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Logic Pro X offers Mac users the tools and power they need to create recordings ready to share with the world. This book provides the know-how for navigating the interface, tweaking the settings, picking the sounds, and all the other tech tasks that get in the way of capturing the perfect take.

This book lets you fast-forward past hours of recording lessons and get right to sharing your sounds with the world. Logic Pro X For Dummies offers simple instructions and shortcuts you can use to put this popular recording software to work. Need to record podcasts, voice-overs, or narration? Logic Pro makes that easy too! Learn to navigate the interface, adjust settings, choose sounds, and manage all your other technical tasks.

When he’s not sharing the stage with rock and jazz greats, he trains and coaches creative professionals at Logic Studio Training and creates online training materials for aspiring songwriters at speedsongwriting.

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Enhance your purchase. Spend less time learning and more time recording Logic Pro X offers Mac users the tools and power they need to create recordings ready to share with the world.

Previous page. Print length. Publication date. August 17, See all details. Next page. Frequently bought together. Total price:. To see our price, add these items to your cart. One of these items ships sooner than the other. Show details Hide details. Choose items to buy together. Get it Dec 22 – Get it as soon as Thursday, Dec Customers who viewed this item also viewed.

Page 1 of 1 Нажмите для продолжения over Page 1 of 1. Logic Pro Marco Perino. Home Recording For Logic pro x for dummies pdf free. Jeff Strong. Amazon’s Logic pro x for dummies pdf free. Jumpstart Logic Pro Jay Asher. David Nahmani. Read more. Brief content visible, double tap to read full content. Full content logic pro x for dummies pdf free, double tap to read brief content. Help others learn more about this product by uploading a video!

About the author Follow authors to get new release updates, plus improved recommendations. Graham English. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. First, let me say this book is not aligned with the « For Logic pro x for dummies pdf free category – it is a reference book for Logic Pro X.

Many critical reviews complain there is logic pro x for dummies pdf free « easy start example », and that is true which could easily be remedied in a 3rd edition. However, as an « intermediate » amateur this book is excellent as a reference tool for a very capable and complex software package.

You can watch hours and hours of online videos, but having this on the desk is a no-brainer IMHO. Anyone research what Pro Tools costs all in to become proficient? One person found this helpful. If you are new to Logic Pro, this is the right book. I am still working my way through the book; it has been very useful. Logic Pro X has many features; therefore, any useful instruction book logic pro x for dummies pdf free introduce a new user to Logic in bits and pieces, which can be frustrating if someone wants to get the info quickly.

I had to slow down logic pro x for dummies pdf free expectation about learning Logic Pro X quickly, not because the Dummies book is flawed, but Logic Pro X has so logic pro x for dummies pdf free features. The only problem that I have had with the Dummies book is many of the images of various screen shots are difficult to read, party due to the small size of /45824.txt images, and party due to the lack of contrast in the images.

Words in the images are difficult ссылка на подробности read. This book is easy to read and follow. I haven’t read the entire book from cover to cover only because I’ve been using Logic Pro X for a long time and I’ll probably be using it as a reference. This is a good book for beginners and people who have been using Logic Pro X already. The print is also in black and white and the images of Logic snapshots are hard to read for how grey they are.

Pages are also bible paper thin. I know logic very well and still picked up some good things. See all reviews. Top reviews from other countries. Preferring an hands on approach Video copilot optical flares 32 bit free ordered this Dummies guide version. It makes good reading with good cross referencing and I ordered this updated version thinking that the quality would be better. I was very disappointed because the illustrative example pages are of читать poor quality being only black and white.

I’m sure other people will agree so this Dummies guide is only for reading purposes, while I try follow example from trusted Youtube training videos. The publishers from logic pro x for dummies pdf free Dummies series really need to update their quality of pictures, or they will lose customers who browse in bookstores. I can only give the Kindle edition 2 9.0 professional edition free download because the screenshots are blurred and sometimes impossible to read.

This is a shame, because otherwise this is a good book. The author writes with authority and clarity. Did nobody proof this before it was published on Kindle? Logic Pro X for Dummies is absolutely first class. Well printed, with more than adequate monochrome screen grab illustrations, there appears to be absolutely everything here to fully exploit the software’s capability.

Reading Parts 1 and 2 to get things up and running is fairly mandatory. Thereafter, as with all such books, using it as a comprehensive reference manual should be your strategy. There are other similar books for Logic Pro X, but, as far as I can tell, none at this price point. The writing style is chatty and very readable and it’s difficult to imagine how it could have been bettered. Excellent stuff. I am not a dummy and this book isn’t for dummies, so I find the title insulting and patronising.

The prose is a bit chatty but is clear and explains what Logic’s logic pro x for dummies pdf free do, how to use them and why you would want to. A good book to get started with Logic Pro X and not a bad price. The black and white screen shots are very poor. The author has a rather annoying turn of phrase. Having said this within 24 hours I have picked up a few good pointers from it – but the book only scrapes the surface and have had to go online for more details of some things.

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Logic pro x for dummies pdf free –

I want you to feel confident using the software so you can complete more projects and share your music — with others and with me. Although I wrote the book to be somewhat linear and to follow a logical progression, you can start anywhere you want.


Logic pro x for dummies pdf free. Logic Pro X For Dummies


You can select multiple items and mute or unmute them all at once or simply click any region to mute or unmute it. The mute tool is a useful arranging tool because you can quickly hear how sections of music will sound without the muted part. Another trick with the zoom tool: If your cursor is over an empty part of the tracks area, you only have to press Option to make your cursor the zoom tool.

You can edit the length of the fade by dragging the start or end point with the fade tool. You can also adjust the curve of the fade by dragging up or down within the start and end points. When automation is active, the automation select tool allows you to select automation data for editing.

Show Advanced Tools in the Advanced Preferences pane must be selected to enable automation tools. You find out more about automation in Chapter You drag the marquee tool over the objects you want to select or edit. The marquee selection can also be used for punch recording, which you learn about in Chapter 6.

The flex tool will save you from throwing away recordings that contain mistakes because you can fix them. You have two tools available at all times. Smart controls are dynamic. For example, if you have a compressor and EQ plug-in on a track, the smart controls will give you a combination of the most important controls of each plug-in. If a software instrument track is selected, the smart controls will also include parameters that affect the sound of the instrument. Last but not least, smart controls look cool and make you want to play with them.

I memorized the smart controls key command by remembering the word best, as in best controls. Figure The smart controls. At the top of the smart controls is a menu bar. If the selected track is a software instrument track, an arpeggiator icon appears on the right side of the menu bar, as shown in the margin. An arpeggiator turns the chords you play into arpeggios, or one note played after another as opposed to simultaneously.

Click the icon to turn on the arpeggiator and a pop-up menu will appear so you can choose a preset or adjust the settings. The arpeggiator is a popular synth effect across many genres. To enable the smart controls icons and features described in this chapter, Show Advanced Tools must be selected in the Advanced Preferences pane. On the left side of the smart controls menu bar is the smart controls inspector icon shown in the margin and a Compare button. The icon opens the inspector on the left side of the Smart Controls window, as shown in Figure The Compare button compares the edited smart controls with the saved version.

You find out how to adjust the plug-ins directly in Chapter Think of smart controls as shortcuts to the sound parameters that you use most often. For example, if your track contains a software instrument, such as an electric piano, the smart controls will give you the knobs that are frequently needed to adjust the sound of an electric piano.

If you were to also add an effect to the track, the smart controls will readjust based on the new setup. But what if you want to manually customize the smart controls for a particular purpose? Fortunately, smart controls are as flexible as they are intelligent. They also have a menu of gorgeous layouts designed to emulate the look and feel of gear you may be familiar with, such as classic guitar amps and instruments.

To change the smart controls layout, follow these steps: 1. Click the inspector icon. The smart controls inspector opens to the left of the screen controls. At the top of the inspector is the name of the current layout refer to Figure The default layout is Automatic Smart Controls. Click the name of the current layout at the top of the inspector. A pop-up menu appears.

Make a selection from the menu of layouts. The smart controls are updated. Manually mapping smart controls When you open the smart controls and choose Automatic Smart Controls as the layout, all the screen controls are mapped to the track parameters automatically. To map smart controls automatically: 1. Open the smart controls inspector by clicking the inspector icon in the smart controls menu bar.

Open the Parameter Mapping area by clicking the disclosure triangle refer to Figure Automatically mapping your controls is a great starting place and usually gives you control over the parameters you need. You can manually map smart controls in two ways. The first way is to map controls by using the Learn button: 1. Open the smart controls inspector. In the layout, select the control that you want to map to a parameter.

Depending on the current layout, your controls could include knobs, faders, switches, buttons, and other interfaces. Click the Learn button next to the Parameter Mapping menu in the inspector.

The Learn button flashes orange to indicate that learn mode is active. Click the plug-in or channel strip parameter you want to control. For example, you might click the volume slider on the track. Channel strip parameters and plug-ins are described in Chapter Click the Learn button again to finish mapping controls. The selected control now adjusts your track volume. The first method is great if you know which parameters you want to adjust.

The second way allows you to map controls by browsing the Parameter Mapping pop-up menu. Select the control in the layout you want to map to a parameter. Click the parameter mapping disclosure triangle see the margin to open the mapping area, and then click the parameter name or click Unmapped if the control is unmapped. Choose the parameter you want to control. You can add additional parameters to the control by clicking the parameter name in the inspector and choosing Add Mapping.

In addition to adding mappings, you can copy and delete mappings from the same pop-up menu. For example, you might want a volume knob to never go all the way down and all the way up. You might want the control to modify a specific range. If you have more than one parameter mapped, you can change the order of the parameters by dragging the left side of the parameter name up or down the list.

Controlling the controls with your controller A major benefit of smart controls is how much time they save you. Instead of having to open plug-ins and instrument interfaces and find the parameters you need to change, smart controls give you the most used controls in a simple and beautiful interface. The setup is super fast: 1. Click the inspector icon to display the smart controls inspector. In the layout, click the control that you want to control.

I use it to select my opportunities, schedule my time, and guide my songwriting. Click the external assignment disclosure triangle to display the assignment name field. Click the Learn button. Move the control on your MIDI device that you want to pair with the selected control on the layout. As long as the Learn button is enabled, you can continue to select controls in your smart controls layout and move controls on your MIDI device to pair the hardware and software.

I sometimes talk about key commands on intimate dates and important holiday gatherings. I find them to be festive and captivating.

Learn any new key commands lately? Your cursor is automatically placed in the search field. If you press Tab, your cursor will move to the key commands list and pressing any key combination will instantly take you to the associated command. Figure The Key Commands window. The key command to open the key commands is Option-K. Anything you do to your project you can undo. From the Key Commands window, you can create your own key commands: 1. Search or browse for the command.

Select the command and then click the Learn by Key Label button. If you have a keyboard with a numeric keypad and you want to distinguish between number keys on the alphanumeric keyboard or numeric keyboard, press the Learn by Key Position button instead. A full-size keyboard is a great tool for music production.

The additional keypad can store a lot of key commands. Press the key and modifier key or keys. If the key command is already in use, an alert will ask you to cancel the operation or replace the key command. Click the Learn by Key Label button again to finish. How about assigning commands to your MIDI controller?

Simply follow these steps: 1. Search or Browse for the command. Click the Learn New Assignment button. Press a button on your MIDI controller. Click the Learn New Assignment button again to finish. To delete a key command, select the command and click the Delete button. To delete a controller assignment, select the command and click the Delete Assignment button.

Being able to expand and collapse the key command menus will help you browse all your choices. Fortunately, the original set of key commands is a great place to start. To the right of the Options menu is an additional drop-down menu to show all, used, or unused key commands. Some functions are available only by using a key command.

If you open the Key Commands window once a session and learn a new key command, it will be a valuable session. You could probably imagine having two or three inch displays with everything open all at once. So what do you do when you get your screen just the way you like it?

You create a screenset, a snapshot of your current screen layout. I love screensets. Whenever I move windows around and get them the way I like them for a particular job, I save it as a screenset. If I need to do a different job with a different focus, I create a new screenset.

I give you some ideas about how you can use screensets later, but first let me show you exactly what screensets are and how they help you make more music. The numbered menu to the right of the Window menu shows you what screenset is currently selected.

Screensets store window size and placement, your control bar customization, your zoom level, and much more. You can assign screensets to all the number keys except 0, which makes them easy to navigate. You can also store double-digit screensets. To create screensets higher than 9, press Control with the first digit. Name your screenset in the dialog that appears and press OK. After you have a screenset exactly how you like it, you can lock it from the Screenset menu.

You can also delete and rename screensets from the Screenset menu. Screensets are easy to recall because all you have to do is use your number keys. I reserve screenset number 9 for project notes and number 8 for track notes. Both screensets have the Notes window open and set to the correct tab so I can quickly jot down ideas and references and keep a change log.

Screenset number 1 is reserved as an ad hoc workspace where I can set up windows for specific workflows and then duplicate the screenset to its own name and number.

Each track gives you independent control over the sound and placement of a single sound source. Now we have nondestructive recording and editing with steps of undo history. Regions are objects on your tracks that you create, edit, and manipulate until your ear is content. Regions are versatile containers for your creative ideas.

In this chapter, you find out about several track types and region types as well as gain some basic region editing skills. Knowing Your Track Types As described in Chapter 3, the tracks you create are added to the vertical track list to the left of the tracks area, as shown in Figure You can also create specific track types with key commands and with the Tracks menu.

In this section, you discover what the different track types do and how to create them. Audio track An audio track, like the one shown in Figure , can contain audio regions, audio Apple loops, and imported audio files. You use an audio track when you want to record a live instrument or a microphone, as described in Chapter 6. You can also import prerecorded audio files and loops into your project, as described in Chapter 8.

Figure An audio track. You can edit audio tracks by using the audio track editor or the audio file editor. For more on editing audio, see Chapter Figure A software instrument track. The marketplace for Audio Unit instruments and effects is massive.

Lots of great developers are out there to help you bring your imagination into reality. You can edit software instrument tracks by using the piano roll editor, score editor, and step editor, which you will learn about in Chapter Drummer track A drummer track is used when you want to add a virtual drummer to your project. Figure A drummer track. For information on creating key commands, see Chapter 3. You learn how to make beats with Drummer in Chapter 9. Drummer, which is new to Logic Pro X, plays and sounds amazing.

Because Drummer was created using human drummers and recording engineers, it sounds natural. It can even respond to a track of your choosing. You can have only one drummer track per project. All this is discussed in Chapter 9.

The external MIDI track has no audio capabilities and no plug-ins. Using different MIDI ports and MIDI channels allows you to build a project that can communicate with many different external instruments, up to 16 channels per instrument. If you want to receive the audio signal from the external MIDI device, you must create a separate audio track to monitor or record the audio. Track stacks Track stacks, an innovation in Logic Pro X, help you organize your tracks by placing them as subtracks within a main track.

You expand and collapse the track stack by using the disclosure triangle, as shown in Figure Figure A track stack. All the tracks can be automated, soloed, muted, and grouped as a whole. All tracks in a summing stack send their audio outputs to a collective auxiliary track. You find out more about audio routing and auxiliary tracks in Chapter To create a track stack, follow these steps: 1. Select the tracks you want to include in the track stack.

Select the type of track stack you want to create. Your choices are Folder Stack or Summing Stack. Click Create. The tracks are now grouped in a track stack. As mentioned previously in this section, summing track stacks can be saved as a patch for instant recall. For example, you can build an entire orchestral project with dozens of software instrument tracks as described in Chapter 12 and save the tracks as a patch.

Your orchestral track stack is then available for all your projects. Like smart controls, track stacks deliver a more productive workflow. To save a summing track stack as a patch, follow these steps: 1. Select the summing track stack in the track list. Click the Save button at the bottom of the library and name your patch. Click Save. Your patch is now saved in the library. To load a patch on a selected track, simply select the patch in the library.

Folder track A folder track is similar to a track stack, but folder tracks are focused more on regions. Track stacks organize tracks; folders organize regions.

Figure A folder track. Select the regions in the tracks area. To view the contents of a folder track, double-click the folder. To exit the folder, click the leave folder arrow on the far left of the tracks area menu, as shown in Figure Figure Folder track contents.

Then choose Unpack Folder to New Tracks if you want to create tracks in the tracks area of the current project level, or choose Unpack Folder to Existing Tracks to use the existing tracks of the current project level. As you just discovered, tracks do more than just hold audio and MIDI. They are creative instruments that you can play and explore. Global settings such as tempo and time signature changes affect the entire project, and you set them in your global tracks. You might not see all available global tracks on the screen.

To choose which global tracks are displayed, do the following: 1. Select the global tracks you want to show. Click Done. You can name your markers, put descriptive text on them, and navigate to them by using key commands.

You can choose to extract the audio from the movie into a track in your project. You can change either at any point in your project by selecting the pencil tool on the tool menu and clicking where you want the change to occur. Click the track with the pencil tool to create a transposition node. Double-click anywhere in the tempo track lane to create a new tempo node. Adjust the tempo by dragging the node up or down.

Global tracks are covered in even more detail in Chapter 13, where you learn about arranging. Sorting and Hiding Tracks You can move tracks by dragging the track headers up and down. Hiding tracks is useful when you want to clean up your project. Hide icons will appear also on each track. Click the hide icon on the track you want to hide. The icon turns green. Click the hide icon in the track header again. The icon turns orange, indicating that tracks are hidden.

The track is hidden from the track list and the channel strip disappears from the mixer. To unhide your tracks, click the hide icon in the track header.

The tracks are again displayed in the track list and mixer. Knowing the Region Types The rounded rectangles in your tracks area are called regions. Think of regions as flexible placeholders for your audio and MIDI data. Regions can be empty, waiting for you to add content, or created as you record new content. Regions are references to your MIDI and audio data. They can even reference a reference, allowing you to change one region and have all other regions follow suit.

In this section, you discover the different types of regions and how to use them. Audio region An audio region can be your own audio recording, an audio Apple loop, or an imported audio file. Audio regions, shown in Figure , can be only audio tracks. You can identify an audio region by its audio waveforms. Audio regions contain references to audio files. If you want to get that portion of audio back, all you have to do is drag the edge of the region.

You learn more about basic region editing later in this chapter. MIDI regions are more flexible than audio. MIDI regions allow you to experiment and compose with complete freedom.

Drummer region A drummer region can appear only on a drummer track. They look like audio but they contain MIDI data. You have to use the drummer editor to edit the drummer region. For details, see Chapter 9. The drummer editor controls the contents of a drummer region. Think of these regions as virtual drummers. Drummer is great for songwriting. Editing Regions The bulk of your Logic Pro arranging and editing will probably consist of working with regions in the tracks area. In this section, you discover the basics of editing regions.

Dragging, moving, and resizing regions Regions can be dragged to different locations on the timeline. They can be moved also to different tracks entirely, and they can be resized.

To drag a region, use the pointer or pencil tool to select the region and drag it left and right in the tracks area or up and down to a different track. Regions must be on the correct track type to make a sound. This command works only on time-stamped audio regions. A transient is a loud and short sound in a waveform.

This command is useful when the region starts on the beat but the first audio waveform transient is after the start of the region.

The regions will keep their current time position. To resize a region, move your cursor to the lower left or right of the region until the cursor changes to the resize cursor, as shown in Figure Then click and drag to resize the region.

A help tag pops up to give you the details on your edit. Figure The resize cursor. Several other ways to move and resize regions are available only as key commands. Then search by using the keywords region, move, and length or just browse the categories.

Splitting, joining, and deleting regions Sometimes you want to make two regions out of a single region. This is called splitting regions. To join regions: 1. Select the regions you want to join. Use the glue tool to click one of the selected regions. You can delete a region from the tracks area or from the project entirely. To delete regions: 1. Select the regions you want to delete. Use the eraser tool to click one of the selected regions. Deleting MIDI regions automatically deletes them from the project.

Deleting audio regions removes the audio from the tracks area but not from the project. You can find the audio files that have been deleted from the tracks area in your project audio browser, as detailed in Chapter 8. Snapping regions to a grid When you move regions, they snap to the grid based on the snap settings in the tracks area menu bar. This setting is usually all you need except when you want to get specific. Chapter 4: Embracing Tracks and Regions Looping and copying regions Want to hear a musical part again?

And again? Copy or loop your regions. Repetition is an important part of music composition, so Logic Pro enables you to repeat regions in the tracks area. To place a copy of a region at a new location, Option-drag the region to the new location on the track.

Select the region you want to copy. Place the playhead where you want to paste the region. If you want the region to repeat continuously for any length of time, you can loop it. The benefit of looping is that if you edit the original region, all the loops are edited as well. To create a loop, place the cursor in the upper-right corner of the region you want to loop, and the cursor turns into the loop cursor, as shown in Figure Drag the cursor as far as you want the region to loop.

Figure The loop cursor. You can loop both audio and MIDI regions. Tracks and regions are fundamental to your workflow. And now you know some basic editing as well as how to save track settings for instant recall by using track stacks.

Read the free article online at www. Set up and connect your audio and MIDI hardware. Discover advanced recording techniques such as multitrack recording, overdubbing, and punch recording.

Use musical typing and onscreen keyboards to record MIDI. Navigate the Logic Pro browsers and import video into your project. These settings can have a big effect on the sound quality of your recordings. In this chapter, you find out how to set up Logic Pro to get the best sound quality. You discover how to connect your audio and MIDI devices and avoid common pitfalls. In analog recording, a representation an analog of the sound source is reproduced on a physical medium, such as records or tape.

In digital recording, multiple measurements are taken of the sound source and stored digitally as binary code, or 1s and 0s. The process of measuring and recording digital audio is called sampling. The higher the sample rate, the higher the audio fidelity. You want high-quality audio even if your goal is to mangle and distort it.

The noise you introduce into your audio should be a choice, not the result of a misunderstanding. You also want a wide dynamic range, which is the ratio of loudest to quietest sound.

Dynamic range is measured in decibels, or dB. CDs have a dynamic range of about 90 dB. Logic Pro is capable of bit recording and has a dynamic range of around dB. This knowledge will ensure high sound quality and compatibility. Acoustics Ready to get out your calculus textbooks and start plotting sine waves? Me neither. Frequency is measured in Hertz Hz.

The lower the frequency, the longer the period. Audio has to travel through the atmosphere to get to you so you can perceive it. A low E string on a bass guitar has a frequency of Bass frequencies travel far, so you can hear the low boom of a loud car stereo coming a mile away.

And before you know it, all those bass frequencies pile on each other and multiply, causing room modes. Knowing a little bit about audio will enable you to make adjustments to your sound to improve its quality. Knowing what frequency is and that every sound is made up of multiple frequencies will help you as you record and mix your audio. In the upcoming sections, I keep the technical information to a minimum and the discussion as practical as the subject will allow. Set your sample rate Setting your project sample rate is one of the first things you should do before you begin recording audio.

If your project consists only of software instruments and MIDI, you can change the sample rate at any time. But when audio is included in your project, changing the sample rate will require your audio to be converted to the new sample rate. Logic Pro is capable of converting your audio to any sample rate, but this processing introduces the potential for degradation. Strive to capture clear recordings that need little processing.

Beginning your project with the correct sample rate will help you achieve this goal. If you must change the sample rate, downsampling converting the sample rate from high to low is preferable to upsampling. So start your projects with as high a sample rate as your hardware will allow or the project requires.

The downsides of very high sample rates are larger file sizes and additional hardware processing. The Project Settings window opens to the Audio pane, as shown in Figure In the Sample Rate drop-down list, select the sample rate. Logic Pro supports the following sample rates: CD audio uses a sample rate of For video production, 48 kHz is common. Higher sample rates are usually reserved for audiophile recordings, such as classical music and DVD audio.

However, as hardware and processing power improves, higher sample rates may become more common. Determine your bit depth Bit depth is the number of bits of information in each sample. A higher bit depth equals higher resolution for each sample. The default Logic Pro setting is bit recording. If you turn off bit recording, Logic Pro will record in 16 bit. Similar to your sample rate, the only downsides of using a higher bit depth are that it takes up more drive space and uses more processing power.

To turn on or off bit recording: 1. The Preferences window opens to the Audio pane. Click the Devices tab, as shown in Figure Select the Core Audio check box. In the middle of the screen, select or deselect the Bit Recording option. When bit recording is not selected, Logic Pro records in 16 bit. Figure The Devices tab of Audio Preferences. Bit depth is different than bit rate, which is the number of bits of information processed each second, as opposed to each sample.

When exporting your project to lossy audio formats such as MP3, higher bit rates equal higher quality sound. You choose a bit rate when you export your audio in Chapter Choosing audio file types When Logic Pro records audio, it creates an audio file on your hard drive.

Different file types have different advantages. All recording file formats are lossless, so they have the same sound quality. The major difference in the recording file type is the recording duration. AIFF has a stereo-file time limit between 20 minutes and 3 hours and 15 minutes, depending on bit depth and sample rate. AIFF is the default Mac lossless audio file type. WAVE has a stereo-file time limit between 40 minutes and 13 hours and 30 minutes, depending on bit depth and sample rate.

This file type is the default audio file type in Windows operating systems. CAF has a time limit of hundreds of years, if you can call that a limit. To choose the recording file type for your audio recordings, follow these steps: 1. Click the General tab.

On the Recording File Type drop-down menu, make a selection, as shown in Figure Figure The General tab of Audio Preferences. Your Mac probably has a builtin line in or microphone. Although these may work in a pinch, professional recordings need higher-quality input devices. The documentation of most professional hardware will show you how to set it up with Logic Pro.

Choosing your input and output device After your hardware is set up and connected to your computer, you must select the hardware in Logic Pro Preferences. To choose your audio input and output devices: 1. Click the Devices tab. You can choose separate input and output devices.

You may want to record a guitar by using a mobile guitar interface and monitoring through the computer speakers or headphones. In this case, you select the audio interface as the input and select Built-in Output as the output. Click the Apply Changes button. Logic Pro will now begin using your selected input and output device for audio. This delay is unavoidable in software because your sound source must be converted to digital audio and processed before it can be heard.

However, latency can become an issue when a track has lots of plug-ins that require significant processing. The more plug-ins you add, the more processing power required, and the more latency you can introduce into the system. Fortunately, you can adjust the latency as follows: 1.

Note that a smaller buffer size will reduce latency. A smaller buffer size requires more processing power. If you set the buffer size too low, you can introduce clicks and pops in your audio.

Monitoring signals through your hardware or software Some audio interfaces have built-in monitoring capabilities. Monitoring through your hardware is useful if the software introduces too much latency. By default, Logic Pro monitors audio through the software. To turn software monitoring off, follow these steps: 1.

Deselect the Software Monitoring check box refer to Figure If no hardware is connected, the check box will appear dimmed and will be unavailable. Audio will no longer be monitored through Logic Pro.

Next, I briefly cover some global audio preferences that will be of use as you record, edit, and mix your audio in Logic Pro. The Output tab enables you to send your audio to a different output pair if your hardware supports it.

Select the Mirroring check box to send your output through stereo out in addition to a second output. For details on this editor, see Chapter The audio file editor has its own undo history with a definable number of steps.

You can also choose an external audio editor if you have one that you prefer. As discussed previously in this chapter, a higher bit rate will result in higher quality audio. Sometimes sustain messages from a sustain pedal get stuck, and notes continue playing as a result.

You can reset sustain MIDI messages in addition to modulation and pitch bend in this tab, as shown in Figure These preferences usually work just fine in their default state. Figure The Reset tab in Audio Preferences. It was created to allow hardware to speak to each other. MIDI does not contain audio. These messages can include information about pitch, velocity, sustain, and much more.

Logic Pro translates the MIDI messages and sends them to a software instrument or to external hardware. Control-click an empty area on your control bar and choose Customize Control Bar and Display. A window opens with customization options. In the LCD column, choose Custom. Click the OK button. Your LCD displays a small dot in the upper-right corner.

Many Logic Pro software instruments are multi-timbral, which means they can play multiple different sounds simultaneously. Or if you have a MIDI controller that has a split or layer function, you can potentially use a single keyboard to play multiple software instruments at a time.

And trained players can make use of their skills to input music more quickly and accurately. If your audio interface supports hardware monitoring, you can monitor the instrument through your hardware. For more on monitoring audio sources, see Chapter 6. When you play the keyboard, the instrument is sending and receiving MIDI at the same time, so sounds are doubled.

Scrubbing means to audition audio while you drag your cursor over it. For example, if you play your project in the middle of a pitch bend, selecting the Pitch Bend check box will ensure that the bend is synchronized correctly.

You can test MIDI and audio devices, set audio levels, and much more. Fast forward 20 years and you have a powerful and an affordable digital audio workstation that scores of major artists are using to create chart-topping hits.

In this chapter, you discover how to record audio, build the perfect track from multiple recordings, and much more. Preparing to Record Audio In Chapter 5, you connect your audio hardware, set the project sample rate, and select the recording file type. You should confirm that the incoming signal from your audio source microphone or instrument is being received by your audio interface by checking the levels of your hardware inputs.

Check your audio interface documentation for details. The new audio track is added to the track list and selected automatically.

Name your new track something descriptive because the audio files generated from recording will use the track name in the file name. To name your track, double-click the track header or press Shift-Enter and type your track name. Select the track. Click the Input slot, as shown in Figure , and choose the correct input.

Click the input format icon to toggle between stereo and mono input. Figure The Audio Track channel strip.

The record enable icon will blink red to let you know that the track is enabled for recording. Play your instrument or speak into your microphone to test the recording level. If your signal is too high or low, adjust the instrument volume or the input level on your audio interface.

When a signal is too loud and exceeds the limit that digital audio can reproduce, the signal is said to be clipping. When the number above the level meter is positive, the peak level display will become red, indicating that the track is clipping. During the recording phase, the best way to remedy signal clipping is to lower the volume on your instrument or audio interface.

Be sure to check for clipping on your audio interface as well. Figure The track header. Pre-fader metering, which is used to test recording levels, means the level meter shows you the level of the signal before the fader.

You can turn on prefader metering by customizing your control bar, as described in Chapter 3, and selecting Pre Fader Metering in the Modes and Functions column.

An icon is added to your control bar, as shown in Figure , to allow you to toggle pre-fader metering. Follow these steps: 1. The Audio Preferences window opens. Select the Software Monitoring check box. You can now use the Logic Pro software to monitor your audio. If you plan on monitoring the signal through your hardware, deselect Software Monitoring. Turn it off and on by clicking the input monitoring icon on the track header refer to Figure or on the channel strip.

If you want to hear the metronome while you play the track, press K to toggle the metronome on and off. Figure The metronome Project Settings. The audio click you hear in the metronome is generated by the Klopfgeist software instrument.

You can also set up an external sound source as your metronome. If you have a drumbeat that grooves a little differently than the metronome, you may want it to hear the click only during the count-in and not while recording.

To do so, select the Only During Count-In check box. Figure The recording Project Settings. Recording a good take is like capturing something special and elusive. Logic Pro helps you capture the moment quickly and easily.

With your track selected and record enabled, you can begin recording as follows: 1. Place the playhead where you want to begin recording. Press R or click the record icon in the control bar transport, as shown in Figure Wait for the count-in and then start playing. Chapter 6: Recording Audio 4.

A new audio region will fill the area where you began and stopped recording, as shown in Figure Figure The control bar transport.

Figure A recoded audio region. To play back what you just recorded, place the playhead at the beginning of your newly recorded region and then click the play icon on the transport or press the spacebar.

Recording Multiple Takes in Cycle Mode You can record additional recordings, or takes, on a track that already contains audio regions. A take folder is created to contain the original and new takes.

In cycle mode, new lanes are created each time the cycle passes. To set up cycle mode, set the left and right locators by dragging from left to right in the upper half of the ruler in the tracks area.

The cycle area will be displayed as a yellow strip in the upper half of the ruler, as shown in Figure You can turn cycle mode on and off by pressing C or clicking the cycle icon in the control bar refer to Figure Figure Cycle mode. To record in cycle mode, turn on cycle mode and begin recording as you did previously. After the second take is recorded, a take folder is created in the cycle area, as shown in Figure , and new lanes are added with each pass through the cycle.

This is a great way to get several takes that you can edit into a perfect or close to perfect take. You learn how to edit your takes in Chapter Figure An audio take folder. A key to using cycle mode is setting locators. You can set locators in many ways. Open the Key Commands window Option-K and type locators in the search bar. You can record multiple tracks by record-enabling several tracks at once and following the same steps as recording a single take.

You can also create multiple takes on multiple tracks at once. Say that three times fast. To record multiple tracks at once, set each track to the correct input, as you did previously. When all track inputs are set correctly, you can begin recording. You can even record multiple takes on multiple inputs at the same time. The number of tracks you can record at one time depends on your hardware and computer power.

Punching In and Punching Out Replacing just a portion of a track is called punch recording. Play, punch in, punch out, and play again. The first way to set up punch recording is to do it on-the-fly, as the track is playing, as follows: 1. This is the default setting. The settings of both the record icon and the record key command are updated so that clicking the record icon or using the key command toggles the record state on or off, while continuing to play. Press the spacebar to play your project.

At the point where you want to begin recording punch in , press R. At the point where you want to stop recording punch out , press R again. Your project continues playing but no longer records. This setting is the default and is useful if you need to hear the recorded track to time the punch in. But if you want to listen to the input during playback as well as during recording, turn off Auto Input Monitoring on the Record menu. When you need more precision in your punch recording, you can preprogram the punch in and punch out points.

This technique is called autopunch recording. To begin autopunch recording, follow these steps: 1. Click the autopunch icon in the control bar refer to Figure A second ruler is shown at the top of the tracks area, as shown in Figure Figure Autopunch mode. Chapter 6: Recording Audio 2.

Set the autopunch locators by dragging from left to right in the autopunch area of the ruler. The autopunch area will be displayed by a red stripe refer to Figure Start recording before the punch-in point. Recording begins automatically when the playhead reaches the left autopunch locator and ends when it reaches the right autopunch locator. Stop recording after the punch-in point. A take folder is created, and a new lane is added that includes your autopunch recording.

When most people think of a composer, they picture a bewigged genius like Mozart or Beethoven frenetically directing mighty orchestras in the ornate palaces of Vienna. While that may have been the case once upon a time, modern composers make themselves heard far beyond the classical conservatoire and concert hall. These days, soundtracks are in high demand in industries such as TV, film, advertising, and even gaming to help create immersive and exciting experiences.

Whatever your musical ambitions—composing a dark requiem in a beautiful Viennese apartment or producing the next great Star Wars-like movie theme in LA—the fully updated Music Composition For Dummies hits all the right notes to help you become confident in the theory and practice of composition. To help you translate your musical ideas from fleeting tunes in your head to playable bars and notation on paper, professional composer and instructor Scott Jarrett and music journalist Holly Day take you on a friendly step-by-step journey through the process of musical creation, including choosing the right rhythms and tempos, creating melodies and chord progressions, and working with instruments and voices.

Organize and preserve your musical ideas Formalize your knowledge with professional vocabulary Get familiar with composition apps and software Make a demo and market on social media Filled with musical exercises to help you acquire the discipline you need for success, Music Composition For Dummies has everything you need to turn your inner soundtrack into a tuneful reality!

Written by a Logic Pro X trainer who’s used the software to further his own music career, Logic Pro X For Dummies cuts back on the time needed to learn the software and allows for more time making amazing recordings. Record live sound sources or built-in virtual instruments Arrange your tracks to edit, mix, and master Discover tips to speed the process and record on an iPad Make sense of the latest software updates A favorite among Logic Pro X beginners, this book is updated to reflect the ongoing changes added to enhance Logic Pro X’s recording power.

Today, the tools to create high-fidelity, multi-track audio are found on computers, tablets, and even smartphones. This friendly, no-jargon guide from a master musician, composer, and recording engineer shows you how to use technology to lay down, edit, mix, and master your ideas. Along the way you’ll get insider tips that help you create your sound and transform your good recordings into great ones. Acquire the right hardware Find the ideal recording space Get to know different mics Record live or virtual sounds Get rhythmic with tracks and loops Enhance and edit tracks Polish songs to perfection Distribute your finished product.

Now updated with what you need to know about the newest generation of hardware and software, Macs All-in-One For Dummies is your guide to simply everything: protecting your Mac; backing up and restoring data with Time Machine; managing applications on the Dock, Launchpad, and Desktop; syncing with iCloud, organizing your life with Calendar, Reminders, Notes, and Notifications; presenting with Keynote; crunching with Numbers; getting creative with iMovie and GarageBand—the list goes on!

Get started on your new Mac journey today! Mac » since —this guide starts with the basics, like getting set up, and explains more advanced uses, like making music and movies, exploring the expanding universe of apps and giving tips on how to save time and enhance productivity along the way. With this book, you’ll learn to Set up and connect your Mac Get friendly with Siri Enhance your world with apps Work better and faster Use the comprehensive capabilities of macOS Big Sur to do anything and everything you would like to do—and do it even better.

For beginners and experts alike, macOS Big Sur For Dummies is the best way to step into the magical world of getting things done with Mac. The harmonica is one of the most popular and versatile instruments in the world.

There are several reasons harmonicas are awesome—you can play them anywhere, they’re inexpensive, and you can show off in dozens of musical styles. The friendly and pleasingly tuneful Harmonica For Dummies is the fastest and best way to learn for yourself!

You’ll find an easy-to-follow format that takes you from the basics to specialized techniques, with accompanying audio and video content included to make learning even more simple and fun. Before you know it, you’ll be playing jazz in your living room and the blues on your way to work or school—and that’s just the prelude to mastering classical riffs.

That’s right, the humble harmonica has graced some of the grandest concert halls on planet Earth! Choose the right harmonica Enhance your sound with tongue technique Develop your own style Perfect your live performance The harmonica is awesome to learn, but even more awesome to learn well, and Harmonica For Dummies will get you on the road from being an occasional entertainer to becoming an accomplished live performer.

If you think this book seems familiar, you’re probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Harmonica For Dummies The book you see here shouldn’t be considered a new or updated product. But if you’re in the mood to learn something new, check out some of our other books.

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