Logic Audio Pro ISIS Manual
Logic Audio Pro ISIS Manual
Logic Audio Pro ISIS Manual
a
E
Important!
Please read this licence agreement before opening the disk
seal!
Copyright
This manual, protection-key and software described herein are
copyrighted 19921998 by Dr. Gerhard Lengeling, Chris
Adam, Clemens Homburg with all rights reserved. Under copyright laws this manual, protection-key and software may not be
duplicated in whole or in part without the written consent of
EMAGIC, except in the normal use of the software or to make
a back-up copy of the original disk.
Limited Warranty
Except to the extent prohibited by applicable law, all implied
warranties made by EMAGIC in connection with this manual
and software are limited in duration to ninety (90) days or minimum guarantee period in your state or country from the date of
original purchase, and no warranties, whether express or
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warranty is not transferable it applies only to the original
purchaser of the software.
EMAGIC makes no warranty, either express or implied, with
respect to this software, its quality, performance, merchantability or fitness for a particular purpose. As a result, this software is
sold as is, and you, the purchaser, are assuming the entire risk
as to quality and performance.
In no event will EMAGIC be liable for direct, indirect, special,
incidental or consequential damages resulting from any defect
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exclusion or limitation of implied warranties or liability for incidental or consequential damages, so the above limitation or
exclusion may not apply to you.
Licence Agreement
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conditions.
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Layout:
1998 by
Emagic Inc.
13348 Grass Valley Ave.
Building C, Suite 100
Grass Valley, CA 95945
USA
Tel:
Fax:
Net:
http://www.emagic.de
eMail:
info@emagicusa.com
All Rights Reserved. All Trademarks are the property of their respective owners.
l
Preface
Congratulations!
With Maxi Studio ISIS and Logic Audio Pro ISIS, you have
chosen one of the most powerful music production systems
currently available. Since its release, countless hits and movie
soundtracks have been produced using Logic Audio many of
which you are definitely familiar with. Successful audio producers the world over value Logic Audio for its high Midi timing
resolution, its unparalleled ability to adapt to specific working
styles and of course, its high level of reliability on professionally
configured systems.
As a newcomer to Logic Audio, you should not be intimidated
by the programs immense functionality. Youll be comforted to
know that even long-term professional users are constantly
discovering new possibilities within the program. At first,
please take the time to read the separate Introduction manual.
Then, as time permits, we recommend that you at least read the
chapter Using Logic, as this will give you an excellent basis with
which to work comfortably with Logic as fast as possible. Over
the course of the following weeks, as you use the program more
and more, you should then read through the sections of this
reference that specifically interest you.
This manual is based on the reference manuals for Logic Audio
Silver and Logic Audio Platinum. As you can see from some of
the graphics, Logic Audio Platinum has a slightly different
feature set than Logic Audio Pro ISIS. Logic Audio Pro ISIS
supports all Audio Inputs and Outputs of the Maxi Studio ISIS
simultaneously. Logics integrated Audio Mixer has 4 Insert
Points and 4 Effect Sends in each channel, and it supplies the
best effects available as well as full Plug-In Support.
Your Emagic Team
December 1998
Table of Contents
Chapter 1
Using Logic
Chapter 2
Transport Functions
Chapter 3
Arrange Window
Chapter 4
Chapter 5
The Environment
Chapter 6
Chapter 7
Chapter 8
Audio Driver
Chapter 9
Chapter 10
10
Chapter 11
11
Chapter 12
12
Chapter 13
13
Chapter 14
14
Chapter 15
Tempo
15
Chapter 16
Synchronization
16
Chapter 17
17
Chapter 18
File Transfer
18
Glossary
Gl
Index
Ix
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Owners Manual
Version 3.6
TOC - 1
Table of Contents
TOC - 2
Emagic
Logic Audio Pro ISIS
Table of Contents
Chapter 1
1.1
1.2
1.3
Using Logic
Conventions Of This Manual . . . . . . . . . . . . 1-1
The Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2
Basic functions . . . . . . . . . . . . . . . . . . . . . . . 1-2
Mouse Input . . . . . . . . . . . . . . . . . . . . . . . . 1-3
Checkboxes . . . . . . . . . . . . . . . . . . . . . 1-3
Pull-down Menus . . . . . . . . . . . . . . . . . 1-3
Mouse as Slider . . . . . . . . . . . . . . . . . . . 1-3
Using the Mouse for In/Decrementing . . 1-3
Numerical Input . . . . . . . . . . . . . . . . . . 1-4
Text Input . . . . . . . . . . . . . . . . . . . . . . . 1-4
Tools and the Toolbox . . . . . . . . . . . . . . . . . 1-5
Effective Range of the Tools . . . . . . . . . 1-6
Hiding/Showing the Toolbox . . . . . . . . . 1-6
Selecting Tools . . . . . . . . . . . . . . . . . . . 1-7
Info Line . . . . . . . . . . . . . . . . . . . . . . . . 1-7
The Tools . . . . . . . . . . . . . . . . . . . . . . . 1-8
Window Functions . . . . . . . . . . . . . . . . . . . 1-11
Working with windows . . . . . . . . . . . . . . . 1-11
Opening windows . . . . . . . . . . . . . . . . 1-11
Closing windows . . . . . . . . . . . . . . . . . 1-11
Moving up one level in the
display hierarchy . . . . . . . . . . . . . . . . . 1-11
Setting window size . . . . . . . . . . . . . . 1-11
Selecting the Working Area . . . . . . . . . 1-12
X/Y Element . . . . . . . . . . . . . . . . . . . . 1-12
Page Scrolling . . . . . . . . . . . . . . . . . . . 1-13
Zooming . . . . . . . . . . . . . . . . . . . . . . . 1-13
Zooming Selectively . . . . . . . . . . . . . . . 1-14
Window Elements . . . . . . . . . . . . . . . . 1-15
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-15
Hierarchical Menus . . . . . . . . . . . . . . . 1-16
Fixed key commands . . . . . . . . . . . . . . 1-17
Menu options with in their title . 1-17
Dialog Boxes . . . . . . . . . . . . . . . . . . . . . . . 1-17
Window Types . . . . . . . . . . . . . . . . . . . . . . 1-17
Normal Windows . . . . . . . . . . . . . . . . 1-18
Float Windows . . . . . . . . . . . . . . . . . . 1-18
Main Menu Window . . . . . . . . . . . . . . 1-19
Relationships Between Windows . . . . . . . . 1-19
Catch . . . . . . . . . . . . . . . . . . . . . . . . . 1-19
Owners Manual
Version 3.6 English
TOC - 3
Table of Contents
1.4
1.5
1.6
TOC - 4
1-20
1-20
1-21
1-21
1-22
1-22
1-22
1-22
1-23
1-23
1-23
1-24
1-24
1-25
1-26
1-26
1-26
1-26
1-26
1-27
1-27
1-27
1-27
1-28
1-28
1-28
1-29
1-29
1-29
1-29
1-30
1-31
1-31
1-31
1-31
1-33
1-33
1-34
1-35
Table of Contents
1.7
1.8
Chapter 2
2.1
Goto Selection . . . . . . . . . . . . . . . . . .
Editing via Midi input . . . . . . . . . . . . .
Event Quantization . . . . . . . . . . . . . . . . . .
Quantizing Events . . . . . . . . . . . . . . . .
Note Quantization . . . . . . . . . . . . . . . . . . .
Display Functions . . . . . . . . . . . . . . . . . . . .
Changing Display Levels . . . . . . . . . . .
Matrix and Hyper Editors . . . . . . . . . . .
Key Commands and Remote Control
via Midi . . . . . . . . . . . . . . . . . . . . . . . . . . .
Special Keys . . . . . . . . . . . . . . . . . . . .
Key Commands Window . . . . . . . . . . . . . .
Assigning a Function to a Key . . . . . . .
Deleting Assignments . . . . . . . . . . . . .
Checking the Function of a Key . . . . . .
Making the Display Clearer . . . . . . . . .
Finding Key Commands . . . . . . . . . . .
Online Help . . . . . . . . . . . . . . . . . . . . . . . .
Song Administration . . . . . . . . . . . . . . . . .
New Song . . . . . . . . . . . . . . . . . . . . . . . . .
Autoload Song . . . . . . . . . . . . . . . . . .
Creating a new Song . . . . . . . . . . . . .
Loading a Song . . . . . . . . . . . . . . . . . . . . .
Special Functions . . . . . . . . . . . . . . . . . . .
Checking/repairing Songs . . . . . . . . . .
Saving Songs . . . . . . . . . . . . . . . . . . . . . . .
Reverting to the Saved Version . . . . . .
Closing a Song . . . . . . . . . . . . . . . . . . . . . .
Quitting the Program . . . . . . . . . . . . . . .
1-36
1-36
1-36
1-37
1-37
1-38
1-38
1-39
1-40
1-41
1-41
1-42
1-43
1-43
1-43
1-43
1-44
1-45
1-45
1-45
1-46
1-46
1-46
1-46
1-46
1-47
1-47
1-47
Transport Functions
The Transport Window . . . . . . . . . . . . . . . . .
Opening the Transport Window . . . . . . . . . .
The Transport Bar in Other Windows . . . . . .
Altering the Display . . . . . . . . . . . . . . . . . . .
Parameter Fields and Displays . . . . . . . . . . .
Position Display . . . . . . . . . . . . . . . . . . .
Locators . . . . . . . . . . . . . . . . . . . . . . . .
Tempo . . . . . . . . . . . . . . . . . . . . . . . . .
Free Memory . . . . . . . . . . . . . . . . . . . . .
Owners Manual
Version 3.6 English
2-1
2-1
2-1
2-2
2-3
2-3
2-4
2-5
2-5
TOC - 5
Table of Contents
2.2
2.3
2.4
TOC - 6
Emagic
Logic Audio Pro ISIS
Table of Contents
2.5
Chapter 3
3.1
3.2
3.3
3.4
Arrange Window
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2
Selecting a Track . . . . . . . . . . . . . . . . . . . . . 3-3
Changing tracks while keeping selection 3-3
Sorting Tracks . . . . . . . . . . . . . . . . . . . . 3-3
Creating tracks . . . . . . . . . . . . . . . . . . . . . . 3-4
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . 3-4
Deleting Unused Tracks . . . . . . . . . . . . . 3-5
Naming tracks . . . . . . . . . . . . . . . . . . . . . . . 3-5
Deleting track names . . . . . . . . . . . . . . 3-6
Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . 3-6
Muting all tracks . . . . . . . . . . . . . . . . . . 3-6
Mute Instrument . . . . . . . . . . . . . . . . . . 3-7
Selecting an Instrument . . . . . . . . . . . . . . . . 3-7
Special Types of Instrument . . . . . . . . . . 3-7
Instruments . . . . . . . . . . . . . . . . . . . . . . . . . 3-8
Making an Instrument visible . . . . . . . . . 3-8
Creating a New Instrument . . . . . . . . . . . . . 3-8
The Instrument Parameters . . . . . . . . . . . . . 3-8
Opening/Closing
Instrument Parameter Box . . . . . . . . . . . 3-9
Name . . . . . . . . . . . . . . . . . . . . . . . . . . 3-9
Track Object Type . . . . . . . . . . . . . . . . . 3-9
Selecting an Icon . . . . . . . . . . . . . . . . . . 3-9
Hiding an Instrument . . . . . . . . . . . . . . 3-9
Setting a Midi Channel . . . . . . . . . . . . 3-10
Setting the Midi channel:
Multi Instruments . . . . . . . . . . . . . . . . 3-10
Adjusting the sound of a Track . . . . . . 3-11
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 3-12
Creating a Sequence . . . . . . . . . . . . . . . . . 3-12
Creating an Empty Sequence . . . . . . . 3-13
Deleting Sequences . . . . . . . . . . . . . . . . . . 3-13
Retrieving Deleted Sequences . . . . . . . . . . 3-13
Moving Sequences . . . . . . . . . . . . . . . . . . . 3-13
Removing gaps between sequences . . 3-13
Owners Manual
Version 3.6 English
TOC - 7
Table of Contents
3.5
3.6
3.7
TOC - 8
3-14
3-14
3-14
3-15
3-15
3-16
3-17
3-18
3-19
3-19
3-20
3-20
3-20
3-21
3-21
3-21
3-21
3-22
3-22
3-23
3-23
3-23
3-23
3-24
3-24
3-25
3-25
3-25
3-26
3-26
3-28
3-28
3-29
3-29
3-31
3-32
3-33
3-33
Table of Contents
3.8
3.9
3.10
3.11
3.12
3-33
3-34
3-35
3-35
3-35
3-35
3-35
3-36
3-36
3-36
3-36
3-37
3-37
3-38
3-38
3-38
3-38
3-38
3-39
3-39
3-39
3-39
3-40
3-40
3-40
3-40
3-41
3-41
3-41
3-41
3-42
3-42
3-43
3-43
3-43
3-44
3-44
3-44
3-45
3-45
TOC - 9
Table of Contents
3.13
3.14
Chapter 4
4.1
4.2
TOC - 10
Table of Contents
4.3
Chapter 5
5.1
5.2
Punch-in Recording . . . . . . . . . . . . . . .
Pre-programmed Drop-Record . . . . . .
Record and Pause Mode . . . . . . . . . . .
Audio Cycle Recording . . . . . . . . . . . .
Auto Input Monitoring . . . . . . . . . . . . . . . .
Stereo Recordings . . . . . . . . . . . . . . . . . . .
Functions . . . . . . . . . . . . . . . . . . . . . . . . . .
Automatic Tempo Matching . . . . . . . . . . .
Digital Mixdown . . . . . . . . . . . . . . . . . . . .
Audio Crossfades . . . . . . . . . . . . . . . .
HyperDraw for Regions . . . . . . . . . . . . . . .
Non-destructive Fades . . . . . . . . . . . . . . . .
4-14
4-15
4-16
4-16
4-17
4-19
4-19
4-19
4-21
4-23
4-24
4-24
The Environment
The Situation . . . . . . . . . . . . . . . . . . . . . 5-1
The Idea . . . . . . . . . . . . . . . . . . . . . . . . 5-1
The Concept of the Environment . . . . . . 5-2
Operation . . . . . . . . . . . . . . . . . . . . . . . . . . 5-3
Opening the Environment Window . . . . 5-3
Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-4
Switching Layers . . . . . . . . . . . . . . . . . . 5-5
Naming Layers . . . . . . . . . . . . . . . . . . . 5-5
Deleting Layers . . . . . . . . . . . . . . . . . . . 5-5
Specialized Layers . . . . . . . . . . . . . . . . . 5-5
Display . . . . . . . . . . . . . . . . . . . . . . . . . 5-6
Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-7
Adjusting the Size of Objects . . . . . . . . . 5-8
Moving Objects . . . . . . . . . . . . . . . . . . . 5-8
Aligning Objects . . . . . . . . . . . . . . . . 5-9
Moving Objects Between Layers . . . . . . 5-9
Replacing Objects . . . . . . . . . . . . . . . . . 5-9
Special Selection Commands . . . . . . . . 5-10
Signal Path . . . . . . . . . . . . . . . . . . . . . . . . . 5-11
Direct Output Assignment . . . . . . . . . . . . . 5-12
Breaking the direct output assignment 5-12
Cabling . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-12
Multiple Cabling . . . . . . . . . . . . . . . . . 5-13
Cabling Serially . . . . . . . . . . . . . . . . . . 5-14
Deleting Cables . . . . . . . . . . . . . . . . . . 5-14
Owners Manual
Version 3.6 English
TOC - 11
Table of Contents
5.3
5.4
TOC - 12
Object Overview . . . . . . . . . . . . . . . . . . . .
GM Mixer . . . . . . . . . . . . . . . . . . . . . .
Object Parameters . . . . . . . . . . . . . . . . . . .
General Object Parameters . . . . . . . . .
Instrument . . . . . . . . . . . . . . . . . . . . . . . . .
Mapped Instruments . . . . . . . . . . . . . . . . .
Mapped Instrument Window . . . . . . .
Multi-Instruments . . . . . . . . . . . . . . . . . . .
Multi-Instrument Window . . . . . . . . . .
Defining Your Own
Bank Select Commands . . . . . . . . . . . .
Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . .
Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . .
Delay Line . . . . . . . . . . . . . . . . . . . . . . . .
Channel Splitter . . . . . . . . . . . . . . . . . . . . .
Physical Input / Sequencer Input . . . . . . . . .
Physical Input . . . . . . . . . . . . . . . . . . .
Sequencer Input . . . . . . . . . . . . . . . . .
Midi Metronome Click . . . . . . . . . . . . . . . .
Midi Out Port . . . . . . . . . . . . . . . . . . . . . .
Operation . . . . . . . . . . . . . . . . . . . . . .
Useful functions for Object Groups . . .
Special Functions for Faders . . . . . . . .
Recording Fader Movements . . . . . . . .
Playing Back Fader Movements . . . . . .
Fader Types . . . . . . . . . . . . . . . . . . . . . . . .
Vertical / Mute . . . . . . . . . . . . . . . . . .
Numerical . . . . . . . . . . . . . . . . . . . . . .
Buttons . . . . . . . . . . . . . . . . . . . . . . . .
Text . . . . . . . . . . . . . . . . . . . . . . . . . .
Fader Functions . . . . . . . . . . . . . . . . . . . . .
Midi Events . . . . . . . . . . . . . . . . . . . . .
Range . . . . . . . . . . . . . . . . . . . . . . . . .
Val as . . . . . . . . . . . . . . . . . . . . . . . . .
Filter . . . . . . . . . . . . . . . . . . . . . . . . . .
The Wave Player . . . . . . . . . . . . . . . . . . . . .
Functions . . . . . . . . . . . . . . . . . . . . . .
The Wave Player Window . . . . . . . . . . . . .
The Wave Player Parameters . . . . . . . . . . .
Deleting WAV Files . . . . . . . . . . . . . . .
Emagic
Logic Audio Pro ISIS
5-15
5-16
5-17
5-18
5-19
5-22
5-24
5-26
5-29
5-31
5-33
5-34
5-34
5-37
5-38
5-39
5-39
5-39
5-40
5-40
5-42
5-42
5-43
5-43
5-44
5-44
5-45
5-45
5-45
5-45
5-47
5-47
5-48
5-49
5-49
5-50
5-50
5-52
5-52
5-55
Table of Contents
5.5
5.6
Chapter 6
6.1
6.2
6.3
5-55
5-56
5-57
5-57
TOC - 13
Table of Contents
6.4
6.5
6.6
6.7
6.8
6.9
TOC - 14
6-20
6-20
6-21
6-21
6-22
6-24
6-25
6-25
6-26
6-26
6-27
6-27
6-28
6-30
6-31
6-31
6-32
6-33
6-34
6-35
6-36
6-37
6-37
6-38
6-38
6-38
6-38
6-40
6-41
6-41
6-42
6-42
6-42
6-43
6-44
6-44
6-46
6-47
6-47
6-47
6-48
Table of Contents
Chapter 7
7.1
7.2
7.3
7.4
TOC - 15
Table of Contents
7.5
Chapter 8
7-25
7-25
7-25
7-25
7-26
7-27
7-27
7-28
7-28
7-29
7-29
7-29
7-31
7-31
7-31
7-33
7-33
7-33
Audio Driver
Access to the Audio Hardware
using Drivers . . . . . . . . . . . . . . . . . . . . . . . . 8-1
Chapter 9
9.1
9.2
TOC - 16
9-1
9-2
9-3
9-3
9-4
9-4
9-5
9-5
9-5
9-5
9-6
9-7
Table of Contents
9.3
9.4
9.5
TOC - 17
Table of Contents
9.6
9.7
9-25
9-26
9-26
9-26
9-26
9-26
9-27
9-28
9-28
9-28
9-29
9-30
9-30
9-30
9-31
9-31
9-32
9-32
9-33
9-33
9-34
10.1
10.2
10.3
TOC - 18
Usage . . . . . . . . . . . . . . . . . . . . . . . . .
Opening the Event List . . . . . . . . . . . .
Structure . . . . . . . . . . . . . . . . . . . . . . .
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Operation . . . . . . . . . . . . . . . . . . . . . . . . .
Scrolling . . . . . . . . . . . . . . . . . . . . . . .
Selection Techniques . . . . . . . . . . . . . .
Special Selection Functions . . . . . . . . .
Event Editing . . . . . . . . . . . . . . . . . . . . . . .
Adding Events . . . . . . . . . . . . . . . . . . .
Duplicating Events . . . . . . . . . . . . . . . .
Moving Events . . . . . . . . . . . . . . . . . .
Altering Values . . . . . . . . . . . . . . . . . . . . .
Altering the Values of Several Events . .
Numerical Value Input . . . . . . . . . . . . .
Event List Structure . . . . . . . . . . . . . . . . . .
Status . . . . . . . . . . . . . . . . . . . . . . . . .
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Logic Audio Pro ISIS
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10-1
10-2
10-2
10-3
10-3
10-4
10-4
10-5
10-5
10-5
10-5
10-6
10-6
10-6
10-7
10-8
Table of Contents
10.4
10.5
Cha . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-8
Num, Val . . . . . . . . . . . . . . . . . . . . . . . 10-8
Length/Info . . . . . . . . . . . . . . . . . . . . . 10-8
List Structure on the Arrange Level . . . . . . . 10-9
Position . . . . . . . . . . . . . . . . . . . . . . . 10-10
Name . . . . . . . . . . . . . . . . . . . . . . . . 10-10
Track . . . . . . . . . . . . . . . . . . . . . . . . . 10-10
Length . . . . . . . . . . . . . . . . . . . . . . . 10-10
Event Type Structure . . . . . . . . . . . . . . . . 10-10
Note Events . . . . . . . . . . . . . . . . . . . . 10-10
Program Change Events . . . . . . . . . . 10-11
Pitch Bend Events . . . . . . . . . . . . . . . 10-13
Control Change Events . . . . . . . . . . . 10-13
Aftertouch Events . . . . . . . . . . . . . . . 10-14
Poly Pressure Events . . . . . . . . . . . . . 10-14
SysEx Events . . . . . . . . . . . . . . . . . . . 10-15
Meta Events . . . . . . . . . . . . . . . . . . . 10-16
Event Float Window . . . . . . . . . . . . . . . . . 10-17
11.1
11.2
11.3
Usage . . . . . . . . . . . . . . . . . . . . . . . . . 11-1
Opening the Hyper Editor . . . . . . . . . . 11-1
Structure . . . . . . . . . . . . . . . . . . . . . . . 11-1
Hyper Sets . . . . . . . . . . . . . . . . . . . . . . . . . 11-2
Choosing a Hyper Set . . . . . . . . . . . . . 11-2
Creating a Hyper Set . . . . . . . . . . . . . . 11-2
Naming the Hyper Set . . . . . . . . . . . . . 11-3
Deleting a Hyper Set . . . . . . . . . . . . . . 11-3
Event Definitions . . . . . . . . . . . . . . . . . . . . 11-3
Deleting an Event Definition . . . . . . . . 11-5
Hyper Sets: Copying Event Definitions . 11-5
Converting Event Definitions . . . . . . . . 11-5
Sorting Event Definitions . . . . . . . . . . . 11-6
Event Definition Parameter Box . . . . . . 11-6
Making Different Definitions
Simultaneously . . . . . . . . . . . . . . . . . 11-10
Hi-Hat Mode . . . . . . . . . . . . . . . . . . . . . . 11-10
Operation . . . . . . . . . . . . . . . . . . . . . . . . 11-10
Selection Techniques . . . . . . . . . . . . . . . . 11-11
Moving and Copying Events . . . . . . . 11-11
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TOC - 19
Table of Contents
11-11
11-11
11-13
11-13
11-14
11-14
11-15
12.2
12.3
12.4
13.1
TOC - 20
13-1
13-1
13-1
13-2
13-2
13-3
Table of Contents
13.2
13.3
Autostyle . . . . . . . . . . . . . . . . . . . . . . 13-3
Display Quantization . . . . . . . . . . . . . . . . . 13-3
Editing notes . . . . . . . . . . . . . . . . . . . . . . . 13-4
Selecting . . . . . . . . . . . . . . . . . . . . . . . 13-4
The Info Line . . . . . . . . . . . . . . . . . . . . 13-4
The Event Parameter Box . . . . . . . . . . . . . . 13-5
Moving and transposing . . . . . . . . . . . 13-5
Copying . . . . . . . . . . . . . . . . . . . . . . . 13-6
Inserting . . . . . . . . . . . . . . . . . . . . . . . 13-6
Insert Defaults . . . . . . . . . . . . . . . . . . . . 13-6
Diatonic Insert . . . . . . . . . . . . . . . . . . . . . . 13-6
Deleting . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-7
HyperDraw in the Score Edit Window . . . . 13-7
Layout and Printing . . . . . . . . . . . . . . . . . . 13-9
Preparing the notation for printing . . . . . . 13-10
The parameter area . . . . . . . . . . . . . . . . . 13-10
Switching levels . . . . . . . . . . . . . . . . . . . . 13-11
The sequence level . . . . . . . . . . . . . . 13-11
The song level . . . . . . . . . . . . . . . . . . 13-11
The track filter . . . . . . . . . . . . . . . . . . . . . 13-12
The display parameter box . . . . . . . . . . . . 13-13
Name . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Style . . . . . . . . . . . . . . . . . . . . . . . 13-13
The allocation of notes in multi-staves . . . 13-14
Inserting . . . . . . . . . . . . . . . . . . . . . . 13-14
Displaying . . . . . . . . . . . . . . . . . . . . . 13-14
Piano 1/3 . . . . . . . . . . . . . . . . . . . 13-15
Organ 1/1/5 . . . . . . . . . . . . . . . . . 13-15
Organ 1/3/5 . . . . . . . . . . . . . . . . . 13-16
Hide/Show Parameters . . . . . . . . . 13-16
Display Quantization . . . . . . . . . . . . . . . . 13-16
Interpretation . . . . . . . . . . . . . . . . 13-17
Syncopation . . . . . . . . . . . . . . . . . 13-17
No Overlap . . . . . . . . . . . . . . . . . . 13-18
Max. Dots . . . . . . . . . . . . . . . . . . . 13-18
Inserting symbols from the partbox . . . . . 13-18
Inserting symbols . . . . . . . . . . . . . . . 13-19
Assigning a symbol to several notes . 13-19
Selecting Symbols . . . . . . . . . . . . . . . 13-20
The symbols as seen in the Event Editor . . 13-23
Manipulating the notation . . . . . . . . . . . . 13-23
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TOC - 21
Table of Contents
13.4
Enharmonic shifting . . . . . . . . . . . . .
Note stems . . . . . . . . . . . . . . . . . . . .
Manual beaming . . . . . . . . . . . . . . . .
Moving staves vertically . . . . . . . . . . .
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting a font . . . . . . . . . . . . . . . . .
Inserting text . . . . . . . . . . . . . . . . . . .
Positioning text . . . . . . . . . . . . . . . . .
Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page Edit . . . . . . . . . . . . . . . . . . . . . . . . .
Page Edit and the normal display . . . .
Scrolling the Page Edit display . . . . . .
Page Edit and printers . . . . . . . . . . . .
Printing . . . . . . . . . . . . . . . . . . . . . . . . . .
The Print menu . . . . . . . . . . . . . . . . . . . .
Setting up printers . . . . . . . . . . . . . . . . . .
RAM . . . . . . . . . . . . . . . . . . . . . . . . .
Resolution . . . . . . . . . . . . . . . . . . . . .
13-23
13-24
13-24
13-25
13-26
13-26
13-27
13-27
13-28
13-29
13-29
13-29
13-29
13-29
13-30
13-30
13-31
13-31
14.1
14.2
TOC - 22
Usage . . . . . . . . . . . . . . . . . . . . . . . . . 14-1
Opening the Transform Window . . . . . 14-1
Effective Range . . . . . . . . . . . . . . . . . . . . . 14-2
Purpose of the Transform Window . . . . . . . 14-2
Conditions . . . . . . . . . . . . . . . . . . . . . 14-2
Operations . . . . . . . . . . . . . . . . . . . . . 14-3
Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-3
Select only . . . . . . . . . . . . . . . . . . . . . 14-3
Operate only . . . . . . . . . . . . . . . . . . . . 14-3
Select and Operate . . . . . . . . . . . . . . . 14-3
Transformation . . . . . . . . . . . . . . . . . . . . . 14-4
Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-4
Event Parameters . . . . . . . . . . . . . . . . . . . . 14-5
Conditions . . . . . . . . . . . . . . . . . . . . . . . . . 14-6
Exchanging Parameter Values . . . . . . 14-11
Display . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-11
Transform Parameter Sets . . . . . . . . . . . . . 14-12
Presets . . . . . . . . . . . . . . . . . . . . . . . 14-12
Calling up Presets . . . . . . . . . . . . . . . 14-13
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Table of Contents
Chapter 15 Tempo
15.1
15.2
15.3
15.4
Tempo Display . . . . . . . . . . . . . . . . . . . . . .
Tempo Track . . . . . . . . . . . . . . . . . . . . . . .
Overview . . . . . . . . . . . . . . . . . . . . . . . . . .
Information on changing song tempo .
Tempo List Editor . . . . . . . . . . . . . . . . . . . .
Creating Tempo Changes . . . . . . . . . . . . .
Deleting Tempo Changes . . . . . . . . . .
Copying The Tempo Changes from a
Passage . . . . . . . . . . . . . . . . . . . . . . . . . . .
Other Functions . . . . . . . . . . . . . . . . . . . . .
The Graphic Tempo Editor . . . . . . . . . . . . .
Creating Continuous Tempo Changes . . . .
Other Functions . . . . . . . . . . . . . . . . .
Tempo Functions . . . . . . . . . . . . . . . . . . . .
Recording Tempo Changes . . . . . . . . . . . .
Adjusting the Tempo to fit Regions . . . . . .
Tips and Suggestions . . . . . . . . . . . . . . . . .
Scene-orientated Film Music . . . . . . . .
15-1
15-1
15-1
15-1
15-2
15-2
15-3
15-3
15-4
15-4
15-5
15-5
15-6
15-6
15-6
15-6
15-6
Chapter 16 Synchronization
16.1
Synchronization Window . . . . . . . . . . . . . .
General . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sync Mode . . . . . . . . . . . . . . . . . . . . .
External Stop ends Record Mode . . . . .
Auto Detect Format of MTC . . . . . . . .
SMPTE Offset . . . . . . . . . . . . . . . . . . .
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nominal Sample Rate . . . . . . . . . . . . .
MTC [Hz] . . . . . . . . . . . . . . . . . . . . . .
Sample Rate . . . . . . . . . . . . . . . . . . . .
Deviation . . . . . . . . . . . . . . . . . . . . . .
Sync Mode . . . . . . . . . . . . . . . . . . . . .
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transmit MIDI Clock . . . . . . . . . . . . . .
Allow Song Position Pointer while
playing . . . . . . . . . . . . . . . . . . . . . . . .
Send MMC (MIDI Machine Control) . .
Unitor . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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16-2
16-2
16-3
16-4
16-4
16-4
16-5
16-5
16-5
16-6
16-7
16-7
16-8
16-9
16-9
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Table of Contents
16.2
16.3
16.4
TOC - 24
Song Settings . . . . . . . . . . . . . . . . . . . . . . .
Recording Options . . . . . . . . . . . . . . . . . . .
Click . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Options . . . . . . . . . . . . . . . . . . . . . . .
Synchronization . . . . . . . . . . . . . . . . .
Synchronization Source . . . . . . . . . . . .
Initializing Instruments . . . . . . . . . . . .
Chase Events . . . . . . . . . . . . . . . . . . . . . . .
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17-1
17-4
17-5
17-7
17-7
17-8
17-8
Table of Contents
18.2
18.3
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18-1
18-1
18-2
18-2
18-2
18-2
18-3
18-3
18-4
18-4
18-5
18-5
18-6
18-6
18-7
TOC - 25
Table of Contents
TOC - 26
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Chapter 1
Using Logic
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1.1
Menu Functions
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Key Commands
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The options you can set from the Preferences or Song Settings,
and the parameters in dialog boxes are printed like this: Parameters.
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Detailed Explanations
&
Sometimes, detailed explanations will be given for things which you dont necessarily
need to know about to understand how to use Logic. These are printed in this
smaller font.
1.2
The Mouse
Basic functions
Unless stated otherwise, the left mouse button is the one you
should use whenever the mouse button is mentioned.
Clicking
Place the mouse pointer on the object (button, input field, etc.)
and press the mouse button once.
Double-clicking
Grab the object and move the mouse (keeping the mouse
button held down) to the desired position.
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The Mouse
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Mouse Input
2
Checkboxes
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5
Pull-down Menus
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9
move the mouse over the top or bottom edge of the menu;
the further you move it, the faster you will scroll through the
menu.
10
11
Now click using the right mouse button. You can then let go
of both mouse buttons.
12
Mouse as Slider
13
You can set practically all the numerical parameters, (even note
values or names) by grabbing the parameter value and moving
the mouse up or down. If the parameter is made up of several
separate numbers (e.g. song position), you can adjust each
number individually.
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16
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All the parameter values which can be set using the mouse as a
slider may also be increased or decreased in single units by
clicking on the top or bottom half of the value with the left or
right mouse buttons while holding down the A key.
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Chapter 1
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Numerical Input
Double-clicking on a numerical parameter value opens an
input field. The previous value appears pre-selected, (i.e. highlighted) to allow it to be overwritten by a new entry. You can
also use the mouse to make a partial selection in an input field
so that only the highlighted part is overwritten (for more on
this, see the section Numerical Value Input on page 10 - 6). As
long as the input field is open, all the keys may be used for
inputting data only, and may not be used for key commands
(the exceptions are the main menu functions).
by arithmetic
At any time, you can enter numbers by typing in an arithmetical operation, e.g. +2 or -5, which then simply changes the
current value by that amount.
as ASCII-symbols
You can also input numbers as ASCII symbols: just put a ` or " in
front of it, and the ASCII code will be input as a number. For
example:
"! gives 33
"a gives 97
This function is particularly useful for entering text in SysEx
strings.
Text Input
You input text names in the same way as numbers, but you only
have to click the name fields once to allow input.
Numbered Names
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The Mouse
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This allows you to name all the sequences on one track, or all
the faders in the Environment quickly.
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Chapter 1
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Upper row
Lower row
pointer
hand
pencil
eraser
scissors
glue tool
text marker
crosshair
layout pointer
size tool
voice splitter
magnifying glass
Quantize
Solo
Velocity
Mute
A tool basically affects the objects you click on. If the clicked
object is already selected, the tool operates on all other
selected objects, as well.
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Important
The Mouse
2
3
Selecting Tools
You select the tool you want to use by clicking on it in the toolbox (or clicking while holding down the right mouse button for
the alternate tool).
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10
Use Set next Tool and Set previous Tool to switch to the neighboring tool in the top window.
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Info Line
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From left to right, the readouts are: operation, mouse (or event)
position, event type, event Midi channel, first data byte (i.e. the
pitch for notes), second data byte (i.e. velocity for notes), and
for notes: length of the note.
The Tools
Pointer
The pointer is the default tool. The mouse also takes on this
shape outside the working area when you are choosing from a
menu or inputting a value. Within the working area the pointer
is used for selecting (by clicking on objects), moving (by grabbing and dragging), copying (by holding down the key and
dragging) and editing lengths (by grabbing the bottom right
corner and dragging). Grabbing and dragging anywhere in the
background opens a rubber band (see page 1 - 25).
Pencil
The pencil is used to add new objects. You can also select, drag,
and alter the length of objects.
Eraser
1-8
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The Mouse
Scissors
The scissors are used to split arrange objects, e.g. before copying or moving individual sections (see page 3 - 17).
2
3
Glue Tool
The glue tool is the opposite of the scissors: all selected objects
are merged into a single object, which is given the name and
track position of the first of the objects on the time axis (more
information can be found on page 3 - 19).
5
6
Solo Tool
Grabbing with the solo tool allows you to listen to only selected
objects during playback. Moving the mouse vertically also
outputs any events the cursor touches, even when the
sequencer is stopped (please refer also to section Soloing
sequences on page 3 - 20).
8
10
Mute Tool
11
12
Magnifying Glass
16
13
14
15
The magnifying glass allows you to zoom in on a rubberbanded section, right up to full window size. You revert to
normal size by clicking on the background with the tool(for
more on this, see the section Zooming Selectively on page 1 - 14).
You can also access this function via other tools by holding
down the A key.
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Chapter 1
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Finger
You use the Q tool in the note editors to quantize notes to the
most recently set value.
Velocity Tool
In the note (i.e. Matrix and Score) editors), you can use the V
tool to change the velocity of notes.
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Window Functions
1.3
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Window Functions
The basic functions of the Logic windows are the same as those
in other Windows application programs. However, the display
options in Logics windows are far more extensive.
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6
7
8
9
10
Opening windows
11
All Logic windows can be opened via the Window main menu.
You can open as many of the same type of window as you like.
12
13
Closing windows
14
15
16
17
The black box in the Menu line on the left takes you to the
next-highest level of the display (for more on this, read the
section Changing Display Levels on page 3 - 35.).
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As is usual for Windows, you can change window size by positioning the mouse over a Window edge, or corner and pulling.
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Chapter 1
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The scroll bars are situated at the right and bottom edges of a
window, if you can only see one section of the working area in
either the vertical or horizontal dimension.
You can move the visible section by clicking the arrows or grabbing and dragging the scroll slider. There are two points of
note:
X/Y Element
The X/Y element is situated in the bottom left corner of the
window. By grabbing and dragging it you can move the horizontal and vertical window section, as if you were dragging both
scroll bars simultaneously.
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Window Functions
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Page Scrolling
Use the key commands Page Up, -Down, -Left and -Right to scroll
one page up, down, left or right, as if you had clicked in the grey
region above / below the vertical scroll bar, or to the left / right
of the horizontal scroll bar. The key commands Page Top, Bottom, -Left most and -Right most take the visible section of the
working area to the top, bottom, left or right, just as if you had
grabbed one of the scroll sliders, and moved it to one of its
extreme positions.
4
5
6
7
In the Arrange, Event List, Hyper and Matrix Editors, View >
Scroll to Selection allows you to move the visible window
section to the first set of selected events. This function is available as a key command from the Various sequence editors
area. The key command works in the currently-active window.
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10
11
Zooming
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13
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You can store three different zoom settings for each window
using the key commands Save as Zoom 1-3. Use Recall Zoom 13 to call them back up. These commands always apply to the
top window only.
Zooming Selectively
1 - 14
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Window Functions
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Window Elements
3
4
5
If you move the mouse over the top left corner of the arrange
area the mouse pointer turns into a crosshair. By dragging it,
you can now adjust the size of the bar ruler, arrange area, track
list, and transport buttons. You can also adjust the window
elements in the Score, Hyper, and Matrix Editors using the
same method.
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12
13
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Menus
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Chapter 1
Using Logic
are always in the menu bars of the Logic windows where they
are required.
Hierarchical Menus
You use the menus (whether main or local) in the same way as
in other application programs: grab the menu title, move the
mouse over the desired item , and release the mouse button. In
hierarchical menus, there is a right-pointing arrow after the
item. If you highlight this item, a sub-menu drops down to the
right. To choose an item from this sub-menu, move the mouse
to the right, into the sub-menu, and then vertically over the
desired item. Releasing the mouse button will activate the
selected function.
You can also select the active windows menu using the A key,
and step through the menus in the usual way using the J and
K keys (or by hitting the typewriter keys for the underlined
letters) to select the one you want. You then use the M and I
keys to select the menu entry you want (or carry out the menu
function immediately by hitting the key for the letter underlined in the menu functions name).
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Window Functions
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2
3
When you have chosen your function, hit the R key to activate it.
4
5
7
8
9
Please note that you may assign practically any other function
to any key you like using the Key Commands window.
10
11
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Dialog Boxes
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As per usual for Windows, you can toggle the thick border from
button to button with the JK cursor keys.
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Normal Windows
You can open as many normal windows as you want, including
several of the same type. Even though the contents of all the
windows is constantly updated, only one of the windows ever
has the status of being the top, or active window. This is
the window which is in the foreground when several normal
windows are overlapping.
Top or Active Window
Float Windows
Float windows are so called because they always float in the
foreground, even above the top normal window (if there are too
many open float windows, they will inevitably cover each other
up just click on them to bring them to the front). Float
windows are recognizable by their narrower title bar, which
contains no name. Mouse operations can be carried out in the
same way as in normal windows.
The most often encountered example of a float window is the
Transport window.
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Window Functions
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You can keep this window at its preset maximized size, but
generally, there isnt much point in doing this.
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Catch
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The function Enable Catch when Sequencer starts (File Preferences > Global) always enables Catch mode whenever you
press play or pause.
When the button with the chain link icon is activated (i.e. when
it is light blue), this window always displays the same contents
as the top window. The display is adjusted whenever the selection in the top window is altered.
Heres an example: imagine the top window is an editor. In
Link mode, the other editor windows can display the same data
in another form (though please remember: you cannot have any
event display as the background window of an Arrange window
while in Link mode).
Heres another example, using the Environment window; The
top window is the Arrange window. In Link mode, the Environment window will display the instrument that corresponds to
the selected track in the Arrange window. As you switch tracks
in the Arrange, the Environment will update to reflect the
selection.
Contents Link
Double-clicking on the link button (dark blue) activates
Contents Catch mode. This means that the window always
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Window Functions
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Contents Catch
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Screensets
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Normally you will lay out your windows on the screen in a way
that suits your way of working. This layout with various
windows, with all their different parameters (display, zoom,
position of each window) is called a screenset, and can be
stored. You can then swap between different screensets, much
as you might swap between different computer monitors.
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Storing Screensets
Screensets are numbered from 199 using only the numbers
19. You can see the number of the current screenset in the
main menu next to the word Window.
You dont have to save screensets with an explicit command. It
happens automatically as soon as you switch to another
screenset. Thus, without any effort, your current working view
is always stored on the current screenset.
Switching Screensets
Just input the number of the desired screenset (19). For twodigit screensets hold down the S key while inputting the first
digit.
Protecting Screensets
Use the key command Lock/unlock current screenset to protect the
current screenset from being altered. A # then appears in front
of the screenset number. Repeat the key command to unlock
the screenset.
The New Song command deactivates all Screenset locks.
Copying Screensets
To copy the current screenset to a destination screenset, hold
down when you switch screensets.
Copying Screensets between Songs
Close all the windows you want to copy in the screenset, switch
to the other song, and reopen the editors. They will have
retained their sizes and shapes in the new song.
The reason for this is that the preset values for window position, size, and all other pertinent parameters are stored in
memory when you manually close a window, so that the
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Selection Techniques
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settings remain the same the next time windows of the same
type are opened again.
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Sequencer-controlled Switching
Set the song position to the point where youd like the
screenset to change.
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doesnt affect the selection (as long as you dont click on the
background, which deselects everything. Be sure to click on
the windows title bar).
Selecting Alphabetically
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Selection Techniques
Rubber-Banding
To select objects which are close together, click on the background and drag a rubber band over them.
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1.5
Edit Operations
The local edit menus in Logics various windows all take the
same form. The first item is Undo. Below Undo are the typical
clipboard functions and at the bottom of each are the main
selection commands.
Undo
Undo allows you to reverse the previous edit. In the Global
page of the Preferences, you can disable the warning message
that normally appears when you activate Undo, by checking
the Disable safety alert for Undo box.
The Clipboard
The clipboard is an invisible area of memory into which you cut
or copy selected objects so that you can paste them into a different position.
The clipboard spans all songs, which means you can use it to
exchange objects between songs.
Cut
All selected objects are removed from their current position
and placed on the clipboard. The previous contents of the clipboard are overwritten in the process (key command x).
Copy
A copy of all selected objects is placed on the clipboard. The
selected objects are also left in place. Here too, the previous
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Paste
All objects from the clipboard are copied into the top window.
The clipboard is not erased in the process (key command
v).
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Delete
Any selected objects are erased. Delete has no effect on the
clipboard and is the same as pressing the B or keys.
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Contents Link
Clicking on the button with the chain symbol on it activates the
link function, and double-clicking it activates the show
contents function. In show contents mode, the window
always displays the contents of an object selected in the top
window; in link mode the window shows the same objects as
the window where you are making the selections.
For a description of the catch and link functions see page 1 - 19.
In Editor windows, contents link is usually active. You can
then, for example, select some sequences in an arrange
window, and when you switch to a screenset with an open
editor window, you will see the contents of the selected
sequence(s).
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Example
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You can select all events with a certain relative position, e.g. all
snare drums on the off-beat.
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Splitting Chords
In the Functions sub-menu in the Editor windows there is a
new function called Note Events. This allows you to manipulate selected notes in a manner influenced by the notes
surrounding or overlapping them; musically speaking, you can
think of this function as adding division lines within chord
sequences. These functions can be very useful if you want to
set up a polyphonic display within the Score window.
The command Functions > Note Events > Select Top Line
selects the highest notes in the selected chords of a sequence.
All previous selections are ignored.
The command Functions > Note Events > Select Bottom Line
selects the lowest notes in the selected chords in a sequence.
All previous selections are ignored.
Select Top Line and Select Bottom Line are purely selection
commands which can be used in conjunction with any of the
editing commands, like Cut; for example, to move a voice into
another sequence or to alter just the velocity of all the notes in
a sequence.
Splitting voices across Midi channels
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The audible result will only change if you play the sequence
back through an All Cha instrument.
Using different Midi channels, you can score the individual
notes in polyphonic score styles, or split each note off into its
own sequence using the Arrange window function Structure >
Split/Demix > Demix by Event Channel.
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Usage
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For a description of the undo and clipboard functions (particularly adding events at the Arrange level), refer to page 1 - 26.
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function
removes overlaps for all selected notes regardless of whether
the following overlapped notes are selected or not.
function
removes overlaps for all selected notes but only if the following
overlapped notes have the same note number (pitch).
If the overlapping notes appear to be part of a chord, you will be
presented with the following options:
Legato
With Functions > Note Events > Note Force Legato, you can
lengthen all selected notes so that each note sustains all the
way up to the start of the next one, in a legato manner.
There are two possible ways of doing this:
Note Force Legato (selected/any)this function forces legato
function forces
legato for all selected notes, only if the following note is
selected.
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Delete
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To repeat selected events once or several times (with adjustable rounding of the position of the first repeated event), you
can use the function Edit > Repeat Objects as described on
page 3 - 14.
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Deleting Events
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the Eraser also deletes all selected events, and any events
that you click with it (whether previously selected or not).
Step-time Recording
Step-time recording allows you to enter notes via the keyboard,
but not at any defined tempo as in real-time recording. After
each note is inserted, the sequencer steps ahead by an increment which is determined by the division setting in the Transport window. Every note or chord you enter automatically
receives the note value of the display format, or a multiple of it.
Midi Step-time input is activated in the Score, Event List and
Matrix Editors by pressing the Midi In button.
Heres how to do it. Select an existing sequence, or create one
in the Arrange with the Pencil tool. Open one of the note
editors (Score, Event List or Matrix).
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Release the last note. This moves the song position by one
step (the format value on the transport), and you may enter a
new note.
Rests are entered with the sustain pedal. Each time you
press this, you step through the song by the format value,
without entering a new note.
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You may change the format value on the Transport at any time,
even while you are holding down notes.
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If you are step-time recording in the Score Editor you can also
define the note value by clicking notes in the part box (but only
if step-time recording is switched on.)
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Keyboard Control
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When employing step-time input, there are a few special, noneditable key commands that can only be used if the keys in
question have not been redefined for another purpose (see the
section Key Commands Window on page 1 - 41).
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along in steps, you will first have to delete this key assignment;
see the section Deleting Assignments on page 1 - 43).
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Goto Selection
The key command Goto Selection moves the SPL to the position
of the first selected event in the top window.
Event Quantization
The Event Editor has a separate quantization function which
can be applied to all selected events. Unlike quantization for
arrange objects the event quantization applies to all events, not
just notes. It irreversibly alters their positions ( only notes can
be returned to their original recorded positions).
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Quantizing Events
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This is identical to the matching pull-down menu for the playback parameters, and contains its own quantization grid (for
details see the section Quantization on page 3 - 28). As soon as
you choose an item from the menu, all the selected events are
quantized.
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Note Quantization
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B
If you click on the background with the Q tool you get the usual
rubber band for selection of several objects at once.
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Display Functions
The section Window Functions on page 1 - 11 describes the basic
window functions, including how to lay out the window
elements to make more space for the event display in the
graphic editors, and how to operate the zoom functions.
Many of the display options in the editor windows correspond
to those in the Arrange window:
By choosing View > Parameters you can hide or show the
parameter fields to enlarge the windows working area. The key
command is Hide/Show Parameters.
In the Matrix and Hyper Editors you can conceal or reveal the
transport panel in the top left corner by choosing View > Transport.
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In the Matrix and Hyper Editors, this means that you will then
see an Arrange window. In this case, when you change to the
lowest level, the relevant editor reappears. In this Arrange
level, you will see the local menus of the Matrix or Score
Editors, which also contain all the functions of the Arrange
window. Double-clicking on a sequence opens the usual Hyper
or Matrix display of the contents of the sequence. This means
you can quickly switch to another sequence, and edit its
contents.
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Event List
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Clicking the small black box button in the Event List moves
you up one level in the hierarchy, just like the other editors. In
the Event List, however, the form of the display remains the
same but instead of a list of the individual events you now see
a list of the sequences along with their position, name, track
number and length. The sequence that you have just left will
be selected.
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Score Editor
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Dont worry if all this sounds a bit confusing. In fact, the whole
process of changing levels is much easier to grasp if you simply
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1.7
You can activate nearly all Logics functions via key commands
or Midi messages. The Key Commands window is where you
assign key commands to the keys, or to Midi messages.
Whenever this manual mentions a key command, this refers to
a command which can be called up by a keystroke . This allows
you to completely customize Logic to suit your own working
style.
If any function described in this manual is also available via a
key command with the same name you will see this symbol.
Your personal key assignments are stored (together with the
settings of the Preferences pages) in a file called Logic.PRF
in your PCs Windows folder. You should:
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All the available key commands are listed on the right side.
They are grouped according to the following categories:
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Global commands
Functions affecting all windows (various windows)
Functions affecting all Editor windows (various sequence
Editors)
Functions for the Arrange window
Functions for the Environment window
Functions for the Score Editor (Score window)
Functions for the Event List Editor (Event window)
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You can also set the key (Key) and the modifier via pull-down
menus in the parameter box (top left).
Deleting Assignments
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Deactivate Learn Key, and press the key whose function you
want to check. The function will be automatically selected, and
displayed in the middle of the window.
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You can use the Hide Used and Hide Unused buttons to remove
all the used, or unused key commands.
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Simply click in the white space to the right of the Find: button
and enter the string of characters youre searching for. The
window will then display only those key commands containing
that character string (plus the selected command, even if it
doesnt contain that string).
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Online Help
Logic has an online help facility: the file in question,
Logic.HLP is automatically installed, and needs to be in the
Windows > Help folder.
If you select Info > Help, Logic will give you an introduction
and pointers to detailed instructions in the printed manual.
Were working on a detailed online Help utility for all of Logics
functions right now. Stay tuned....
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Song Administration
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Song Administration
All events, other objects and settings (apart from the Preferences and key commands) are components of a song. Songs are
handled in the main File menu.
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New Song
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Autoload Song
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Please follow these instructions if you want Logic to automatically load the Autoload song when you boot up the program:
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In Windows, select Start > Settings > Task & Start Menu.
Select the page Start Menu Programs.
Click on Advanced. The Windows explorer opens with the
Windows start menu.
Open the Programs folder.
Open the Emagic folder.
Open the Logic folder and select the Logic application.
Select File> Properties.
Click on the Shortcut tab. You should see the file path for
the Logic application in the Target: line.
At the end of this file path, add Autoload.LSO, separated
from the rest of the text by a space.
Click on Apply.
Close all the windows youve opened.
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Loading a Song
You use File > Open (o) to bring up a typical file selection
box.
Special Functions
Checking/repairing Songs
If you double-click on the display on the Transport which
shows the remaining number of free events (see page 2 - 5), the
memory will be reconfigured. At the same time, the current
song will be checked for any signs of damage, structural problems and unused blocks.
If any unused blocks are foundwhich normally shouldnt
happenyou will be able to remove these, and repair the song.
Saving Songs
When you select File > Save (or s) the current song will be
saved with its current name intact.
If you dont wish to overwrite the last version of this song saved
under this name (which is what will happen if you just use File
> Save or s), try using File > Save As. Here, you can enter
a new name for the song (and select a new directory or even
create a new folder). The next time you save using straight
Save (s), the new name and file path will be used.
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Closing a Song
File > Close (c) closes the currently active song. If you have
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made any changes since the last time you saved, Logic will ask
you if the song should be re-saved before closing, to preserve
the changes you have made.
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Choose File > Quit (q) to leave the program. If you have not
yet saved your last changes, you will be asked if you want to do
so before quitting (press R to save).
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Transport Functions
You can adjust the size of the Transport bar to several different
size settings.
Legend
Position Slider
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All the displays in the Transport panel (apart from the song
name), can be used for inputting data. You can either input the
numbers via the keyboard, after double-clicking on the display
field, or adjust the individual numbers using the mouse as a
slider.
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Position Display
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For more on setting the song Start time when using external
SMPTE sync, please read the section SMPTE Offset on page 16
- 4.
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Buttons
There is a column of four small gray buttons, between the locator display area, and the tempo display area. The bottom two of
these are aligned just to the right of the two locator points. The
upper of these will take the SPL to the left locator, when
pressed. The lower button will take the SPL to the right locator.
Locators
You define two sets of locator points, one for the Cycle zone,
and the other for the Autodrop zone.
The locators on the left define the cycle region, which is a
passage that can be constantly repeated (take a look at the
section Cycle Mode on page 2 - 14).
The locators on the right define the autodrop range (take a look
at the section Autodrop on page 2 - 10). They are only displayed
when the cycle and autodrop functions are both switched on.
Any mention of the left or right locators is a reference to the
left-hand cycle locators. The top one is the left locator and the
bottom one is the right locator.
Switches
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Tempo
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Free Memory
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Below the tempo you are shown the free memory in the record
buffer, in events (top limit approx. 65500). You can increase the
amount of free memory in any of the following ways:
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This is where you can see, and set the time signature of the
song. The format is:
Bar numerator/ Bar denominator/ Division
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Move the Song Position Line to the first bar with the particular
time signature you want to change. Set the new time signature
from the transport bar.
You can also edit the time signature in the Score Editor, by
double-clicking on it.
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You can also erase time signatures in the Score Editor by selecting them. and hitting the B key. To erase all time signatures,
select Edit > Select similar Objects before doing this.
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The top line shows the last Midi message received, and the
bottom line the last Midi message transmitted. The monitor is
mainly used to check the Midi connections.
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Transport Functions
Song Title
The title of the active song is shown below the Midi monitor.
Song End
Below the song title, on the right, you are given the position of
the song end. As soon as the sequencer reaches this position, it
stops automatically, except when recording. In this case the
song end is automatically moved to the end of the recording.
For internal system reasons, the maximum length of a Logic
song is 8550 quarter notes, or about 2138 bars in 4/4 time.
A song can therefore last a maximum of around 70 minutes at a
tempo of 120bpm. At 95bpm, the maximum length is over an
hour and a half.
If you need to increase this length, e.g. for film synchronization,
just halve the tempo. You can achieve the same result by using
4/8 time instead of 4/4 time, and treating quarter notes as eighth
notes.
A 4/8 song at a tempo of 60bpm (equivalent to 4/4 at a tempo of
120) has a maximum length of more than 4273 bars, or over 2
hours and 22 minutes.
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Transport
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Record
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Pause
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Stop
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Mode
The mode buttons do not immediately trigger an action, but
switch operating states. The activated mode is signalled by the
relevant button being illuminated.
Cycle
Autodrop
Replace
In solo mode, only the selected objects are played. The data
output from all other objects is muted. This is known as: soloing the objects. You can of course, change the solo mode of
objects by changing what you have selected (if necessary, refer
to the section Selection Techniques on page 1 - 23).
Sync
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Metronome
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song position,
start and end of the song or folder,
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when you drag it). Choosing Wide Song Position Line in the
Display page of the Preferences, switches to a thicker SPL.
Direct Placement...
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numerically
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Choosing Goto Position (default key: #), calls up the dialog box
shown above, to allow you to input the song position numerically. The last division used (bar position or SMPTE time) is
automatically selected, with the last input value as a default.
Since the numbers are registered from the left, it is enough just
to enter the bar number.
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Placement at a Marker
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Transport Functions
Scrubbing
Start playback, and grab the bottom third of the bar ruler. By
moving the mouse to the left or right, you can now scrub
through the song, moving the SPL to hear all the cued
events. As soon as you stop moving the mouse, playback
resumes as normal. You can also do this using the Scrub Rewind
and Scrub Forward key commands.
2.3
Cycle Mode
The cycle region is shown as a black stripe in the top part of the
bar ruler.
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Graphically using the Bar Ruler
Click-hold in the top third of the bar ruler, and define the
desired region, by dragging the mouse (dragging from right
to left generates a Skip Cycle; see above).
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Grab the bottom corner to move the start or end points of the
cycle (you can even do this while the sequencer is still
running.). If you set the start and end points to the same
position, cycle mode is switched off.
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When you set the size of a cycle graphically in the bar ruler,
your sizes are quantized to the nearest bar. The locator positions can only be changed division by division at high zoom
resolutions, or if you hold down the A key as you drag. If you
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Tip
Numerical Entry
The positions of the left and right locators (start and end points
of the cycle) are shown in the Transport window, where they
can also be altered.
There are also two keyboard shortcuts available (Set Left / Right
Locator) to allow you to directly enter either of the points in the
dialog box, shown above (default = last input).
By Objects
You can use the key commands Set Locators by Object(s) and Set
Locators & Play to set the locators at the start and end of
selected objects; the latter command also starts playback.
Set rounded Locators by Object(s) rounds the position of the locators to the nearest bar.
Skip Cycle
When you are playing the song you can skip a passage, which is
useful for trying out the musical effect of various transitions.
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Recording
Drag out the skip cycle region from right to left in the bar ruler.
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When the SPL reaches the right locator it skips to the left locator (i.e. the right and left locators swap positions).
Skip cycle is a quick way of leaving out a passage in an Arrangement, without having to physically delete it from all the tracks,
make a backup, etc.
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You can also use it when editing, to leave out those parts of the
song which you dont want to be affected by the edit.
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Recording
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Choosing a Track
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First you have to select the track you want to record on, for
example by clicking on it (more information can be found on
page 3 - 3). Remember, just one track can be selected, which
may even be on another folder level, (more information can be
found on page 3 - 35). During the recording, the incoming
events are stored in a sequence, on the selected track.
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Changing Tracks
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You can change the record track, without having to stop recording just select a new track, for example via the Select previous
/ next track command (default keys: I or M).
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Count-in
After you press the record button, the recording begins with a
count-in. This is defined in the Recording Options page of the
Song Settings. The choices are:
No count-in
If the File > Song Settings > Recording Options > Click only
during Count In option is active, the click will be switched off
after the count-inso-called Drummer mode.
This is often useful if the section of the song just before the
part youre recording lacks the sort of rhythmic information
necessary to play new parts in time, but when theres plenty of
rhythmic reference, once the section youre recording to gets
going.
Record Options
Record Toggle (default: V) switches between playback and
record mode. Record Repeat repeats the recording from the
previous drop-in point.
Record into selected sequences
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Replace Mode
To activate replace mode, press the replace button. In replace
mode, any newly recorded data is always stored in a new
sequence. In addition, any existing sequences on the destination track are cut at the punch in/out points of the recording,
and any data between these points is deleted.
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If you select Merge New Recording With Selected Sequences (r) and
switch on replace mode (the recording head symbol in the
Transport window), the new events you record will replace the
ones in existing sequences.
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Autodrop
Autodrop means automatically going into and out of record at
previously defined positions. Autodrop mode is most
commonly used to re-record a badly played section of an otherwise well played recording. The advantage is; you can concentrate on the playing.
If cycle is not active, the left and right locators serve as drop-in,
and drop-out points. Autodrop is activated by clicking the autodrop button.
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Chase Events
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If the song position line is behind the right locator when you
start recording, recording automatically begins at the drop-in
point, after the count-in.
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Chase Events
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sample loop, the sample will be triggered at the wrong time and
therefore, they will be played out of sync with the rest of the
sequence, (at least until the next trigger note). The problem is
that most samplers can only play their samples from the beginning, and cannot synchronize them to the beat by starting in
the middle.
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Activate the No Seq Trp parameter of your drum loop instrument, in the instrument parameter box, and switch off Chase
Notes in No Seq Trp Instruments in the Chase Events page of the
Song Settings. The result is that whenever the song jumps to a
new position, your drum loops will not play until they reach the
next trigger note.
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The No Seq Trp parameter actually prevents transposition by the sequence playback
parameters, which is also not desirable for drum sounds or loops.
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3.1
Overview
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To the left of the arrange area is the track list 3. This is where
you determine which instrument should play the Midi or
audio information on each track. You can make various settings
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Open Arrange
3.2
Tracks
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Generally, only one track can be selected at any one time. The
exception is with combining Midi and audio recording, where it
is possible to select one audio and one Midi track simultaneously.) During recording, a sequence is created on this track
containing the recorded Midi events or audio data.
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Selecting a Track
You select a track by clicking its name or icon in the track list.
This also selects all objects on the track (if the Cycle function is
switched on, it only selects the objects within the defined cycle
region ).
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If you click on a new track while holding down the key, the
track will be selected without changing the existing selection of
sequences and folders.
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Sorting Tracks
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To change the position of a track in the track list, grab the track
near the track number and drag it up or down.
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Creating tracks
To create a track, use the Structure > Track > Create command.
The new track is created at the same position as the track
currently selected, and all the tracks below it are moved down
accordingly.
The Structure > Track > Create with next Instrument function, creates a new track under the selected track and assigns it
the next instrument from the instrument selection list. Under
most circumstances, this would be the next Midi channel in the
same sound module.
You can also hold down the A key when you create a new track
by double-clicking under the track list. Or, you can use the
Moving Objects onto a Track
Track
Deleting Tracks
To delete the selected track, use the Structure > Track > Delete
function. If there are any objects on the track a warning
message appears first.
If there is no object selected in the arrange area you can
perform the same function by pressing the B key.
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Naming tracks
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You can also change the name of an existing track by doubleclicking on the instrument name in the track list while holding
down the Akey, and typing another in the text input field that
appears.
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Muting Tracks
Both Midi and audio tracks have mute buttons on the left of the
track list between the track number and the icon. Muting a
track stops it from playing. To show or hide the blue mute
buttons choose View > Mute Switch.
Muting when the mute buttons are hidden
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Tracks
Mute Instrument
If you mute a track while holding down the A keys, all the
tracks in the current song with the same track instrument
(including those in all the folders) are muted.
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Selecting an Instrument
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No Output
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Folder
This setting is used when you want the track to play a folder
(more information can be found on page 3 - 34). Normal
sequences will not play on a track set to the Folder instrument.
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3.3
Instruments
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Instruments
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The instrument parameter box in the Arrange window is identical to the corresponding parameter box for this instrument in
the Environment.
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Click the small triangle (top left) to open or close the instrument parameter box.
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Name
The top line shows the instrument name, which can be edited
by clicking on it.
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Selecting an Icon
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Grabbing the icon opens a flip menu where you can choose an
icon to represent the instrument. If you hold down the right
mouse button while you do this, the flip menu will remain
open when you let go of the mouse button.
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If you click on the icon and hold down the right mouse button,
you can step through the icons by moving the mouse.
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Hiding an Instrument
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The small box to the left of the icon determines whether the
instrument appears in the instrument selection flip menu of the
track list. You will generally always have this checked on for
instrument objects.
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Instruments
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You cant actually change the receive channel of a part in the multitimbral synthesizer. This is only possible in a very few models (and anyway is not particularly useful
when using a multitrack sequencer). The Cha parameter is really an alternative
way of changing the track instrument so that the track can be played by a different
part in the multitimbral synthesizer.
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If the Midi channel is set to All, you can edit the parameters
of the whole multi instrument, e.g. the Midi driver.
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As many devices cannot receive these messages, you can deactivate this parameter by making the adjustment shown to the
right.
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3.4
Sequences
Creating a Sequence
Normally a sequence is created automatically when you record
on the selected track. It begins at the start of the bar in which
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the first events were recorded and stops at the end of the bar in
which the last event was recorded.
Click with the pencil at the position in the Arrange area where
you want the empty sequence to begin. You can now enter the
events manually in one of the Editors.
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Deleting Sequences
You can delete all the selected sequences by clicking them with
the eraser or by pressing the B key. You can also delete any
non-selected sequence by clicking it with the eraser.
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Moving Sequences
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Copying Sequences
To copy sequences to another point in the song or to other
tracks, hold down the key while moving the sequence.
Number of Copies
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Sequences
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Note
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Grab the sequence at the bottom right corner with the pointer
or pencil. You can now move the end of the sequence wherever
you want. Even when you shorten sequences the data in them
is never deleted; playback just stops at the end of the sequence.
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of multiple selection
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You can change the length of multiple objects in the same way.
The length will be changed by the same absolute value.
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Hold down while you are altering the length. The timing of
the events in the sequence will be stretched or compressed in
proportion to the amount by which youve altered the length.
Using this method you can make a rhythm sequence play halftime by stretching it to twice the original length, or doubletime by shortening the length to half the original.
to adjust it to fit its contents
The function Functions > Modify Object Borders > Set Optimal
Object Sizes reduces or increases the length of an object so that
it is just large enough to contain the events (or other objects)
within it. The object borders are rounded to the nearest bar.
If you hold down the A key when you call up this function the
borders are rounded to the nearest beat instead.
to adjust it to fit other sequences
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Sequences
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AS + operation.
All you need to do is hold these keys during the particular operation.
Lets say you want to shorten a sequence in a 4/4 bar so that the
4 is played but not the 4 and of the last bar. Enlarge the
screen display until you can see quarter notes in the bar ruler.
Now grab the bottom right corner of the object and move the
mouse to the left until the sequence is shortened by one quarter note. Then press (and hold) A and move the mouse carefully to the right until the sequence has become one division
longer. While you are doing this the right side of the Arrange
windows title bar shows the track number followed by the
current length of the object in bars, beats, divisions and ticks.
The three right-hand numbers should be 3 1 0.
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Example
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Dividing Sequences...
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If any notes overlap other notes by more than a 1/16 note, the
following dialog will appear on-screen:
Overlapping Notes found! Do you want to keep, to shorten or
to split those? [KEEP|SHORTEN|SPLIT]
KEEP (default) leaves all notes unaltered. The sequence is cut
as usual, but when you do this, you can end up with notes in the
left-hand half that are much longer than the sequence now is.
Such notes are played normally, unless Clip Length is set to
cut off all sounding notes at the end of a sequence.
SHORTEN truncates all overlapping notes, so that they end at the
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Sequences
Merging Sequences
The function of the glue tool is the same as Structure > Merge
> Objects. This merges all selected sequences, even those on
different tracks, into a single sequence in which all the events
from the individual objects retain their original time position.
Be aware that the individual Midi channels are replaced by the
Midi channel of the current track instrument. The new object
adopts the name and track of the first (timewise) of the merged
objects.
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See the section Merge/Normalize and Midi Channels on page 3 28 for more on this.
The function Structure > Merge > Objects per Tracks has the
same effect as Merge Objects, but if the selected objects are on
several different tracks they are combined into one object per
track.
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Demixing Sequences
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The function Structure > Split/Demix > Demix by Event Chansearches the selected sequence for events with different
Midi channels. A separate sequence containing all the relevant
events is created for every Midi channel found. Each of these
sequences is created on a track with an instrument that has the
same Midi channel. If no such tracks exist the tracks are created
on a track with the original instrument.
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Muting sequences
Often when you are arranging, you will want to test musical
ideas out by muting certain objects. This is what the mute tool
is for.
You can mute individual or selected objects by clicking on them
with the tool. They are then displayed with a dot before the
object name. Clicking a muted object reverses this state
(unmuting).
You can perform the same function using the Mute Folders/
Sequences key command.
Soloing sequences
You can solo any selected sequences using the Solo button in
the Transport window or the key command of the same name.
Double-clicking on the Solo button locks the soloed status,
so that changing the selection doesnt affect what is being
soloed. This is especially useful when you want to make
changes to the Playback parameters of a sequence while listening to a specific solo group. A further click (or using the key
command again) quits solo mode. For more on this, read the
section Solo and Solo Lock on page 2 - 10.
Naming a Sequence
One sequence: click the sequence with the text marker tool and a
text input box appears. Enter the name and press R, or click
another object, or the background.
The same applies if you are entering the name in the sequence
parameter box.
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Sequences
Multiple Naming
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If you end the name of the sequence with a number, that all
selected sequences are given the same name, but increasing
numbers. They are numbered according to the time position of
the sequences. If you want to give all the sequences the same
number at the end just add a space after the number!
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The above also applies if you enter the name via the top line in
the sequence parameter box, instead of using the text tool.
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Inserting events
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The search looks for notes, controllers, monophonic aftertouch and program change data.
Events of the same type but with different channels are not
treated as identical.
The same time position includes two notes which are
output simultaneously because of the current quantization
setting.
3.5
Sequence Playback
Parameters
When you select a sequence object, its parameters are automatically displayed in the sequence parameter box. If the sequence
parameter box isnt visible, select View > Hide/Show Parameters).
None of these parameters alter the original data of the
sequence, they only affect the playback.
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The top line in the sequence parameter box simply shows the
name of the selected sequence: in the example shown here, its
Sequence.
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Qua
Covered in section Quantization on page 3 - 28.
Loop
Value range: On or Off. Normal value: Off.
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Transpose
Value range: +/- 96 semitones. Normal value: 0.
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To guard against drum notes, etc. being transposed, the instrument parameter box contains a parameter called No Instrument
Transpose. If you place a check in this box the transpose parameter is ignored in all sequences played by this instrument.
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Velocity
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All notes in the relevant object are offset by the selected value.
Positive values are added and negative ones subtracted,
although naturally it is impossible to go outside the limits
prescribed by the Midi Standard (0127). If you select a velocity offset that exceeds the maximum or minimum possible
value for a particular note, that note will play at the extreme
possible range. For example, a setting of >+20< will cause a
note with a velocity of 120 to play at 127.
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Dynamics
Value range: see diagram. Normal value: 100%.
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This parameter also affects the velocity values of the notes, but
instead of adding or subtracting a fixed amount, the differences
between soft and loud notes (the dynamics) are increased
or decreased. This works in a similar way to a compressor or
expander. Values above 100% expand the dynamics and so
increase the difference between loud and soft, while
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Gate Time
Value range: see diagram. Normal value: 100%.
Delay
Value range: -999 to 9999 ticks. Normal value: 0.
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If you click to the left, between the word Delay and the
delay value, the flip menu shown here appears for you to set the
delay in terms of note value.
You can use the View menu to switch the display to milliseconds, using Delay in ms. This can also be used to calculate
delay times for different note values at various tempos:
Set the desired note value by clicking to the left of the delay
value.
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Just like the Merge function or the Glue tool, the Normalize
function is intelligent with respect to stored Midi channel
numbers. If all stored events have the same Midi channel
number, the channel will be changed into that of the instrument assigned to the current track. If the events are on different channels, Logic will ask whether you would like to convert
the channels or not.
3.6
Quantization
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Quantization
How It Works
Quantization settings are made in either the sequence parameter box or the extended sequence parameter box. They are
non-destructive playback parameters, so they can be replaced
by another setting at any time. This also means that by setting
the Qua parameter to off (3840) you can always revert to the
unquantized original recording. Unlike other playback parameters, quantization affects the way notes are displayed in the
editor windows, thus allowing you to see from the position of
the notes what effect the quantization parameters are having.
The quantization affects only notes, not other types of events
(e.g. controllers).
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For every note event, two positions are stored internally: the original position that
was played in, and the playback position (also shown in the Editor windows). For
unquantized sequences, both positions are the same. Each time you quantize, a new
playback position is calculated from the original position.
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The Fix Quantize command (see the section Fixing the Quantization on page 3 31) overwrites the original position with the playback position. The same thing
happens if you change a note in one of the Editors manuallyalthough then you
cant return to the original value.
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To quantize events other than notes, read the section Quantizing Events on page 1 - 37.
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If you wanted to quantize various parts of a sequence differently, you could divide the sequence up, and use different
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Quantization off
The setting off(3840) plays the notes with the finest possible
time resolution: 1/3840 note, which is practically unquantized
playback.
Normal quantization
The settings 1/1, 1/2, 1/4, 1/8, 1/16, 1/32 and 1/64 note quantize
the sequence to the equivalent note value.
Triplet quantization
The settings 1/3, 1/6, 1/12, 1/24, 1/48 and 1/96 note quantize the
sequence to triplet note values. A 1/6 note is equivalent to a
quarter triplet, 1/12 note to an eighth triplet, 1/24 note to a
sixteenth triplet and 1/48 note to a thirty-second triplet, etc..
Mixed quantization
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Odd quantization
The setting 9-Tuplet means novetuplets (1 bar = 9 beats), 7Tuplet is septuplets (1 bar = 7 beats), 5-Tuplet/4 is quarterquintuplets (1 bar = 5 beats), and 5-Tuplet/8 is eighthquintuplets (1
bar = 10 beats).
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Q-Swing
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Q-Strength
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The Fix Quantize function is especially suited to pre-quantization. For example, if a recorded sequence cannot be immediately quantized to a 1/16 swing without producing a few incorOwners Manual
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3.7
Hyper Draw is the easiest way to create and edit volume and
pan changes in the Arrange window. The changes in Midi data
are made by graphically inserting points, which represent fixed
controller values. The points are then interpolated automatically by Logic, which creates a series of events to smoothly
connect the Midi data from one fixed point to another. These
automatically generated events are recalculated every time you
edit the curve points.)
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Note
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Midi Channel
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Display
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Midi channel # 1,
Controller # 7 (Volume)
If the channel is set to any (default) the first number (Midi
channel) will not be displayed. Then the controller events of all
channels will be displayed. Inserted events get the channel of
the tracks instrument.
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Options>Hyper Draw>Disable.
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3.8
This could contain tracks like trumpet, saxophone and trombone which you arrange into a brass section, or 14 tracks of
drum instruments, which you may want to treat as a single
drum pattern object.
In the same way, your entire song, with all its tracks and
sequences, could itself be a folder, appearing as a grey beam in
another song. In this way, you could arrange several songs to
make up a concert.
This is not all folders can do. You could use folders to represent
the parts of a song(e.g. choruses and verses). And just as in ordinary desktop usage, you can place as many folders as you like
within other folders, within yet more folders (say for the instrument groups within the different parts of the song, for example),
with no limit to the number of levels you can create, if you
wish.
Another possible usage might be to store different arrangements
of a song in different folders, so you could switch between them
rapidly... Thats enough for you to be thinking about for the
moment. Well leave the rest up to your imagination
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Tips
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This means that all the objects in the folder are played by the
instruments set in the folders track list. All the instruments
within the folder will play back just as they do on the top level
of the Arrange window.
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If you place a folder on a track that is set to a normal instrument, its entire contents are played by this instrument. This
usually only makes sense if the folder contains tracks for just
this instrument. However, this could be a quick way of listening to a string arrangement, for example, if not all the intended
sound sources are available.
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Creating Folders
The function Structure > Pack Folder places all the selected
objects in a folder. The folder is created on an existing folder
track. If no track with a folder instrument is available, Logic
creates one.
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angular black dot) at the top left of the Arrange window, next to
the menu heading.
Unpacking Folders
Use the command Structure > Unpack Folder to dismantle the
selected folder. The objects contained within it are placed on
tracks set to the appropriate instruments. If these tracks are not
available they are created.
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Aliases
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Aliases
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Creating an Alias
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To create an alias, just hold down S when you are copying the
object as usual (so hold down S+drag).
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B
When you use the function Repeat Objects in the Edit menu
this also contains the option as Alias (see page 3 - 14).
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Playback Parameters
Although an alias is a slave of the original, it has its own playback parameters. The exception is the originals quantization
parameters, which, because of their special status, always apply
to aliases too.
Orphan aliases
If you erase an object from which one or more aliases have been
created, Logic will warn you with the following message:
One or more Aliases are made from objects to be cleared! Do
you still want to clear these?
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Aliases
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Deleting orphan aliases
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You can use the View menu to show or hide various parts of the
track list:
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Display options
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Mute Switch
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Every track has its own Mute Switch. If the mute-switches are
hidden, you can mute any track to the left of the track number.
A muted track is marked .
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Instrument Icon
Choosing Instrument Icon shows/hides the track instrument
icons.
You can sort the tracks by grabbing the track number and
moving it vertically. You can use the right edge of the name for
sorting as well.
Here are the rest of the track list functions involving names:
Selecting a Track Instrument
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You can open an Environment window with the relevant instrument highlighted, by double-clicking the instrument name.
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Object Display
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Enlarge the display using the vertical zoom button. If the zoom
setting is large enough, you will be able to see the sequence
parameters displayed in the bottom half of all the objects. Here
you can directly edit the sequence parameters with the mouse
(by means of sliders and/or flip menus).
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Object Colors
Newly recorded sequences initially adopt the color of the track
instrument. However, after copying sequences between tracks,
you could find the Arrange area will start to resemble a patchwork quilt. In this case, the functionView > Instrument Colors
To Objects replaces the colors of all selected objects with the
colors of the instruments playing the objects concerned.
The instrument colors may be set in the Environment.
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Reset Functions
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after loading option on the File > Song Settings > Midi Options
page.
3.14 Tips
Recording Several Musicians
The Problem:
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Tips
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The Solution:
Connect a cable from the all channel instrument to the channel splitter.
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You have now separated the recordings of the individual musicians onto different sequences on different tracks, so that you
can edit them separately.
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Chapter 4
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4.1
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Creating Regions
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&
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Immediately after importing audio files from other songs, we recommend physically
copying the files to the current song folder using the Audio window function Copy
Files. Answer Change References? with Yes, otherwise destructive editing of
these audio files will also affect the original song.
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A quick reminder: when you place regions onto tracks, dont forget to allocate each
track its own audio object (the track instrument of an audio track). For more information about this, take a look at the section Creating Audio Tracks on page 4 - 12.
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Dividing Regions
When you divide a region using the scissors tool, you create two
new regions. The newly created segments of the region take
the same name and append it with a sequential number.
Resolution
When you are selecting a cutting point with the scissor tool, you
can move it backwards and forwards in steps of one division. If
you need a finer resolution, press A after you have selected the
sequence with the scissor point. To obtain the maximum resolution (ticks) press S, as well.
On Zero Crossings
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Remember that this can cause the precise start-point and length of an region to
differ slightly from the chosen value. In most cases, this will be inaudible.
Erasing Regions
Regions can be erased either by selecting them and pressing
B, or by clicking on them with the Eraser tool.
Erasing recordings
When you erase a region that you have just recorded (since
opening the song), Logic will ask if you also want to erase the
corresponding Audio File. This is a good way to avoid using up
unnecessary space on the hard drive by storing bad takes and
unwanted recordings.
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If the recording was made before the song was loaded for the
current session, this question does not appear. This prevents
you accidentally deleting valuable recordings. Pressing B will
only remove the region from the Arrange area. If you want to
delete the corresponding Audio Files from the hard disk, you
can do so by choosing File > Delete File(s) in the Audio window.
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Copying Regions
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Creating New Regions
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This allows you to alter the start and end-points of the copied
region independently of the original. It is comparable to a genuine copy of a Midi sequence, which is created in the same way.
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To make several regions which are all cloned from the same
region independent of each other again choose Functions >
Convert Regions to Individual Regions in the Arrange window.
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Moving Regions
You can grab regions in the Arrange window with the mouse
and move them around just like Midi sequences. Movements
are made in steps of one beat (e.g. quarter notes see below).
If you hold down A while moving sequences, you can move
them in steps of one division (in sixteenths, for example).
If you hold down A and S while moving sequences, you can
move them by single ticks (maximum resolution).
You can also use the Delay parameter in the Region parameter
box to shift the placement of the regions (see section Delay on
page 4 - 8).
Fine-tuning
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To move a region by a finer resolution than ticks, i.e. by a resolution of 1 sample word, please use the Anchor in the Audio
window or Sample Edit window.
Dont forget that all cloned regions in the Arrange window will
be affected as well.
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Audio files in the Arrange window 2 can also be displayed alphanumerically in the
Event List 1. Highly accurate position or length changes can be carried out easily
using the Event List.
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You can move any region selected in the Arrange window back
to the time position at which the region was originally recorded
by choosing Functions > Region(s) to Original Record Position.
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Note
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Tip
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Name
Just as with Midi sequences, the top line of the sequence
parameter box is for giving a name to the region. You can name
several selected regions at once; the regions are then given the
same name and distinguished only by different numbers at the
end of the name. Logic inserts these numbers automatically
unless you deliberately leave a space at the end of the name.
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Loop
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As with Midi sequences, you can use the loop parameter to set
a region to loop automatically. The loop repeats until it reaches
the next region on that track, the end of the song, or the end of
the folder containing the region.
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Dont forget that these loops are based on the sample grid of
the region. This means that even if the song tempo matches
precisely, after a while the loop repeats may start to go out of
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sync. You can avoid this by setting the end point of the region to
an exact measure boundary. In these cases, it may be better to
use the Repeat Objects function (section Making multiple copies of
sequences on page 3 - 14).
Delay
Just as with Midi sequences, you can advance or delay the playback of regions, the smallest available units being ticks.
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Yes No, because regions are just references to parts of audio files
Yes Yes
Yes Yes
4 - 10
Yes No
Yes No
Yes No
Yes Yes
Yes Yes
Yes Yes, and this affects the audio
region, but not the position of the
audio signals relative to the time
axis of the sequencer
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Recording
Characteristic
Midi sequences
Regions
No Yes
Have a variable
musical reference
point
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Yes Yes
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Yes Yes
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Recording
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Arming Tracks
1. Method:
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Click the round switch with the red R in the track list. To
show/hide these switches choose View > Record Audio
Switch.
If you have checked View > Record Audio Switch but the switch is still
not visible, you should switch on the driver for the relevant audio hardware in the
Audio-Preferences (under Extensions and then restart Logic.
2. Method:
Click the audio object once more (as shown above) to disarm
the track again.
You can only make audio recordings on tracks that have been
armed, no matter what track is highlighted in the Arrange
window.
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Tip
Recording
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Recording Modes
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pause for a short time between the record button being pressed
and the recording actually starting.
During recording, the Recording float window opens. This
displays the remaining recording time.
Logic will automatically create a region in the Arrange window
after recording. You can listen back to the new recording in the
Arrange window as the overview is created.
Punch-in Recording
You can actually engage recording mode in the midst of playback on the fly. To do this, start playback and press V
(preset key command for Record Toggle) at the point where you
want to start recording. Audio recording starts immediately, and
can be stopped at any time, by pressing STOP in the usual way,
or by pressing V again. If you use this second option, recording ceases, but the sequencer will continue to play.
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A recording made during playback, by hitting V twice (at the points shown by
and ).
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Recording
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3
On hard disk recorders this function is technically involved, due to the unavoidable
delay in switching between reading and writing (creating a file etc.). In practice,
recording takes place from the moment you start. Afterwards, Logic then adds the
result of this automatic background recording to the exact place where you wanted
the recording to occur.
A free track therefore has to be available for this purpose. A track is free if there
are no regions (or only muted regions) on it within the area that playback is started
and ended.
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Pre-programmed Drop-Record
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2-07 AudioDrop
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You can set the autodrop locators numerically in the Transport window.
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The autodrop zone start and end points can be set either from
the bar ruler or by using the locators in the Transport bar. Please
note that if the Cycle function is switched on, you can set the
Autodrop Locators in the window to the right of the Cycle
Locators (under tempo).
Start the recording. Logic will begin recording about one bar
before the drop-in locator; afterwards a region will be created
that exactly corresponds to the length of the autodrop zone.
This method allows the start of the region to be lengthened
later if desired, so that the lead-in becomes audible. However,
doing this does not change the position of the recording relative
to the time axis.
A small tip: if you wish, you can even define a small autodrop
zone within a larger Cycle Zone (see below). This can be handy
if a player needs to re-record a difficult passage in the middle of
a song, and requires many attempts to get it right.
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If you stop recording just after the end of a full cycle, no region is created for the
cycle which has just begun. However, the audio material is not lost, but is recorded
after the last region in the audio file.
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Recording
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The whole recording (during all cycles) is stored in a single audio file. This audio file
is split into regions which are as long as the length of the cycle. The region for the
previous cycle is automatically muted at the beginning of the next cycle.
Audio Cycle Recording also works when you are simultaneously recording two channels (e.g. stereo tracks).
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Record
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Note
Functions
Stereo Recordings
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You can freely mix both formats, even on the same track.
However, if your audio hardware supports the Interleaved
Stereo format (e.g. Audiowerk8, AV/MME, Korg 1212 I/O), we
recommend that you use it.
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While Split Stereo files use approximately 200% hard disk i/o performance in relation
to Mono files, Interleaved Stereo files need only 150%.
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Functions
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Amongst all its other amazing features, Logic even has an automatic function for matching the length of a passage of free-form
music with the length of an audio region. The length of the
region remains constant here, but the sequencer tempo is
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2
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In the bar ruler you set the cycle to the desired musical length. The current length
of the region is shown this will be different than the cycle until you use the Adjust
Tempo...function
Select Functions > Adjust Tempo using Object Length & Locators.
The tempo is reset so that the region is now exactly one bar
long, and fits the length of the cycle. This does not change the
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Functions
tempo of the audio, but rather makes the song tempo conform
to the audio.
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Digital Mixdown
Using Logic, you can mix down audio data in the digital
domain from within the Arrange window. This is done with the
glue tool. This function is non-destructive, as Logic always
creates a new file for the mixed-down material. This new audio
file is stored on your hard drive, so you should keep an eye on
available space.
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To carry out a mixdown, you choose the glue tool from the toolbox and use it to select the required regions for mixdown (if
necessary using the S key as well).
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No Mixdown Situation
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Logic can recognize associated regions even if there are gaps between the regions.
The determining factor is that the relative position of the regions in the Arrangement
corresponds to the relative position of the regions in the audio file.
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&
The two resulting mixdown files would be identical to the original audio files in the
used areas of the regions. If you dont need the unused areas of the audio files
choose Optimize Files.
If you combine audio data from two or more tracks, the current
values for pan and volume found in the Environment for the
individual tracks will define the pan and volume settings in the
new audio files. If you combine both sides of a stereo audio file,
first set the pan controls of the component mono sides to hard
left and hard right, respectively.
You can carry out a mixdown while the sequencer is playing.
After the digital clipping scan (Clipscan) is over and the
mixdown is complete, Logic replaces the previously selected
regions with one region which contains the new, mixed-down
audio file in its entirety. If you wish, you can use the undo function to restore the original audio regions. If you do this, you will
then be asked if you wish to keep the newly created mixed
audio file, or delete it. If you decide to keep it, it will remain in
the audio window, and can be further processed there.
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During a mixdown the Clipscan function uses 32-Bit resolution to ensure that
the highest possible level is maintained without clipping.
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Functions
Audio Crossfades
The Digital Mixdown function (glue tool, menu or key command) in the Arrange window supports audio crossfades of
selected regions.
The parameters are defined in the Audio Crossfades dialog window, which can be opened by choosing: Structure > Merge >
Audio Crossfade Options.
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The key command for opening the dialog window can also be
used to close it.
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The parameters apply globally and are stored in the Preferences file.
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This is the length of the entire crossfade. To switch off the crossfade, set
this value to zero.
Curve:
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The graph shows the actual shape of the crossfade; the original
algorithms are also used to calculate the curve display. Values
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over about 250 ms are scaled in the graph, to ensure that the
entire crossfade is visible.
Choose Options > HyperDraw > . If you are not yet familiar
with HyperDraw please refer to the HyperDraw section in
The Arrange Window chapter of the Logic manual.
If you want to use HyperDraw on stereo regions, you should
always use the left (top) region. Logic automatically uses this
information for both sides.
When you use HyperDraw on audio regions, Midi events are
created, which are always organized together with the audio
region. You can also edit these Midi events in the Event List or
Hyper Editor.
Non-destructive Fades
Fade In, Fade Out and Crossfades can be done
with the Fade tool (in the tool box) or with the
related parameters. The parameters for Fade In,
Fade Out/X times and their curves can be found in
the regions parameter box. You can adjust these
parameters in all selected regions simultaneously.
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Functions
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Technical Discussion
A background file exists for each song that contains all the fade
areas. You will not normally need to access this file. This file is
located in the same folder as the original region and named
after the song, with the extension -f16m or -f24m when
using 24 bit recording.
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This background file is created the moment you start playback. If you are using many fades on multiple regions, this
could take several seconds.
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The Environment
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The Situation
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The Idea
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In order for this to work properly you have to connect the different objects in the Environment via virtual Midi cables. This
allows you to control the overall signal path from within your
computer.
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The Environment
For the experienced user this freedom to alter the signal path
opens up fantastic opportunities, and makes Logic unique
among sequencer programs.
At the same time, this great flexibility can initially be confusing
to less experienced users. Dont worry. The section Signal Flow
on page 7 - 10 explains how you can set up Logics basic functions by following a few rules. This also applies to the song
settings.
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Operation
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Adaptability
Logic does not address the Midi ports of your interface directly
but via virtual instruments which you can create in the Environment. These virtual instruments act like junctions: events
can easily be addressed to them from the sequencer and then
sent from them to a real sound generator. Instruments contain a
set of parameters which you can use to define sounds, transpositions and keyboard splits and also compensate for Midi- or
system-related delays in your sound sources. Instruments can
therefore also be used as virtual copies of individual sounds in
your sound generator. In addition, there are mapped instruments with note assignment tables (drum maps) which can be
used to adapt your preferred playing and programming habits
to the different key assignments of your sound sources. Finally,
you can create an assignment of faders and knobs for controlling effect devices or automated mixing desks. The point is, the
Environment allows you to adapt Logic to address virtually all
aspects of your hardware.
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Operation
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To open an Environment window choose Window > Open Environment . Double-clicking on an instrument in the track list of
the Arrange window also opens an Environment window. The
window will open to the layer containing the track instrument,
with that instrument highlighted.
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Buttons
Tool box
Layer box
Object parameter box
Local menus
The Click & Ports layer, with objects
Layers
Layers are the display levels of the Environment window.
They allow you to configure the Environments display so that
you can view and work with specific groups of related objects
(e.g. audio instruments) separately, rather than having to deal
with every single Environment object all the time. You can see
the name of the currently displayed layer in the layer box.
The distribution of objects on different layers has no affect on
their function its just a system used for organization.
&
There are some exceptions: objects in the global objects layer also appear on other
layers; and the All Objects layer shows all the environment objects in a list.
However, you can ignore both of these layers at first. They are not needed very often,
even in very complex Environments.
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Operation
Switching Layers
Click-holding the layer box opens the layer flip menu, which
you use to switch layers.
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Creating Layers
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Naming Layers
Double-clicking on the layer box opens the text field for entering the name of the current layer.
10
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Deleting Layers
12
By choosing Options > Layer > Delete, you can remove the
current layer from the list. Because all the objects contained in
the layer are deleted too, an alert box appears to guard against
deleting objects unwittingly. You must click Delete to
complete the operation. Cancel or R cancels the operation.
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Specialized Layers
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The position, and existence of the first two layers are protected:
17
All Objects
18
The top layer in the flip menu always displays all the objects in
the Environment. The objects in this layer are always shown in
the form of a list. If you turn off the File > Preferences > Display
> Allow 'All Objects' Layer Option in Environment, the All
Objects layer will be removed from the layer flip menu.
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The Environment
Global Objects
In this second layer from the top, you can place objects which
you want to be visible in all layers (e.g. the output ports). These
will subsequently appear at the same position, in all layers.
However, you should place as few objects as possible on this
layer, due to the on-screen clutter that global objects can create.
Display
Hiding/showing parameter fields
You can hide the column with the buttons, toolbox, layer
switching and object parameter box, as in other windows, by
choosing View > Parameters. This will create more on-screen
room for the window itself.
You can prevent the position, size and cable connections of all
objects from being accidentally altered, by choosing View >
Protect Cabling/Positions.
Background
If the cabling and object positions are protected, and the cables
are hidden, the background changes from white to gray (or high
resolution, see page 17 - 15). This looks much better for virtual
mixing desks and fader setups.
List Display
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Objects
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Creating Objects
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When you choose an object type from the New menu, an object
of this type is created in the current layer (for more details see
the section Object Types on page 7 - 14). Clicking with the pencil
on the background creates a new (standard) instrument.
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You can also copy existing objects: just drag an object while
holding down the key (see also the section Moving Objects
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Click with the eraser, or press the B key to delete all selected
objects.
Moving Objects
You can move objects by grabbing their icon or name, and dragging them to the required position. The surface of keyboard
and fader objects is used for their operation. You must therefore
either grab the name (if available), or the contact bar to the right
of the object.
If you hold down the S key, you can also grab keyboard or
fader objects by their surface. Remember to deselect any other
selected objects first by clicking in the background, to avoid
moving them as well.
Grid
Choose View > Snap Positions to align the objects to an invisible grid. Its a good idea to leave snap positions switched on.
You only need to switch it off if you want to manually move an
object by a few pixels.
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Aligning Objects
in a row or column
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Select the objects that you want to move and choose Edit >
Cut (x).
Switch to the destination layer.
Make sure that no objects are selected (by clicking in the
background).
Choose Edit > Paste (v).
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Replacing Objects
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Chapter 5
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By choosing Edit > Select Used Instruments you can select all
objects which are assigned to tracks in the Arrange window, or
are cabled to objects assigned there.
Selecting All Unused Instruments
By choosing Edit > Select Cable Destination you can select the
destination object of a selected cable connection. This is particularly useful in two cases:
In the list display (View > by Text) you can locate the destination object of a source object, because selecting the source
object also selects its cable connections.
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This function allows you to follow the cabling from one seriallycabled object to the next. If several objects are connected, or
several cable connections are selected, the function always
follows the path of the first cable connection.
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Just as in the Arrange and Editor windows, you can change the
status of any selected objects in the current layer by choosing
Edit > Toggle Selection.
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Signal Path
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From here, the events are then directed to a Midi output (see
the section Direct Output Assignment on page 7 - 11).
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However, you can manually alter the signal path between the
physical input and the sequencer input, and between the
instrument and the Midi Out port to include other Environment objects (section Cabling on page 7 - 11).
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Chapter 5
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Cabling
The cabling between Environment objects gives you control
over the entire Midi signal path. A cable is normally shown as a
gray line between a source and destination object.
The direction of the signal path between objects is always from
left to right, i.e. objects always have their input on the left side
and their output on the right side. The output of an object is
marked by a small triangle pointing to the right.
If you grab the triangle, the mouse pointer turns into a patch
cord representing a cable connection to the output. Now move
the mouse to the destination object to connect it with a cable.
Once you have selected the destination object (this happens
automatically when you touch it), release the mouse button.
If the source object has already been directly assigned to an
output, a dialog box will appear telling you this, and asking
whether you want to replace the direct assignment. You have
three options:
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No: your cabling is carried out, but the direct output assign-
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Remove (or R): your cabling is carried out, and the direct
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Multiple Cabling
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Multiple inputs
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Multiple outputs
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Special outputs
There is an exception: some objects have a number of functionally different outputs, and in these cases, each output is only
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Chapter 5
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Cabling Serially
The function Options > Cable cables a group of selected objects
serially beginning with the top left object.
Deleting Cables
To remove a cable connection, click the cable with the eraser.
This only removes the cable you have clicked on, not all the
selected ones. You can also remove a cable by grabbing it, and
plugging it into the input of its own source object.
You can also use Clear Cables only to remove all selected cable
connections (but note that selecting objects also selects all their
cable connections).
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Object Overview
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(Standard) Instruments
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Mapped Instruments
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Multi-Instruments
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Faders
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Text
GM Mixer
A selection of faders which are cabled together and combined
to form a virtual mixing desk. The choice is based on those
parameters which are often available in GM (XG, GS) modules;
however it can also be used with other instruments or Midi
devices. For details please see page 6 - 42.
Keyboard
This can transform any part of Midi events in many ways. It can
be used to convert one type of event into another, or to alter the
values of incoming events. It is fully programmable (see page 5
- 37).
Delay Line
A Midi effects unit for creating all kinds of echo effects (see
page 5 - 37).
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VChannel Splitter
This splits any incoming signal over different outputs depending on the Midi channels of the incoming events (see page 5 38).
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Physical Input
Sequencer Input
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Object Parameters
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Chapter 5
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By clicking the triangle in the top left, you can hide all of the
parameters, except name and type. This reduces the box to its
minimum vertical size.
The name of the object is shown next to the triangle, and can
be selected for editing by clicking on it. You can also edit the
name by clicking on the object with the text tool.
Object Type
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Instrument
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Velocity
Lim
The two note values of the Lim parameter define a pitch range. All notes
outside this range will be ignored by
the instrument when it plays a
sequence.
VLim
The two values of the VLim parameter define a velocity range. All
notes whose velocity is outside this
range will not be played by the
instrument.
Delay
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No Reset
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Chapter 5
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Mapped Instruments
To create a new mapped instrument, select New > Mapped
Instrument.
A mapped instrument is useful for drum programming. It is
used just like a standard instrument but has the following
special features:
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Cha
Delay
No Seq Trp
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The same function as for instruments. All note events are delayed
by the set number of ticks (+/- 99).
Negative values cause the events to
be output earlier, positive values,
later. This allows you to compensate
for the time it takes slower sound
sources to react to Midi messages. If
you want to create musical effects
with delay, you should use the
sequence parameter of the same
name which allows you to set longer
delay times.
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Input Name
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In the next column, you can click on the input note and give it
a name of up to 12 characters. You can initialize the names of
the selected notes to the normal note descriptions (like C#3) by
choosing Initialize > Names as Notes or to the sound names of
the notes according to the GM Standard by choosing Initialize
> Names as General Midi.
14
Output Note
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17
This column is where you set the output note; either as text by
double-clicking on the note description, or graphically, by dragging the beam. Every time you alter the value, Midi notes are
output, so you can hear the new value. If you choose Initialize
> Output Notes, the output notes of the selected pitches are set
to be the same as the input notes.
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Velocity
Here you set the Midi channel of individual notes from 1-16, to
allow you to play individual sounds from different drum sets in
the same sound generator. Normally you will use the Base
setting here. This means that the notes are sent on the channel
set in the mapped instruments object parameter box. If you
choose All instead of 1-16, the channel information of the input
notes is retained. This is useful if you want to insert the
mapped instrument in the signal path after a multi-instrument
or standard instrument. To set all selected notes to Base choose
Initialize > Output Channels. Please refer also to section Setting
the Midi channel: Multi Instruments on page 3 - 10.
Cable
Multi-Instruments
To create a new multi-instrument, choose New > Multi Instrument.
A multi-instrument is preset to be a virtual display of a modern
multitimbral sound source.
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Chapter 5
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Multi-Instrument Window
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In the top left, under Device Name, you can enter the full name
of the multi-instrument. In the top right, under Short Device
Name, you can also enter a short name. This short name saves
space in the Arrange window track list, particularly if the
program name is displayed too. The short name begins right
next to the icon. If you want a uniform display, leave a space in
front of the short name.
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Depending on whether or not you have checked the sub-channels Prg box, the following information will appear in the
Arrange window track list:
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the short name, channel number and program name (if the
box is checked).
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Program Names
by copying via the clipboard from a different multi-instrument, or from a word processing program. The clipboard
functions for a whole sound bank are available in the text
import flip menu (downwards arrow at the top right). First
copy the program numbers or General Midi names onto the
clipboard and add them to the word processing software. You
can then edit the names and copy the whole section back
again.
If the Use GM Drum Names for Channel 10 box at the very bottom
is checked, the standard GM names for drum sets will be
shown in the multi-instrument window for sub-channel 10.
If the Prg box in the selected sub-channels parameter box is
checked, you can send a program change message immediately
by selecting a program name (either click on it or select it using
the cursor keys).
Banks
On the left, above the program names, you can choose one of 15
available sound banks (0-14) via a flip menu. The top item
(No Bank specified. Names of Bank 0 used.) can be used if
that particular sound generator does not understand bank
select messages, or only has 128 sound programs. Bank 0 is
always initialized. The first time you choose one of the banks 114 you will be asked whether you want to initialize this bank.
Press R or Cancel if you do not want to initialize the bank.
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9
In the flip menu on the right, labeled Bank Message, you can
define the Midi message which is sent when you switch banks
on this multi-instrument. Unfortunately, there are several
different formats, depending on manufacturer. Please refer to
the manuals for your devices to see whether they support bank
select messages and if so, using what format. With modern
synths, there is a good chance the format will be one of the top
items in the flip menu: either controller# 32 or controller# 0.
There are also presets to accommodate several of the more
common types of synth. If your synth does not follow this standard, or is not in the preset list, dont give up all is not lost!
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To use this function, select the standard, mapped, or multiInstrument you require, and choose Options > Define Custom
Bank Messages.... A window similar to the event list will open,
with 15 preset sample event strings.
You can create any Midi event here in exactly the same way as
you would in the Event Editor, by cutting, copying, inserting
and editing. The only difference is that you enter the bank
number you want instead of a time position.
A letter will appear behind the bank number in brackets. This
letter allows you to set the order in which the events you have
defined will be sent.
Example
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(c) a Sysex message for a device from 80s digital synth pioneers
PPG ($29).
You can send a string of events for each bank, and they can be
as long as you like.
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The bank mapping information relates to the selected instrument and can be cut and pasted with it.
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Keyboard
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This can be used to generate test notes. Connect the output of
the keyboard to an instrument, out port , or the sequencer
input. In the latter case you could theoretically record whole
songs without a master keyboard, although no dynamic information (Midi velocity data) will be recorded.
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Chapter 5
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Apart from the standard parameters you can also enter the Midi
channel and velocity value of the notes produced (unfortunately, no one has yet come up with a velocity-sensitive mouse)
as well as the octave register of the bottom C.
You can define the note range by dragging the bottom right
corner. To select or move keyboards, hold down the S key
and grab the bar to the right of the name field.
Apart from playing symphonies with your mouse, the keyboard
can also be used to display note events. Connect the output of
any object (e.g. an instrument or physical input) to the
keyboard, and enjoy the flashing lights...
Monitor
Arpeggiator
To create a new arpeggiator, select New > Arpeggiator.
You can use this to break down chords into runs of notes.
Connect the output of the arpeggiator to the instrument that
you want to have play the arpeggios. Set the arpeggiator for the
selected track in the track list of the Arrange window. (Of
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Object Overview
course, you could insert the arpeggiator at any other point in the
signal path.)
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Direction (+0)
upwards
Down
downwards
UpDn
Auto
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UpD2
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Rand
random order
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All
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Vel (+1)
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fixed velocities
Orig
Rand
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This is where you can define the pitch range (between C-2 and
G8), within which the chords are arpeggiated. Any chord notes
outside this range are unaffected.
Res (+4)
This is where you set the rhythmic note value of the arpeggio
via the flip menu shown on the left. None = arpeggiator
switched off.
Len (+5)
The velocity value set here (-99 to +99) is added every time the
arpeggio is repeated (provided Repeat is set to On, of course).
Ctrl Base
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tion). The other parameters will be controlled by the subsequent following controller numbers. To find out which controller number will be used for a certain parameter, add the
number shown in brackets behind the parameters name in this
documentation, to the Base number. The remote control will
be deactivated if switched to position Off.
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Delay Line
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To create a new delay object, choose New > Delay Line.
16
This object allows you to repeat any Midi events, like a delay
line. Note events can also be altered in pitch and velocity.
Connect the output of the delay object with the instrument
that you want to play the delayed events. Assign the delay
object to the selected track, in the Arrange window track list.
(Of course, the delay could be placed at another point in the
signal path.)
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You can now play the delay effect live or via recorded
sequences. Keep the following points in mind:
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Chapter 5
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Parameters
Repeats:
Del:
the delay time between the individual repeats. The left value is in
divisions, and the right value in
ticks.
Trp:
Vel:
Output Cable
The first repeat is always sent via the top output cable. If multiple cables have been connected, every following repeat is sent
via the next output cable down. If there are more repeats than
cables, the repeats return to the top cable, and continue down.
Channel Splitter
To create a new channel splitter, select New > Channel Splitter.
You can use the channel splitter to reroute Midi events to
different cables according to their Midi channels. Every Midi
event received at the input of the channel splitter is rerouted to
the output corresponding to its Midi channel. If there is no
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Physical Input
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At the output of the Physical Input object you can pick up all
Midi signals arriving at your computers physical Midi inputs.
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Sequencer Input
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Options >
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Faders
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By defining the Fader Type, you can choose from among a range
of preset fader types which have a variety of functions.
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However, you can also define the effect a fader has independently, by setting the Fader Function. Normally this will be the
type of event it creates, or what event types are capable of
remote-controlling it.
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Operation
Normally you grab the surface of a fader with the mouse
pointer or pencil and drag it vertically or horizontally, depending on what type it is. Knobs can be dragged both vertically and
horizontally.
Types 1, 4 and Numerical display the generated data byte as a
number. You can grab this number and use the mouse as slider.
The advantage of this is that the minimum unit is 1, regardless
of the size of the object. When using the fader itself as a slider,
values may jump in larger increments, depending on the size of
the fader.
Even if the faders are small, you can change the values in units
of 1 by simply moving them while holding down A.
Text faders are either operated in the same way or via a flip
menu (depending on how you configure them). Buttons can be
switched by clicking them.
Remember that when naming multiple selections, an incrementing number is appended to the name of each object.
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Grouping Faders
If you grab one of several selected faders and move it, all the
selected faders will also be moved proportionally. As long as
you dont change the grabbed fader, the proportional positions
of the faders are retained, even after one or more of the faders
have reached extreme positions.
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Moving the fader group with the keys pressed changes all
values linearly (the absolute value differences are maintained).
Moving the fader group with the S keys pressed brings all
faders to the same value.
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You can use the functions Options > Send All Fader Values and
> Send Selected Fader Values to make all fader objects or all
selected fader objects send their current values. This function
is particularly useful for virtual mixing desks or synthesizer
panels, as it allows you to take a snapshot of all current fader
positions. However, you can only use Send All Fader Values to
record faders whose outputs are connected to objects. The
option Send All Fader Values after loading in the Midi Options
page of the Song Settings causes all fader values to be automatically sent after a song is loaded.
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The movement of the faders will follow all the events that
match the input and output definitions.
Fader Types
The fader type is shown in the line under the familiar icon
functions, and can be altered via a flip menu. Just click-hold on
the current type, and the flip menu will open.
The fader type mainly determines the way a fader looks. The
kind of events it generates has nothing to do with its appearance.
Fader types 1 and 4 are equivalent to types 2 and 3 but have an
extra numerical display. The particular features of the individual types of faders are covered below.
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Vertical / Mute
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3
4
5
These are the same as fader type 4, with a mute button. When
you press the mute button, the fader sends an event (in accordance with its output definition) with the data byte 0. If the
mute button is pressed down, the fader movements are not
sent. When you switch off the mute button, the current fader
value is sent.
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Numerical
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This type of fader displays the current second data byte numerically.
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Buttons
These faders function as straightforward switches. If the button
is not pressed in (button 3) or is gray (button 1) this means it has
sent an event corresponding to the output definition, with the
data byte left range value (minimum). When pressed in
(button 1 will then be white or colored and crossed) an event
with the right range value (maximum) is sent. If you set both
range values to the same value, the fader acts as a key. In this
case, the fader always looks as if it has not been pressed in.
When you click on it, it looks briefly like it has been pressed in,
and sends the defined event, with the range value as a data
byte.
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Text faders function like Numerical faders, but can display text
for each of the 128 data byte values.
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The down arrow flip menu in the top right allows you to access
the cut, copy and paste clipboard functions for all text. You can
also edit the individual blocks of text in an external word processing program. The first 128 lines containing text are added
starting at the front, and any spaces are ignored. If you want
empty lines, insert at least one space.
Behave as menu
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If you dont need all 128 entries for a particular text fader, you
should reduce the range of values to just those you actually
need, using the Range setting in the parameter box. This can
save a lot of system memory.
If you want to use a text fader to show the position of a switch
(which can only output values 0 or 127), select 0-1 under Range
and type the required text into positions 0 and 1, as all values
over 1 will cause the text for value 1 to appear anyway.
Note
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2
3
Tip
4
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Fader Functions
Midi Events
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The three parameters Out, Channel, and -1- determine the Midi
events to be sent (the output definition), while the three
parameters In, Channel, and -1- define events which can be used
to remote-control the fader (the input definition). A fader
therefore converts the input definition of certain events into
the appropriate output definition.
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The Out (or In) parameters define event type via the flip menu
shown in the diagram:
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Channel (1-16):
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-1- (0-127):
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Notes
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You can use the -1- parameter to define the pitch in terms of
note name. The fader position defines the velocity of the sent
notes. It is followed by a note off message (as a note on with a
velocity of 0).
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P-Pressure
If you have set the Control event type, you can select the -1parameter via a flip menu which displays all the controllers as
numbers and names, according to their standard Midi definitions. The fader position then determines the controller value.
Program Change
With pitch bend events you can use the -1- parameter to set the
LSB (least significant byte the data byte with the least effect
on the pitch). The fader position defines the MSB. When the
fader is set to the middle (value 64) there is no pitch alteration
(providing -1- is set to 0).
Range
With these two parameters, you define which value the fader
should send in its bottom or top position. This allows you to
define the effective range. For buttons, the range defines the
values sent when they are switched on or off. If both values are
the same, the button behaves like a key.
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Val as
Num:
Pan:
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Tip
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Filter
13
This parameter allows you to filter all the data arriving at the
fader in accordance with the input definition:
14
off:
15
all Midi events which do not correspond to the input definition are
filtered. All the events that match
the input definition are converted in
accordance with the output definition, and allowed to pass through.
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Other:
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Match:
All:
Thru:
5.4
The Wave Player is an object in the Layer Click & Ports of your
Environment. There is always one Wave Player object. You can
not create further Wave Player objects.
The Wave Player allows you to trigger sound files in the WAV
formati.e. files with the extension *.wavwith Midi note
events in the Arrange window.
Before you use the Wave Player, please check that Maxi Studio
ISIS has been correctly installed, and is working properly.
You can play any standard WAV files. These should be stored on
your computers hard disk or on a CD-ROM.
Note on CD-ROMs: according to our tests, you can play sound
files directly from a CD-ROM, if you have at least a doublespeed CD-ROM drive. However, it is not possible to play
sounds from an audio CD.
Functions
The Wave Player allows you to assign up to 128 sound files to
individual Midi notes. You can then play the whole sound file or
just a section of it. The assignments are done in the Wave
Player window, where you can also monitor the sound files. The
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assigned note can be used to call up the sound file via the
sequencer or a Midi keyboard.
Support of 8 bit and 16 bit files and all standard sample rates.
Basically, the bit number and sample rate determine the
sound quality of a sound file. A 16 bit file with a sample rate
of 44.1 kHz is generally referred to as CD quality.
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The pitch of the Wave files can be shifted. This also varies
the speed and length of playback, as if you had varied the
speed of a tape machine.
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You can only play one sound file at a time. If two sound files
overlap in an Arrangement the second one interrupts the
first. However, you can assign each of the128 Midi notes to a
different sound.
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Default Parameters
View
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at present, look in your Windows folder, you can load one of the
System sounds supplied with Windows.
After you have chosen this file, the name of the file will be
shown in the field. The other parameters will be shown on
the right.
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Tune:
In this field you can alter the playback pitch of the sound. The
units are in cents; the musical scale divides each semitone into
100 cents. Thus, a diminished second is 100 cents, a third is 400
cents, a fifth is 700 cents and an octave 1200 cents. This fine
division allows you to precisely tune a sound file within your
arrangement. Please note the following:
13
When you change the tuning you also change the time it takes
to play the sound file: if you tune the sound up it will be played
more quickly, and if you tune it down it will be played more
slowly.
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Chapter 5
The Environment
You can choose here between two settings: Freerun and Gated.
Freerun means that the whole of the sound file or section is
played. Gated means that the playing-time of the sound is
determined by the length of the Midi note. This means that if
you trigger a sound file from your Midi keyboard, playback
stops as soon as you release the key.
Format, Sample Rate, Size
These three values give you information about the loaded file.
Format tells you the bit depth, and whether this is a mono or
stereo file. Sample Rate gives you the files sample rate and Size
the files size. These values are determined by the sound file
and therefore cannot be edited.
Wave Display
Here you can see the waveform of the sound file. You can use
this to graphically select a section of the sound file. You do this
by simply clicking with the mouse on the waveform. There are
three selection methods:
If you click the left edge of the waveform, the mouse pointer
turns into a little hand pointing to the right. This allows you
to move the left edge, and thus the start-point.
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You can also remove sound files from the Wave Player window.
Click the file name with the right mouse button. A dialog
appears where you can either confirm or cancel. This function
does not delete the file from the hard disk; it just deletes any
reference within Logic to this file.
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Chapter 5
The Environment
You can also use any Editor to edit the Midi data for the Wave
Player. If you click a Midi note in one of the Editors the corresponding sound file will be played, if the Midi Out button is
switched on.
In the Event List you can also define the volume of the sound
files by editing the velocity of the note events (VAL column).
You can also enter controller values for Volume (Controller #7)
and Pan (Controller #10).
Important Notes
5.5
Environment Exchange
If you have created a song on Midi setup A and you want to play
it on Midi setup B, youll have to make a few changes in the
Environment. Logic offers a few functions to make these
changes as easy as possible. Even if you want to play songs
which you created when you were still new to Logic, and you
were not using a very large Environment or you had fewer
devices, Logic can help you with the changes.
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If you want to use Midi effects like the delay line or arpeggiator
as flexibly as possible, on any instruments, it is helpful to use an
Environment configuration such as the one shown below:
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If you transmit on channel 10, the notes can be routed via the
mapped instrument, from your favorite key assignment for
drum sounds to the key assignment (e.g. the GM standard) of
your synth or sound source. This allows different recorded
notes for a drum instrument to be stored at a convenient pitch,
so the drum notes will be easy to edit, even in the Matrix
Editor.
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The Environment
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Chapter 6
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6.1
Concept
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7
Each audio object represents one track of the Maxi Studio ISIS.
It can also be used to control input or group signals.
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A quick reminder:
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Chapter 6
Mixers and Audio Objects
6.2
Audio Objects
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Audio Objects
Cha
2
3
You use this parameter to select which hard disk recording track
an audio object will control; or you can set the audio object to
control your recording hardwares inputs, outputs, or even
depending on your hardwareits aux sends, or sub-group
faders.
4
5
6
First, you choose the type (what the audio object will control; a
track, an input, an output etc.) then a number ( Track 1, Output
4, etc.). You make all these selections from a flip menu:
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Track
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Input
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Output
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If you select this option, the audio object will control one of
your hard disk recording systems outputs. You can then set the
output level from this object, and it will act as a master fader
for all signal passing through it-to the physical output(s) it
controls.
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Bus
This setting turns the audio object into a bus. You can then
send portions of the signals from several tracks (Track objects)
via their send controls to this bus, then process this submix with
a real-time effect assigned to the insert of the bus object.
The bus object can act as a master send for an external effects
unit. Select an individual output for the bus object, and then
connect it to the input of the external effects unit.
It is entirely possible to define several objects that relate to the
same channel. If you have a system with a lot of tracks but a
small monitor, you could have trouble seeing all your tracks at
once. To get around this, you could create a new layer to exist in
parallel with the one showing tracks 1 to 16. You could, for
example, design a layer showing just channels 3, 5, and 14,
input 5, and outputs 1 and 2.
When you select audio object types, youll notice the following
text styles are used:
Outline:
Normal:
Bold:
Midi Cha
You use the Midi Cha parameter to determine which Midi channel the audio object will respond to. You can then control the
audio object remotely, using Midi controller information.
This also works the other way around. Once a Midichannel
number has been set, you can generate controller information on
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Tip
Audio Objects
this Midi channel by moving the sliders and knobs on the audio
object itself.
When the Channel parameter is set, the Midi channel is automatically set to the same number, as this usually makes things
easier to remember.
4
6
Val as
You use the parameter Value as to select whether the scale of the
fader on the audio object is given as
Num
dB
as a value in decibels.
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Neutralizing Fader Values
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Level Meter
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Peak Hold
If the signal overloads, and goes into clipping, the Clip detector
(the red virtual LED at the top of the meter) will light and
remain lit. You can reset the detector by clicking anywhere on
the meter.
Mute control
You can mute any audio object by pressing the button marked
M. Pressing the button again restores the previous level.
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Audio Objects
Pan/Balance
Mono objects feature a Pan control which determines the position of a signal in the stereo image.
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5
6
You can reset the pan control to center (64) with a -click.
Equalizer (EQ)
BP
Typ
10
Hz
12
dB
13
Oct
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The Sends allow you to send a portion of any signal out of the
signals audio object, to an internal bus or auxiliary output.
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Click on an empty Send slot and choose one of the possible four
send destinations, using the flip menu that appears. When you
have chosen the send destination, you can regulate the amount
of signal supplied to the send using the Send Amount knob
control. As you are adjusting the level, the relevant value
appears in the menu box, to the left of the pot. You may assign
up to 4sends per track.
Remove Send
Open the flip menu of that Send slot again, and select No Send.
Normalizing the Send Level
You can reset the Sends to 0dB (90) with a -click on the
knob.
Bypassing the Sends
Inserts
If you have enough processing capacity, you can have up to 4
inserts per audio object.
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An extra blank Insert is created, as soon as all the currently displayed inserts are used,
up to the maximum allowed.
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Mono/Stereo Input/Output
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Track arming
The Rec control (see right) arms a track, making it ready for
recording. Once the track has been armed, the control flashes
red. During actual recording, it remains lit red all the time.
If the control is flashing but gray-red in color, no audio track has
been selected in the Arrange window. No recording can take
place.
Rec controls only exist for Track objects.
You can select which available input the Track object will
record from, by using the input selector switch, found in the I/
O section of the Track object.
Click-holding on the switch will reveal a flip menu, showing all
available inputs for your hardware. If the record track is stereo,
the inputs will be displayed in pairs ( Input 1-2, In put 3-4,
etc.). For mono tracks, they will be displayed individually.
Solo
All audio objects have a solo button. This mutes all other audio
objects. The muted objects are marked with a flashing M in
the mute button. Please note that this does not mute Midi
tracks.
You can solo several objects at once.
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Audio Objects
Solo Safe
When you solo a channel, if you want to hear the signal together
with its effects, the effect return channels should not be muted.
Unlike conventional mixing desks, Logic can scan the entire
signal flow and leave the effect return channels open.
2
3
4
The same applies when you solo an effect return signal. The
channels feeding the effect are muted (taken out of the routing) but their effect sends remain open so that the effect still
receives a signal.
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11
solo safe. This stops it being muted when you solo another
channel. Solo safe status is marked by a cross in the solo
button.
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Value 127
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Value 64
Toggle mute
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Chapter 6
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Stereo Objects
All the types of audio objects (Track, Input, and Output) may
be used configured as stereo . Unlike previous versions of
Logic, where setting an audio track to stereo caused it to grab
the adjoining track to create a stereo pair, version 3.5 uses
true stereo tracks. This means that when you configure Track 1
as stereo, Track 2 will be left unaffected.
Audio sequences on the tracks of stereo objects are always dealt
with together, no matter what the operation being performed.
If you open the Sample Edit window, both sides of the stereo
pair are shown there, and processed together.
Stereo
Left
Right
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The Effects
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Functions
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Icon representation
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Double Click
Scaling Objects
Clicking in the bottom right-hand side of an object and dragging with the mouse button held down allows you to change the
size of the object. You then see the various available sizes as you
drag.
The dB scale on the left of the Audio Object will disappear
once the object is below a certain size. With the option File >
Preferences > Audio > Audio Object with dB scale as default set
to on, clicking on a iconized view of an Audio Object will
result in the smallest possible object size, with the dB scale
intact.
Depending on the object size, the labelling will be abbreviated.
For Example:
Track 11-12 will become Trk11-12,
Output 13-14 becomes simply 13-14,
Bus 15-16 will become B15-16.
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Automation
Color
You can assign a color to selected Audio Objects with
Object Colors).
View >
6.3
Automation
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If you are using the audio mixer (it appears by default in the
Audio Layer of the Default Song), which has been automatically adjusted to your hardware, all the automation data is
recorded to a track instrument called A-Playback. Select the
track with this name, start recording and move the controls on
any channel of the audio mixer. All the automation data is
stored as Midi events in the selected track. (With the adaptive
mixer the automation data is spread over the relevant tracks).
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Automation
Signal flow
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Automation
Controller Number
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10
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19
20
21
22
23
5
6
Meaning
Volume
Balance (only for Stereo Objects)
Panorama
EQ #1
Frequency
EQ #1
Bandwidth
EQ #1
Gain
EQ #1
Bypass
EQ #2
Frequency
EQ #2
Bandwidth
EQ #2
Gain
EQ #2
Bypass
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9
10
11
12
13
Please note that the descriptions given here are also shown in
the Event List if the hardware youre using has the relevant
function.
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1. Insert
Effect parameter
Bypass
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Controller # 64 to # 79.
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Chapter 6
Mixers and Audio Objects
2. Insert
3. Insert
4. Insert
&
Effect parameter
Bypass
Effect parameter
Bypass
Effect parameter
Bypass
Controller # 80 to # 95.
Controller # 57
Controller # 96 to #111.
Controller # 58
Controller #112 to #127.
Controller # 59
The automation of the Plug-In parameters works the same as volume and panning.
All of the parameters that are recorded in normal sequences as controller events. This
means that you can use all the usual edit options in Logics Editors for automation
data as well.
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in the first position (top insert slot), you can automate 64 parameters: 64-127.
64-79 (16 parameters) are used for the first Plug-In, and
If you use one Plug-In in the first slot and a second Plug-In in
the third slot, you can automate 32 parameters in each (via
Controllers 64-95 and 96-127).
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10
Snapshot Record
Select an A-Playback track,
at the desired song position, go into Record/Pause,
select the relevant audio object in the Environment,
Choose Options > Send Selected Fader Values.
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Real-time Record
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Start recording. As the song plays through, you can operate all
the controls on your virtual mixer, and all the adjustments
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Chapter 6
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the time it takes for the end value of the new recording to
reach the value of the old recording. This time is entered in
milliseconds, and ensures a smooth transition.
Tip
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Real-Time Effects
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If you dont know the Midi channel or controller number for the
fader, knob or switch you wish to edit:
3
4
5
The Event List window will then show all the events generated by this control.
6.4
6
7
9
10
Real-Time Effects
11
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Memory
&
Warning!
13
14
15
16
Introduction
17
Here are a few basics about signal flow in mixing desks. If you
are already knowledgeable in this area, then go directly to
section Overview of Logics Real-Time Effects on page 6 - 27.
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Chapter 6
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Insert Effects
With insert effects, the whole signal is processed. This means
that 100% of the signal flows through the effect. This is suitable
for equalizers or dynamic effects. In theory this also applies to
pan pots and faders.
Effect
Bus Effects
In this case, a controlled amount of the signal is sent to the
effect. The classic example is reverb, where the most important
effect parameter is the amount sent, as this determines where
the signal source appears to be placed in the listeners audio
field. Echo (delay) and the modulation effects (chorus, flanger
) are also normally used in this way.
Ch1
Sends
Ch2
Bus1
Effect
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Note
Real-Time Effects
should also always be fed via a bus if they are going to be used
on more than one track.
3
4
5
7
8
Double-clicking an
assigned insert slot opens
the relevant plug-in
window. This is where you
can edit the parameters of
the real-time effects.
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13
General Parameters
14
15
Mix
16
17
If the effect is being fed via a bus, it nearly always makes sense
to set the mix proportion to 100% (default for inserts in bus
objects). Only then can the send pot in the channel path use
the entire possible range.
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Chapter 6
Mixers and Audio Objects
Equalizer
An equalizer (EQ) is used to boost or cut specific frequency
ranges.
HQParEQ
Center frequency
dB
Cut/Boost
Quality
fc
Hz
Bear in mind that the HQParEQ offers very high sound quality but therefore requires more processing power than any
other EQ algorithm.
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Real-Time Effects
HQSweepEQ
3
5
ParEQ
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LoShelv
10
dB
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0
fc
Hz
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16
The low shelving equalizer allows you to boost or cut the bass
range.
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HiShelv
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dB
Hz
fc
Example: boosting with HiShelv
Filter
LowPass
fc
Hz
You can use the low pass filter to completely get rid of the treble
range above a selectable frequency.
HighPass
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Real-Time Effects
1
dB
0
fc
Hz
3
High Pass Filter
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7
Delay
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Time
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Feedback
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Flanger
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Offset
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Width
Chorus
The Chorus effect can be used to make a signal wider,
particularly the variety with stereo output (m/s).
Offset
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Real-Time Effects
Reverb
Roomsize
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6
7
Decay
The time taken for the reverb to die away. Dont forget that the
absolute reverb time (RT60) can be adjusted independently of
the Roomsize parameter.
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Density
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15
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18
With room simulation HighFreqDamp determines the material characteristics of the surfaces: from metal (low values),
through wood (medium values), to carpet and curtains (high
values).
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Chapter 6
Mixers and Audio Objects
With the right level of pre-delay the reverb gains space. The
ideal values are normally between 5 and 50 ms. Very small
values sound better in solo mode but in the mix can lead to
smearing of the signal with its reverb. Larger values can be
interesting for combined delay/reverb effects, but in nature this
would only occur if the sound source was outside a tunnel opening.
Quality
The Quality parameter allows you to choose between different algorithms which create the reverb. The algorithms vary
greatly in terms of processing requirements and sound quality.
If you find that you dont have enough processing capacity, try
reducing the quality of the reverb.
Link
The bypass switch takes the whole effect out of the signal flow.
The effects input signal is routed directly to the output unaltered.
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6.6
GM/GS/XG Mixer
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4
Bank
If your sound source understands bank select events, you can
choose the bank number for each of the 16 Midi channels.
Please remember that not all synthesizers support bank select
events.
6
7
The GM/GS/XG mixer sends bank select events in the standard format. However, if you connect the output of the mixer to
the input of a multi instrument, bank select events are automatically converted into the multi instrument format. For
advice on setting the pre-defined bank select formats on multi
instruments please refer to section Defining Your Own Bank
Select Commands on page 5 - 31.
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12
A bank is a group of up to 128 sound programs. You can call up a specific sound
program inside a bank via the Program flip menu. For GS and XG sound modules
there is an inverted viewing method: within a sound program (reached via a Midi
program change command) you can use the bank select command to select among
several versions of the sound program (though not 128 versions).
13
14
15
Program
16
The Program flip menu is where you can choose a sound in the
GM sound module by name. Each channel has its own flip
menu. The top row is for choosing programs for odd-numbered
Midi channels (1, 3, 5 15) and the bottom row is for evennumbered channels (2, 4 16).
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Chapter 6
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Volume
You can use the volume fader to control the volume of each
individual channel.
Click the fader and move it, while keeping the mouse
button held down.
Mute
The mute button switches the volume of the channel between
zero and the current fader position. In practice this means that
if the button is down the channel is muted. If you switch the
mute off the fader position becomes valid again.
If you want to mute a channel:
Pan
The pan knob allows you to directly control the pan position of
the sound.
Click the knob and keep the mouse button held down.
Push the mouse up and down.
Controller
You can send any controller data to control different parameters
of your sound source with each of the upper three rows of
knobs. First, heres a description of the predefined functions:
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Reverb
This knob controls the reverb. The further you turn the knob,
the louder the effect signal becomes (in other words, more
signal from the channel is fed into the effect processor).
2
3
Chorus Depth
This knob controls the depth of the chorus effect. The further
you turn the knob, the stronger the effect becomes.
5
6
Cutoff Frequency
8
9
If you click-hold the text box at the left edge of the mixer the
controller list opens.
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15
16
Here you can choose the controller that you want to send with
the adjacent row of knobs.
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Symbol Description
Midi Event
Ctrl.No.
Program Flip
menu
Bank
Value
box
Volume Fader
Mute
Button
Pan
Fader
Volume:
Mute: button in
Fader: button out
Stereo panning
Volume
0
Fader value
Pan
10
Description
Midi Event
Ctrl.No.
Resonance
71
Cutoff
Cutoff
74
Attack
73
Reverb
Chorus
Chorus Depth
93
Phaser
Phaser
95
Modulation
Modulation
Release
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91
Note
GM/GS/XG Mixer
Name
Description
Breath
Foot Control
Portamento
Tremolo
Detune
Midi Event
Ctrl.No.
Breath Controller
Foot Controller
Porta Time
Tremolo
Depth
Detune
92
94
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Reset Button
The reset button transmits a GS On or XG On command
and resets all the controllers back to neutral positions. This
allows you to reset all the connected sound modules to their
start positions so that you can begin the mix from scratch.
Note
The row of pots above the pan pots are now set to Controller 74
for filter cutoff frequency (formerly portamento).
Bear in mind that only GS or XG sound modules have modulatable filtersunlike ordinary GM sound modules.
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but if you mute the GM mixer track you can prevent this. For
details refer to the Automation section.
6.7
2
3
Audio Mixer
One of the Environment layers in the default song (i.e. the song
Logic loads after you boot it up) is the Audio Mixer. This mixer
consists of audio objects which may be operated and automated
as described above. To open it go to the Environment
(Window> ) and click the Layer button.
5
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Chapter 6
Mixers and Audio Objects
&
The above diagram shows a section of 12 audio objects (channels 112) for 12
different tracks on the mixer. In the right half of the Environment window are the
effect returns and the output objects (diagram below).
The audio mixer configures itself when you start Logic. The
mixer takes up as little space as possible. If equalizers and
auxiliary sends are included the size of the mixer increases
automatically.
6.8
Adaptive Mixer
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Adaptive Mixer
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Tracks which do not have their own mixer parameters are not
visible in the adaptive mixer. These include delay objects,
arpeggiators, etc. If there are several consecutive tracks in the
Arrange window with the same track instrument, this instrument is represented by a single channel in the adaptive mixer.
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Chapter 6
Mixers and Audio Objects
Display
The Track menu is where you define what types
of track are displayed in the adaptive mixer. You
can switch off Midi or folder tracks if necessary.
Although the bus and master (output) objects
are not track instruments, they can also be
displayed in the adaptive mixer.
The View menu is where you customize the
display to suit your requirements. You can
hide the labels for the user-defined pots on
the Midi mixer channels, which saves a great
deal of space. You can individually switch off
the display of the instrument names, program
numbers, bank numbers, the user-defined
pots on the Midi mixer channels (Assign), the
pan pots (Pan), the faders (Volume), and the
track names and numbers, to make more
space. If you want to remove the instrument
names and program names from the display,
the channel keeps its rectangular shapewithout the tabs
which are needed for long names. If you switch off just the
display of the instrument name, the track name is shown
instead. You can also switch off display of the equalizer, the aux
sends, and Plug-Ins for the audio channels.
Like the other editors, the adaptive mixer is always stored in
the Screensets. You can switch between these using the
number keys !), or you may call up two digit screensets
by holding down S while entering the first digit.
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Bouncing
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If you switch off Option> Change Track in Play Mode you can
prevent the track selection from changing whenever you make
an adjustment to a channel, while the song is playing. However,
if you are recording, any movements have to be recorded in the
relevant track, so Logic has to select the track.
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Bouncing
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Chapter 6
Mixers and Audio Objects
Here you can choose between split stereo (for use in ProTools),
or interleaved stereo (for future use in Logic, a SampleCell II
card or for CD writer software).
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The Audio window is really like a catalog for audio files. It also
gives you an overview of what regions have been defined for
each audio file.
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Here you can define new regions and edit, delete, or rename
existing ones. When you edit them here, the accuracy is limited
to units of 256 sample words. To make more precise edits use
the Sample Edit window.
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Chapter 7
The Audio Window
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Link button
Region cycle button
Monitor button
Selection field for the output channel for monitoring
Tool box for the Audio window
Click this small triangle to show or hide the regions in the
relevant audio file
Click the lock symbol to protect the parameters of the region
The name of the audio file (large print)
The name of a region (small print)
Grab and drag this point to adjust the horizontal window division
Zoom telescope for adjusting the waveform display
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Layout
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If you add an audio file to the Audio window, Logic automatically creates a region encompassing the entire length of the file.
You can create as many regions as you want from the same
audio file and there are also no limits in terms of length, as long
as the region is no longer than the source audio file.
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Layout
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On the left side of the window is a thin column. At the top this
are the mode buttons, and at the bottom are the tools. This is
what is described in the following sections.
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The column to the right lists the audio files, and their regions
by name.
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Further to the right, the region waveform s are displayed graphically in the large white area of the window. A region is shown as
a boxed, black or colored area, while the rest of the audio file is
shown in light gray indicating that this part of the audio file is
not used for the region.
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Zoom Functions
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The two telescope symbols at the top right, just below the title
bar can be used to enlarge or reduce the display (zoom function).
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Chapter 7
The Audio Window
Link
Link mode in the Audio window means that whenever you
select an audio region in the Arrange window the same region is
automatically selected and displayed in the Audio window.
You can switch link mode on or off by clicking the button with
the chain link icon.
Hidden regions cannot be displayed in link mode. If you
want to display them you have to Show the regions (see
section Hiding and Showing Regions on page 7 - 6).
Monitoring
You can play regions directly in the Audio window. This monitoring is not related to the time axis of the sequencer. There are
several ways of playing a region:
Playing from a specific position
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Stereo playback
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Region Cycle
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You can adjust the start and end points of the region in real time
while the region is being cycled. This is useful for setting
precise region lengths, for example when polishing drum
loops.
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However, you can choose a specific channel of the audio hardware for monitoring in the Audio window. Set the desired
output in the Cha button below the speaker icon.
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Chapter 7
The Audio Window
7.2
Display
By choosing View > Show All Regions you can instantly display
all regions, from all audio files contained in the Audio window.
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Display
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By choosing View > Hide all Regions you can instantly remove
the display of the regions for all the audio files.
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If you want to view individual regions just click the small triangle to the left of the file name.
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Choose View > Show Length as. On the lowest level of this
hierarchical menu, you can choose the units for the display of
the lengths of all regions.
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Chapter 7
The Audio Window
The audio files are listed in the order in which they were loaded
or recorded.
Files sorted by > Name
The audio files are sorted according to the drive where they are
stored (hard disk, removable drive, partition).
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Display
Sorting Regions
by
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Sort Regions by > Name
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You can alter the display yourself by clicking inside the region
while holding down and keeping the mouse button held
down. A flip menu appears containing the following options:
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Bright
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Chapter 7
The Audio Window
Dark
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Overview Calculation
In addition to the pure audio data, an audio file also contains
data which is required for graphic display of the waveform in
the Audio window and Sample Editor (Overview data).
Automatic Overview Calculation
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You can position this float window wherever you wantthe last
position is saved in the Preferences.
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If you stop the calculation by clicking Abort you can still play
the audio filebut bear in mind that without an overview it
will not be easy to edit.
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Operation
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Selection Techniques
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To select a single item just click either its name in the audio
list, or the waveform display.
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If you hold down S at the same time you can select several
items, even if they are spread out. In the audio list you can also
use the rubber band selection.
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Chapter 7
The Audio Window
To select all items at once choose Edit > Select All (a).
Audio Files
Selecting the next Audio File
The key command Select Next Audio File selects the next audio
file in the audio list.
The key command Select Previous Audio File selects the previous audio file in the audio list.
When you choose Edit > Select used all audio files and regions
used in the arrangement of the song are selected.
Choosing Edit > Select unused selects all those audio files and
regions which are not used in the arrangement of the current
song.
For example, you can call up this function at the end of a
production to delete any items that are not required (B).
Edit Commands
All the standard edit commands are available in the Audio
window. As usual, they apply to the currently selected entries
(whether audio files or regions).
The Cut, Copy and Paste commands only apply to exchanging
items between two different songs. An audio file can only
appear once in a songs audio list, and so cannot be copied
within a song. For instructions on how to physically copy an
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audio file to the hard disk, please see the section Copying Audio
Files on page 7 - 27.
Cut
The selected audio files or regions are cut out, i.e. moved to the
clipboard. They are removed from the Audio window. Shortcut:
x.
Copy
The selected audio files and their regions are copied to the clipboard. They remain in the Audio window. Shortcut: c.
Paste
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Clear
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Any selected audio files or regions are deleted. You can achieve
the same effect by pressing B.
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Dont forget; the functions Cut or Clear do not delete audio files
from the hard disk, they just remove them from the Audio
window of the current song.
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If regions from the audio files in the Arrange window are being
used as audio sequences these sequences will be deleted from
the Arrange window as well.
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If you want to delete the selected audio files from the hard disk,
select File > Delete File(s).
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Undo
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Chapter 7
The Audio Window
Not all actions can be reversed using Undo. If you select a function which you cannot Undo, you will be warned of this before
you can execute the function.
Note
Regions
Creating a Region
Select the desired audio file and choose File > Add Region. The
new region will appear in the list, after the existing regions.
Copying a Region
If you select an existing region and then carry out the Add
Region function, another region is created whose definition
(start, end, Anchor) is exactly the same as the selected region.
Deleting a Region
You can use the Eraser tool to delete one or more regions. If any
of these regions exist in the Arrange window, they will be
removed from there, as well. You should therefore be careful
when using this tool. However, the Undo function is always
available, if you inadvertently remove a needed region.
You can also delete any selected regions with the B key.
To adjust the start point of a region, grab the left border. You
can now adjust the start point.
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Operation
To adjust the end point of a region grab, the right border. You
can now adjust the end point.
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You can also move an entire region within an audio file, by grabbing it in the middle. The tool turns into two arrows pointing
left and right. If the region is very small, use the zoom function
to enlarge the section. Make sure you can see the two arrows
before making any alterations.
If you want to adjust the limits of the region without moving
the Anchor, hold down during the operation. This applies
to moving the start or end points, as well as moving the whole
region.
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To move the Anchor, grab the small Anchor triangle below the
region. The tool turns into the region edit tool. A guide line
appears above the Anchor triangle.
With audio sequences in the Arrange window, the Anchor is
marked by a vertical, dashed line.
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Please note that Search Zero Crossings also applies to all operations in the Arrange window.
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Chapter 7
The Audio Window
Fine Movement
The graphic display in the Audio window is optimized for
quick and simple organization of the audio files and regions.
This involves displaying as many things as possible simultaneously in a window. The finest resolution for positioning the
start point, end point and Anchor, is therefore limited to units
of 256 samples. This is usually sufficient, particularly if search
zero crossings is switched on.
However, sometimes you need to make precise adjustments
down to the individual sample words. Drum loops are a good
example. The Sample Edit window is better suited to these
situations. To open the Sample Edit window for a region,
double-click on that region.
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Important
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You should check whether the audio file that you want to
rename is used by another song. If it is, dont rename the file,
otherwise it will not be found or played by the other song.
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Providing the regions have the same names as their audio files,
any renaming of the audio files is automatically carried over to
their associated regions.
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First select the desired track in the Arrange window and move
the song position line to the position where you want to create
the audio sequence.
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Chapter 7
The Audio Window
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Chapter 7
The Audio Window
03-49 StripStripStrip
7.4
File Administration
Record File
Defining the Record Path
Every recording in the Arrange window creates a new audio
file. To keep track of your recordings, you should tell Logic
where the data is to be written before you start recording.
You can also define a file name for the audio files that are
recordeda kind of working titlewhich Logic will automatically keep using, by appending a series of numbers to the file
name for every subsequent recording.
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File Administration
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To call up the dialog window for these settings, open the Audio
window and choose File > Set Record Path or open the
Record menu (click-hold the Record button):
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If this option is selected, Logic creates the audio file for the
next recording after you record-enable the track. In addition, at
the end of every recording, the audio file for the next recording
is immediately created. This allows you to start audio recordings quickly.
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You can switch this option off, in which case a record file as big
as the whole free memory from within the currently selected
hard disk will be created.
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Chapter 7
The Audio Window
Disadvantages:
the audio file can be heavily fragmented, if the actual recording time is much less than the maximum available value;
if you are using DAE hardware there may be no space left for
the Overview file. The Overview will then have to be calculated after the recording.
These buttons can be used to define the path for each separate
hardware system. You can create a new folder (if required) in
the dialog box.
To the right, you will see the current driveand the remaining
capacity (only if the drive is registered).
If you click-hold the drive the entire path is displayed. This
way you can see exactly which folder you are recording into.
Here is an example illustrating the individual steps:
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Tip
File Administration
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Morning LeadVoc.#01
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Morning LeadVoc.#02
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Morning LeadVoc.#03
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You can change the path and name whenever you want, by calling up the Set Record Path function again.
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Lets assume you want to record the lead guitar for our example
song Morning Light. Enter a new name such as Morning
LeadGuit.
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If you rename the drive, Logic will not be able to find it.
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Chapter 7
The Audio Window
If you are starting Logic for the first time, this display refers to
recording a single mono track.
After every recording Logic makes any unused memory available for more recording.
It is always advisable to choose a much smaller value than the
maximum possible recording time. Otherwise after the first
recording there will not be enough space for further recordings
unless you reduce the value.
Note
If you set a long recording time, and then increase the number
of tracks, or change the sample rate, and there is not enough
room on the hard disk, Logic will warn you first with an alert
box.
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File Administration
All Files
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Click Cancel in the file selection box when you have finished
choosing the files.
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To remove an audio file from the current song, select its name
in the Audio window and press B. This does not delete the file
from the hard disk.
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In theory audio files are displayed and organized by theWindows operating system in exactly the same way as all the other
Windows files. You can therefore delete or copy them in
Windows Explorer. However, this has the following disadvantages:
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Chapter 7
The Audio Window
Making Backups
The File > Backup File(s) function stores duplicates of files at
the same storage location as the original(s), with the extension
dup.
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File Administration
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Dont forget the backup options that are available in the Sample Edit window.
The File > Copy File(s) function copies files to a different location on your hard disk (or other storage medium). When you
copy a file you can enter a new name in the file selection box
(similar to the Save A Copy As command.
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The File > Move File(s) function enables you to move audio
files on your hard disk. Unlike the copy function, the source file
disappears afterwards.
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If the source drive/partition is the same as the target drive/partition the files are simply moved to the other folder. This is a very
quick and convenient way of organizing the drive and the song.
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Example
Note
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Logic updates the information on the new path for all open
songs which use this audio file. Thus, you can open every song
which uses the audio file(s) you are moving. Then move the
files to the new location, and save the songs to transfer the storage reference(s).
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Chapter 7
The Audio Window
In the file selection box split stereo audio files are treated
as a single file even though strictly speaking they are two
independent files.
In the audio list you can see both files. They have the same
name apart from the file extensions (.WAL) and (.WAR). If
you rename one channel of a stereo audio file, the file for the
other channel is automatically renamed as well.
Any alteration made to either region is automatically transferred to the other region. This applies to the start point, end
point, and position of the Anchor.
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File Administration
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Select the audio files and choose File > Convert to WAVStereo.
If a file is part of a pair the other file is automatically converted
as well.
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When you copy files using the File > Copy Files(s) function
you can define the format of the destination file. Choose the
format at the bottom of the file selection box.
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All selected audio files can be copied into any of the following
formats:
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AIFF File:
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Chapter 7
The Audio Window
names Logic does not simply cut the name off but places a letter on the end.
Example:
Bass+Drums 1 and Bass+Drums 2 would both become
Bass+Dru.WAV. Therefore Logic automatically assigns the
names Bass+Dr1.WAV and Bass+Dr2.WAV.
Windows 95 does support long file names, but most utilities for
exchanging between the Mac and Windows do not (e.g. DOS
Mounter, Formatter 5 and most Net software).
To transfer a whole Logic song from Logic Mac to Logic Windows just go to the Audio window and copy all the audio files
onto the MS-DOS drive or the PC net (if available), as .WAV
files. The song file itself can be read immediately on both platforms.
Logic Windows will recognize a song which was created on a
Mac and looks for FileName.WAV instead of the original
SDII files.
Likewise to transfer from Logic Windows to Logic Mac, you
have to export the audio files from Logic Windows as AIFF files
(onto the Mac/HFS drive). Logic Mac then looks for FileName.AIF files instead of FileName.WAV files which
would be used on the PC.
Note: store the Logic song file in the same folder as the audio
files. Then Logic (Mac or Windows) will find the audio files
immediately after loading.
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Reassigning Audio Files
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Information.
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Choose Locate in the dialog box and a file selection box opens,
where you can load the desired audio file.
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You have not connected the relevant hard disk or you have
renamed the drive.
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Chapter 7
The Audio Window
(Dont search for this file). Use this function if you know that
this audio file no longer exists or has been renamed. This
button changes to Skip All if after the first skip, yet another
audio file could not be found.
Skip All (for Several Files)
(Dont search for any more files). Use this function if you know
that all audio files in this song no longer exist, or have been
renamed.
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Other Functions
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Other Functions
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Audio Record
In the Options menu of the Audio window you can choose one
of the available sample rates, for example 44.1kHz or 48kHz.
(If you are not sure which one you need please refer to the
Introduction manual).
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Press R.
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Chapter 7
The Audio Window
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Audio Driver
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Logic Audio Pro ISIS only works with the Maxi Sound ISIS
audio hardware. You can access its parameters under File >
Preferences > Audio Extensions.
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Chapter 8
Audio Driver
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The Sample Edit window offers an enormous number of dataediting functions which are used to process individual audio
files. You can edit mono as well as stereo files.
You can set the lengths of audio regions with extreme precision
(down to single-sample resolution) by making use of the
windows adjustable zoom resolution. The anchor points can
also be positioned here with the same degree of accuracy.
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If you open the Sample Edit window from the Arrange window,
as opposed to the Audio window, the bar ruler is able to reference the regions position in the song. You can tell all of this
from the position marker lines in the bar ruler. A dotted line
indicates no time connection (Audio window), while a broken
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Chapter 9
The Sample Edit Window
9.1
Layout
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9.2
Display
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Overview
Between the Sample Edit windows title strip and bar ruler is
the so-called Overview. This display always shows the full
length of the currently selected audio file, regardless of the
zoom resolution set by the telescope symbols. Please note that
no idea of scale is given in the overview; a kick drum sample
lasting 0.3 seconds could take up the same space here as a
choral passage lasting 15 minutes.
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Chapter 9
The Sample Edit Window
Window functions
The Catch and Link functions work in pretty much the same
way as in the other edit windows.
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Display
Catch Mode
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Link Mode
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Tip
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Double-click on the audio region you wish to view. You can see
straight away that the display in both windows is linked.
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Display Scale
15
The Zoom Telescopes
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The right-hand telescope is used to enlarge or reduce the horizontal scale, which represents the time axis.
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Chapter 9
The Sample Edit Window
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Display
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Gives the scale in Bars, Beats, Divisions and Ticks, like the bar
ruler in the other time-related windows. The Zero point is
represented by 1 1 1 1, but lengths are measured from 0 0 0
0.
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Relative Position
The units in the time axis (between the Overview and the
waveform display) will be displayed with dotted lines when it is
displaying the Relative Position.You will be in this mode if you
open the Sample Editor from the Audio window, or if the Sample Editor is in Link mode, and you select a region in the Audio
window.
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Absolute Position
You can recognize this format by the broken line below the
units in the time axis.There will be a broken line below the
units in the time axis when it is displaying the Absolute Position. You will be in this mode if you open the Sample Editor
from the Arrange window, or if the Sample Editor is in Link
mode, and you select a region in the Arrange window.
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Time is measured from the start of the Song, which is given the
value zero (or 1 1 1 1 in Bar/Beat terms). In this instance the
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time axis shows the absolute (song) time and the figures do not
refer to the audio file.
Thanks to the clever use of oversampling techniques and lowpass filters at the D/A conversion stage, the stored sample bits
(on the right) are ultimately converted into a signal waveform
more like the one shown on the left.
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To play back the current selection, click on the switch depicting a small loudspeaker.
You can also perform this function with the key command Play/
Stop Selection.
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Please note that you can change the start and end points of the
selected area, while monitoring it in cycle playback mode. In
this way, you could edit the start and end points of (say) a drum
loop until it loops perfectly. When youre satisfied, you make
the selection into a new region with the function Edit > Selection->Region.
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Chapter 9
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Playing Regions
You can only play currently selected parts of files from within
the Sample Edit window. If you wish to play back a region, you
must first select it by using the function Edit > Region->Selection.
When you open the Sample Editor by double-clicking an audio
region, this region will automatically be selected in the Sample
Editor. The same thing happens when you click a region, while
the Sample Editor is in Link mode.
Automatic Scrolling
You use the scroll strip on the bottom and right edges of the
Sample Edit window to scroll through the detailed waveform
display in the usual way. However, if youre trying to reach one
of the following points in the audio file, some of the keyboard
short-cuts shown below should be of use to you. You can define
your own keys for these commands from the Key Commands
window (see Chapter 1 for more information) if you wish. The
ones shown here are the defaults.
Scroll screen to:
Start of selection
End of selection
Start of region
End of region
Anchor
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Key
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Making Selections
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Selecting the Whole Audio File
You can select the entire audio file with the function Edit >
Select All (a).
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Manual Selection
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Moving a Selection
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If you hold down , you can shift the whole selection without
changing its length.
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If accuracy is what you need, you should edit the start and end
points of regions in the Sample Edit window, not the Audio
window.
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The same goes for any adjustments you make to the anchor,
which in many cases should really be placed on the amplitude
peaks, rather than at the start of the attack phase of the sound.
A good example would be recordings of brass instruments,
which may take some time to build to a peak. By moving the
anchor to these peaks, the region will snap to the grid in your
arrangement using the anchor as the pivot point. The flexible
zoom settings allow you to be as precise as you like, going right
down to the level of single bits, at the highest magnification.
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Region Start
Region End
Anchor
If you move the start or end points of a region past the anchor
point, the anchor point will also move. This is quite often not
what you want to happen.
Holding down the key while you move the start or end
markers of a piece of audio prevents the anchor from moving.
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Editing commands
Like the other windows, the Sample Edit window features the
usual edit commands Cut, Copy, Paste, Clear and Undo under
its Edit menu (or via the keyboard).
Cut
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Copy
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Paste
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Clear
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Cancels the last edit command used, and reverses its effect.
This also works with the destructive editing commands
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Chapter 9
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9.4
File Management
Backup Copies
Automatic Backups
Before you carry out a destructive edit on an audio file in the
Sample Editor, Logic will ask you if you wish to make a backup
copy of the file youre working on, unless one exists already.
The No Dialog button ensures that this question will not be
asked again while you are editing in the current window.
You can even turn off the question altogether on the page File >
Preferences > Audio. In this case the question will be asked
only when the program is loaded, and when you carry out your
first edit. You can reply as follows:
Process
No backup is made and the edit goes ahead. You wont be asked
the question again until the next time you launch Logic.
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File Management
Cancel
Preferences
Opens the Audio Preferences window and gives you the chance
to reinstate the Backup question dialog box, so that it appears
every time you go to make a destructive edit.
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Important
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Chapter 9
The Sample Edit Window
9.5
Functions
The following section describes various useful functions available in the Sample Edit window, for perfecting audio recordings. You can use these to add the finishing touches to your
work.
Each of the commands affects only the currently selected
audio. If you want to use them to alter the whole audio file, you
have to use the Select All function beforehand.
All of the following functions are destructive, so they change
files stored on your hard drive. You can use the Undo function
but only until you make another destructive edit. So you
could, for example, change the start and end points of the
selected audio in between destructive edits, without losing
your undo facility.
Since the Undo function in the Sample Editor works independently of the rest of the program, you can try out an edit in the
Arrangement and make changes there. As soon as you open the
Sample Editor again (or bring it into the fore ground), the Undo
function is available for the last destructive sample edit.
Before these functions are executed, you are asked to confirm
them as a safety measure. This confirmation dialog box can be
turned off by choosing File > Preferences > Audio > Warning
before process Function in Sample Edit (Menu).
Logics more complex editing functions are found in the
Factory menu, which is described in section The Digital
Factory on page 9 - 25.
Normalize
Normalization is the process by which a digital signal is bought
up to its highest possible level, without introducing distortion.
Normalizing is possible in Logic by selecting Functions >
Normalize.
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Functions
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This is done in the following way; Logic finds the point with
the highest volume (-xdB) in the currently selected audio, and
determines how far this is from the maximum possible level.
The level of the whole selection is then raised by this amount.
The dynamic balance of the audio passage remains unaltered
it merely gets louder.
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Please note that the start and end points for the section being
normalized should generally not fall within a continuous
section of audio, as this will result in abrupt increases in volume
after normalization. The start and end points should therefore
be located in sections that also contain pauses. Occasionally,
you should remove any unwanted, audible noises that fall in
gaps in the music with the aid of the Silence function.
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Chapter 9
The Sample Edit Window
Change Gain
You can use Functions > Change Gain to raise or lower the level
of a passage of audio by a specific amount.
A dialog box appears in which you can set the required level
change in percent (Change relative:).
If you click on Search Maximum, the highest peak level is
determined and the value is then calculated that would be used
to normalize the audio file.
The value results in absolute: displays the maximum level
that would be achieved by changing the gain by the amount
shown in the Change relative: box.
You should never make a gain change that results in a value
over 100%, as this would create digital clipping.
Tip
Fade In
You use Functions > Fade In to create a fade in. You set up the
period of time over which the fade-in will occur with the help of
the currently selected audio (as shown in 1 and 2). Volume is set
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Functions
to zero at the left start point of the selection, and the fade-in
occurs over the length of the selection.
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Fade Out
Functions > Fade Out works in the same way as Fade In, except
that the fade works in the opposite direction. This lets you fade
passages out automatically.
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Fading Tips
Tip
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2: If you use the Silence function (see below) to remove unwanted background noise from silent passages, small
jumps in volume can sometimes appear at the start and end
points of selections, as well as on the flanks of the audio signal. In this case, select only a small area (e.g. within and just
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in front of the flank of the signal) and then use the Fadein function.
Silence
You use Functions > Silence to remove all data from a selected
area. The waveform material contained in the selected audio
passage and the corresponding amplitude values are all set to
zero. You can use this function to silence the unwanted background noise in quiet passages.
&
Invert
completely reverses the phase of all the
currently-selected audio material. All negative amplitude
values become positive, and vice versa. While this doesnt
change the file audibly, if it is heard in isolation, you can use
Invert to correct phase cancellation errors, particularly if youre
mixing down to mono. This is particularly valuable when
several out of tune signals (or several signals processed with
chorus pedals) are to be mixed down to mono together. The
effect depends on the audio material.
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Functions
5-18 Invert
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Reverse
You reverse the selected audio passage by selecting Functions >
Reverse.
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Chapter 9
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&
Trim
By selecting Functions > Trim you can erase all the regions that
arent selected. Use Trim to remove unimportant passages
from the start and end of your Audio Files.
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2
&
Make sure that the areas you are about to delete do not contain
any regions which you may need. Regions outside the selection
will be lost, and regions which are partly outside will be shortened. If any such regions are being used in the Arrange an alert
box appears, giving you the option of cancelling the trim function.
Remove DC Offset
When using poorly constructed audio hardware, direct current
(DC) can be undesirably layered over the audio signal. This
results in a vertical shift in the waveform position, which can be
clearly seen in the Sample Editor. During playback, this can
cause crackling sounds at the start and end of the audio region.
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Waveform with
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Search Peak
When you choose Functions > Search Peak the currently
selected audio is searched for the sample bit with the greatest
amplitude value. The cursor in the waveform display is then
placed on this bit.
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Search Silence
When Functions > Search Silence is chosen, the selected audio
is searched for sections containing silence (digital zero). The
cursor is then placed at the start of the first section found that
fits this description.
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Chapter 9
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Overview
Time Machine
Independent alteration of the pitch and/or length of a recording
(pitch shifting and time compression/expansion).
Audio Energizer
Increase of the perceived volume, even with recordings already
at a maximum Normalized level.
Operation
The functions of the Digital Factory are available via the
Factory menu in the Sample Edit window.
With some Digital Factory functions you can use the Prelisten
button to get a rough idea of the expected result. (Not available
for all digital audio hardware.). (In V. 3.0 onwards the prelisten
function in the TimeMachine also works with Audiowerk8 and
Digidesigns AudioMedia III.)
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You can start playback if you wish to. Even though the functions alter the data in the audio file, they can still be applied
while the file is playing.
Click the edit button at the bottom (e.g. Process & Paste).
The top line of the Sample Edit window keeps you informed
about the functions progress.
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Options
By choosing Edit > Undo (or z) you can compare the edit
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You can repeat the edit with other regions or audio files without having to close the chosen Factory Functions window
and reopen it . The function will always be carried out on the
selected material.
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You can also use the flip menu at the top edge of the window
to switch directly between the individual functions of every
section of the Digital Factory. The two sides of the Factory
menu (separated by a horizontal line) divide the Digital
Factory into Machines (large float window) and Functions (small float window).
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If you are playing your song (using Midi and audio data) while
you are editing the audio material, owners of slower computers
may experience slightly jerky playback of the audio material
although the Midi playback will continue to function correctly.
The editing time also increases slightly, if the song is playing.
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Chapter 9
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9.7
Machines
The top section of the Factory menu contains all the functions
for altering audio data within a file.
Time Machine
The Time Machine allows you to radically alter the time structure of audio files, including time compression/expansion, and
pitch transposition.
Overview of the features of the Time Machine:
Machine.
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Machines
Parameters
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On the left side under Original you can see the present value,
and on the right under Destination enter the desired target value
for the edit.
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Tempo
Tempo in bpm (beats per minute). Make sure you set the right
length in bars, otherwise the correct original tempo will not
appear here on the left!
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Length (Samples)
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Length in samples.
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Length (SMPTE)
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Length (Bars)
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Transpose (Cent)
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Chapter 9
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Free Transposition
Next to the transposition parameter you will see the description Free.
This will probably be the most common setting when you use
the Time Machine. It means that the program carries out free
compression/expansion or transposition. In this situation, the
pitch and tempo of the audio material to be edited are
completely independent of one another.
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Machines
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You can reset the ball and all numerical values to center
(neutral) positions by simply clicking in the graphic
display.
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Chapter 9
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Parameters
The main parameter is Factor. This is where you choose the
amount of average level boost. 0% means no alteration, while
higher values produce an increase in energy. The setting you
make here will depend on the audio material, situation and
personal taste. Begin by trying values in the 40-100% range.
Values below 10% will hardly have any effect, values over 100%
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Parameters
Source (Hz)
This shows the previous sample rate of the audio file. However,
to enable you to change incorrectly stored sample rate formats
(for example after editing in other programs) or for effects
you can enter any value you like here. You should only use this
function if you know what you are doing.
Destination (Hz)
Here you can enter the desired sample rate to which the
selected area is to be converted.
In most professional audio circles only the 44.1 kHz sample rate
is used. There is little audible advantage in using 48kHz. This
format is mostly used with older DAT machines.
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Usage
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To open the Event List and view the contents of the selected
sequence, choose Windows > Open Event List , or use a selfdefined key command (Open Event Editor).
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Chapter 10
The Event List
Structure
The standard buttons are supplemented by two scroll arrows 1
to help you move through the list. The event type buttons
below them 2 allow you to filter specific event types from the
display, and access or add them (by clicking on them with the
right mouse button). Beneath the toolbox is the quantization
grid selection field for the event quantize function (above 3).
There is also a field for defining the Division value (to the left
of 3) which corresponds to the Division value as set in the
Transport window. If the Catch function is switched on, the
arrow-shaped position marker 4 will always point to the current
event. The structure of the actual list display 5 is described on
page 10 - 7.
10.1 Display
The event type buttons allow you to filter the display to
remove individual event types from the Event List, so that you
can view only the specific types of events you are interested in.
Click the desired button with any tool (except the pencil).
If a button is grayed out, that event type will not be displayed.
All the functions affect only the events displayed, so nondisplayed events are protected from any alterations you make.
Here is a short overview. For more detailed information on the
individual event types see page 10 - 10.
The note symbol stands for note events.
The symbol with the dual-digit, seven-segment display stands
for program change events.
The hand wheel symbol with a marker in the middle (pitch
bend wheel) stands for pitch bend events.
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Important!
Operation
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The hand wheel symbol with a marker at the bottom (modulation wheel) stands for all control change events.
3
4
The symbol with a row of zeros and ones is called the full
message button. This does not filter out any type of event but
affects the display of all event types.
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When examining note events in the Event List, you will also
notice Logics internal score layout information included in the
list. You can edit this in the Event List if you want, but it serves
little purpose.
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10.2 Operation
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Scrolling
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Chapter 10
The Event List
If you want to keep the selected event where it is, use the usual
scroll bar functions.
Selection Techniques
When selecting events with the mouse, you should click near
the status column to avoid any unintentional parameter alterations.
You can use any of the standard selection techniques here: individual selection by clicking on objects, multiple selection using
the rubber band, or both of these (without altering the previous
selection), in conjunction with the S key. Dont forget you
can also make selections according to specific criteria via the
Edit menu (read the section Selection Techniques on page 1 - 23).
Any events which you remove from the display by clicking on
the event type buttons are immediately deselected. This
ensures that all the functions affect only the displayed
(selected) events.
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Event Editing
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Adding Events
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Duplicating Events
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This means that the events are not added at the song position,
as in the graphical editors. For more details on the way the clipboard works, please refer to page 1 - 26.
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Moving Events
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Chapter 10
The Event List
Altering Values
Event positions or parameter values can be altered in the usual
way by using the mouse like a slider (grabbing and dragging), or
via text input (just double-click on the parameter value).
You cannot alter the type of events using this method, however.
To alter the event type, you must either open a transform
window or add an event of the desired type, and then delete the
original event.
If you want to set a parameter to the same value for all selected
events, hold down the S and keys while you use the
mouse as a slider, or press R to confirm a numerical input.
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Position
The position of the events in the song; for note events this
means the beginning of the note. The units represent bars,
beats, divisions, and ticks (see page 2 - 12).
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Counting begins at 1 for each unit (first bar, first beat, first division, first tick: 1 1 1 1), and continues until it is carried over to
the next largest unit.
Numerical inputs start from the left (which means you can
enter just the bar number if you want). The units can be separated by either spaces, dots, or commas.
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If you select View > Local Position, the event positions do not
refer to the absolute location within the song but to the relative
position within the sequence.
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Status
This is where you can see the event type, as specified by the
status byte of a Midi message (for details, refer to the section
Event Type Structure on page 10 - 10). You cannot directly edit
this parameter.
Cha
The Midi channel used to record an event.
Remember that during playback this Midi channel will be
replaced by the Cha parameter of the playback instrument. The
event is only output to the recorded Midi channel when the Cha
parameter is set to All.
You should also keep in mind that with notation, the record
Midi channel is used to assign a polyphonic voice to the note.
(for more on this, read Score Edit Window).
Num, Val
These columns contain event data bytes. Their meaning
depends on the event type:
Status
Note
Control
Pitch
C-Press
P-Press
Program
Num
Pitch
Controller number
LSB
(not used)
Pitch
Bank Select
Val
Velocity
Value
MSB
Value
Value
Program number
Length/Info
With controller events, this column shows the controller name,
and with SysEx events, the manufacturers name.
With pitch bend events, a 14-bit value is displayed here, which
is composed of the first (Num) and second (Val) Data bytes
combined. This value can be edited directly from here.
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Position
The start of the arrange object (see page 10 - 7).
Name
Name of the sequence or folder. Double-clicking on the object
name switches you to the display of its contents. With a
sequence, you return to event-level editing.
You can alter the name with the text tool.
Track
Displays the track number. You cannot edit this value from here
(you might totally destroy your arrangement if you could). If
you want to move arrange objects to other tracks, it is better to
do it graphically from the Arrange window.
Length
The length of the arrange object (see page 10 - 8).
Num
Midi note number (note #). The range is from C-2 (note #: 0) to
G8 (note #: 127). Middle C is note # 60 and in Midi terminology
is called C3.
On some keyboards/synth modules (notably those made by
Korg and Roland), the note range is C-1 (#0) to G9 (#127). In
these cases middle C is called C4.
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Val
Velocity of a note from 1-127. The value 0 carries the note off
message, and thus is not available.
Length/Info
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Val
Bank select. Normally you will see this symbol, which means
no bank select will be sent. If you assign a number between 0
and 62, a bank select event is sent before the program change
event. This allows you to address different sound banks (e.g.
preset, internal, card) inside your synthesizer. The synthesizer
must be able to recognize controller 32 as bank select, but
unfortunately this standard is not yet widely used. If you have
any problems with bank select, check your synthesizers
manual to see whether, and how it responds to bank select
commands.
Variable Program Change
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Num
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Val
The effective pitch value (MSB) of 0-127. The value 64 corresponds to the mid-way setting of the wheel.
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Aftertouch Events
Midi note.
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Val
SysEx Events
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Here are a couple of tips for the real power users among you:
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2. Use hexadecimals, like $1, $01, $2, $3, $A, $0A, $7F
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3. Use notes like C3, C#3, Cb3, C##2 (equivalent to D2), Dbb2 (equivalent to C2)
If you double-click on the note E3, you can enter a decimal value such as 64 or
a hex value of $40 instead of the note itself.
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In many parts of LOGIC, mathematical operations can also be used to change values,
for example:
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Meta Events
Meta events are not Midi events, but are control messages
specific to Logic. They are used to automate specific Logic
functions, and organize objects in the notation which cannot be
represented by Midi events.
To create a meta event, click on the Full Message button with
the right mouse button.
Num and Val
Num determines the function of the Meta Events you create,
and Val is the value that is sent. In the Event List window you
should only ever insert and edit the following Num values:
Num = 47
Num = 48
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Num = 50
Num = 51
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The Event List
the recorded Midi channel and first data byte (if the selected
object is an event) for notes, the name and, if there is
one, the second data byte;
Clicking on the film symbol (on the extreme left) toggles the
position and length display between SMPTE time and the
normal display.
Clicking on the SMPTE symbol with the right mouse button
turns the Midi Out button on or off, and with it the monitor
that gives Midi playback in the Event float window).
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Usage
The Hyper Editor has many uses. The main ones are creating
and editing drum sequences, and graphically editing controller
data. Despite some similarities, dont confuse the Hyper Editor
with the Hyper Draw function.
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The Hyper Editor
event name column (4) and to the right of that the editing area
(5) which can be likened to the area containing the tracks in
the Arrange window.
The individual lines in the Hyper Editor are functionally similar to the tracks in the Arrange window, in that each line has an
event definition which determines the event type displayed in
this line (much as tracks in the Arrange window contain an
instrument). When you select a line in the name column, its
event definition is shown in the parameter box.
The display of the events takes the form of a horizontal row of
vertical beams whose height indicates the value of the relevant
event. You can directly alter the value by grabbing the beam
slider. It is possible to store a combination of simultaneously
displayed event definitions as a hyper set.
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Event Definitions
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To delete the current hyper set, select Hyper > Clear Hyper Set.
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There are many ways of altering the way the beams are
displayed, and adjusting them to the particular event types. You
can also use a grid to align the display of existing events, and
add new events. This grid can be set separately for each event
definition in a hyper set. The height of the lines in the hyper
set is adjusted using the Hyper Edit windows vertical zoom
function.
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Chapter 11
The Hyper Editor
When you choose Hyper > Create Event Definition a new event
definition is added, at the position of the currently selected
event definition. Initially, it has the same parameters. The
event definitions beneath it are moved downwards.
Automatically Creating Event Definitions
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Caution
Event Definitions
Select the event definition that you want to copy and choose
Hyper > Copy Event Definition. Switch to the destination Hyper
Set and choose Hyper > Paste Event Definition.
You can redefine an event definition with all its events. The
values of the events are retained but the event type is changed
to the new event definition. Choose Hyper > Convert Event
Definition, or double-click on the name column of the event
definition which you want to convert.
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The box shown above appears. On the left (convert) you can
see the parameters of the selected event definition, and on the
right you can define the parameters of the destination event
type. The current settings are used as default values.
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Chapter 11
The Hyper Editor
You can show (or hide) the entire left parameter area by checking (or unchecking) View > Parameters. You can close or open
the parameter box by clicking the triangle in the top left corner.
Name of the Event Definition
The Grid parameter is set via the typical pull-down quantization menu. New events can then be added at the set grid positions. The positions of existing events are not affected.
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Event Definitions
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The same quantization templates are available as for the playback parameters, including the Groove Templates you define
yourself.
When editing complex drum rhythms, it can be useful to create
several hyper definitions for one drum note, each with a different quantization grid. For example, if there are two lines for a
snare drum, one with a 1/16 and the other with a 1/96 grid, you
can use the pencil to add individual hits in the coarser grid and
rolls in the finer grid.
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Beam Width
You can set the width of the event beams from 1-16 using the
Penwidth parameter. Regardless of the beam width, the exact
event position is always marked by the left edge of the beam.
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When set to the maximum value (Penwidth = 16) note events are
displayed with their actual length.
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Chapter 11
The Hyper Editor
Delay
You can use the Length parameter to set the length of notes to be
added, measured in divisions (the left number) and ticks (the
right number).
To guarantee optimum timing when drum programming, you
should ensure that note off events are never transmitted at the
same time as note on events. Use note lengths which are not
close to straight note values, e.g. 100 ticks (1/48 note = 80 ticks,
1/32 note = 120 ticks). Very small tick values are also unsuitable,
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Event Definitions
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Event Status
If you grab the right side of the Status line a pull-down menu
opens where you can determine the event status for this event
definition line.
Midi Channel
Next to Cha there is a checkbox and to the right of this you can
set a Midi channel number. If you check this box, the display is
restricted to events on the set channel. If the box is unchecked,
the channel parameter is ignored, and matching events on all
channels are displayed.
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In the bottom line is the -1- parameter where you can determine the first data byte of the displayed event.
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For example, if Note is set as the event status you can determine
here which pitch (note #) should be displayed in this event definition line. If the edited sequence is played by a mapped
instrument, a pull-down menu appears here with the names of
the input notes (drum sound names).
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Chapter 11
The Hyper Editor
ignored, because both data bytes are used to display the beam
height.
Hi-Hat Mode
In hi-hat mode event definitions can be gathered together in
groups within which a only one event from each group can be
played at any time position. A typical use is collecting different
hi-hat notes (open, closed, pedal...) into a group.
To define a hi-hat group, click in any of the lines at the left edge
of the name column. Click here once again to switch hi-hat
mode off for that line. All lines in a hi-hat group must be vertically adjacent to each other.
If you add an event within a hi-hat group all existing events at
this time position are deleted.
You can create as many hi-hat groups as you want in a hyper set,
but they must all be separated by at least one line in which hihat mode is switched off.
11.3 Operation
The grid defined by the Grid parameter in the event definition
parameter box is very important:
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Operation
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Selection Techniques
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When moving selected events, you also have to hold down the
S key.
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With both operations, you can move events to other event definition lines. The events will be automatically converted.
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If several events are selected, you can alter all the values relatively, by grabbing just one of these event beams. The absolute
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Operation
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Existing Events
Draw the events with the mouse pointer while holding down
the mouse button.
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Draw the events with the pencil while holding down the mouse
button. The pencil is preset as the second tool (right mouse
button).
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Click anywhere in the beam display area and hold down the
mouse button.
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Move the mouse to the desired end point of the line (to the
right or left). You can also keep an eye on the position and
event value in the top line.
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If there were already events in the area between the start and
end points, they are aligned along the line.
If there were no events in the region new events are created at
the grid positions (in accordance with the Grid parameter).
If you definitely want to create new events, hold down the
key when you click for the last time.
This creates one event at every grid value. With very flat slopes,
or very fine grids, the individual grid positions always remain
unoccupied if the value to be added there is the same as the
value of the previous event. This reduces the data-flow along
the Midi bus without reducing the resolution of the controller.
When defining the Grid parameter to add successions of
controllers use the motto, as coarse as possible and as fine as
necessary to keep down the data output. Logic can deal with
very large amounts of data but unfortunately the same cannot
be said of Midi.
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Operation
Fix Value
If you place a check in the Fix Value checkbox, you can prevent
the height of any event beam being altered with the mouse
pointer or pencil.
When adding events with the pencil, all the added events are
given the value of the previously-selected event. This allows
you to draw a succession of events with the same value.
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By selecting an event with the pencil, you can adopt this value
as a preset, because in fix value mode it is impossible to alter
the value by clicking on it.
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When adding events with the crosshair tool, the preset value is
always used as the start point of the line.
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You can also double-click a sequence while holding down the
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Chapter 12
The Matrix Editor
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12.1 Display
Only notes are shown in the Matrix Editor. The beams (and the
way they can be edited) are very similar to the sequences in the
Arrange window.
Pitch/Note Names
The pitch is indicated by the vertical keyboard on the left side.
To help you with positioning there are horizontal lines running
across the screen between notes B and C and notes E and F.
Remember that you can adapt the octave numbering to Roland/
Korg devices (page 17 - 15).
If a mapped instrument sequence is being displayed, the names
of the notes being played will appear on the vertical keyboard
instead of the notes C and F.
Note too, that when a mapped instrument note is being moved,
its name can be seen in the Info line.
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Editing Notes
Position
You can read the position of a note in the bar ruler. The background is marked by vertical lines to assist with positioning:
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You can use the same intuitive editing functions as for the
sequences in the Arrange window.
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There are also some editing options which are available in all
editor windows. These are covered in the section Edit Functions
on page 1 - 31.
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Chapter 12
The Matrix Editor
Creating Notes
To create a note, click with the pencil at the desired point in the
background.
Duplicating Notes
To copy an existing note to another position or pitch, first click
the original note with the pencil (near the middle).
Now, any notes which you create by clicking the background
will have exactly the same length and velocity as the original
note.
Moving Notes
You can move selected notes by grabbing them (near the
middle) and dragging them. If you move notes vertically they
will be transposed, and if you move them horizontally they will
be moved in time. While you keep the mouse button held
down, the target position and pitch are shown in the info line at
the top.
When you move notes horizontally, they snap onto the division
positions (you can alter the division setting whenever you
want).
Remember that you can limit movement to one direction to
avoid accidentally transposing notes when moving them vertically (and vice versa). (File > Preferences > Global: Limit Dragging to one direction in Matrix and Score).
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Editing Notes
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When moving notes in the Matrix window you can make fine
adjustments at a high resolution by holding down the A key as
you drag. The exact resolution you use depends on the current
Zoom setting of the window.
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If you hold down the A+S keys, you can move the notes in
tick steps, completely independently of the Zoom setting and
the time grid.
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Copying Notes
Hold down the key as you move the notes.
Of course you can also copy (Edit > Copy or c) or move (Edit
> Cut or x) the notes onto the clipboard, and then add them
at the current song position with the original pitch (choose Edit
> Paste or v; see page 1 - 27).
Altering Lengths
To alter the length of a note, grab it by its bottom right-hand
corner and drag it to the required length. While you are altering
the length, the info line will keep you informed of the precise
length of the note.
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Editing Notes
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You can adjust the lengths of several selected notes at once (e.g.
a chord) simply by altering the length of one of them. This will
alter the lengths relatively among the selected notes.
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When altering note lengths, you can use either the mouse
pointer or the pencil. However, it is better to use the pointer,
because you might accidentally draw new notes with the
pencil.
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To alter the velocity value, click on the note with the V tool.
The info line will then indicate the velocity value of the note
you have clicked on.
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If you hold down the mouse button, you can alter the velocity
by vertically moving the mouse. If the Midi Out function is
switched on, the note will be output every time you alter the
velocity.
Altering the Velocity of Several Notes
All selected notes can be altered simultaneously; the differences in the velocity values will be retained. If the velocity
value of one of the selected notes reaches an extreme value (0
or 127) you cant go any further. However, by simultaneously
pressing the A key you can carry on altering the velocity
values until the clicked note reaches an extreme value.
To give all the notes the same velocity value, hold down the
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Editing Notes
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Hyper DrawFunctions
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Quick Delete
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Note
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Deleting points
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Just grab a point with the mouse and move it. If you hold down
the mouse button while you do this, you can restore erased
curve points by dragging the mouse over where they used to be.
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While you move a point, hold down the A key. You will then
be limited to moving the point vertically, but be able to select
all 127 possible steps.
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Deleting notes
You can delete selected notes by pressing the B key, or clicking on them with the eraser.
12.4 Functions
For a description of all the other functions of the Matrix Editor,
such as automatic length correction, and selective deleting /
copying, please refer to the section General Functions of the
Editors on page 1 - 27.
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This chapter is all about editing your sequences using conventional notation. Although the Event and Matrix Editors have
features that are designed for specific tasks (such as velocity
and note length editing), if you read music, theres nothing like
being able to work directly on the stave.
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The Options menu is where you can hide the parameter box
from view. This is useful if you use a small monitor as it gives
more room to the staves.
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Chapter 13
Score Edit Window
Zooming
The Score Editor has three levels of zoom. Use the telescope
zoom as usual.
Graphik
When you first open the Score Editor it defaults to the middle
zoom level.
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Style
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Autostyle
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Display Quantization
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Note
Editing notes
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If you hold the keys while changing the values, the parameter is set to the same value for all selected objects. This can be
useful for example when you want to change the lengths of all
the notes in a chord to the same value.
You can also transpose the whole sequence or trackdepending on the levelby using Select All from the local Edit
menu.
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Score Edit Window
Copying
To copy notes, select and drag them to the desired position
while keeping pressed. You can also use the local Edit
menus Copy and Paste functions.
Inserting
Notes can be created using the pen tool. Simply click-hold the
pen tool at the desired position. Once the Info Line is showing
the desired pitch and location, release the mouse button and
Logic will create a new note whose length is equivalent to the
display format. The length is easily changed afterwards.
Insert Defaults
If you click in an empty part of the Score area, the event parameter box switches to showing the caption Insert Defaults.
The values set when it is in this mode will determine the
default values for newly inserted events as follows.
Channel This is the Midi channel the note is assigned to. In
the Score Editor the channel is relevant only when you have
double staves or polyphonic notation, where Logic allocates
notes to staves according to their channels. Its important to
have selected the correct Score Style, such as Piano 1/3 or
Organ. More on this in the section section titled The allocation
of notes in multi-staves, on page 14.
Velocity Inserted notes acquire this velocity value. This affects
only how they sound, not how they appear in the notation.
Diatonic Insert
When Options > Diatonic Insert is active, notes will be entered
only at the pitches of the current key signature. Those pitches
that dont occur in that key (e.g. chromatic ones) are ignored.
Diatonic Insert is very useful for quickly entering conventional
notation as its very forgiving as to where you click the mouse
on the stave.
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Editing notes
Deleting
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In the Score Editor you can use the View > HyperDraw
command to insert a HyperDraw display. This allows quick and
easy editing of controller data in relation to note data.
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In the Score window, Hyper Draw can only be activated in linear view, if only one sequence is displayed. If you switch to
another mode (Page Edit view, or full score), the Hyper Draw
area disappears. However, the settings are stored, so when you
return to single sequence, and linear view, the previous Hyper
Draw setting is recalled.
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Score Edit Window
Hyper DrawFunctions
Quick Delete
Just grab a point with the mouse and move it. If you hold down
the mouse button while you do this, you can restore erased
curve points by dragging the mouse over where they used to
be.
Fine-tuning curve points
While you move a point, hold down the A key. You will then
be limited to moving the point vertically, but be able to select
all 127 possible steps.
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Note
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How Midi is interpreted in notation form if the wrong display
quantization is selected
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you can see from the illustration below, which shows how the
above example will look after applying a few of these settings:
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We came across the display and event parameter boxes and the
toolbox in the previous chapter. The new elements are primarily used in the configuring of the notation layout, ready for
printing.
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Switching levels
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To get from the sequence to the song level, click the Levels
button in the Score Editor window. You can also double-click in
an empty space in the Score area.
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Chapter 13
Score Edit Window
Graphik
Use the song level to view and edit the notation of the different
sections of your song as various extracts from the score. This
allows you to do things like visually check whether a bass note
is in the same place as a kick drum, etc. Notes that occur at the
same time are shown directly one above the other.
To jump back into the sequence level, double-click the stave of
a single track, or, if Link mode is active and youre in an
Arrange window or Event Editor thats also open, click the
sequence.
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Name
The text input field is available here for naming the sequence:
click a note before clicking the name.
Style
Logic offers 10 preset Score Styles. These are defaults for the
display of notation, and can be compared with the standard
paragraph formats that you find in word processing programs
such as Microsoft Word. The Style affects the clef, transposition andwith the Piano and Organ Stylesthe number of
staves. The advantage is that you dont need to manually set
these parameters for standard instruments such as trumpets or
cello, but simply select the corresponding Style.
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Graphik
Style
Clef
Piano
Bass
Bass -8
Treble
Treble +8
Treble -8
Alto Sax
Baritone Sax
Horn in Eb
Horn in F
Organ 1/1/5
Organ 1/3/5
Piano 1/3
Piccolo
Violin
Bass
Bass (-8)
Violin
Violin (+8)
Violin (-8)
Violin
Bass
Violin
Violin
Violin
Violin
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Transposition
-1 Octave
+1 Octave
-1 Octave
Eb
Eb, -1 Octave
Eb
F
-1 Octave
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Style
Soprano Sax
Tenor Sax
Trumpet in A
Trumpet in Bb
Viola
Clef
Transposition
Violin
Bass
Violin
Violin
Alt
Bb, -1 Octave
Bb
A
Bb
Staves
Autostyle
Inserting
When you enter notes into a multi-stave, Logic automatically
gives them the Midi channel of the stave they are being put in
and ignores the Insert Defaults setting.
Displaying
In multi-staves, Logic displays only those notes whose Midi
channels match the Style or stave. So, the Piano 1/3 Style will
show an empty stave if all its notes are set to channel 4.
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Piano 1/3
This Style allows you to set a variable split point between the
two staves. All the channel 1 notes will be seen in the top stave
and the channel 3 notes in the bottom one. Changing a notes
Midi channel allows you to determine its stave. The Midi channel can be edited in the Event Parameter Box or in the Event
Editor.
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The normal Piano Style (left), the Piano 1/3 Style
with edited channels (right)
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Organ 1/1/5
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An example of the organ notation of a
passage from the Tutorial song
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Score Edit Window
Organ 1/3/5
This Style expands on the Organ 1/1/5 Style: the lower stave
of the double-stave gets channel 3 notes.
Hide/Show Parameters
If you want to use the whole of the window for the display of
notation, use this Options menu command to hide the whole of
the parameter area. This allows you to see a few more bars at a
time.
Display Quantization
The Score Editor has an additional quantization setting which
affects the notes behaviour in the notation. It has no effect on
the Midi output, only on what you see. For this reason it is
referred to as displayquantization.
If the value is set to default, Logic adopts the display
format resolution as set in the Transport window.
The display quantization also offers duple/triplet hybrid resolutions such as 1612 or 1624. Choose these when the passage
contains a combination of duple and triplet values, for example,
16th notes as well as 16th note triplets. (1/24th note).
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Interpretation
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Note
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Syncopation
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Score Edit Window
No Overlap
This function suppresses the display of ties where notes overlap their neighbours. This often happens when a passage was
played legato.
Max. Dots
This setting determines the maximum number of dots in the
display of dotted notes. When its at 0, Logic shows no dots at
all.
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Tip
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The majority of these symbols have no effect on the Midi playback, only on the display.
The symbols are all in the partbox and can be dragged from
there onto the staves.
If you cannot see the partbox, check that Hide/Show Parameters in the local Options menu is active. Otherwise, make the
window taller and/or minimize the Display and Event Parameter boxes. The width of the partbox can be varied by horizontally dragging the vertical dividing line between the parameter
area and the Score area.
As you can see from the diagram (left), the partbox width
adapts itself to the width of the parameter area. This is so you
can adjust it to the size of your screen.
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The top section contains buttons that select the overall symbol
families. Click a button and the corresponding family moves
to the top of the partbox section below.
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Inserting symbols
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Symbols are inserted the same way as notes: click the pen tool
(right mouse button) in the stave. Use the eraser tool to delete
them, and the normal arrow tool for moving or copying them
(pressing ). You can also drag symbols (including notes) out
of the partbox with the mouse arrow.
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Chapter 13
Score Edit Window
Selecting Symbols
Select the value of note you want to insert with the mouse.
Logic offers all the binary, triplet and dotted forms of whole
notes through to 132 triplets.
To create chords, it is easier to insert the first note, then to copy
(with ) it to create the other notes.
Pedal signs
The pedal signs represent the sustain pedal on/off and Midi
Control Change 64 (sustain pedal). When you insert a pedal
sign, its corresponding Midi event is also inserted and therefore
affects what you hear.
Clefs
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Dynamics
Note-heads
Logic defaults to giving each note the note-head that corresponds to its value. The partbox note-heads relate to percussion and can be manually assigned to existing notes: select one
or more notes and insert the desired note-head onto anyone of
them.
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Articulation signs
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Chapter 13
Score Edit Window
Key signatures
Keys can be entered where you like in a stave: they then apply
to all the songs staves from that point. If you have defined a
Style for a transposing instrument, its transposition relative to
the new key is assured.
To enter a new key, choose the corresponding letter, and the
program will automatically convert that into the necessary flats
and sharps.
The one at the earliest time position is taken as the basic key
signature.
Existing key changes can be edited as follows: double-click the
signature to open the dialog box in which you can choose a new
key signature. You can select between major or minor key
signatures. Alternatively you can insert the new key from the
partbox by placing it on top of the old one.
To delete a key signature, click it with the eraser tool.
Time signatures
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These symbols are global, i.e. they apply to all sequences. You
can delete these symbols by clicking them with the eraser.
Trills
This gives you a range of the most common trill symbols which
you can position where you want.
Text mode
As an alternative to using the Cursor tool, you can add Text and
Lyrics by dragging the corresponding symbols from the partbox.
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Enharmonic shifting
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Chapter 13
Score Edit Window
enharmonic shift #
dentals
enharmonic shift b
dentals.
default accidentals
Graphik
Enharmonic shifting
You can apply these functions more than once to create double
flats or sharps.
Note stems
Stems up
Stems down
Stems default.
Manual beaming
You are able to determine the beamed grouping of selected
notes, thereby overriding Logics automatic display. The
following illustration shows automatic beaming (top) after it
has been manually edited (bottom).
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Graphik
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Beaming
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Multi-staves
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Chapter 13
Score Edit Window
Graphik
Expanding a double-stave
Text
Logic allows you to introduce text into the score for naming
staves, giving your song a title, or naming the composer and so
on. Text is shown as Meta events in the Event List.
Selecting a font
Logic lets you choose any of the fonts you have installed in your
computer for displaying and pringint text in your score. Logic
prefers to work with Truetype fonts; these are able to be shown
on-screen in any size. You can recognize Truetype fonts by the
TT symbol that comes before the font name in the fonts
window. To select the font in Logic choose Font>Score Font
and a window opens in which you can choose the font, its style
and size.
The font applies to all the text within a song. If you change the
score text font after entering text, this reformats the entire
songs text, often with undesirable consequences. It therefore
makes sense to choose the final font before you start work.
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Graphik
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Inserting text
Choose the text-cursor tool from the toolbox. Click it at the
location you want to enter text. This opens a text input field
and the Info Line.
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Positioning text
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Text can be dragged in the same way as other events, using the
mouse arrow. Its also possible to move the text numerically
using the event parameter boxs parameters. This method can
also be used to assign text to a different stave as follows:
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Stave This value is relevant only with Piano and Organ Styles
and defines the stave number the text belongs to. You can
instantly shift text from one stave to the other by simply changing the stave number. If you enter a stave number that exceeds
the number of available staves, the text disappears.
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Chapter 13
Score Edit Window
vert. pos the vertical position of the bottom of the text relative
to the top leger line, in pixels.
hor. pos the horizontal position of the left-hand end of the text
relative to the earliest position at which a note can be entered
on the stave, in pixels.
Lyrics
You can enter note-referenced lyrics in the Note Editor. Lyrics
have special features compared to normal text (e.g. title or
composer):
To enter lyrics:
1.
2.
Click Lyrics and with the mouse button held down drag
the mouse pointer below the first note where you want to
assign lyrics.
Lyrics.bmp
4.
5.
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Printing
Page Edit
You may have come across the Page Edit concept in word
processing or DTP programs. Logic calculates the contents of a
whole side of paper and shows these on the screen as they will
appear in print using the WYSIWYG principle.
You can swap between the two by clicking the Page Edit
button thats next to the Midi Out button.
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4
Page Edit is not just for manipulating the score prior to printing
(e.g. titles, text), but can be used for editing a long passage of
music. Indeed, all the editing commands weve covered so far
apply in Page Edit mode, too. The word-wrapping (or more
correctly stave-wrapping) means you can see appreciably
more bars on the screen at the same time.
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The vertical scroll bar is used to turn the pages of the Page
Edit display. The page number is shown at the top left of the
score.
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You must install your printer and have it correctly set up before
you start manipulating the layout of your final score. What you
see in the Page Edit display depends on the printer installed
and its paper format and resolution settings. The advantage is
that Page Edit is then exactly able to show how the printout
will look. For more information on setting up the printer, see
the section below.
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Chapter 13
Score Edit Window
Setting up printers
You must install your printer before you start Logic. You do this
in the Pringer Control Panel by clicking Install. The following window opens.
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Printing
RAM
Logic needs lots of spare RAM for printing. If you have just
four Megabytes of RAM and are printing a long score, you may
run into problems. If so
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Resolution
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Chapter 14
The Transform
Window
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Usage
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The Environment contains a similar transformer object for realtime editing of Midi data (see the section Delay Line on page 5
- 37).
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Chapter 14
The Transform Window
Effective Range
The Transform window is used to edit events only. The effective range is the same as for other functions, i.e.:
You can use the link button in the top left corner to link the
effective range with other windows.
All selected events on the same display level fall within the
effective transform range, as do all the events in the selected
arrange objects.
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Operations
This portion of the transform is where you define the edit operations to be carried out. These operations are defined in the
pull-down menus under Operations on selected Events.
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Actions
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Select only
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All events in the effective range which fulfill the set Conditions
(Operations has no effect). You can use this action to define your
own selection commands).
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Operate only
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All selected events are transformed according to the set Operations (Conditions has no effect). This action is useful if you want
to edit events youve already selected by hand).
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After each action, you can see how many events have been
selected and/or transformed in the title bar, as shown below:
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Chapter 14
The Transform Window
14.1 Transformation
Mode
You define the basic operating modes in the pull-down menu
above the Conditions box:
Apply Operations to selected Events
The selected events are edited, but in addition, all nonselected events are deleted. This ensures that the only events
remaining after the transform operation are the ones that
matched the Conditions.
If you set the Operations up neutrally, you can use the Transform window in this mode as a programmable filteronly
events which match the Conditions survive.
Delete selected Events
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You can use this mode for applications like the following:
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Event Parameters
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The individual Midi event parameters have their own columns
in the Conditions and Operations fields:
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Position
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Status
Type of event.
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Cha
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-1- / Pitch
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Chapter 14
The Transform Window
Length
Conditions
The middle area of the window (Conditions) is where you define
the conditions, which in turn determine which events are
selected for the edit operation. Each column represents a
different Midi event parameter.
The condition is considered to be fulfilled when an event
matches the defined effective range of all the event parameters.
These ranges are defined in the pull-down menus found under
each of the event parameter columns. (except the Status
column) The possible value conditions are listed below.
The All setting in the top box means that all values fulfill the
conditions, which makes all the other boxes superfluous.
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Transformation
You can assign one of the following value conditions for each of
the parameters (except the status):
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Unequal
<
>
Inside
Outside
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Status
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You have a choice of just two settings here, All (means all event
types fulfill the condition) and =. Clicking in the box below,
opens a pull-down menu where you can choose between note,
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Chapter 14
The Transform Window
poly pressure, control change, program change, channel pressure or pitch bend.
Operations
The Thru setting in the top box means that the relevant event
part remains unaltered, which makes the other boxes superfluous.
Position, Cha, -1- / Pitch, -2- / Vel, Length, Subposition
For all parameters (except status) the top box determines the
type of operation which is carried out ,using the values in the
boxes below (referred to as the set value). The following
operations are identical for the channel, and the first or second
data byte, but the value ranges in the boxes below are automatically adjusted.
Fix
Add
Sub
Min
Max
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Transformation
Flip
Mul
Div
Scale
Range
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Random
+ - Rand.
Reverse
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Quantize
Qua&Min
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Chapter 14
The Transform Window
Exponent.
Crescendo
Rel.Cres
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Transformation
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Status
The only two possible settings here are Thru (= the event type
remains unaltered) and Fix (= the event type is altered).
Clicking in the box below, opens a pull-down menu where you
can choose between note, poly pressure, control change,
program change, channel pressure or pitch bend.
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You can replace the value of each of the three event parameters
Cha, -1- / Pitch and -2- / Vel with the value of a different parameter from this group. Click on the lines between the Conditions
and Operations fields to change the source for the parameter
value.
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Display
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Chapter 14
The Transform Window
and also protects the hidden menus from any accidental alterations.
Presets
Try calling up some of the presets to acquaint yourself with the
Transform window and its parameters.
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Calling up Presets
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Chapter 15
Tempo
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Tempo Display
If your song has a tempo that stays the same throughout, you
can set this constant tempo in the Transport window.
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Tempo Track
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Overview
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Chapter 15
Tempo
The layout, and way you use the Tempo List are very similar to
those of the Event List (see page 10 - 1).
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Click Create.
Or, with the pencil tool selected, click on the word Tempo on
an existing tempo event. A new tempo event appears, with an
input box for the position. Enter the required bar position and
press R.
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You can delete tempo events by clicking them with the eraser,
or pressing the B key.
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change.
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Chapter 15
Tempo
Other Functions
The entries in the tempo list interact with, and affect each
other. For details, please refer to the section Positioning Bars to
Frames on page 16 - 16. You can also make several synchronization settings here. All other functions are identical to those in
the Event List (see page 10 - 1).
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Keep an eye on the info line at the top of the window which
tells you the exact position and tempo. Set the start (or end)
of the tempo change.
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Now set the end (or start) of the tempo change. If you want
to create new tempo events (instead of altering existing
ones) hold down the key.
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Other Functions
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Tempo
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Example:
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Basic Rule:
Use tempo changes to ensure that the bar grid in the sequencer
agrees with the real one.
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First, play the slow intro at any tempo you like. A tempo
event will appear at Bar 1, that will apply to the whole song at
first.
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Then comes the pause: in this example 12 seconds, a reasonably long time. Here is where you enter the third tempo
change. All you need to do is type in the SMPTE time you
want this to happen at (in the example 32 seconds). The bar
number can be almost anything you like, as long as there is a
reasonable distance between the second and third change
(theres more than enough in this example, as Logic can cope
with very small distances between tempo changes). Logic
now automatically changes the tempo in the second tempo
change to make the third happen at the right SMPTE time.
Place the third tempo change on a bar line (say bar 15), so
you can use the metronome and quantize functions later.
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Thats it! The second tempo change is what makes it all work:
it protects the tempo of the first section, and ensures that the
third tempo change can fall on a round bar line number.
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Chapter 15
Tempo
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Chapter 16
Synchronization
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Chapter 16
Synchronization
At the top edge you can switch pages: General, Audio, MIDI,
Unitor.
General
This page of the synchronization window contains the major
synchronization parameters for running Logic as a slave.
Sync Mode
This parameter defines the master to which Logic is to be
synchronized:
Internal
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Synchronization Window
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1
Frame Rate
This is where you set the frame rate (in fps, frames per
second). This frame rate applies to both transmitted and
received timecode.
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25
(30 d)
30
29,97 d
29,97
&
24
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d stands for drop frame. In drop frame formats, certain frames are left out
according to a regular pattern. To distinguish between them, formats without drop
frame are sometimes referred to as nd or non drop.
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2.
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Chapter 16
Synchronization
you have to define the format manually. This setting will not be
altered by Auto Detect.
SMPTE Offset
This is where you set the SMPTE offset for the song. Because
songs do not always have to start precisely at bar 1 you can
select any bar position to be played at the set SMPTE time.
The preset is 1/1/1/1 at 1:00:00:00. The SMPTE offset
1:00:00:00 is normally used, because it allows you to pre-run
some timecode.
Audio
This page of the synchronization dialog window contains all the
relevant parameters for synchronizing Audio and Midi.
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Synchronization Window
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1
You can change the sample rate in the Audio window > Options menu, if your hardware supports several different sample rates.
MTC [Hz]
If the deviation is too large, please check that you have set the
right frame rate (on the General page of the synchronization
window). If in doubt, set the frame rate to 24 fps and switch on
Auto Detect format of MTC.
Note
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7
If the frame rate is correct, you can use this display to adjust the
tape speed of the master machine to the nominal value (i.e. the
same speed as used when the time code was recorded). Adjust
the varipitch control on the master machine, until the vertical
yellow line is exactly in the middle.
10
Sample Rate
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This display shows the deviation of the sample rate from its
nominal value.
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Deviation
This display shows the current phase deviation of the word
clock from the timecode master, in other words, the deviation
between audio and Midi.
16
&
18
&
17
With varying timecode you can see in this display how Logic Audio regulates the
sample rate of the hardware in MTC continuous sync mode. Even with large timecode variations, there is no deviation between audio and Midi. Your audio hardware
must be capable of continuously variable sample rate, for this to function.
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Small deviations between audio and Midi are unavoidable, because Midi can (and
should) follow the timecode master directly.
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Chapter 16
Synchronization
Sync Mode
This is where you define how each individual piece of audio
hardware should be synchronised to an external timecode
master.
Depending on its design, not all audio hardware can work in
every sync mode described below. This depends particularly on
whether or not the hardwares sample rate can be controlled.
MTC Continuous
Audio regions are started in sync, and the sample rate is continuously regulated according to the variations in the timecode
master. With this method even very long audio regions stay in
sync.
MTC Trigger
Audio regions are started in sync, but are then played with a
constant sample rate, regardless of any variations in the timecode master. Logic Audio always uses the set nominal sample
rate (44.1 or 48 kHz).
This mode is suitable when it is vital to retain the absolute
pitch of a recording. If the speed of the timecode master deviates from the nominal value, you have to split long regions into
shorter sections.
MTC Trigger / Auto Speed Detection
Similar to MTC Trigger, but in addition, the Speed Detection constantly monitors the speed of the timecode master,
while Logic is running. The next time you start Logic, it uses a
sample rate which precisely matches this measured speed (i.e.
it uses a sample rate which deviates from the nominal sample
rate by the same amount as the speed of the timecode master
deviates from the nominal frame rate.)
This mode keeps long regions in better sync with the timecode
master, although not as closely as MTC Continuous.
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Synchronization Window
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External/Free
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Digital
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MIDI
12
This page is where you monitor all the settings sent by Logic
via Midi when the sequencer is running. This enables you to
synchronize external devices as slaves to Logic, which acts as
the master.
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Because not all devices can process SPP the real-time message
Continue is also sent. The exception to this is when you start
at position 1/1/1/1. In this case, the real-time message Start is
sent, instead of Continue.
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Chapter 16
Synchronization
Both Midi Clock and MTC can be sent to all ports simultaneously: select All Ports.
Midi Clock can easily be sent via a bus along with other normal
Midi events (notes, controllers). With multiport Midi interfaces
(like Unitor8), it is better for timing reasons to send Midi Clock
via all ports rather than via several individual ports.
&
If Midi Clock is transmitted via all ports, the events are sent only once from the
computer to the interface. If you address individual ports, one event has to be sent
for each individual port, which worsens the timing for all ports.
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Synchronization Window
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&
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6
MMC is normally used when Logic is running as a slave to an external master (e.g.
ADAT), where you want to control the external masters transport functions from
within Logic. Logic therefore acts as MMC master, and MTC slave simultaneously.
7
Note
8
9
You can also use MMC to put tracks from the MMC slave
device into record-enabled status. For details, please refer to
the section Midi Machine Control (MMC) on page 16 - 14.
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Unitor
12
This page is where you set the major synchronization parameters for Unitor8.
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SMPTE Mode
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SMPTE Type
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This is where you define what SMPTE format you want to use:
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Chapter 16
Synchronization
LTC
VITC
TV Format
Allows definition of the television format for time code burn-in:
PAL
NTSC
You dont just need this setting when writing and reading
VITC. If you are operating LTC and you want to generate a
video picture with burned-in SMPTE time, you have to choose
the correct format here.
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Synchronization Window
Refresh
3
Note
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6
7
You should only use Refresh mode if you really need it.
Here, you can set the freewheel time in frames for LTC, and
VITC individually.
10
The freewheel parameter affects the SMPTE reader, and specifies how long the synchronizer continues transferring MTC to
the sequencer, after timecode ceases to be read.
&
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12
Long freewheel times can sustain synchronization, even if there are drop outs in
timecode, but they also increase Logics reaction-time to stopping the timecode
master. In practice you should set the value as large as necessary (for sustained operation), and as small as possible (for low waiting times).
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VITC is written into two lines of the video picture, which are
normally invisible. The lines should not be consecutive and are
usually situated between 12 and 20.
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In the Scan setting, the VITC lines are automatically recognized. You should only enter the lines manually in problem
cases.
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Here you can set the position, size, and color of the timecode
display which is burned-in with the video picture.
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Chapter 16
Synchronization
MTC Interpretation
Because the Midi standard only supports four of the possible
six time code formats (the 30 fps and 29.97 fps formats cannot
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Special Functions
is interpreted as
24 fps
24 fps
25 fps
25 fps
30 drop fps
30 fps
30 fps
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6
In other words, the much more commonly used 29.97 fps and
30 drop fps formats are used in preference to the uncommon 30
fps and the virtually-unheard-of 29.97 drop fps formats.
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However, you can manually set the format from the Tempo List
editor to whatever you like: for example to convert material to
30 fps for black and white TV transmission in the NTSC
format.
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&
13
Midi Clock has a resolution of 24 PPQN (pulses per quarter note), while Logic has an
internal resolution of 960 PPQN (some 40 times more accurate!). For this reason,
Logic has to interpolate the 39 steps between two incoming clock impulses itself.
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Tip
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Even if you dont take this step, the sync should hold up fairly
well, as long as you avoid large deviations, such as an internal
setting of 200 bpm , with an external tempo of 40 bpm.
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Continue Event
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Chapter 16
Synchronization
Switching on MMC
Activate Midi Machine Control from the sync buttons pulldown menu. You can also temporarily switch the function off
from here to allow you to carry out any necessary quick edits.
This option can also be accessed by selecting File > Song
Settings > Midi Options.
Record Functions
&
The tape deck (#305) icon is the only icon that actually affects the way an object
behaves. All the other icons are graphic in nature, only.
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Special Functions
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If the tape track is the current record track the following functions apply:
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When you use the autodrop function, the tape machine goes
into record at the left locator position, and drops out of record
at the right locator position.
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After finishing an MMC-operated recording, Logic automatically creates an empty sequence on a tape track. This is to
let you know that a recording has taken place on the tape.
This applies to all MMC recordings, including those
controlled by the autodrop function. If you activate several
tape tracks using S, the corresponding number of
sequences are created. If there is already a sequence with an
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Chapter 16
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Set the desired time position for this tempo event in the
SMPTE-Position column. The preceding tempo event is
automatically adjusted to generate the correct bar and time
position for the auxiliary tempo event.
You can then delete the auxiliary tempo event if you want
to keep the same tempo for the following passage.
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Important
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AVI
Logic lets you open films in the Video for Windows (*.AVI)
format.
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Tip
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Opening a Movie
If you select Video > Open Video in the main window, the file
selector opens, and you can select an *.AVI movie from your
hard disk.
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Setting an Offset
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Summary
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Chapter 16
Synchronization
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Bar-referenced synchronization is only appropriate if you are using devices from the
first category. As far as devices from the second category are concerned, time-referenced sync really ought to be used. A single tape machine could theoretically control
several devices from the first category, by playing recorded bar-referenced time code.
However, for various reasons, most professionals would work using time-referenced
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code. For one thing, this is the only way to sync additional machines up to the tape
later.
A sequencer synchronized to tape has to calculate the bar position from the time position, using its tempo track.
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Bar-Referenced synchronization
First, a quick trip down memory lane...
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These disadvantages eventually killed off clock and FSK, neither is now used
professionally.
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Chapter 16
Synchronization
Time-Referenced synchronization
Time-referenced synchronization originates from the field of
film synchronization, but nowadays it is also used for audio
work. This is why it divides a second not into tenths and
hundredths, but into frames. One frame was originally the time
it took for a single frame of film (i.e. one image) to pass through
a film camera, or projector.
Unfortunately, the number of frames used per second varies
according to country, norm and usage. For film, the international norm is 24 frames per second (fps). American black and
white television uses 30 fps. With the introduction of color television, the frame rate of the NTSC norm, used in America and
Canada had to be reduced to 29.97 fps for technical reasons. In
Europe, a lower frame rate of 25 fps was used from the start, and
with the introduction of color television this was adopted by the
European PAL TV standard, as used in Europe today.
&
The original reason for the differing film rates, incidentally, derives from the different
rates of alternating current used on the different continents (USA: 60Hz, Europe: 50
Hz), which corresponds to the number of half-frames of film passing through a
camera/projector per second.
SMPTE/EBU
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1
number within the second). Some of the surplus bits are used to
indicate the frame rate, i.e. the number of frames per second.
This encoded data stream of 80 bits per frame is known as
SMPTE time code. Because the individual bits themselves
have a definite time spacing, they are also used as a further
subdivision of a frame, called a subframe.
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One technical problem was the frame rate of 29.97 fps. Only
whole frames can be counted, but counting up to the 30th
frame in every second would cause a deviation between the
time code time, and the actual time (a difference of about 5.4
seconds for a typical feature film). So, the following trick was
employed: in every minute 2 frames are left out (dropped),
except in minutes that can be divided by 10.
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This may sound complicated, but is actually simpler than one leap-year every 4 years
except in years divisible by 100, apart from those also divisible by 400!
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Note
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Frame Rates
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The SMPTE frame rate must be set the same for all connected
devices; you cant have different frame rates in one system.
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Chapter 16
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The diagram below shows the various frame rates with the
respective duration of a frame, or subframe:
Frame Rate [fps] Frame [ms]
Bit [ms]
Source
24
41,67
520,8
Film
25
40
500
PAL
29,97 drop
33,37
417,1
29,97
33,37
417,1
NTSC color
30 drop
33,33
416,7
30
33,33
416,7
NTSC S/W
In Europe 25 fps is used both in the audio field and for synchronizing television or video productions.
American audio productions use mainly 30 fps, but with video
the frame rate is nearly always 29.97 df.
International audio productions are recorded with 25 fps, and
30 fps on different tracks.
LTC / VITC
The 80 bits per frame of the SMPTE time code can be stored
in two different forms:
LTC is used for all audio productions, and often for video
synchronization as well. Tape duplication plants can record
LTC onto one of the audio tracks, usually track 2. The SMPTE
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time can also be written onto the picture. Because of the almost
universal use of LTC for audio work, the term SMPTE is
used synonymously with it.
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Emagics networkable 8x8 Midi interface Unitor8 has a synchronizer that can read
and write both LTC and VITC.
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MTC is a translation of the SMPTE bits into the Midi Standard, and contains the time and frame rate information. This
requires one status byte and eight data bytes. MTC defines
only 24, 25, 30 df and 30 ndf.
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Chapter 16
Synchronization
synchronization Procedure
The following steps apply to external equipment, rather than
Logic.
Recording SMPTE
Connect the output of the time code track to the SMPTE input
of the computer. To minimize crosstalk, it is better to make a
direct connection rather than routing the signal via the mixing
desk. The computer does not have to begin bar 1 at a SMPTE
time of 0 hours, 0 minutes, 0 seconds and 0 frames
(00:00:00:00), you can set an offset, to make the sequencer
wait for the correct SMPTE position, before it starts the song. If
the second song on tape begins at (say) 01:04:50:00, you need to
set the SMPTE offset to match. Make a note of the SMPTE
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offset on the track sheet for the song, or next to the song title on
the tape box.
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The SMPTE offset and tempo settings are saved with the song,
but it is not unheard of for the song file and the tape to be separated.
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Click Track
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When recording a click track or other signal onto the track next
to the SMPTE code, it is better to set a fairly low record level.
Crosstalk from a high-level signal onto the SMPTE track can
corrupt the SMPTE track, and interfere with smooth synchronization.
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Chapter 16
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Audio synchronization
The most common problem with external synchronization and
digital audio is the problem of having two clock sources: the
timecode master, and audio wordclock. In every system with
several time references, there is room for drift.
In the analog world this well-known problem is held in check
because the tape speed is constantly monitored to minimize
deviation between the slave machine timecode and the master
timecode.
The same applies with a computerproviding the audio hardware supports continuous variation of the tape speed (sample
rate), like the Audiowerk8.
You can misuse the digital output on the Audiowerk8 to
synchronize other audio hardware (e.g. AudioMedia) via the
other hardwares digital input.
If your audio hardware has no external clock or variable sample
rate, there are other ways of synchronizing to a timecode master
described in section Sync Mode on page 16 - 6.
Create a new song, make a new recording and see if that does
the trick. Why? If an old recording on tape was not properly
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Check all the frame rate settings. The frame rate of all connected devices must be identical, including the timecode on
the tape machine, the synchronizer, and in Logic itself.
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Note for America: try out the different kinds of 30 fps (30 drop,
29.97 fps).
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Chapter 17
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The Song Settings and Preferences are where you can define
some of Logics basic operating parameters. This section
explains each of these windows menu items individually.
Unless indicated otherwise, the descriptions of the various
options are the ones that apply when the checkbox next to the
option is crossed (in other words, when its active).
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Recording Options
This page can be reached in various ways: by key command
(Recording Options), via the local menu in the Arrange
Window (Options > Recording Options), or via Recording
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Song Settings and Preferences
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Data Reduction
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Chapter 17
Song Settings and Preferences
Click
Click in Record Mode (e)
The metronome click is automatically switched on for recording. This is the same as activating the metronome switch in the
transport panel during the recording.
Click in Play Mode (p)
The metronome click is automatically switched on for playback. This is the same as activating the metronome button in
the transport panel during playback.
Polyphonic Clicks
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Song Settings
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When this option is active, the record click sounds only during
the count in and is then switched off.
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MIDI Options
This page can be reached from the Arrange window by selecting Options > Midi Options. These settings determine how
the Midi inputs and outputs behave.
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Input Filter
The input filter switches are for filtering out certain event types
at the input of the sequencer. The symbols correspond to those
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Chapter 17
Song Settings and Preferences
in the Event List. When a switch is dark grey, it will filter out
the corresponding events.
Note Events
Program Change Events
Pitch Bend Events
Controller Events
Aftertouch oder Channel Pressure Events
Polyphonic Key Pressure Events
System Exclusive Events.
Sysex with Midi Thru function
The instrument selected here will not pass events through the
computer, when the instrument is chosen for the selected track.
Normally the No Output instrument is set here.
If your master keyboard does not have a Local Off setting,
you can use this feature to avoid unwanted note doubling when
recording.
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Song Settings
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3
In both cases, you should turn down the volume control of your
master keyboard whenever you are recording tracks for another
instrument.
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Synchronization
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Synchronization Source
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You can set the synchronization source via the Sync switch flipmenu in the Transport window:
Internal Sync
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Code. Remember that most multiport interfaces are fitted with inputs
and outputs for SMPTE code, which
is converted to MTC.
MIDI Clock Sync
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Chapter 17
Song Settings and Preferences
Remember that even if you have set an external synchronization source, you can still start Logic by itself, in which case it
will use its internal clock source.
Midi Machine Control
Logic sends (but does not respond to) Midi Machine Control
commands, so it can remote-control external devices transport
functions. If these items are not checked, the functions are
switched off (more information can be found on page 16 - 14).
Initializing Instruments
Send Used Midi Instrument Settings after loading
After a song has been loaded, all the instrument settings (such
as program number, volume and panning) are sent to the instruments used in the song (i.e. the ones that play sequences).
Send All Fader Values after loading
After a song is loaded, all fader objects send messages containing their settings. This allows you to initialize , for example, a
Midi-controllable mixing desk, if you have created a set of environment objects which control its parameters.
Send All Fader Values after loading
Chase Events
This page is for making settings relating to the Chase Events
function described on page 2 - 21. You can also reach this page
from the local menu in the Arrange window, by selecting
Options > Chase Events.
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Song Settings
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These switches are used to select the event types for which
event chasing applies. The symbols are the same as the ones in
the Event List Editor. If a button is gray, it means chase events
is deactivated for that event type.
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Notes
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Chapter 17
Song Settings and Preferences
Program Change
The last program change command before the current playstart point is sent. Keep in mind that a sound module will
usually take a short while to respond.
Controller Events
If this switch is active, you can switch three controller groups on
and off individually:
Chase Control 015
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Song Settings
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Song Settings and Preferences
Note
Global
This page contains the global presets.
Add Last Edit Function to sequence name
After performing any edit operation (e.g. cutting), the description of the edit operation is added to the name of the arrange
object (or resulting objects).
Disable safety alert for Undo
This means that no safety alert appears when you call up the
undo function.
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Watch Out!
Song Settings
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Every time you start the sequencer (start or pause), the catch
function is automatically switched on, in all windows (see page
1 - 20).
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In the Matrix or Score Editors, you can only move notes in one
direction, per operation. This means that a note may be either
transposed or moved in time, but not both at once. This
prevents accidental alteration of the other parameter.
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This restricts the direction you can move sequences and folders
in the Arrange window, in a similar way to, and for the same
reasons, as the option above.
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Chapter 17
Song Settings and Preferences
If only one sequence is selected when you choose File > Export
the contents of the sequence are saved in Midi file
format 0.This file format is guaranteed to be compatible with
every Midi file player (more information can be found on page
18 - 5).
Midi File
If the catch and content catch functions are active, the contents
of the sequence at the current song position are what is shown.
If there is no check in the box, the window view still follows the
song position within the displayed sequence, but does not
update to show the contents of subsequent sequences when
they become the current sequence (see page 1 - 21).
Display
This page contains various display options.
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Song Settings
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In the Arrange and Matrix windows, a custom Emagic background pattern is used (if the screen resolution allows). With
slower computers, the screen redraw rate can be slightly sluggish. If there is no check in the box, a standard gray background
is used, instead. Neither background is visible if you have
chosen a white background in the View menu.
16
Score
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This page of the Preferences can also be reached via the Score
windows local menu by selecting Options > Score Preferences.
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Chapter 17
Song Settings and Preferences
The song position line in the Score Editor is dashed. If the box
is not checked, the line is solid.
Do not show Stave selection
All staves are always black. If the box is not checked, the
selected stave will be black, and all the others will be gray.
Fast (Lower Resolution) Curves on Screen
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Song Settings
Reset Messages
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Note
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Smart Reset
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The reset has been optimized for use with the following
controllers, to minimize data congestion at cycle jumps, or
when the sequencer is stopped:
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Chapter 17
Song Settings and Preferences
1.
Pitch Bend
2.
Channel Pressure
3.
4.
&
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For example; if a particular instrument has received no pitch bend data, then no pitch
bend reset is sent to that instrument. Even better: if the instrument has received pitch
bend data, but the last pitch bend event happens to have been at zero bend, again,
no pitch bend reset will be transmitted. All this helps cut down on unnecessary Midi
data flying around your system.
For Power Users:
Generally speaking, the Smart reset feature improves the all-round timing of your
system considerably. There are a few exceptions to this rule, however, which will crop
up if one or more of the above-named Midi messages are assigned to non-standard
uses.
For example, if you are automating a mixer console, and assign Midi Controller #64
to EQ gain, Smart Reset could prove to be a bad idea, because every time you stop
the sequencer, the EQ gain will be reduced to 0.
There are two possible solutions to this problem:
You could avoid using the Smart Reset Midi controllers for non-standard Midi
applications. There are sufficient Controllers between #1 and #64 to be able to use
another without any conflict arising, in most cases, at any rate.
The other alternative is to switch off reset messages for certain instruments. This
is done by switching on the No Reset parameter in the Instrument Parameter box of
any standard instrument, mapped instrument, or sub-channel of a Multi Instrument.
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Tip
Song Settings
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Audio
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This is where you can switch off the alert box in the Sample
Editor which asks you whether you want to make a safety copy
of the audio file, before you destructively edit a sample. (See
the section on the Sample Editor).
Display Color in Audio Window
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Choose File > Preferences > Audio and under Display you
can use the option New Style Audio Objects, to switch the new
object appearance (since V. 3.0) on or off.
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3
4
Storing the Undo files for destructive edits of audio data can
take up a lot of time and memory, depending on the length of
the audio data. Normalize is generally a safe, and usually beneficial type of data edit. Switch this option off, if you want to
remove the Undo option for the normalize function.
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When you switch on this option, Logic releases the audio hardware whenever playback stops. This allows you to switch to
another program , like a Sample Editor, which also needs to use
the audio hardware, without having to quit Logic first.
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Chapter 17
Song Settings and Preferences
Audio Drivers
PC AV
Please refer also to chapter Audio Driver.
Force Half Duplex Mode
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Record Driver
This is where you choose the driver for audio recording. The
selection includes all drivers which have been installed in the
operating system. If your hardware has more than 2 inputs, and
is addressed by multiple stereo drivers, select the first pair of
inputs, and Logic will automatically detect, and use the rest of
the drivers. Put a check in the box labeled Multi Channel.
Playback Driver
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5
This is where you choose the driver for audio playback. The
selection includes all drivers which have been installed in the
operating system. If your hardware has more than 2 outputs,
and is addressed by multiple stereo drivers, select the first pair
of outputs, and Logic will automatically detect, and use the
rest. Put a check in the box labeled Multi Channel.
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To measure the delay, just select the data between a beat and
a peak. If the peaks are too far to the left you need to increase
the delay parameter; if they are too far to the right, decrease
it.
Repeat this process until the peaks are exactly on the beats.
&
Note for the technically-minded: if you are trying to eradicate the delay of the Midi
transmission andmore importantlythe reaction times of the sound modules, you
can directly record the Midi signal: connect pin 2 of the Midi plug to the ground
input and pin 4 of the Midi plug to the signal input.
&
Play the recorded audio click together with the Midi click.
Adjust the Playback Driver Delay until both the delay and the
flanging become minimal (the comb filter effect reaches its
maximum frequency).
Another way would be to record both signals together, and compare them again in
the Sample Editor.
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Chapter 18
File Transfer
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Disk Formats
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Chapter 18
File Transfer
Transfer
The transfer process itself is very straightforward:
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Select File > Open. A file selection box will appear, and from
here you can choose (at the bottom by File Type) the type of
song you wish to import.
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microLogic Songs
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Chapter 18
File Transfer
Notator SL Songs
Before you import Notator songs, you should make the following preparations in Notator SL:
Transfer
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To load a Standard Midi File, select File > Open. In the file
selector, select MIDI File in the Files of Type box.
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Bank Select
Neutralize all playback parameters with the normalize function (select them all by pressing a, then choose Functions > Sequence/Instrument Parameters > Normalize
Sequence Parameters),
Convert all playback quantization with the fix quantize function (a, Functions > Sequence/Instrument Parameters
> Fix Quantize,
Convert all aliases into real copies (a, Structure > Alias >
Turn to Real Copy,
Convert all loops into real copies (a, Functions >
Sequence/Instrument Parameters > Turn Loops to Real
Copies),
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Answer the Convert multiple Event Midi Channels to Instrument Midi Channel? No/Convert dialog box with R or
Convert.
2
3
Since Standard Midi File type 0 format files can only save one
sequence, you must also merge all sequences into one (a,
Structure > Merge > Objects).
5
6
Select all of the required sequences and choose File > Export
Midi File. You can now enter the destination directory.
8
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In File Format 0
See whether the Export Midi File > Save single Sequences as
File Format 0 check box (File > Preferences> Global) is
checked. If it is, choosing File > Export Midi File when only
one sequence is selected means that file format 0 will be automatically used.
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Glossary
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Adaptive mixer
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ADAT
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Aftertouch
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AIFF
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Double of an object which does not contain any data itself but
just refers to the data of the original. An Alias is equivalent to a
short-cut in Windows 95/98.
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Ruler at the top edge of the screen, divided into bar units.
BBS
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Count-in
C-Press
Cueing
Cycle
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Data bytes
12
These define the content of a Midi message. The first data byte
represents the note, or controller number; and the second the
velocity, or controller value.
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Delay
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DIMM
Adjustable note value for the grid used in displays and operations. Third number in the position indicator.
Drag & Drop
Going into and out of record to record over a section of an existing recording.
Edit
Delete
Event definition
Gl - 4
Emagic
Logic Audio Pro ISIS
l
1
Window class
2
3
4
File
In Logic the two most important types of file are: 1. Song files
containing all the Midi events and parameter settings in a song
(including mixer automation data) plus information about
which audio files are to be played; 2. Audio files containing the
actual recordings of guitar, vocals, etc. (not actually stored in
the song files).
Flip menu
6
7
8
10
Float window
11
12
13
Folder
14
15
Font
16
17
Frame
18
Gl
GM (General Midi)
Ix
B
C
Gl - 5
key assignment for drum and percussion sounds on Midi channel 10, 16-part multi-timbral and at least 24-voice polyphony.
Grab (an object)
Display at the top of the window which tells you the position of
objects when using the mouse tools.
Insert
Gl - 6
Emagic
Logic Audio Pro ISIS
l
Key command
Legato
4
5
Local menu
Local Off
9
10
11
12
13
14
Loop
15
16
17
Merge
18
Meta event
Gl
Ix
B
C
Owners Manual
Version 3.6 English
Gl - 7
Standardized, asynchronized, serial and event-oriented interface for electronic musical instruments.
Midi Clock
Also SysEx. System exclusive data forms the top tier in the
hierarchy of Midi commands. These messages are tagged with
an identification number for each manufacturer (the Sys Ex
Manufacturers ID number). The actual contents of these Midi
commands is up to the manufacturer. They are used for transferring whole sound programs and/or system settings, and for
addressing individual parameters used in sound generation or
Gl - 8
Emagic
Logic Audio Pro ISIS
l
1
signal processing. Editor software (such as Emagics SoundDiver) transmits and receives Midi system exclusive messages
from Midi devices, allowing you to program these Midi devices
on your computer.
2
3
5
6
Modulation
8
9
Moving
10
11
12
13
Mute
14
15
Normalize
16
17
Gl
18
Ix
B
C
Owners Manual
Version 3.6 English
Gl - 9
Field on the left side of the screen where you can adjust the
parameters of the selected object.
Paste
Add. The command v adds the contents of the clipboardi.e. whatever you copied with c or cut with
xto the position of the cursor, or song position line.
Pitch Bend Message
Emagic
Logic Audio Pro ISIS
l
Position indicator
Units: bars, beats, sub-divisions (often written simply as divisions in this manual) and ticks.
2
3
Post Fader
Positioned after the fader in the signal flow, i.e. the level of a
signal routed post fader to an auxiliary changes when the fader
is moved. Post fader aux sends are normally used for effects
(such as reverb) so that the reverb level changes with the channel level, and the ratio of original and effect signal remains
constant
5
6
7
8
P-Press
10
11
Pre Fader
12
Positioned before the fader in the signal flow, i.e. the level of a
signal routed pre fader to an auxiliary does not change when the
fader is moved. Pre fader aux sends are normally used for monitor mixes, so that the mix on stage or in the studio headphones
does not change when the levels are altered in the control room.
13
14
15
Preferences
16
17
Pull-down menu
18
Gl
Ix
Going into and out of record to record over a section of an existing recording.
Owners Manual
Version 3.6 English
C
Gl - 11
Quantization
Time-correction of note positions by moving them to the nearest point on a selectable grid.
Region
Gl - 12
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Logic Audio Pro ISIS
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Sends
2
3
Sequence
5
6
SMPTE
7
8
9
10
11
12
13
Sound source
14
15
16
17
Gl
Ix
18
B
C
Owners Manual
Version 3.6 English
Gl - 13
Status byte
A sub-division of a SMPTE frame, corresponding to the individual bits of a SMPTE frame. One frame consists of 80 bits.
Swing
Gl - 14
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Logic Audio Pro ISIS
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Track object
2
3
Undo
Update
7
8
Velocity
10
View
11
12
Virtual memory
13
Area of the hard disk which can be used by the PC as an extension of the RAM memory. The disadvantage in using it is its
very slow access time.
14
15
WAV File
16
17
Work area
18
Gl
Ix
WYSIWYG
C
Gl - 15
XG
Gl - 16
Emagic
Logic Audio Pro ISIS
Index
A
Absolute Value Alteration . . . . . . . . . 10-6
Accelerando . . . . . . . . . . . . . . . . . . . . . 15-5
Add Audio File . . . . . . . . . . . . . . . . . . 7-24
Add Region . . . . . . . . . . . . . . . . . . . . . 7-14
Adjust Tempo using Object
Length and Locators . . . . 4-20 15-6
Aftertouch Event . . . . . . . . . . . . . . . 10-14
Alias . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-37
assigning . . . . . . . . . . . . . . . . . . . 3-38
converting . . . . . . . . . . . . . . . . . 3-39
creating . . . . . . . . . . . . . . . . . . . . 3-37
editing . . . . . . . . . . . . . . . . . . . . 3-39
finding an aliass original . . . . . . 3-38
finding the original . . . . . . . . . . 3-38
orphans . . . . . . . . . . . . . . . . . . . . 3-38
All Elements
normal . . . . . . . . . . . . . . . . . . . . . 2-3
Altering Relative Values flexibly . . . . 10-6
Altering Values
absolutely . . . . . . . . . . . . . . . . . . 10-6
numerically . . . . . . . . . . . . . . . . 10-6
of events . . . . . . . . . . . . . . . . . . . 10-6
relatively . . . . . . . . . . . . . . . . . . 10-6
Alto Sax . . . . . . . . . . . . . . . . . . . . . . . 13-13
Anchor . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8
move . . . . . . . . . . . . . . . . . . . . . . 7-15
protecting . . . . . . . . . . . . . . . . . . 9-14
A-Playback . . . . . . . . . . . . . . . . . . . . . . 6-17
Apply Operation . . . . . . . . . . . . . . . . . 14-4
Arithmetical Operations . . . . . . . . . . . . 1-4
Arpeggiator . . . . . . . . . . . . . . . . . . . . . 5-34
Arrange
inserting events . . . . . . . . . . . . . 3-21
Arrange Window
instrument . . . . . . . . . . . . . . . . . . 3-2
tracks . . . . . . . . . . . . . . . . . . . . . . 3-2
Arrows (Score Editor) . . . . . . . . . . . . 13-21
Articulation signs . . . . . . . . . . . . . . . 13-21
ASCII Input . . . . . . . . . . . . . . . . . . . . . 1-4
ASD . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-6
Ask for complete Backup . . . . . . . 17-20
Assigning Input/Output Notes . . . . . 5-24
Atari ST . . . . . . . . . . . . . . . . . . . . . . . . 18-2
Attack Velocity
limiting . . . . . . . . . . . . . . . . . . . . 5-20
Attack velocity . . . . . . . . . . . . . . . . . . 5-20
Audio
create Layer . . . . . . . . . . . . . . . . . 6-1
Crossfades . . . . . . . . . . . . . . . . . 4-23
Owners Manual
Version 3.6 English
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
Gl
Ix
B
C
Index - 1
Index
fine-tuning . . . . . . . . . . . . . . . . . . 4-4
Loop . . . . . . . . . . . . . . . . . . . . . . . 4-7
moving . . . . . . . . . . . . . . . . . . . . . 4-4
moving numerically . . . . . . . . . . . 4-5
Name . . . . . . . . . . . . . . . . . . . . . . 4-7
Parameter box . . . . . . . . . . . . . . . 4-7
to record position . . . . . . . . . . . . . 4-5
Audio Sequences . . . . . . . . . . . . . . . . . 4-1
Audio Track
arming . . . . . . . . . . . . . . . . . . . . 4-12
Audio Tracks
creating . . . . . . . . . . . . . . . . . . . . 4-12
Audio Window . . . . . . . . . . . . . . . . . . . . 7-1
color display . . . . . . . . . . . . . . . 17-20
Audio window
Edit commands . . . . . . . . . . . . . 7-12
Link mode . . . . . . . . . . . . . . . . . . 7-4
opening . . . . . . . . . . . . . . . . . . . . 7-2
Selection techniques . . . . . . . . . 7-11
Audio-Fenster
Undo . . . . . . . . . . . . . . . . . . . . . . 7-13
Audio-Object
Channel . . . . . . . . . . . . . . . . . . . . 6-3
Val as . . . . . . . . . . . . . . . . . . . . . . . 6-5
Auto Create Tracks in Cycle Record . 2-19
Auto Define . . . . . . . . . . . . . . . . . . . . . 11-4
Auto Mute in Cycle Record . . . . . . . . 2-19
Auto Speed Detection . . . . . . . . . . . . 16-6
Autodrop . . . . . . . . . . . . . . . . . . 2-20 Gl-2
cycle . . . . . . . . . . . . . . . . . . . . . . 2-21
defining region . . . . . . . . . . . . . . 2-20
Autodrop Button . . . . . . . . . . . . . . . . . 2-10
Autoload . . . . . . . . . . . . . . . . . . . . . . . . 1-45
Automatic Scrolling . . . . . . . . . . . . . . . 1-19
Automation
erasing faders . . . . . . . . . . . . . . . 6-24
Merge . . . . . . . . . . . . . . . . . . . . . 5-44
Signalflow . . . . . . . . . . . . . . . . . . 6-17
Snapshots . . . . . . . . . . . . . . . . . . 6-21
Soft Fade Time . . . . . . . . . . . . . 5-44
with fader objects . . . . . . . . . . . 6-18
Autostyle . . . . . . . . . . . . . . . . . . . . . . . 13-3
AVI . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-17
B
Background
arrange . . . . . . . . . . . . . . . . . . . . 3-44
Background Windows . . . . . . . . . . . . . 1-18
Backup File(s) . . . . . . . . . . . . . . . . . . . 7-26
Index - 2
Emagic
Logic Audio Pro ISIS
Backups
automatic . . . . . . . . . . . . . . . . . . 9-16
making . . . . . . . . . . . . . . . . . . . . 7-26
manual . . . . . . . . . . . . . . . . . . . . 9-17
Balance . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
Bank
initialising . . . . . . . . . . . . . . . . . 5-31
program names . . . . . . . . . . . . . 5-30
Bank Select . . . . . . . . . . . . . . . . 3-11 5-30
defining your own Bank Select
commands . . . . . . . . . . . . 5-31
Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-16
Bar Position Display . . . . . . . . . . . . . . . 2-3
Bar Ruler . . . . . . . . . . . . . . . . . . 2-11 Gl-2
display . . . . . . . . . . . . . . . . . . . . 2-12
positioning directly . . . . . . . . . . 2-13
scrubbing . . . . . . . . . . . . . . . . . . 2-14
song position line . . . . . . . . . . . 2-12
start and end markers . . . . . . . . 2-12
Baritone Sax . . . . . . . . . . . . . . . . . . . . 13-13
Bass . . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Beam Width . . . . . . . . . . . . . . . . . . . . . 11-7
Beaming . . . . . . . . . . . . . . . . . . . . . . . 13-24
Behave as menu (text faders) . . . . . . . 5-46
BP (Bypass) . . . . . . . . . . . . . . . . . . . . . . 6-7
BRC (ADAT) . . . . . . . . . . . . . . . . . . 16-16
Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 5-45
Bypass . . . . . . . . . . . . . . . . . . . . . . . . . 6-34
C
Cable . . . . . . . . . . . . . . . . . . . . . . . . . . 5-12
cabling serially . . . . . . . . . . . . . . 5-14
connecting to sub-channels . . . 5-28
deleting . . . . . . . . . . . . . . . . . . . 5-14
multiple cabling . . . . . . . . . . . . . 5-13
cable switcher
problem . . . . . . . . . . . . . . . . . . . 18-3
Cabling . . . . . . . . . . . . . . . . . . . . . . . . . 5-12
to sub-channels . . . . . . . . . . . . . 5-28
Catch . . . . . . . . . . . . . . . 1-19 1-28 Gl-2
Enable when SPL is moved . . 17-13
switching off automatically . . . . 1-20
switching on automatically . . . . 1-20
CD-ROM . . . . . . . . . . . . . . . . . . . . . . . 5-50
Cha . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-19
Change Background . . . . . . . . . . . . . . 3-44
Changing Display Levels . . . . . . . . . . 1-38
Changing Values
algebraic input . . . . . . . . . . . . . . . 1-4
Index
Channel . . . . . . . . . . . . . . . . . . . . . . . . . 6-3
Channel Splitter . . . . . . . . . . . . . . . . . 5-38
Chase Events . . . . . . . . . . . . . . 2-21 17-8
SysEx . . . . . . . . . . . . . . . . . . . . 17-11
Checkbox . . . . . . . . . . . . . . . . . . . . . . Gl-2
Checkboxes . . . . . . . . . . . . . . . . . . . . . . 1-3
Checking . . . . . . . . . . . . . . . . . . . . . . . . 1-3
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 6-32
Clefs . . . . . . . . . . . . . . . . . . . . . . . . . . 13-20
Click . . . . . . . . . . . . . . . . . . . . . . 2-11 17-4
find instrument . . . . . . . . . . . . . 3-46
object . . . . . . . . . . . . . . . . . . . . . 5-40
only during count-in . . . . . . . . . 2-18
Clicking . . . . . . . . . . . . . . . . . . . . . . . . . 1-2
Clicking and Holding . . . . . . . . . . . . . . 1-2
Clicking On . . . . . . . . . . . . . . . . . . . . . . 1-2
Clip Detector . . . . . . . . . . . . . . . . . . . . 6-6
Clip Length . . . . . . . . . . . . . . . . 3-15 3-18
Clipboard . . . . . . . . . . . . . . . . . . . . . . . 1-26
Clipscan . . . . . . . . . . . . . . . . . . . . . . . . 4-22
Clock/SPP
interpolation . . . . . . . . . . . . . . 16-13
Comparison
Midi/Audio Sequences . . . . . . . 4-10
Computer Platforms . . . . . . . . . . . . . . 18-1
song transfer . . . . . . . . . . . . . . . 18-2
Concealing The Parameters . . . . . . . . 1-15
Contents Catch . . . . . . . . . . . . . . . . . . 1-21
Contents Link . . . . . . . . . . . . . . . . . . . 1-20
Control Change Event . . . . . . . . . . . 10-13
Control Output Via Midi . . . . . . . . . . 1-27
Controller . . . . . . . . . . . . . . . . . . . . . . . 6-38
Controllers
drawing in sequences directly . 3-32
controlling sound parameters . . . . . . . 5-50
Convert Definition . . . . . . . . . . . . . . . 11-5
Convert Files(s) . . . . . . . . . . . . . . . 7-29
Convert to SDII Stereo . . . . . . . . . . . 7-29
Converting
stereo format . . . . . . . . . . . . . . . 7-29
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-26
notes in Score Editor . . . . . . . . 13-6
Copy File(s) . . . . . . . . . . . . . . . . . . . . . 7-27
Count-In . . . . . . . . . . . . . . . . . . . . . . . 2-18
Create New Region . . . . . . . . . . . . . . 9-13
Create Track with next Instrument . . . 3-4
Crescendo . . . . . . . . . . . . . . . . . . . . . 13-21
Crescendo/Decrescendo . . . . . . . . . . 14-10
Crossfades . . . . . . . . . . . . . . . . . . . . . . 4-23
Crosshair Tool . . . . . . . . . . . . . . . . . . . 1-10
Cueing . . . . . . . . . . . . . . . . . . . . . . . . . Gl-3
Owners Manual
Version 3.6 English
Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-26
Cycle . . . . . . . . . . . . . . . . . . . . . . . . . . 2-14
button . . . . . . . . . . . . . . . . . . . . . 2-10
Chase Events . . . . . . . . . . . . . . 17-11
defining the region . . . . . . . . . . 2-15
numeric display . . . . . . . . . . . . . . 2-4
switching on . . . . . . . . . . . . . . . . 2-14
2
3
4
6
7
8
9
10
11
12
13
14
15
16
17
18
Gl
Ix
B
C
Index - 3
Index
E
EBU . . . . . . . . . . . . . . . . . . . . . . . . . . 16-20
Edit
Midi Output . . . . . . . . . . . . . . . . 1-27
Repeat Objects . . . . . . . . . . . . . 3-14
Edit Operations . . . . . . . . . . . . . . . . . . 1-26
copy . . . . . . . . . . . . . . . . . . . . . . 1-26
cut . . . . . . . . . . . . . . . . . . . . . . . . 1-26
delete . . . . . . . . . . . . . . . . . . . . . 1-27
paste . . . . . . . . . . . . . . . . . . . . . . 1-27
undo . . . . . . . . . . . . . . . . . . . . . . 1-26
Editing
via Midi input . . . . . . . . . . . . . . 1-36
Editor
Event-List . . . . . . . . . . . . . . . . . 10-1
Hyper Editor . . . . . . . . . . . . . . . 11-1
Matrix Editor . . . . . . . . . . . . . . . 12-1
Matrix editor . . . . . . . . . . . . . . . 12-1
score editor . . . . . . . . . . . . . . . . . 13-1
show sequence contents
(Contents Link) . . . . . . . . 1-20
Index - 4
Emagic
Logic Audio Pro ISIS
Editors
change sequence with Song Position
Line (Contents Catch) . . 1-21
Enable Catch when Sequencer starts 1-20
Ending An MMC-Controlled
Recording . . . . . . . . . . . . . . . . . 16-16
Enharmonic shifting . . . . . . . . . . . . . 13-23
Enlarging A Section . . . . . . . . . . . . . . 1-14
Enlarging One Part Of The Screen . . 1-14
Entering Numbers . . . . . . . . . . . . . . . . 1-4
Entering Program Name . . . . . . . . . . 5-30
Environment . . . . . . . . . . . . . . . . . . . . . 5-1
adjusting the size of objects . . . . 5-8
aligning objects . . . . . . . . . . . . . . 5-9
background . . . . . . . . . . . . . . . . . 5-6
cable . . . . . . . . . . . . . . . . . . . . . . 5-12
cabling between layers . . . . . . . 5-13
cabling serially . . . . . . . . . . . . . . 5-14
channel splitter . . . . . . . . . . . . . 5-38
concept . . . . . . . . . . . . . . . . . . . . . 5-2
delay line . . . . . . . . . . . . . . . . . . 5-37
deleting cables . . . . . . . . . . . . . . 5-14
deleting objects . . . . . . . . . . . . . . 5-8
direct output assignment . . . . . 5-12
display . . . . . . . . . . . . . . . . . . . . . 5-6
displaying as a list . . . . . . . . . . . . 5-6
exchanging . . . . . . . . . . . . . . . . . 5-56
help functions . . . . . . . . . . . . . . 5-15
hiding/showing cables . . . . . . . . . 5-6
icons . . . . . . . . . . . . . . . . . . . . . . 5-18
inserting library environments . 5-57
layer . . . . . . . . . . . . . . . . . . . . . . . 5-4
Midi metronome click . . . . . . . . 5-40
moving objects . . . . . . . . . . . . . . . 5-8
moving objects between layers . 5-9
multiple cabling . . . . . . . . . . . . . 5-13
object name . . . . . . . . . . . . . . . . 5-18
object parameters . . . . . . . . . . . 5-17
objects . . . . . . . . . . . . . . . . 5-7 5-15
opening from the Arrange . . . . . . 3-8
opening window . . . . . . . . . . . . . 5-3
protecting cables . . . . . . . . . . . . . 5-6
replacing objects . . . . . . . . . . . . . 5-9
selection commands . . . . . . . . . 5-10
sequencer input . . . . . . . . . . . . . 5-39
transformer . . . . . . . . . . . . . . . . . 5-37
Equalizer . . . . . . . . . . . . . . . . . . . . . . . 6-28
Equalizer (EQ) . . . . . . . . . . . . . . . . . . . 6-7
Eraser . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-8
Event
Channel +/-1 . . . . . . . . . . . . . . . 1-29
Index
meta . . . . . . . . . . . . . . . . . . . . . 13-23
poly pressure event . . . . . . . . . 10-14
quantization . . . . . . . . . . . . . . . . 1-36
Event Definitions . . . . . . . . . . . . . . . . 11-3
automatically creating event
definitions for
selected events . . . . . . . . 11-4
beam width . . . . . . . . . . . . . . . . 11-7
converting . . . . . . . . . . . . . . . . . 11-5
copying between hyper sets . . . 11-5
creating . . . . . . . . . . . . . . . . . . . . 11-4
erasing . . . . . . . . . . . . . . . . . . . . 11-5
event type (Status) . . . . . . . . . . 11-9
first data byte . . . . . . . . . . . . . . . 11-9
grid . . . . . . . . . . . . . . . . . . . . . . . 11-6
grid parameter . . . . . . . . . . . . . 11-10
hi-hat mode . . . . . . . . . . . . . . . 11-10
Midi channel . . . . . . . . . . . . . . . 11-9
note name . . . . . . . . . . . . . . . . . 11-6
parameter box . . . . . . . . . . . . . . 11-6
selecting . . . . . . . . . . . . . . . . . . . 11-4
setting different definitions
simultaneously . . . . . . . . 11-10
sorting . . . . . . . . . . . . . . . . . . . . . 11-6
style . . . . . . . . . . . . . . . . . . . . . . 11-7
Event Display . . . . . . . . . . . . . . . . . . . . 2-7
Event Editor
Meta events . . . . . . . . . . . . . . . 13-23
Event Float Window . . . . . . . . . . . . 10-17
Event List
arrange level . . . . . . . . . . . . . . . 10-9
display . . . . . . . . . . . . . . . . . . . . 10-2
drum note names . . . . . . . . . . . 10-11
monitoring . . . . . . . . . . . . . . . . . 10-3
opening . . . . . . . . . . . . . . . . . . . 10-1
overview of controls . . . . . . . . . 10-2
scrolling . . . . . . . . . . . . . . . . . . . 10-3
selecting events . . . . . . . . . . . . . 10-4
special mouse selection
techniques . . . . . . . . . . . . 10-4
Status column . . . . . . . . . . . . . . 10-4
Event parameter box . . . . . . . . . . . . . 13-5
Event-List
Transform Function . . . . . . . . 14-13
Events
adding . . . . . . . . . . . . . . . 10-5 11-14
aftertouch event . . . . . . . . . . . 10-14
altering values . . . . . . . . . . . . . . 10-6
chase events . . . . . . . . . . . . . . . . 17-8
control change event . . . . . . . . 10-13
converting . . . . . . . . . . . . . . . . 11-11
Owners Manual
Version 3.6 English
copying . . . . . . . . . . . . . . . . . . . 11-11
data byte . . . . . . . . . . . . . . . . . . . 10-8
deleting . . . . . . . . . . . . . . . . . . . 1-33
deleting doubled events . . . . . . 1-34
duplicating . . . . . . . . . . . . . . . . . 10-5
erasing duplicates . . . . . . . . . . . 3-21
erasing events
outside the sequence . . . 3-21
free . . . . . . . . . . . . . . . . . . . . . . . . 2-5
input filter . . . . . . . . . . . . . . . . . 17-5
inserting . . . . . . . . . . . . . . . . . . . 3-21
length/Info . . . . . . . . . . . . . . . . . 10-8
meta events . . . . . . . . . . . . . . . 10-16
Midi channel . . . . . . . . . . . . . . . 10-8
moving . . . . . . . . 1-34 10-5 11-11
note event . . . . . . . . . . . . . . . . 10-10
pasting from the clipboard . . . . 10-5
pitch bend event . . . . . . . . . . . 10-13
position . . . . . . . . . . . . . . . . . . . . 10-7
position and length in
SMPTE units . . . . . . . . . . 10-8
program change event . . . . . . . 10-11
relative positions . . . . . . . . . . . . 10-7
selective deletion . . . . . . . . . . . 3-21
selective erasing . . . . . . . . . . . . 3-40
SysEx events . . . . . . . . . . . . . . 10-15
types . . . . . . . . . . . . . . . . . . . . . 10-10
External Synchronization
enabling . . . . . . . . . . . . . . . . . . 16-12
External/Free . . . . . . . . . . . . . . . . . . . 16-7
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-6
sending values automatically . . 17-8
Faders
buttons . . . . . . . . . . . . . . . . . . . . 5-45
change value by 1 . . . . . . . . . . . 5-42
defining groups . . . . . . . . . . . . . 5-42
displayed value as . . . . . . . . . . . 5-49
filter . . . . . . . . . . . . . . . . . . . . . . 5-49
function/definition . . . . . . . . . . 5-47
grouping . . . . . . . . . . . . . . . . . . . 5-43
Midi events . . . . . . . . . . . . . . . . 5-47
names with increasing numbers 5-42
numerical . . . . . . . . . . . . . . . . . . 5-45
playing back movements . . . . . 5-44
programming lots of others . . . . 5-42
prototypes . . . . . . . . . . . . . . . . . 5-42
range . . . . . . . . . . . . . . . . . . . . . . 5-48
16
17
18
Gl
Ix
B
C
Index - 5
Index
H
Half-time . . . . . . . . . . . . . . . . . . . . . . . 3-16
Hand Tool . . . . . . . . . . . . . . . . . . . . . . 1-10
Hanging Notes . . . . . . . . . . . . . . . . . . . 2-7
Hardware Programmers . . . . . . . . . . . 17-6
Harmonic Correction . . . . . . . . . . . . . 9-30
HDR hardware
addressing a track . . . . . . . . . . . . 6-1
HDR-Hardware
Channel . . . . . . . . . . . . . . . . . . . . 6-3
Help . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-44
Hide all Regions . . . . . . . . . . . . . . . . . . 7-7
Hide Unused . . . . . . . . . . . . . . . . . . . . 1-43
Hide Used . . . . . . . . . . . . . . . . . . . . . . 1-43
Hierarchical Menus . . . . . . . . . . . . . . . 1-16
HighPass . . . . . . . . . . . . . . . . . . . . . . . 6-30
Hi-Hat Mode . . . . . . . . . . . . . . . . . . . 11-10
HiShelv . . . . . . . . . . . . . . . . . . . . . . . . 6-29
Horizontal Selection . . . . . . . . . . . . . . 1-24
Horn . . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
HQParEQ . . . . . . . . . . . . . . . . . . . . . . 6-28
HQSweepEQ . . . . . . . . . . . . . . . . . . . 6-29
Hyper Draw . . . . . . . . . . . . . . . . . . . . . 3-32
fine-tuning values . . . . . . 12-9 13-8
in the Score Window . . . . . . . . . 13-7
inserting a new
curve point . . . . . . . 12-9 13-8
key commands . . . . . . . . . . . . . . 3-34
Midi Channel definition . . . . . . 3-33
moving a curve point . . . . 12-9 13-8
setting channels . . . . . . . . . . . . . 3-33
switching off . . . . . . . . . . . . . . . 3-33
Hyper Edit Line . . . . . . . . . . . . . . . . . 11-3
,
,
,
G
Gate Time . . . . . . . . . . . . . . . . . . . . . . 3-26
General Midi Names . . . . . . . . . . . . . 5-30
Index - 6
Emagic
Logic Audio Pro ISIS
Index
,
,
I
Icon . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-18
Identical Objects . . . . . . . . . . . . . . . . . 1-25
Import . . . . . . . . . . . . . . . . . . . . . . . . . 18-3
Info Line
Score Editor . . . . . . . . . . . . . . . . 13-4
Input Filter . . . . . . . . . . . . . . . . . . . . . 17-5
Insert
notes in Score Editor . . . . . . . . 13-6
Insert Defaults . . . . . . . . . . . . . . . . . . 13-6
Instrument . . . . . . . . . . . . . . . . . 5-19 Gl-6
assigning the Midi output . . . . 5-12
cabling . . . . . . . . . . . . . . . . . . . . 5-12
changing velocity . . . . . . . . . . . 5-20
delay . . . . . . . . . . . . . . . . . . . . . . 5-20
icon . . . . . . . . . . . . . . . . . . . . . . . . 3-9
Midi channel . . . . . . . . . . . . . . . 5-19
pan . . . . . . . . . . . . . . . . . . . . . . . 5-19
pitch range . . . . . . . . . . . . . . . . . 5-20
pre-selecting a Score Style . . . . 5-21
Owners Manual
Version 3.6 English
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13
16
17
18
Gl
Ix
B
C
Index - 7
Index
L
Laser printers . . . . . . . . . . . . . . . . . . 13-30
Layer
All Objects . . . . . . . . . . . . . . . . . . 5-5
naming . . . . . . . . . . . . . . . . . . . . . 5-5
Layers . . . . . . . . . . . . . . . . . . . . . . 5-2 5-4
creating . . . . . . . . . . . . . . . . . . . . . 5-5
deleting . . . . . . . . . . . . . . . . . . . . 5-5
global objects . . . . . . . . . . . . . . . . 5-6
switching . . . . . . . . . . . . . . . . . . . 5-5
Layout . . . . . . . . . . . . . . . . . . . . . . . . . 13-9
Layout Tool . . . . . . . . . . . . . . . . . . . . . 1-10
Learn Key . . . . . . . . . . . . . . . . . . . . . . 1-42
Legato . . . . . . . . . . . . . . . . . . . . . . . . . 3-26
Level Meter . . . . . . . . . . . . . . . . . . . . . . 6-5
Level meters
in the Arrange window . . . . . . . 3-41
Level switching in Score Editor . . . 13-11
Lim . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-20
limiting the pitch range . . . . . . . . . . . 5-20
Lines . . . . . . . . . . . . . . . . . . . . . . . . . 13-21
Lines to Channels . . . . . . . . . . . . . . . . 1-30
Link . . . . . . . . . . . . . . . . . . . . . . 1-20 6-34
linking displays . . . . . . . . . . . . . . . . . . 1-20
Local Off . . . . . . . . . . . . . . . . . . . . . . . 17-6
Locators
adjusting to selected objects . . 3-40
numeric display . . . . . . . . . . . . . . 2-4
setting by objects . . . . . . . . . . . 1-31
Logic Help . . . . . . . . . . . . . . . . . . . . . 1-44
Loop . . . . . . . . . . . . . . . . . . . . . . 3-24 Gl-7
of Audio Sequences . . . . . . . . . . 4-7
Loops
turning loops into real copies . . 3-24
LoShelv . . . . . . . . . . . . . . . . . . . . . . . . 6-29
LowPass . . . . . . . . . . . . . . . . . . . . . . . . 6-30
LTC . . . . . . . . . . . . . . . . . . . . 16-10 16-22
Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . 13-28
M
Macintosh . . . . . . . . . . . . . . . . . . . . . . 18-2
Magnifying Glass . . . . . . . . . . . . . . . . . 1-9
Mapped Instrument . . . . . . . . . . . . . . 5-22
assigning notes to cables . . . . . . 5-26
window . . . . . . . . . . . . . . . . . . . . 5-24
Matrix
HyperDraw . . . . . . . . . . . . . . . . 12-8
Matrix Editor . . . . . . . . . . . . . . . . . . . . 12-1
Index - 8
Emagic
Logic Audio Pro ISIS
background . . . . . . . . . . . . . . . . 12-3
changing note lengths . . . . . . . . 12-6
changing velocity . . . . . . . . . . . . 12-7
copying notes . . . . . . . . . . . . . . . 12-6
creating notes . . . . . . . . . . . . . . . 12-4
deleting notes . . . . . . . . . . . . . 12-10
duplicating notes . . . . . . . . . . . . 12-4
functions . . . . . . . . . . . . . . . . . 12-10
moving notes . . . . . . . . . . . . . . . 12-4
note display . . . . . . . . . . . . . . . . 12-2
opening . . . . . . . . . . . . . . . . . . . 12-1
selecting notes . . . . . . . . . . . . . 12-10
Matrix-Editor
Transform-Function . . . . . . . . 14-13
Max Dots . . . . . . . . . . . . . . . . . . . . . . 13-18
Menus . . . . . . . . . . . . . . . . . . . . . . . . . 1-15
accessing via the keyboard . . . . 1-16
Merge . . . . . . . . . . . . . . . . . . . . . 3-19 5-44
new recording with
selected sequences . . . . . 2-18
only new sequences in
cycle record . . . . . . . . . . . 2-19
Meta Event . . . . . . . . 10-16 13-23 Gl-7
fader . . . . . . . . . . . . . . . . . . . . . . 5-50
Meta Events
switch screenset . . . . . . . . . . . . . 1-23
Metronome . . . . . . . . . . 2-11 5-40 17-4
setting . . . . . . . . . . . . . . . . . . . . . 3-46
microLogic Songs . . . . . . . . . . . . . . . . 18-3
Midi
assigning the output directly . . 5-12
event display . . . . . . . . . . . . . . . . 2-7
In switch . . . . . . . . . . . . . . . . . . . 1-34
monitor . . . . . . . . . . . . . . . . . . . . . 2-7
Multi mode . . . . . . . . . . . . . . . . 5-26
options . . . . . . . . . . . . . . . . . . . . 17-5
Out switch . . . . . . . . . . . . . . . . . 1-28
pan . . . . . . . . . . . . . . . . . . . . . . . 5-19
program changes . . . . . . . . . . . . 5-19
sending an event by fader . . . . 5-47
signal flow . . . . . . . . . . . . . . . . . 5-11
step edit . . . . . . . . . . . . . . . . . . . 1-36
time code (see MTC) . . . . . . . 16-23
volume . . . . . . . . . . . . . . . . . . . . 5-19
Midi
Monitor . . . . . . . . . . . . . . . . . . . 5-34
Midi Channel
instrument . . . . . . . . . . . . . . . . . 5-19
Midi channel . . . . . . . . . . . . . . . . . . . . 5-19
Midi Clock . . . . . . . . . . . . . . . . . . . . . 16-19
send . . . . . . . . . . . . . . . . . . . . . . 16-7
Index
Owners Manual
Version 3.6 English
sub-channels . . . . . . . . . . . . . . . 5-27
window . . . . . . . . . . . . . . . . . . . . 5-29
Multi-staves . . . . . . . . . . . . . . 13-14 13-25
Mute . . . . . . . . . . . . . . . . . .3-20 6-6 6-38
deleting objects . . . . . . . . . . . . . 3-13
Mute Instrument . . . . . . . . . . . . . . . . . 3-7
Mute Tool . . . . . . . . . . . . . . . . . . . . . . . 1-9
Mute Track . . . . . . . . . . . . . . . . . . . . . . 3-6
3
4
5
Name . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Names
inputting . . . . . . . . . . . . . . . . . . . 1-4
with numbers . . . . . . . . . . . . . . . . 1-4
Naming the input note . . . . . . . . . . . . 5-25
New Song . . . . . . . . . . . . . . . . . . . . . . 1-45
Next/Previous Object . . . . . . . . . . . . . 1-24
No Output . . . . . . . . . . . . . . . . . . . . . . . 3-7
No Overlap . . . . . . . . . . . . . . . . . . . . 13-18
No Seq Trp . . . . . . . . . . . . . . . . . . . . . 5-21
Normalize . . . . . . . . . . . . . . . . . . . . . . Gl-9
Normalize Sequence Parameters . . . . 3-28
Notation . . . . . . . . . . . . .13-1 13-9 13-23
speeding up the
screen redraw rate . . . . . 17-16
unit Inch . . . . . . . . . . . . . . . . . 17-17
Notator SL Songs . . . . . . . . . . . . . . . . 18-4
Note
beaming . . . . . . . . . . . . . . . . . . 13-24
copying in Score Editor . . . . . . 13-6
deleting in Score Editor . . . . . . 13-7
heads . . . . . . . . . . . . . . . . . . . . 13-21
inserting in Score Editor . . . . . . 13-6
moving in Score Editor . . . . . . . 13-5
naming . . . . . . . . . . . . . . . . . . . . 5-25
stem direction . . . . . . . . . . . . . 13-24
symbol families . . . . . . . . . . . . 13-20
transposing in Score Editor . . . 13-5
Note Editor
lyrics . . . . . . . . . . . . . . . . . . . . . 13-28
Note Events . . . . . . . . . . . . . . . . . . . 10-10
Note Force Legato . . . . . . . . . . . . . . . 1-32
Note name
for the event definition . . . . . . . 11-6
Note Names . . . . . . . . . . . . . . . . . . . . 5-25
Note Overlap Correction . . . . . . . . . . 1-31
Notelength
changing with
Sequence Parameters . . . 3-26
7
8
9
10
11
12
13
14
15
16
17
18
Gl
Ix
B
C
Index - 9
Index
Notes
changing lengths . . . . . . . 1-31 12-6
changing velocity . . . . . . . . . . . . 12-7
copying . . . . . . . . . . . . . . . 12-4 12-6
creating . . . . . . . . . . . . . . . . . . . . 12-4
deleting . . . . . . . . . . . . . . . . . . 12-10
editing lengths to correspond to
pedal lengths . . . . . . . . . . 1-33
editing via Midi In . . . . . . . . . . 1-36
moving . . . . . . . . . . . . . . . . . . . . 12-4
names (Matrix Editor) . . . . . . . 12-2
note end as absolute position . . 10-9
quantizing individually . . . . . . . 1-37
NTSC . . . . . . . . . . . . . . . . . . . . . . . . 16-10
Num . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-8
Numbered Names . . . . . . . . . . . . . . . 3-21
Numerical Faders . . . . . . . . . . . . . . . . 5-45
Numerical Input . . . . . . . . . . . . . . . . . . 1-4
Numerical Value Input . . . . . . . . . . . . 10-6
Open . . . . . . . . . . . . . . . . . . . . . . . . . . 1-46
Option
turning on/off . . . . . . . . . . . . . . . . 1-3
Organ . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Original Position . . . . . . . . . . . . . . . . . 3-29
Orphan Alias . . . . . . . . . . . . . . . . . . . . 3-38
Overlap correction
in Score Editor . . . . . . . . . . . . . 13-18
Overlaps
removing . . . . . . . . . . . . . . . . . . 1-31
Overview calculation . . . . . . . . . . . . . 7-10
accelerating . . . . . . . . . . . . . . . . 7-11
automatic . . . . . . . . . . . . . . . . . . 7-10
starting manually . . . . . . . . . . . . 7-10
Overview creation
aborting . . . . . . . . . . . . . . . . . . . 7-11
Overview display . . . . . . . . . . . . . . . . . . 9-3
,
,
Index - 10
Emagic
Logic Audio Pro ISIS
Index
Pegelregelung . . . . . . . . . . . . . . . . . . . . 6-6
Pen Width . . . . . . . . . . . . . . . . . . . . . . 11-7
Pencil . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-8
Perceived volume
increasing . . . . . . . . . . . . . . . . . . 9-31
Permanent Keyboard Commands . . . 1-17
Physical Input . . . . . . . . . . . . . . . . . . . 5-11
Piano . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Piccolo . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Pitch Bend
event . . . . . . . . . . . . . . . . . . . . . 10-13
Play Button . . . . . . . . . . . . . . . . . . . . . . 2-9
Play parameters . . . . . . . . . . . . . . . . . Gl-10
Playback
stopping . . . . . . . . . . . . . . . . . . . . 2-9
Playback Instrument . . . . . . . . . . . . . 6-17
Playback Parameters
folders . . . . . . . . . . . . . . . . . . . . . 3-38
sequences . . . . . . . . . . . . . . . . . . 3-22
Playback Position . . . . . . . . . . . . . . . . 3-29
Plug-In
window . . . . . . . . . . . . . . . . . . . . 6-34
Pointer . . . . . . . . . . . . . . . . . . . . . . . . . . 1-8
Poly Pressure Event . . . . . . . . . . . . . 10-14
positioning to Frame . . . . . . . . . . . . . 16-16
Pre-delay . . . . . . . . . . . . . . . . . . . . . . . 5-20
Preferences
Audio . . . . . . . . . . . . . . . . . . . . 17-19
Audio Extensions . . . . . . . . . . 17-22
display . . . . . . . . . . . . . . . . . . . 17-14
Global . . . . . . . . . . . . . . . . . . . . 17-12
initialising . . . . . . . . . . . . . . . . 17-12
score . . . . . . . . . . . . . . . . . . . . . 17-15
Pre-quantization . . . . . . . . . . . . . . . . . 3-31
Print . . . . . . . . . . . . . . . . . . . . . . . . . . 13-29
Printers
9-pin . . . . . . . . . . . . . . . . . . . . . 13-31
laser . . . . . . . . . . . . . . . . . . . . . 13-30
Problem solving
Synchronization . . . . . . . . . . . . 16-26
Processing power . . . . . . . . . . . . . . . . 6-34
Program (Sound) . . . . . . . . . . . . . . . . . 5-19
Program Change
event . . . . . . . . . . . . . . . . . . . . . 10-11
inserting events . . . . . . . . 3-12 3-28
variable program change inserting . . . . . . . . . . . . . 10-12
Program Change Messages . . . . . . . . 3-11
Program change messages . . . . . . . . . 5-19
Programming Tempo
overview . . . . . . . . . . . . . . . . . . . 15-1
Owners Manual
Version 3.6 English
2
3
Q Tool . . . . . . . . . . . . . . . . . . . . . . . . . 1-37
Q-Strength . . . . . . . . . . . . . . . . . . . . . . 3-31
Q-Swing . . . . . . . . . . . . . . . . . . . . . . . . 3-31
Qua . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-30
Quantization . . . . . . . . . . . . . . . . . . . . 3-28
display in Score Editor . . . . . . 13-16
fixing . . . . . . . . . . . . . . . . . . . . . . 3-31
in Sequence . . . . . . . . . . . . . . . . 3-30
mixed . . . . . . . . . . . . . . . . . . . . . 3-30
odd . . . . . . . . . . . . . . . . . . . . . . . 3-31
preparing . . . . . . . . . . . . . . . . . . 3-31
Q-Strength . . . . . . . . . . . . . . . . . 3-31
Shuffle (Swing) . . . . . . . . . . . . . 3-31
triplets . . . . . . . . . . . . . . . . . . . . 3-30
what it works on . . . . . . . . . . . . 3-29
Quantization (Transform Window) . . 14-9
Quantize again . . . . . . . . . . . . . . . . . . 1-37
Quantizing
event quantization . . . . . . . . . . . 1-36
Quick Record . . . . . . . . . . . . . . . . . . 17-21
Quit . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-47
Quitting the Program . . . . . . . . . . . . . 1-47
5
6
7
8
9
10
11
12
13
14
Range . . . . . . . . . . . . . . . . . . . . . . . . . . 5-48
Real-time effects . . . . . . . . . . . . . . . . . 6-25
general parameters . . . . . . . . . . 6-27
insert . . . . . . . . . . . . . . . . . . . . . . 6-26
via bus . . . . . . . . . . . . . . . . . . . . 6-26
Record
arming . . . . . . . . . . . . . . . . . . . . 6-10
Record Button . . . . . . . . . . . . . . . . . . . . 2-9
Record Repeat . . . . . . . . . . . . . . . . . . 2-18
Record Time . . . . . . . . . . . . . . . . . . . . 7-24
Record Toggle . . . . . . . . . . . . . . . . . . . 2-18
Recording . . . . . . . . . . . . . . . . . . . . . . 2-17
autodrop . . . . . . . . . . . . . . . . . . . 2-20
changing track . . . . . . . . . . . . . . 2-17
choosing a track . . . . . . . . . . . . . 2-17
count-in . . . . . . . . . . . . . . . . . . . 2-18
cycle & autodrop . . . . . . . . . . . . 2-21
cycle & replace . . . . . . . . . . . . . 2-19
destructive recording
15
16
17
18
Gl
Ix
B
C
Index - 11
Index
Index - 12
Emagic
Logic Audio Pro ISIS
S
Sample Edit
Absolute Position . . . . . . . . . . . . 9-7
catch mode . . . . . . . . . . . . . . . . . . 9-5
Change Gain . . . . . . . . . . . . . . . 9-20
creating region . . . . . . . . . . . . . . 9-13
Cut, Copy, Paste, Clear . . . . . . . 9-15
Fade In . . . . . . . . . . . . . . . . . . . . 9-20
Fade Out . . . . . . . . . . . . . . . . . . 9-21
Invert . . . . . . . . . . . . . . . . . . . . . 9-22
layout . . . . . . . . . . . . . . . . . . . . . . 9-2
Link mode . . . . . . . . . . . . . . . . . . 9-5
Normalize . . . . . . . . . . . . . . . . . . 9-18
opening . . . . . . . . . . . . . . . . . . . . 9-1
Relative Position . . . . . . . . . . . . . 9-7
Remove DC Offset . . . . . . . . . . 9-24
Reverse . . . . . . . . . . . . . . . . . . . 9-23
Search Peak . . . . . . . . . . . . . . . . 9-25
Search Silence . . . . . . . . . . . . . . 9-25
Silence . . . . . . . . . . . . . . . . . . . . 9-22
Trim . . . . . . . . . . . . . . . . . . . . . . 9-24
warning before closing . . . . . . 17-19
Sample Editor
Overview functions . . . . . . . . . . . 9-4
Sample Rate
choosing . . . . . . . . . . . . . . . . . . . 7-33
convert . . . . . . . . . . . . . . . . . . . . 9-33
sample rate . . . . . . . . . . . . . . . . . . . . . . 5-51
Save . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-46
Save as . . . . . . . . . . . . . . . . . . . . . . . 1-46
Scissors . . . . . . . . . . . . . . . . . . . . . . . . . . 1-9
Score
HyperDraw . . . . . . . . . . . . . . . . 12-8
print . . . . . . . . . . . . . . . . . . . . . . 13-9
print ~ . . . . . . . . . . . . . . . . . . . . 13-29
text font . . . . . . . . . . . . . . . . . . 13-26
Transform-Function . . . . . . . . 14-13
Score Editor . . . . . . . . . . . . . . . . . . . . . 13-1
opening the ~ . . . . . . . . . . . . . . . 13-1
Score Style
pre-selecting . . . . . . . . . . . . . . . 5-21
Score Window . . . . . . . . . . . . . . . . . . . 13-1
Index
Owners Manual
Version 3.6 English
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
Gl
Ix
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C
Index - 13
Index
Index - 14
Emagic
Logic Audio Pro ISIS
SMPTE
LTC/VITC . . . . . . . . . . . . . . . . 16-22
position display . . . . . . . . . . . . . . 2-3
recording time code . . . . . . . . . 16-24
SMPTE Offset . . . . . . . . . . . . . . . . . . 16-4
SMPTE/EBU . . . . . . . . . . . . . . . . . . 16-20
drop frame . . . . . . . . . . . . . . . . 16-21
frame rate . . . . . . . . . . . . . . . . . 16-21
Snap Objects . . . . . . . . . . . . . . . . . . . . 3-16
Snapshot Automation . . . . . . . . . . . . . 6-21
Soft Fade Time . . . . . . . . . . . . . . . . . . 5-44
Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20
button . . . . . . . . . . . . . . . . . . . . . 2-10
lock . . . . . . . . . . . . . . . . . . . . . . . 2-10
tool . . . . . . . . . . . . . . . . . . . . . . . 3-20
Solo Tool . . . . . . . . . . . . . . . . . . . . . . . . 1-9
Song
autoload song . . . . . . . . . . . . . . . 1-45
level in Score Editor . . . . . . . . 13-11
loading . . . . . . . . . . . . . . . . . . . . 1-46
new . . . . . . . . . . . . . . . . . . . . . . . 1-45
sending settings after loading . . 17-8
Song End
display . . . . . . . . . . . . . . . . . . . . . 2-8
markers . . . . . . . . . . . . . . . . . . . . 2-12
Song Position
display . . . . . . . . . . . . . . . . . . . . . 2-3
following automatically (Catch) 1-19
jumping graphically . . . . . . . . . . 2-13
jumping numerically . . . . . . . . . 2-13
Song Position Line (see SPL) . . . Gl-13
Song Position Line (SPL) . . . . . . . . . 2-12
Song Position Pointer . . . . . . . . . . . . . 16-8
Song Position Pointer (SPP) . . . . . . . 16-19
Song Settings . . . . . . . . . . . . . . . 17-1 17-8
chase events . . . . . . . . . . . . . . . . 17-8
Midi options . . . . . . . . . . . . . . . . 17-5
recording options . . . . . . . . . . . . 17-1
Song Title Display . . . . . . . . . . . . . . . . 2-8
Songs
checking/repairing . . . . . . . . . . . 1-46
reverting to saved version . . . . . 1-47
storing . . . . . . . . . . . . . . . . . . . . . 1-46
switching between . . . . . . . . . . 1-46
Soprano Sax . . . . . . . . . . . . . . . . . . . . 13-14
Sort Regions by . . . . . . . . . . . . . . . . . 7-9
Sound Source
evening out delay . . . . . . . . . . . 5-20
SPL
always visible . . . . . . . . . . . . . . . 1-19
breit . . . . . . . . . . . . . . . . . . . . . 17-14
Index
Split . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19
Split Stereo . . . . . . . . . . . . . . . . . . . . . 7-28
Splitting voices across Midi channels 1-30
Staccato . . . . . . . . . . . . . . . . . . . . . . . . 3-26
Standard Midi File . . . . . . . . . . . . . . . 18-5
Start/Stop
with the bar ruler . . . . . . . . . . . . 2-13
Staves
moving vertically . . . . . . . . . . . 13-25
multi-~ . . . . . . . . . . . . . 13-14 13-25
Step Edit . . . . . . . . . . . . . . . . . . . . . . . 1-36
Step Recording
keyboard controls . . . . . . . . . . . 1-35
Step-time Recording . . . . . . . . . . . . . 1-34
Stereo File
Format . . . . . . . . . . . . . . . . . . . . 7-28
manual conversion . . . . . . . . . . 7-29
special features . . . . . . . . . . . . . 7-28
Stereo Object
converting to Mono Object . . . 6-12
creating . . . . . . . . . . . . . . . . . . . . 6-12
own parameters . . . . . . . . . . . . . 6-13
Stereo Objects . . . . . . . . . . . . . . . . . . . 6-12
Stop Button . . . . . . . . . . . . . . . . . . . . . . 2-9
Strip Silence
Parameter . . . . . . . . . . . . . . . . . . 7-19
Pre Attack-Time . . . . . . . . . . . . 7-19
Replacing a Region in the
Arrange . . . . . . . . . . . . . . . 7-19
Search Zero Crossings . . . . . . . . 7-19
Style . . . . . . . . . . . . . . . . . . . . . 13-3 13-13
Style (Hyper Editor) . . . . . . . . . . . . . . 11-7
Sub-channels . . . . . . . . . . . . . . . . . . . . 5-27
Sustain Pedals to Note Length . . . . . 1-33
Swing . . . . . . . . . . . . . . . . . . . . . . . . . Gl-14
Swing feel . . . . . . . . . . . . . . . . . . . . . . 3-31
Switching Screensets . . . . . . . . . . . . . 1-23
Symbol groups . . . . . . . . . . . . . . . . . . 13-20
Sync Button . . . . . . . . . . . . . . . . . . . . . 2-10
Sync Mode . . . . . . . . . . . . . . . . . . . . . . 16-6
Synchronisation
Midi . . . . . . . . . . . . . . . . . . . . . . 16-7
source . . . . . . . . . . . . . . . . . . . . . 17-7
Unitor . . . . . . . . . . . . . . . . . . . . . 16-9
Synchronization
bar-referenced . . . . . . . . . . . . . 16-19
basics of . . . . . . . . . . . . . . . . . . 16-18
click track . . . . . . . . . . . . . . . . . 16-25
Midi Clock . . . . . . . . . . . . . . . . 16-19
of audio . . . . . . . . . . . . . . . . . . 16-26
of sequencers to tape . . . . . . . 16-24
Owners Manual
Version 3.6 English
2
3
4
5
6
7
8
Telescopes . . . . . . . . . . . . . . . . . . . . . . 1-13
Tempo . . . . . . . . . . . . . . . . . . . 15-1 17-15
determining after recording . . . 15-6
display . . . . . . . . . . . . . . . . . . . . . 2-5
events . . . . . . . . . . . . . . . . . . . . . 15-1
Graphic Tempo Editor . . . . . . . 15-4
List Editor . . . . . . . . . . . . . . . . . 15-2
Opening the Editor . . . . . . . . . . 3-46
recording changes . . . . . . . . . . . 15-6
recording tempo changes . . . . . 15-6
Spur . . . . . . . . . . . . . . . . . . . . . . 15-1
Tempo Changes
continuous - creating . . . . . . . . . 15-5
copying from a musical passage 15-3
creating . . . . . . . . . . . . . . . . . . . . 15-2
deleting . . . . . . . . . . . . . . . . . . . 15-3
Tempo matching . . . . . . . . . . . . . . . . . 4-19
Tenor Sax . . . . . . . . . . . . . . . . . . . . . . 13-14
Text
~ in Score Editor . . . . . . . . . . . 13-26
faders . . . . . . . . . . . . . . . . . . . . . 5-45
lyrics . . . . . . . . . . . . . . . . . . . . . 13-28
positioning ~ . . . . . . . . . . . . . . 13-27
Text Faders
behaviour as menu . . . . . . . . . . 5-46
range . . . . . . . . . . . . . . . . . . . . . . 5-46
window . . . . . . . . . . . . . . . . . . . . 5-46
Text Input . . . . . . . . . . . . . . . . . . . . . . . 1-4
Text Mark . . . . . . . . . . . . . . . . . . . . . . . 1-8
Text mode . . . . . . . . . . . . . . . . . . . . . 13-23
Tie-correction . . . . . . . . . . . . . . . . . . 13-17
10
11
12
13
14
15
16
17
18
Gl
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Index - 15
Index
Index - 16
Emagic
Logic Audio Pro ISIS
Index
moving . . . . . . . . . . . . . . . . . . . . . 2-2
opening . . . . . . . . . . . . . . . . . . . . 2-1
panic function . . . . . . . . . . . . . . . 2-7
part display . . . . . . . . . . . . . . . . . 2-3
pause . . . . . . . . . . . . . . . . . . . . . . 2-9
play . . . . . . . . . . . . . . . . . . . . . . . . 2-9
position display . . . . . . . . . . . . . . 2-3
position slider . . . . . . . . . . . . . . . 2-2
pull-down menu . . . . . . . . . . . . . 2-2
record . . . . . . . . . . . . . . . . . . . . . . 2-9
replace . . . . . . . . . . . . . . . . . . . . 2-10
rewind . . . . . . . . . . . . . . . . . . . . . 2-9
smaller/larger . . . . . . . . . . . . . . . . 2-2
solo . . . . . . . . . . . . . . . . . . . . . . . 2-10
solo lock . . . . . . . . . . . . . . . . . . . 2-10
stop . . . . . . . . . . . . . . . . . . . . . . . . 2-9
sync . . . . . . . . . . . . . . . . . . . . . . . 2-10
tempo . . . . . . . . . . . . . . . . . . . . . . 2-5
Transposing
instruments . . . . . . . . . . . . . . . . 5-20
notes in Score Editor . . . . . . . . 13-5
Transposition . . . . . . . . . . . . . . . . . . . . 5-20
corellated (classic) . . . . . . . . . . . 9-30
free . . . . . . . . . . . . . . . . . . . . . . . 9-30
preventing . . . . . . . . . . . . . . . . . 5-21
Treble . . . . . . . . . . . . . . . . . . . . . . . . . 13-13
Trill symbols . . . . . . . . . . . . . . . . . . . 13-23
TrueType fonts . . . . . . . . . . . . . . . . . 13-26
Trumpet . . . . . . . . . . . . . . . . . . . . . . . 13-14
Turn Loops to Aliases . . . . . . . . . . . . . 3-24
Turn Loops to Real Copies . . . . . . . . 3-24
U
Undo . . . . . . . . . . . . . . . . . . . . . . . . . . 1-26
Audio-Fenster . . . . . . . . . . . . . . 7-13
im Sample Editor . . . . . . . . . . . 9-15
Safety Alert . . . . . . . . . . . . . . . 17-12
Unpack Folder . . . . . . . . . . . . . . . . . . 3-36
Unused Blocks . . . . . . . . . . . . . . . . . . 1-46
Update File Information . . . . . . . . . . 7-31
user-definable functions . . . . . . . . . . 14-12
V
V Tool . . . . . . . . . . . . . . . . . . . . . . . . . 12-7
Val . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-8
Val As . . . . . . . . . . . . . . . . . . . . . . . . . . 5-49
Val as . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-5
Variable Program Change . . . . . . . . . 10-12
Owners Manual
Version 3.6 English
Velocity
compress ~ of objects . . . . . . . . 3-25
instrument . . . . . . . . . . . . . . . . . 5-20
limiting the range . . . . . . . . . . . 5-20
tool . . . . . . . . . . . . . . . . . . . . . . . 12-7
Vertical Selection . . . . . . . . . . . . . . . . 1-25
Video for Windows . . . . . . . . . . . . . . 16-17
Video Timecode Burn-In . . . . . . . . . 16-11
View
parameters . . . . . . . . . . . . . . . . . 1-38
transport . . . . . . . . . . . . . . . . . . . 1-38
Viola . . . . . . . . . . . . . . . . . . . . . . . . . . 13-14
virtual master keyboard . . . . . . . . . . . 5-33
VITC . . . . . . . . . . . . . . . . . . . 16-10 16-22
VLim . . . . . . . . . . . . . . . . . . . . . . . . . . 5-20
Volume . . . . . . . . . . . . . . . . . . . . 5-19 6-38
inserting events . . . . . . . . 3-12 3-28
2
3
4
5
6
,
,
8
9
W
WAV format . . . . . . . . . . . . . . . . . . . . . 5-50
stereo conversion . . . . . . . . . . . . 7-29
Wave Player . . . . . . . . . . . . . . . . . . . . . 5-50
Delete all assignments . . . . . . . 5-52
deleting WAV files . . . . . . . . . . . 5-55
Format . . . . . . . . . . . . . . . . . . . . 5-54
Length . . . . . . . . . . . . . . . . . . . . 5-54
Loading a sound file . . . . . . . . . 5-53
Parameters . . . . . . . . . . . . . . . . . 5-52
Sample rate . . . . . . . . . . . . . . . . 5-54
Size . . . . . . . . . . . . . . . . . . . . . . . 5-54
Start . . . . . . . . . . . . . . . . . . . . . . 5-53
Trigger . . . . . . . . . . . . . . . . . . . . 5-54
Tune . . . . . . . . . . . . . . . . . . . . . . 5-53
Wave display . . . . . . . . . . . . . . . 5-54
Waveform
absolute time axis . . . . . . . . . . . . 9-7
change gain . . . . . . . . . . . . . . . . 9-20
changing selection . . . . . . . . . . . 9-11
Detailed display . . . . . . . . . . . . . 9-5
Editing commands . . . . . . . . . . 9-15
fading in . . . . . . . . . . . . . . . . . . . 9-20
fading out . . . . . . . . . . . . . . . . . . 9-21
moving selection . . . . . . . . . . . . 9-11
normalizing . . . . . . . . . . . . . . . . 9-18
Phase inversion . . . . . . . . . . . . . 9-22
relative time axis . . . . . . . . . . . . . 9-7
Sample display . . . . . . . . . . . . . . 9-8
Search for Maximum . . . . . . . . . 9-25
Search for Silence . . . . . . . . . . . 9-25
10
11
12
13
14
15
16
17
18
Gl
Ix
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Index - 17
Index
selecting . . . . . . . . . . . . . . . . . . . 9-11
selecting region . . . . . . . . . . . . . 9-12
Selection Parameter Box . . . . . 9-12
to digital nil . . . . . . . . . . . . . . 9-22
X and Y axis . . . . . . . . . . . . . . . . . 9-6
Wide Song Position Line . . . . . . . . . . 2-13
Window
Event-List . . . . . . . . . . . . . . . . . 10-1
Matrix Editor-Window . . . . . . . 12-1
Windows
autocatch . . . . . . . . . . . . . . . . . . 1-20
background . . . . . . . . . . . . . . . . 1-18
catch . . . . . . . . . . . . . . . . . . . . . . 1-19
changing the elements present 1-15
close box . . . . . . . . . . . . . . . . . . . 1-11
concealing the parameters . . . . 1-15
concealing the Transport . . . . . 1-15
contents catch . . . . . . . . . . . . . . 1-21
Environment . . . . . . . . . . . . . . . . 5-3
event float windows . . . . . . . . 10-17
float windows . . . . . . . . . . . . . . . 1-18
functions . . . . . . . . . . . . . . . . . . 1-11
Graphic Tempo Editor . . . . . . . 15-4
hierarchical menus . . . . . . . . . . 1-16
Key Commands . . . . . . . . . . . . . 1-41
link . . . . . . . . . . . . . . . . . . . . . . . 1-20
main menu . . . . . . . . . . . . . . . . . 1-19
mapped instrument . . . . . . . . . . 5-24
Matrix editor window . . . . . . . . 12-1
maximizing . . . . . . . . . . . . . . . . 1-12
menus . . . . . . . . . . . . . . . . . . . . . 1-15
minimizing . . . . . . . . . . . . . . . . . 1-12
moving up to the next
Index - 18
Emagic
Logic Audio Pro ISIS
X
X/Y Element . . . . . . . . . . . . . . . . . . . . 1-12
XG . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-41
Z
Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . 1-13
selective . . . . . . . . . . . . . . . . . . . 1-14
vertical/horizontal . . . . . . . . . . . 1-14
Zoom Function . . . . . . . . . . . . . . . . . Gl-16