple monitors. You can also change the size of all window elements that feature a resize bar.
The size relationship of the Tracks area and editors in the Logic Pro main 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 is independent of the height you set for the editors.
In Logic Pro, move the pointer over the resize bar. When the pointer turns into the Resize pointer, drag the window element. Zoom Logic Pro windows You can also zoom in to see regions or events in closer detail, or zoom out to see more of the project.
Most Logic Pro windows have zoom sliders. When you zoom in or out, the top-left and selected event or region remains in the visible area of the screen. If no selected region or event is visible, zooming is centered around the playhead.
You can store three different zoom settings for each window using the Save as Zoom 1—3 key commands. Use the Recall Zoom 1—3 key commands to recall your zoomed settings. These commands only apply to the active window or window area. Dragging left increases the number of visible tracks, while dragging right increases the track height. Dragging left shows more of the Tracks area, while dragging right zooms in for a more detailed view.
Dragging down zooms in, while dragging up zooms out. Pinch open to zoom in, or pinch closed to zoom out. Zoom a section of the Tracks area using the Zoom tool 1. When the pointer is over an empty part of the Tracks area, you can simply press and hold the Option key. The selected area fills the window.
You can repeat the process to zoom in further. Save and recall zoom settings 1. In Logic Pro, adjust the zoom setting you want to store. To recall a saved zoom setting, use the corresponding Recall Zoom key command 1—3. This action returns the zoom level to the original setting, or backtracks through previous zoom steps if the tool was used multiple times. Adjust the size of an individual plug-in window In Logic Pro, do one of the following:.
Move through display levels in Logic Pro The windows in a Logic Pro project have several display levels, with the Tracks area at the highest level, and the editors normally at the lowest level. You can work on different types of tasks, such as arranging the overall project, editing the contents of a folder, or refining individual regions, at different levels.
In many cases, you can switch between these different levels directly, without needing to open or access another window. Move one display level higher In Logic Pro, do one of the following:.
In the Piano Roll and Step Editors, a step up the display hierarchy shows the events of all regions in the Tracks area. In the Event List, clicking the Display Level button moves you up one level in the display hierarchy. 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. In the Score Editor, clicking the Display Level button takes you to the higher display level. Double-clicking a staff at an empty point , reverts to a lower display level. Control Logic Pro windows using Catch modes You can control how windows update to reflect changes to the playhead position using Catch modes. When you work in Catch mode, the visible section of a window follows the playhead during playback or recording.
If the Catch button is inactive, the display does not update, even when the playhead moves past the right edge of the visible portion of the window. You also have the option of using Catch mode together with the Scroll in Play setting. If the Catch function of the window is also activated, the playhead remains in the middle of the window, while the background scrolls smoothly from right to left. Content Catch mode is only available when Additional Options for Advanced editing is selected in the Advanced preferences pane.
Turn on Content Catch mode 1. In Logic Pro, click the Catch button to turn on Catch mode. Link windows in a Logic Pro project When Additional Advanced Editing Options is selected in the Advanced preferences pane, you can independently link or unlink windows including the Tracks area, Piano Roll Editor, Score Editor, and Event List to control the relationship between what they display. For example, you could set up two Event Lists, one showing arrange regions, and the other showing their contents, then click a region in the first Event List to update the contents of the second one.
The Link mode options—Off, Same Level, and Content—allow you to control how information is displayed when working with related editor windows. In this case, the display level is always one level lower than that of the top window. You can also use Content Link mode in one Tracks area to display the folder contents of another Tracks area. Same Level is not available. Create and recall screensets in Logic Pro You position windows in a layout that suits the way you work. This layout of various windows, including their display size, zoom levels, position, and other settings, is called a screenset.
Once defined, you can save, and freely switch between different screensets, much as you might between different computer displays. Screensets are numbered from 1 to 99 using only the 1 to 9 computer keys—the 0 key is assigned to the Stop command by default. It happens automatically, as soon as you switch to another screenset.
Thus, without any effort, your current working view is always stored as the current screenset. You can also switch a screenset automatically during playback using meta events.
Create a screenset 1. In Logic Pro, press any numerical key except 0; for example, 7. For two-digit screensets, press and hold Control while entering the first digit. Arrange your windows, including changes to zoom settings, the relationship of the Tracks area and editor, open or closed inspector and Browsers or List Editors areas, and so on. Note: When you choose a screenset number that has not been saved, a maximized main window opens. For two-digit screensets, press and hold Shift while entering the first digit.
Note: Screensets 1 to 9 can be recalled by freely defined key commands, not only the number keys on your computer keyboard. This allows you to use the number keys for other purposes, such as opening or closing windows. The 1 to 9 key commands are called Recall Screenset 1—9 in the Key Commands window. Switch a screenset during playback 1. Set the playhead to the point where you want the screenset to change. The inserted meta event has a default value of 50 Project Select. You can stop screenset switching by muting the MIDI region that contains the meta 49 event.
For information about meta events, see Meta events in Logic Pro. A bullet appears in front of the screenset number to indicate that it is locked. Repeat the key or menu command to unlock the screenset. Copy screensets 1. In the Duplicate Screenset dialog, enter the target screenset number the screenset number that you want to copy to , and give it a name.
Rename the current screenset 1. The default is the visible window names. The name is automatically updated whenever a window or view is opened or closed. Import all screensets from another project 1. In Logic Pro, do one of the following:. Navigate to and select the project file that you want to import screensets from, then click the Import button. Note: If accessing this feature via the All Files Browser, you also need to click the Import Settings button, which appears after clicking the Import button.
In the Import Settings dialog, select the Screensets option. Revert to saved screensets in Logic Pro You can easily revert to saved screensets. Some tools are common to all working areas, while others are available only in some working areas. When you choose a tool from the Tools menu, the pointer changes to show the chosen tool. In general, you use a tool by clicking a region, note, or other item in that working area. If multiple regions are selected when you use a tool, the edits apply to all the selected regions for example, the Scissors tool cuts all selected regions at the same time position.
Where tools are available, there are two Tools menus: a Left-click and a Command-click Tools menu. You can assign separate tools to the Left-click and Command-click Tool menus. You can also assign the right mouse button if your mouse supports one. For information about assigning tools, see Assign tools in Logic Pro. The pointer adopts the shape of the active tool, so you can quickly identify which tool is being used. The Command-click Tool menu is located on the right by default, but is located in the middle when a third Right-click tool is assigned.
See Editing preferences in Logic Pro. If you have a suitable mouse, you can also assign the right mouse button to any of the following:. You can set two different behaviors for the Pointer tool when using it in the Tracks area. Set the behavior of the right mouse button 1.
Click Editing, then choose a setting from the Right Mouse Button pop-up menu. Choose the appropriate menu item to assign the tool, which is available when the right mouse button is pressed while editing. Click a tool to choose it. When the Tool menu is open, you can also use the key shown next to a tool to select it. Note: When you choose a tool from the Tool menu by right-clicking, the tool is assigned to the left mouse button.
Right-double-clicking in the working area of the active window resets the assigned tool to the Pointer tool. Set the behavior of the Pointer tool in the Tracks area 1. Click Editing, then select the behavior you want for the Pointer tool.
The Loop pointer and behavior can still be accessed in these click zones by holding down Option. Pointer tool The Pointer is the default tool when you open Logic Pro.
You can use the Pointer tool to:. You can select multiple items by holding down Shift and dragging around the items. The pointer also takes the shape of this tool when outside the working area, when making a menu selection, or entering a value.
Pencil tool Use the Pencil tool to add new regions or events. You can also select, drag, loop, and alter the length of regions or events using the Pencil tool.
In the Score Editor, you can use the Pencil tool to add dynamic markings, accents, and other symbols to notes. Eraser tool Use the Eraser tool to delete selected regions or events. When you click a region or event with the Eraser tool, all of the currently selected regions or events are deleted similar to pressing the Delete key. The Eraser tool can also delete an unselected region or event by clicking it. Text tool Use the Text tool to rename regions and other items, or add text to a score in the Score Editor.
Scissors tool Use the Scissors tool to split regions and events, allowing individual sections to be copied, moved, or deleted. Glue tool Use the Glue tool to join selected regions or events into a single region or event. Solo tool Click and hold a region with the Solo tool to listen to the selected region or event apart from the rest of the project.
Moving the mouse horizontally also scrubs any events the pointer touches. You can unmute the region or event by clicking it a second time with the Mute tool. If multiple regions or events are selected, the mute state of the clicked region or event applies to all selected regions or events. Zoom tool Use the Zoom tool to zoom in by dragging over regions or other material, or over an empty part of the Tracks area. To revert to the normal zoom level, click the window background with the Zoom tool, or click while holding Control-Option.
You can also access the Zoom function by pressing and holding Control-Option, regardless of which tool is active. Fade tool Use the Fade tool to create and edit fades, or to change the shape of fade curves. Automation Select tool Use the Automation Select tool to select automation data and create automation points at region borders.
Automation Curve tool Use to Automation Curve tool to bend or reshape the curve between two automation points, creating a nonlinear transition between the points. Marquee tool Use the crosshair-shaped Marquee tool to select and edit parts of regions. In the Tracks area, you can select part of a region or regions with the Marquee tool and apply selection- based processing with audio effects.
Flex tool Use the Flex tool for quick access to fundamental Flex editing functionality, without having to turn on Flex view in the Tracks area. Tools for specific working areas Tools specific to a particular editor or other working area are covered in the respective chapters for that working area.
Logic Pro advanced tools and options Logic Pro X provides the power and flexibility of previous versions of Logic Pro, while allowing you to turn groups of features on or off to streamline your workflow.