19,99 €
Mehr erfahren.
- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
This one-stop source for Logic Pro insight helps you spend more time creating music Every minute you spend trying to figure out how to set up a new track or build a drum loop is a minute you don't spend creating and recording your music. This guide to the recording software favored by Mac users helps you bypass the time needed to search for tech answers and spend more time capturing sounds. Discover the full recording power of Logic Pro, starting with launching a project and recording your audio. Explore the built-in digital instruments and beat makers, augment your recording power with plug-ins, and finalize your song by editing, adding effects, mixing, mastering, and sharing. The final step is music stardom! * Learn your way around the Logic Pro interface and understand the workflow * Set up your project and add tracks and regions * Record acoustic audio or conduct your orchestra of MIDI instruments * Edit, mix, automate, export, and feel proud of your audio files For beginning music creators and producers, this Dummies guide makes it simple to get started with Logic Pro.
Sie lesen das E-Book in den Legimi-Apps auf:
Seitenzahl: 567
Veröffentlichungsjahr: 2023
Ähnliche
Logic Pro® For Dummies®, 3rd Edition
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2023 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions.
Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and may not be used without written permission. Logic Pro is a registered trademark of Apple, Inc. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc. is not associated with any product or vendor mentioned in this book. Logic Pro For Dummies®, 3rd Edition is an independent publication and has not been authorized, sponsored, or otherwise approved by Apple, Inc.
LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: WHILE THE PUBLISHER AND AUTHORS HAVE USED THEIR BEST EFFORTS IN PREPARING THIS WORK, THEY MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES REPRESENTATIVES, WRITTEN SALES MATERIALS OR PROMOTIONAL STATEMENTS FOR THIS WORK. THE FACT THAT AN ORGANIZATION, WEBSITE, OR PRODUCT IS REFERRED TO IN THIS WORK AS A CITATION AND/OR POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE PUBLISHER AND AUTHORS ENDORSE THE INFORMATION OR SERVICES THE ORGANIZATION, WEBSITE, OR PRODUCT MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING PROFESSIONAL SERVICES. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR YOUR SITUATION. YOU SHOULD CONSULT WITH A SPECIALIST WHERE APPROPRIATE. FURTHER, READERS SHOULD BE AWARE THAT WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. NEITHER THE PUBLISHER NOR AUTHORS SHALL BE LIABLE FOR ANY LOSS OF PROFIT OR ANY OTHER COMMERCIAL DAMAGES, INCLUDING BUT NOT LIMITED TO SPECIAL, INCIDENTAL, CONSEQUENTIAL, OR OTHER DAMAGES.
For general information on our other products and services, please contact our Customer Care Department within the U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit https://hub.wiley.com/community/support/dummies.
Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.
Library of Congress Control Number: 2023935197
ISBN 978-1-394-16210-9 (pbk); ISBN 978-1-394-16211-6 (ebk); ISBN 978-1-394-16212-3 (ebk)
Logic Pro® For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Logic Pro For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Title Page
Copyright
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Where to Go from Here
Part 1: Leaping into Logic Pro
Chapter 1: Getting Logic Pro Up and Sprinting
Embracing Logic Pro
Adjusting Accessibility Settings
Transitioning from Other Software
Creating with Logic Pro
Connecting Your Logic Pro Studio
Chapter 2: Examining Logic Pro Projects
Starting Your Project
Augmenting Your Project
Customizing Your Project Settings
Tidying Up Your Project
Chapter 3: Exploring the Main Window and Tracks Area
Navigating Logic Pro
Taking Inventory of Your Track List
Zooming Tracks
Opening Your Logic Pro Toolbox
Keeping It Simple with Smart Controls
Navigating with Key Commands
Saving Workspaces with Screensets
Chapter 4: Embracing Tracks and Regions
Knowing Your Track Types
Around the Global Tracks
Sorting and Hiding Tracks
Creating Options with Track Alternatives
Knowing the Region Types
Editing Regions
Part 2: Digital Recording and Using Prerecorded Media
Chapter 5: Introducing Digital Audio and MIDI
Understanding Digital Audio
Connecting Your Audio Devices
Understanding MIDI
Connecting Your MIDI Devices
Chapter 6: Recording Audio
Preparing to Record Audio
Recording Your First Audio Take
Recording Multiple Takes in Cycle Mode
Recording Multiple Inputs
Punching In and Punching Out
Recording with Smart Tempo
Setting Up Multiple Monitor Mixes
Chapter 7: Recording MIDI
Preparing to Record MIDI
Recording Your First MIDI Take
Recording Multiple MIDI Takes in Cycle Mode
Creating Tracks in Cycle Mode
Overdubbing MIDI
Recording Multiple MIDI Inputs
Chapter 8: Adding Media to Your Project
Adding Apple Loops to Your Project
Adding Prerecorded Audio to Your Project
Importing Video to Your Project
Part 3: Making Music with Virtual Instruments
Chapter 9: Making Beats with Drum and Percussion Software Instruments
Playing with Your Virtual Drummer
Creating Beats with Ultrabeat
Synthesizing Drum Sounds with Drum Synth
Designing Electronic Drums Kits with Drum Machine Designer
Chapter 10: Playing Virtual Vintage Instruments
Taking Stock of Vintage Instruments
Spinning Your Tone Wheels with the Vintage B3
Funking Up the Vintage Clav
Getting the Tone of Tines with the Vintage Electric Piano
Making Music with the Vintage Mellotron
Fusing Four Synths with Retro Synth
Chapter 11: Sound Design with Synths and Samplers
Exploring the Logic Pro Synths
Modeling Sounds Using Sculpture
Sampling with Sampler and Quick Sampler
Manipulating Samples with Alchemy
Chapter 12: Conducting a Virtual Orchestra
Building an Orchestral Template
Performing Your Orchestra
Playing with Studio Strings and Horns
Traveling the World Instruments
Part 4: Arranging and Editing Your Project
Chapter 13: Arranging Your Music
Working in the Tracks Area
Showing Your Global Tracks
Beat Mapping Your Arrangement
Arranging Regions in the Tracks Area
Creating Folder Tracks
Using Groove Templates
Chapter 14: Editing Audio Tracks
Knowing Your Audio Editors
Creating the Perfect Take with Quick Swipe Comping
Time Traveling with Flex Time
Tuning with Flex Pitch
Editing Audio in the Audio File Editor
Editing Tempo in the Smart Tempo Editor
Chapter 15: Editing MIDI Tracks
Knowing Your MIDI Editors
Editing MIDI in the Piano Roll Editor
Editing MIDI in the Step Sequencer
Editing MIDI in the Score Editor
Editing MIDI in the MIDI Transform Window
Editing MIDI in the Event List Editor
Editing Your MIDI Environment
Part 5: Mixing, Mastering, and Sharing Your Music
Chapter 16: Mixing Your Project
Understanding Important Mixing Concepts
Knowing Your Channel Strip Types
Using Meters to Visualize Volume and Levels
Adjusting Channel Strip Controls
Mixing in Spatial Audio
Taking Track Notes
Chapter 17: Shaping Your Mix with Effects
Adding Effects to Tracks
Controlling Signal Flow
Adjusting the EQ of Your Tracks
Adding Depth with Reverb and Delay
Adding or Removing Dynamics with Compression
Chapter 18: Automating Your Mix
Turning Your Mix into a Performance with Automation
Choosing Your Automation Mode
Adding Automation to Your Tracks
Recording Live Automation
Chapter 19: Mastering Your Final Track
Fine-Tuning EQ
Adding Multiband Compression
Turn It Up
Chapter 20: Bouncing and Sharing Your Music
Bouncing Your Project
Creating Stems and Alternate Mixes
Sharing Your Music
Part 6: The Part of Tens
Chapter 21: Ten Ways to Use an iPad with Logic Pro
Playing Keys
Playing Guitar
Playing Drums
Editing Tracks and Your Arrangement
Using Your iPad Mixing Console
Recording Remotely
Commanding Logic Pro
Navigating Logic Pro
Adding Tracks with GarageBand for iOS
Importing iPad Audio
Chapter 22: Ten Tips to Speed Your Workflow
Keep Detailed Notes
Use Key Commands
Use Screensets
Save Track Stack Patches and Channel Strip Settings
Choose a Tool and Master It
Choose a Tool and Ignore It
Use the Fastest Way, Not the Right Way
Establish a Troubleshooting Strategy
Save and Back Up Frequently
Don’t Lose Sight of the Music
Index
About the Author
Connect with Dummies
End User License Agreement
List of Illustrations
Chapter 1
FIGURE 1-1: The Logic Pro Advanced Settings pane.
FIGURE 1-2: In the Audio Settings pane, choose and configure your audio hardwar...
FIGURE 1-3: A typical recording setup.
FIGURE 1-4: A studio of MIDI instruments.
FIGURE 1-5: A mixing studio.
FIGURE 1-6: A mobile audio rig.
Chapter 2
FIGURE 2-1: The New Tracks dialog is where you choose your first track.
FIGURE 2-2: Choose customizable project templates here.
FIGURE 2-3: Customize your startup action.
FIGURE 2-4: Rename and remove project alternatives.
FIGURE 2-5: Set global settings for your project.
FIGURE 2-6: The track import view of the all files browser.
FIGURE 2-7: Copy settings from other projects.
FIGURE 2-8: The Add Region to Apple Loops Library window.
FIGURE 2-9: Delete unused project data.
FIGURE 2-10: The consolidate function copies and includes all used assets in th...
Chapter 3
FIGURE 3-1: The Logic Pro main window.
FIGURE 3-2: The tracks area in the main window.
FIGURE 3-3: The tracks area toolbar.
FIGURE 3-4: The live loops grid in the main window.
FIGURE 3-5: The control bar.
FIGURE 3-6: The editors area.
FIGURE 3-7: The inspector.
FIGURE 3-8: A track header.
FIGURE 3-9: Track header configuration dialog.
FIGURE 3-10: A zoom-focused track on a selected track.
FIGURE 3-11: The tool menu in the tracks area.
FIGURE 3-12: The smart controls.
FIGURE 3-13: The smart controls inspector.
FIGURE 3-14: The scaling graph window.
FIGURE 3-15: The Key Commands window.
Chapter 4
FIGURE 4-1: The track list.
FIGURE 4-2: An audio track.
FIGURE 4-3: A software instrument track.
FIGURE 4-4: A drummer track.
FIGURE 4-5: An external MIDI track.
FIGURE 4-6: A track stack.
FIGURE 4-7: A folder track.
FIGURE 4-8: Folder track contents.
FIGURE 4-9: Global tracks.
FIGURE 4-10: Hiding tracks.
FIGURE 4-11: An audio region.
FIGURE 4-12: A MIDI region.
FIGURE 4-13: A drummer region.
FIGURE 4-14: The resize cursor.
FIGURE 4-15: The loop cursor.
Chapter 5
FIGURE 5-1: A sine wave in the audio file editor.
FIGURE 5-2: Audio project settings.
FIGURE 5-3: The Recording tab of Audio Settings.
FIGURE 5-4: The Devices tab of Audio Settings.
FIGURE 5-5: The General tab of Audio Settings.
FIGURE 5-6: The I/O Assignments tab in Audio Settings.
FIGURE 5-7: The Audio File Editor tab in Audio Settings.
FIGURE 5-8: The MP3 tab in Audio Settings.
Chapter 6
FIGURE 6-1: The Audio Track channel strip.
FIGURE 6-2: The track header.
FIGURE 6-3: The control bar modes and functions.
FIGURE 6-4: The metronome Project Settings.
FIGURE 6-5: The recording Project Settings.
FIGURE 6-6: The control bar transport.
FIGURE 6-7: A recorded audio region.
FIGURE 6-8: Cycle mode.
FIGURE 6-9: An audio take folder.
FIGURE 6-10: Auto-punch mode.
FIGURE 6-11: A region recorded with smart tempo.
FIGURE 6-12: The I/O Assignments Output tab.
Chapter 7
FIGURE 7-1: External MIDI track channel strip.
FIGURE 7-2: External MIDI track inspector.
FIGURE 7-3: The library menu and the software instrument track.
FIGURE 7-4: The musical typing keyboard.
FIGURE 7-5: The onscreen keyboard.
FIGURE 7-6: The step input keyboard.
FIGURE 7-7: A recorded MIDI region.
FIGURE 7-8: Project settings for the MIDI input filter.
FIGURE 7-9: A MIDI take folder.
Chapter 8
FIGURE 8-1: The loop browser.
FIGURE 8-2: Drag Apple loops to the tracks area.
FIGURE 8-3: The Add Region to Apple Loops Library window.
FIGURE 8-4: The project audio browser.
FIGURE 8-5: The all files browser.
FIGURE 8-6: The Open Movie dialog.
FIGURE 8-7: The movie inspector.
FIGURE 8-8: The global tracks movie track.
FIGURE 8-9: Movie scene markers.
Chapter 9
FIGURE 9-1: A drummer track and region.
FIGURE 9-2: The drummer editor.
FIGURE 9-3: The drummer library.
FIGURE 9-4: The Details area of the drummer editor.
FIGURE 9-5: The Sound Library Manager.
FIGURE 9-6: Drum Kit Designer.
FIGURE 9-7: Drum Kit Designer Exchange and Edit panels.
FIGURE 9-8: The Ultrabeat interface.
FIGURE 9-9: The Ultrabeat assignment section.
FIGURE 9-10: The Ultrabeat synthesizer section.
FIGURE 9-11: The Ultrabeat filter section.
FIGURE 9-12: The Ultrabeat output, LFO, and envelope section.
FIGURE 9-13: The Ultrabeat step sequencer.
FIGURE 9-14: The Ultrabeat step grid in full-view mode.
FIGURE 9-15: The Drum Synth interface.
FIGURE 9-16: The Snares and Claps group type.
FIGURE 9-17: Drum Machine Designer on a drummer track.
FIGURE 9-18: The Drum Machine Designer interface.
Chapter 10
FIGURE 10-1: Main window of the vintage B3 Organ.
FIGURE 10-2: The drawbars in relation to the harmonic series.
FIGURE 10-3: The vintage B3 Rotor Cabinet options panel.
FIGURE 10-4: The vintage Clav main window.
FIGURE 10-5: Vintage electric piano main window.
FIGURE 10-6: The Vintage Mellotron main window.
FIGURE 10-7: The Retro Synth main window.
Chapter 11
FIGURE 11-1: The EFM1 FM synth.
FIGURE 11-2: The ES1 subtractive synth.
FIGURE 11-3: The ES2 hybrid synth.
FIGURE 11-4: The ES E ensemble synth.
FIGURE 11-5: The ES M monophonic synth.
FIGURE 11-6: The ES P polyphonic synth.
FIGURE 11-7: The EVOC 20 vocoder synth.
FIGURE 11-8: The Sculpture-modeling synth.
FIGURE 11-9: The Sampler software instrument.
FIGURE 11-10: The Sampler mapping and zone panes.
FIGURE 11-11: The Quick Sampler software instrument.
FIGURE 11-12: The Alchemy interface.
FIGURE 11-13: The Alchemy advanced view.
FIGURE 11-14: The Alchemy arpeggiator.
FIGURE 11-15: The Alchemy effects section.
Chapter 12
FIGURE 12-1: The template chooser.
FIGURE 12-2: The Sound Library Manager window.
FIGURE 12-3: The track inspector.
FIGURE 12-4: The staff styles window.
FIGURE 12-5: Score editor page view.
FIGURE 12-6: The woodwind smart controls.
FIGURE 12-7: The Sampler mapping pane.
FIGURE 12-8: The Studio Strings interface.
Chapter 13
FIGURE 13-1: The Go to Position dialog.
FIGURE 13-2: The region inspector.
FIGURE 13-3: The track inspector.
FIGURE 13-4: The track icon menu.
FIGURE 13-5: The global tracks.
FIGURE 13-6: The marker list editor.
FIGURE 13-7: The signature list editor.
FIGURE 13-8: The Time Signature window.
FIGURE 13-9: The Key Signature window.
FIGURE 13-10: The tempo track.
FIGURE 13-11: The tempo list editor.
FIGURE 13-12: The tempo operations window.
FIGURE 13-13: The beat-mapping track.
FIGURE 13-14: Set Beats by Guide Region(s) window.
FIGURE 13-15: The tool menu.
FIGURE 13-16: A marquee tool selection.
FIGURE 13-17: The region inspector.
FIGURE 13-18: Audio region crossfade.
FIGURE 13-19: The Remove Silence window.
FIGURE 13-20: A folder track.
FIGURE 13-21: A region alias.
FIGURE 13-22: The groove track.
FIGURE 13-23: The track and region inspector.
Chapter 14
FIGURE 14-1: The audio track editor.
FIGURE 14-2: The audio file editor.
FIGURE 14-3: The smart tempo editor.
FIGURE 14-4: A take folder.
FIGURE 14-5: Tracks with flex mode enabled.
FIGURE 14-6: The track inspector flex parameters.
FIGURE 14-7: Transient markers.
FIGURE 14-8: Flex pitch in the tracks area.
FIGURE 14-9: Flex pitch in the audio track editor.
FIGURE 14-10: The audio file editor.
FIGURE 14-11: The prelisten channel strip.
FIGURE 14-12: The Audio Settings window.
FIGURE 14-13: The smart tempo editor.
Chapter 15
FIGURE 15-1: The piano roll editor.
FIGURE 15-2: The score editor.
FIGURE 15-3: The step sequencer.
FIGURE 15-4: The smart tempo editor.
FIGURE 15-5: The event list editor.
FIGURE 15-6: The MIDI environment.
FIGURE 15-7: The MIDI transform window.
FIGURE 15-8: The piano roll editor.
FIGURE 15-9: The Automation/MIDI lane.
FIGURE 15-10: Steps in the step sequencer.
FIGURE 15-11: The part box.
FIGURE 15-12: The step input keyboard.
FIGURE 15-13: The event inspector.
FIGURE 15-14: The region inspector.
FIGURE 15-15: The MIDI transform window.
FIGURE 15-16: The event list editor.
FIGURE 15-17: The MIDI environment object inspector.
Chapter 16
FIGURE 16-1: Ideal speaker placement and listening position.
FIGURE 16-2: Drum Kit from the audience’s perspective.
FIGURE 16-3: The channel strips in Logic Pro.
FIGURE 16-4: The inspector channel strips.
FIGURE 16-5: The Loudness Meter plug-in.
FIGURE 16-6: The group inspector.
FIGURE 16-7: The 3D Object Panner.
FIGURE 16-8: The Dolby Atmos plug-in.
FIGURE 16-9: Track notes.
Chapter 17
FIGURE 17-1: An insert effect slot.
FIGURE 17-2: The MIDI Arpeggiator plug-in.
FIGURE 17-3: A multi-output instrument.
FIGURE 17-4: The Channel EQ plug-in.
FIGURE 17-5: The Match EQ plug-in.
FIGURE 17-6: The Space Designer plug-in.
FIGURE 17-7: The ChromaVerb plug-in.
FIGURE 17-8: The Delay Designer plug-in.
FIGURE 17-9: The Compressor plug-in.
FIGURE 17-10: The Limiter plug-in.
Chapter 18
FIGURE 18-1: Track automation in the tracks area.
FIGURE 18-2: Track automation control points.
FIGURE 18-3: The automation settings.
Chapter 19
FIGURE 19-1: The Linear Phase EQ plug-in.
FIGURE 19-2: The Match EQ plug-in.
FIGURE 19-3: The Multipressor plug-in.
FIGURE 19-4: The Adaptive Limiter plug-in.
Chapter 20
FIGURE 20-1: The Bounce Track in Place dialog.
FIGURE 20-2: The Bounce window.
FIGURE 20-3: The Share to Music window.
FIGURE 20-4: The Share to SoundCloud window.
Chapter 21
FIGURE 21-1: The Logic Remote library.
FIGURE 21-2: The acoustic guitar chord strips.
FIGURE 21-3: The drum kit view.
FIGURE 21-4: Logic Remote key commands.
FIGURE 21-5: The mixer.
FIGURE 21-6: Logic Remote settings.
FIGURE 21-7: The ruler.
FIGURE 21-8: GarageBand smart drums.
FIGURE 21-9: The GarageBand touch instrument browser.
Guide
Cover
Title Page
Copyright
Table of Contents
Begin Reading
Index
About the Author
Pages
i
ii
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
363
364
365
366
367
368
369
370
371
372
373
374
375
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
Introduction
At its near-permanent spot in the top-ten grossing apps in the entire Mac App Store, Logic Pro has proven itself to be in high demand. You shouldn’t expect anything less than stellar software from Apple. And there’s a good reason why Logic Pro is professionally competitive. Apple designs intuitive software that music producers love at the best possible value. And unlike other digital audio workstations that have moved to a subscription pricing model, Logic Pro remains a relatively inexpensive one-time purchase with free updates included.
In line with Apple’s mission, I wrote Logic Pro For Dummies to add value to your Mac and Logic Pro. You learn how to record, arrange, edit, mix, and share your music, becoming a self-sufficient musician with your computer and Logic Pro. This book will guide you to make more music.
About This Book
If I could give people one superpower, I would give them instant musical talent. My world would be a curious musical, filled with willing musical partners. Logic Pro For Dummies is my honest attempt to make musical partners out of every reader, including you.
This book is designed to get you making music fast. You don’t even need to know how to play an instrument to make music with Logic Pro because it includes additional content you can use in your projects. Regardless of your current capabilities, the step-by-step instruction in this book guides you through everything you need to know to make music quickly.
I’m happy you came to me to learn Logic Pro because I have been coaching Logic Pro users since 2007 and know people's common frustrations and mistakes. I want you to feel confident using the software so you can complete more projects and share your music — with others and with me. This book gives you the most important information you need to quickly meet your musical goals and turn your ideas into completed projects.
Logic Pro For Dummies is organized for easy access. It’s your productivity advisor and your reference for quickly finding the information you need. And because many people learn more quickly by watching someone else, I provide free videos and project templates to accompany the book at https://logicstudiotraining.com/bookextras.
Throughout the book, I use certain conventions to show you what to do. For example, when you choose items from menus, I use the command arrow, such as Choose File ⇒ Edit. Links to websites are presented like this: https://logicstudiotraining.com. If you purchased the e-book, links are live and will take you directly to the web page. Finally, Logic Pro uses the term key command for any combination of keys that can act as a shortcut to a function; when I refer to the Command key, I use the ⌘ symbol.
Foolish Assumptions
As I said, I want to give you instant talent, but I have to make some assumptions about you, my friendly reader. I’m pretty sure you have the music bug. But you may want to only record audio with Logic Pro, such as voice-overs, podcasts, or live seminars. This book covers those topics, but I’m also writing for the musician in you.
I believe you bought this book not only to learn how to use software but also to create music. Logic Pro is the tool, and your music is the reason it exists.
I also assume that you’re not making as much music as you could be making. I know I’m not. I’m sure we could all be bringing more music into the world, and I often aggressively push for it. I love to train musicians because they are great listeners. Great listeners make great leaders, and if I didn’t push for more great leaders, I would feel that I wasted a golden opportunity to inspire you to greatness. The more music you make, the better listener you become.
Even if you’re a beginner, I assume you’ll be able to make music that sounds great with Logic Pro. It might be a foolish assumption, but given everything Logic Pro can do for you, I don’t think so. Finally, I make the safe assumption that you’ll enjoy your time with Logic Pro.
Icons Used in This Book
You’ll see helpful icons throughout this book. Scan for them, and you’ll find useful information that will help pull everything together and even broaden your perspective. Readers love to scan, and I love to write for scanners.
The Tip icon is usually designed to give you an “aha” moment. Tips go beyond step-by-step instruction into strategies and techniques to make better sounding music. Pay close attention to the tips!
The Remember icon points out information that you need to keep in mind as you use Logic Pro. In some cases, you’ll be given key commands that are important to remember. Other times, you’ll see a short refresher on information relevant to the topic and covered elsewhere in the book. Whenever you see this icon, it’s important to at least store the information in your short-term memory. After all, the book remembers everything for you in the long term.
The Technical Stuff icon points out information that can be skipped or treated as extra credit. The information in these sections shouldn’t be beyond your understanding, but you don’t need to know how the engine works to drive a car.
The Warning icon is reserved for potential mistakes that could cause you to sound bad. That’s the last thing I want, and fortunately, sounding bad is hard to achieve with Logic Pro. So when you see the Warning icon, please read it!
Beyond the Book
As mentioned, I deliver content outside this book through videos and project files. Where appropriate, I've added a link to a web page with further instructions. These videos should help you visualize the book's content, and the project files are excellent resources for getting started.
In addition, For Dummies books include one of my favorite tools of all time, the cheat sheet. I make cheat sheets for a hobby, and I’m excited to give you what I’ve got. To get to the cheat sheet, go to www.dummies.com and type Logic Pro For Dummies cheat sheet in the Search box.
Where to Go from Here
Although I wrote the book to be somewhat linear and to follow a logical progression, you can start anywhere you want. Because I reference chapters throughout the book, you should be able to open any chapter and follow along.
If you’re new to Logic Pro, you’ll at least want to skim the first four chapters. These chapters make up Part 1 and will get you started using Logic Pro and understanding how it works. Part 2 shows you how to record audio, load and play software instruments, and add prerecorded media to your project. If you’re upgrading from previous versions of Logic Pro, you might skip to Part 3 and learn about the new software instruments or head over to Part 4, where you learn how to use the exciting new editing features such as flex pitch.
Part 5 is dedicated to mixing audio so that the final result sounds good and is ready to share with the world. From the beginning of the book to the end, you have a powerful music production blueprint. I hope you get what you need. If you should have a question, you can find me online at https://logicstudiotraining.com or https://grahamenglish.com.
Part 1
Leaping into Logic Pro
IN THIS PART …
Develop a productive workflow and mindset.
Discover timesaving tips to help you finish Logic Pro projects and share your projects for collaboration and backup.
Navigate the software interface, play and control your project, and explore the tools.
Understand how tracks and regions work in Logic Pro, adjust your tempo and time signature, save track settings for instant recall, and edit and loop regions.
Chapter 1
Getting Logic Pro Up and Sprinting
IN THIS CHAPTER
Understanding the benefits of creating with Logic Pro
Getting into the Logic Pro mindset
Developing a productive workflow
Setting up your Logic Pro studio
The joke used to be that Logic Pro wasn’t logical. I would argue that it was logical but not intuitive. Nowadays, you can’t make that joke without dating yourself. Apple, known for making the complicated simple, bought Logic Pro from Emagic in 2002 and continues to make the product better and better.
You’ll find that creating music with Logic Pro can be a straightforward and rewarding experience. One caveat: As you explore Logic Pro, remember your desired outcome. With so many bright and shiny objects in this deep and powerful app, getting distracted is easy. But if you keep your musical and learning goals in mind, you’ll discover why Logic Pro is behind so many Billboard hits.
Take command. Logic Pro listens.
In this chapter, you discover why Logic Pro users are proud, productive, and ready to play. You’ll understand how to plan your creations, get the most value from your time with Logic Pro, set up your studio, and much more.
REMEMBERING THE LOGIC PRO JOURNEY
Logic Pro has come a long way since its inception. In the mid-80s, the German company C-LAB created Supertrack for the Commodore 64 computer. This product evolved into the Creator software program and eventually became Notator Logic, which ran on the Atari system in the early 90s. Here are some significant milestones on the path to Logic Pro:
1994: Audio recording capabilities were added to Notator Logic.2000: Virtual instruments were added to Logic 4.2002: Apple purchased Logic.2004: Logic 6 became Mac-only.2007: Several audio applications, including Logic Pro 8 and MainStage, were bundled as Logic Studio. New features such as Quick Swipe Comping and the Delay Designer plug-in were introduced, and the copy protection USB dongle was eliminated.2009: Logic Pro 9 introduces features such as flex time editing, Amp Designer, and Pedalboard plug-ins.2010: Logic Pro 9 goes 64-bit.2013: Logic Pro X is released, with a redesigned look, flex pitch editing, new editors, the Drummer software instrument, the Bass Amp Designer plug-in, virtual vintage instruments, MIDI plug-ins, track stacks, smart controls, tighter integration with GarageBand, the Logic Remote iPad app, and much more.2020: Apple drops X from the Logic Pro name while continuing to develop several incremental updates worthy of significant releases and without any additional cost to users. Notable features include live loops, step sequencer, remix FX, drum synth, and a new refined design with drag-and-drop workflows. The EXS24 sampler software instrument was phased out in favor of the new sampler and quick sampler. And spatial audio mixing with Dolby Atmos enables you to mix and monitor 3D immersive audio with dynamic head tracking using select headphones.Embracing Logic Pro
Why would you want to choose Logic Pro when so many different digital audio workstations (DAWs) are on the market? Here’s a list of reasons why you don’t need to look any further than Logic Pro:
Logic Pro is designed by Apple, so hardware and software compatibility are simple and usually hassle-free. Logic Pro doesn't lag behind Mac operating system updates and takes advantage of the hardware. However, if you rely on third-party plug-ins, upgrade cautiously. If you’re wondering whether it’s safe to upgrade, stop by
https://logicstudiotraining.com
and ask me.
Logic Pro has thousands of sampled instruments and effects presets, saving you thousands of dollars in additional expenses. You get a complete studio — including a virtual drummer who won’t show up late or scuff your floors.
Logic Pro excels at both recording and editing audio and MIDI. Some DAWs do one or the other well, but Logic Pro does both with superb sound quality and ease of use.
Logic Pro is compatible with most audio and MIDI hardware. I rarely get asked hardware questions from my clients because the product just works.
Logic Pro enables you to provide professional notation for lead sheets and full scores. When you need to hand out chord charts to the band or provide fully engraved charts with advanced markup to the orchestra, Logic Pro has you covered. Logic Pro can also create guitar tablature and add lyrics to your score.
Logic Pro supports many hardware control surfaces, so you can control knobs, faders, buttons, and other parameters in Logic Pro right from your hardware. An inexpensive MIDI controller can be turned into a remote control for advanced control (or when the hand you use for your mouse or trackpad begins to ache from overuse).
Logic Pro is a powerful mixing console. If your computer can handle it, you can have 255 audio tracks, 255 software instrument tracks, and 255 auxiliary tracks. You weren’t worried about running out of tracks, were you? And because you don't have 255 hands, you can automate parameter changes on all those tracks.
Logic Pro is a 64-bit application that gives you increased power. Older 32-bit apps allow the use of only 4MB of RAM, but Logic Pro can access all the memory your computer has installed. You can run more plug-ins and more software instruments without a hiccup.
I’ve only touched the surface of what Logic Pro can do. Surround sound, virtual vintage instruments, drum machines, guitar amps and pedals, pitch and time editing, and MIDI effects are a fraction of what you have available as a Logic Pro user. Congratulations on making such a smart choice to embrace Logic Pro. Welcome to the club!
Adjusting Accessibility Settings
Apple products include accessibility features to assist users. To find out how to use these features, visit the following:
Apple accessibility:
www.apple.com/accessibility
Accessibility support:
support.apple.com/accessibility
If you want to use Logic Pro with VoiceOver, you can make plug-in windows open in Controls view, which will list the plug-in parameters instead of displaying a graphical user interface. Choose Logic Pro ⇒ Settings ⇒ General. Select the Accessibility tab and then select the Open in Controls View by Default check box.
Transitioning from Other Software
I won’t bad-mouth or slam other DAWs — it’s a good rule, especially when collaborating with musicians who use different software. I'm a fan of GarageBand and use it sometimes because it integrates so well with Logic Pro. If you’ve used GarageBand, you’ll find the Logic Pro interface familiar and welcoming.
Logic Pro has many of the same features as GarageBand, including a professional mixer and finer control over audio and MIDI regions. GarageBand 10 users are familiar with smart controls, but with Logic Pro, you can do a lot more with them, such as control and edit more parameters. Best of all, Logic Pro can open GarageBand projects, including GarageBand projects created in iOS, the operating system that powers the iPhone, the iPad, and the iPod touch. Starting projects on one of those devices and continuing working on them in GarageBand or Logic Pro creates a powerful workflow.
If you’re coming from another software environment, maintain a beginner’s mind as you explore Logic Pro. The workflow is probably similar to what you’re accustomed to. It won’t take long to understand that a Logic Pro project has tracks containing MIDI or audio regions and that you can arrange those regions in the main window or edit them in the various editors. Did I just give the whole book away right there? Not quite, but understanding Logic Pro is almost that simple.
Just remember, if your objective is clear, Logic Pro can help you reach it.
Creating with Logic Pro
With Logic Pro, you have a full band at your fingertips. From country to dance music, songwriting to film scoring, capturing MIDI performances to professional audio recording, Logic Pro will excite your passions and showcase your strengths. Lead the way, and Logic Pro will follow.
Thinking like a pro
Whether or not you’re in it for the money, having a professional mindset can make your experience with Logic Pro more productive and enjoyable.
My advice to new and seasoned Logic Pro users alike is to set a goal and work steadily towards that goal. Here’s what I’ve found, and I hope you agree. Creativity loves speed. Slow and tedious labor kills creativity faster than anything. So set a clear objective and move quickly towards completion.
Planning your creative process
You can always wait for inspiration to strike you — but you could end up waiting a long time. And when inspiration does strike, it often doesn’t stick around long. For all the moments when you’re not feeling inspired, having a plan for your creative process can help.
What’s your purpose for the project? Are you learning something or creating something? If you’re learning, what’s your learning goal and how much time will you give it? You could easily get lost trying to learn everything Logic Pro can do and never create anything. That will suck the joy out of using Logic Pro, and you’ll find yourself opening it less and less. So give yourself learning limits and give yourself creative projects. Connecting to the purpose of your project will keep you motivated and moving in a clear and forward direction.
Here are some example projects to get you learning and creating:
Learn a tool.
Logic Pro has lots of tools and editors to help you achieve your creative goals. Spend 5 to 15 minutes learning a single tool, function, or editor. You will have many opportunities to do this throughout the book.
Write a song.
Lots of my students find it easier to separate writing a song from recording a song. Writing a song means starting from scratch and trying out ideas. You’ll end up doing some recording, but your purpose is not to create “keeper” tracks but to experiment and organize your ideas.
Record a song.
If you've already written a song, record it. Logic Pro has an intuitive interface, and you’ll be able to polish your tracks until they’re as shiny as a platinum record.
Sequence an 8-bar loop.
Not all projects have to be big and grand. A simple 8-bar piece of music can become a loop that you can use in another project or license to another artist.
Compose a score.
Use the orchestral instruments or synthesizers to create a score for a video or just for fun. If you have any home videos on your computer, you can import them to Logic Pro and give them a soundtrack. Play the video at the next holiday reunion, and your film composition is sure to impress friends and family.
Design a sound.
Spend 30 minutes with any of the Logic Pro virtual instruments and come up with your own sounds. Several synths even come with a randomize button to keep the sound fresh. Ever wondered what a six-foot guitar made of cardboard would sound like? Me neither, but you can make it happen with the Sculpture software instrument in Logic Pro.
Mix a song.
You can use a project you’ve recorded or Apple loops to practice your mixing chops and share your project with the world. Be sure to consult my mixing guide at
https://logicstudiotraining.com
to make your time in audio engineering land productive and free of earaches.
These examples are just a sampling of the types of projects you can start. The main point is to set a clear objective so you can achieve your goal. Set yourself up to win, and you’ll stay motivated.
Getting to the finish line
Most Logic Pro users come to me for help not with getting started but with getting things done. When inspiration fades, so does motivation, unless you have a strategy for getting to the finish line.
Here are some tips for completing projects:
Set time limits.
Give yourself the shortest time frame for completing a task. Parkinson's law states that work expands to fill the time available to complete it. Set aside 10 hours to complete a job, and it will take 10 hours. Set aside 30 minutes, and the job will take 30 minutes. For larger projects, put a deadline on the calendar and stick to it. This suggestion might sound rigid, but the only thing you have to lose is your uncompleted projects.
Make projects attainable.
Dream big but be realistic. If you’ve never done a particular task, give yourself time to learn and improve. You might want to write a chart-buster, but begin by writing a simple song with a clear structure. Then you can build upon your new skills and improve with each project.
Break the project down.
Typically, an album is made up of many songs, each song is made up of many instruments recorded on separate tracks, and each track is made up of many takes that are edited and turned into a final take. When you list all the tasks required to complete your project, you’ll have an easier time completing each task.
Keep it simple.
The fewer parts you commit to your project, the easier it will be to complete. Many pop songs have 32 tracks on the low end and more than 100 tracks on the not-so-high end, but that doesn’t mean you have to do the same. Lots of great songs have only four instruments, including the lead vocal. Try to simplify your project; you’ll find that completing your project is much easier when it isn’t complicated.
The more you create, the better you’ll get. The more projects you complete, the more confidence you’ll have. With confidence and chops, you’ll tackle more ambitious projects and find yourself working with higher-level musicians.
Now that you’ve read about the Logic Pro producer’s mindset, it’s time to get your gear ready to handle your mad genius.
Connecting Your Logic Pro Studio
You can do a lot just with the Logic Pro software. You can play the software instruments with your computer keyboard by using musical typing (described in Chapter 7). You can import media from a variety of sources, such as Apple’s Music app or iMovie (as detailed in Chapter 8). You can use headphones or your computer speakers to listen to your project. However, you'll want to connect some peripheral devices to take advantage of all that Logic Pro offers.
Consider adding some or all of the following devices to your studio:
Audio interface:
You’ll need to get audio into and out of your computer. Your computer probably has a built-in mic, but you might also want to capture audio from a variety of sources, such as a keyboard, guitar, and microphone. You may want to be able to record more than one instrument at a time. Audio interfaces allow you to get professional sounding audio into your Logic Pro project. You can get inexpensive, good-quality input devices through major retailers and the Apple store or by searching for used options. USB and Thunderbolt connectivity are standard on the latest Apple computers.
Speakers:
In the pro audio community, your speakers are known as
monitors.
In a pinch, your computer speakers will do just fine. I use them to do a chunk of my mixing because many people listen to music on their laptop’s speakers. (The same advice goes for mixing with common headphones, like Apple’s AirPods. Even studios with expensive monitors listen to mixes in cars — or trucks if they're mixing country music.) For a more accurate audio picture, listen to your project on a set of monitors that produces the entire frequency range. There’s a good chance that your audio interface will have a stereo monitor output for connecting a pair of speakers.
Headphones:
When you record vocals or instruments using microphones, you need a quiet environment. Headphones allow you to hear what you’re recording without speakers, so you capture just the instrument — not any other audio coming from your speakers. Also, live instruments can be loud, and headphones allow the performer to hear all the tracks well while recording. Headphones are also useful during mixing when you need to hear the details of your audio.
MIDI controller:
MIDI (Musical Instrument Digital Interface) allows devices to talk to each other and lets you control all the wonderful software instruments that come with Logic Pro. A MIDI controller can be a keyboard, drum pads, or any other device that transmits MIDI. MIDI controllers connect to your computer by USB, Bluetooth, or a separate MIDI interface for devices with 5-pin DIN connectors.
iPad and iPhone:
The Logic Remote iOS app can control software instruments and the mixer, execute key commands, and more. Best of all, the app is free! It connects to Logic Pro through your Wi-Fi network. Have an instrument you want to record, but it's sitting 20 feet away from the computer? No problem: Use your iOS device to control Logic Pro remotely. I cover Logic Remote in
Chapter 20
.
Setting up your computer
If you haven’t already installed Logic Pro on your computer, get it from the Apple App Store. Open the App Store in your Applications folder and search for Logic Pro. Purchase and install it (an installation wizard will guide you) — but be patient while downloading because the program size is about 1.1GB.
To download the additional Logic Pro content, launch Logic Pro. Choose Logic Pro ⇒ Sound Library ⇒ Download All Available Sounds or Download Essential Sounds. If you’re updating the sound library, you may need to select the libraries available for download individually. Click the Continue button to download and install the content.
I recommend finding the hard drive space to download the additional content because the instruments, samples, and loops you get are fantastic and fun to play.
Here are some tips to make your experience with Logic Pro as smooth as possible:
Pay attention to Time Machine backups.
If you use Time Machine to back up your computer, Time Machine might access the hard drive while you’re accessing the hard drive with Logic Pro. As a result, you might get an error if you’re working on a project with a high track count or lots of samples streamed from the disk. Turn off Time Machine temporarily if you encounter any issues.
Shut down other apps if you run out of power or if Logic Pro gets glitchy.
When I arrange or edit my projects, I often leave other apps open. When I’m recording or in the final process of mixing, however, I close all other apps so that the hard drive is free and extra power is available for processor-intensive Logic Pro effects.
Enable advanced features. Logic Pro has several advanced features that aren’t available by default. You should enable them so that you can follow along with the examples in this book. In the main menu, choose Logic Pro ⇒ Settings ⇒ Advanced and then select the Enable Complete Features check box, as shown in Figure 1-1.
FIGURE 1-1: The Logic Pro Advanced Settings pane.
Now that you’ve installed Logic Pro and made a few tweaks, you’re ready to connect your hardware and start making music.
Connecting your hardware
If you plan on recording audio, you'll need a way to get audio into Logic Pro. Your Mac probably has a built-in line in or microphone. These may work in a pinch, but professional-quality recordings need professional hardware. Most professional hardware is compatible with Logic Pro, so you should have a simple plug-and-play experience.
After you connect your audio hardware, you tell Logic Pro how to use it by choosing Logic Pro ⇒ Settings ⇒ Audio. Select the Devices tab, as shown in Figure 1-2, and use the Output Device and Input Device drop-down menus to choose your audio hardware.
FIGURE 1-2: In the Audio Settings pane, choose and configure your audio hardware.
You can quickly get to Logic Pro Settings (formerly known as Logic Pro Preferences) by pressing ⌘ +comma (,). This key command will display the Preferences in most applications on your Mac.
If you plan to control Logic Pro from a MIDI controller, your computer needs to be connected to the controller. Many controllers will send and receive MIDI through USB or Bluetooth, eliminating the need for a third-party interface. Other controllers may use 5-pin DIN cables and require a hardware MIDI interface to go between the computer and the controller. Check the literature; Logic Pro will probably be mentioned.
After you’ve connected your MIDI controller, Logic Pro will automatically listen for your controller’s signals on the currently selected track. Playing software instruments with a MIDI keyboard controller is usually a plug-and-play experience without any need for customization.
With all your hardware connected, Logic Pro is ready and waiting for your commands.
Building common setups
To help you visualize what a complete hardware and software setup looks like, I’ve designed some possible systems. You can create music with a computer and the Logic Pro software alone. However, if your goals are more ambitious and you want to get good sounds into and out of Logic Pro, consider your hardware and the acoustics of your listening environment. Idealized scenarios aren’t necessary for good quality or enjoyment. With a Mac computer and Logic Pro, your baseline for quality and fun is already high.
It’s easy to believe that you need the best equipment (and a lot of it) to create anything worthy of attention. Don’t believe the hype, and don’t get GAS (gear acquisition syndrome). Spend your money wisely and spend your time creating, not buying. The setups in this section can be built inexpensively.
In a recording setup, such as the one shown in Figure 1-3, you need to get audio from instruments or microphones into Logic Pro. You also need to hear what you’re recording through monitors or headphones. Your audio interface is the intermediary between your computer and the peripherals.
FIGURE 1-3: A typical recording setup.
In a MIDI studio, such as the one in Figure 1-4, instruments such as synthesizers, drum machines, samplers, and even alternate controllers (for example, a guitar MIDI system) connect to a MIDI interface, which transmits the MIDI messages from the various instruments to the computer. An audio interface is still needed to transmit audio in and out of your system. However, some devices handle the audio and MIDI together.
FIGURE 1-4: A studio of MIDI instruments.
If all you do is mix other people’s music, you may never need to do any recording of your own. In this case, you need an audio interface to get audio from Logic Pro into a pair of monitors, as shown in Figure 1-5. You may, however, use a controller to mimic a mixing console with faders, knobs, buttons, and other useful features that control Logic Pro remotely.
FIGURE 1-5: A mixing studio.
I love to travel and never go anywhere without a laptop and an instrument. I travel with guitars, drum machines, small keyboards, and sometimes more than one of each. I like to keep the setup as simple as possible while affording me the flexibility I love. In a mobile rig, such as the one shown in Figure 1-6, headphones will replace speakers, and portable interfaces and microphones will be used to get audio in and out of Logic Pro.
If you plan on performing live, consider buying MainStage, the companion app to Logic Pro. MainStage shares all the instruments and presets with Logic Pro but is designed for live performance. It has a gorgeous full-screen interface that’s easy to read on stage. MainStage doesn’t include features you don’t need live, such as notation or audio and MIDI editors.
FIGURE 1-6: A mobile audio rig.
There’s never been a better time to be a Logic Pro user. You get an amazing studio at an amazing price and can do amazing things with it. I hope you’re as excited as I am to dig into what Logic Pro can do.
Chapter 2
Examining Logic Pro Projects
IN THIS CHAPTER
Starting and finishing projects
Discovering some timesaving workflow tips
Backing up and securing your projects
Sharing your projects for collaboration
Logic Pro projects are similar to any computer file type, except they’re larger in scope than files such as text documents. You might be shocked to see an entire chapter about a file type, but there’s so much more you can do with Logic Pro projects than other file types. You’ll soon understand how important they are to the creative process.
Projects are flexible. When disk space is a concern, for example, you can save only the assets you want to keep. You can create project templates to speed up your workflow and set up Logic Pro exactly how you want to work. Each project contains global settings of the entire project as well as different snapshots of the project, such as different arrangements, mixes, or treatments. For example, you can create an alternate version of your project if the producer calls for a version without a vocal (for when the performer needs to sing live on TV to a backing track).
In this chapter, I cover naming conventions to keep all your projects organized, tips and tricks to speed up your workflow, strategies for archiving and backing up your work, and much more.
Starting Your Project
A project is the file type that you work with in Logic Pro. The file extension of a Logic Pro project is .logicx. The project file contains MIDI events, parameter settings, and information about the audio and video in your project.
To get the big picture of your project and how it relates to Logic Pro, the hierarchy goes like this:
Project ⇒ Tracks ⇒ Regions ⇒ Events
Your project contains tracks. Your tracks contain regions. Your regions contain events. The File menu is where you do most of your project-level work.
To start an empty default Logic Pro project, choose File ⇒ New or press Shift+⌘ +N. A New Tracks dialog window opens, as shown in Figure 2-1. At the top of the screen, choose the type of track you want to begin working with and click Create.
FIGURE 2-1: The New Tracks dialog is where you choose your first track.
A more advanced and customized way to start a new project is to choose File ⇒ New from Template (⌘ +N). The Project Chooser window opens, as shown in Figure 2-2. You can select a premade project template, a recent project, or your own customized project template. I show you how to create a customized orchestral template in Chapter 12. Click the Details disclosure triangle (at the bottom left) to display even more options for your new project, such as the tempo, time and key signatures, and audio input and output.
FIGURE 2-2: Choose customizable project templates here.
You can change any project option, but you should stick to a single sample rate. The default sample rate, 44.1 kHz, is the standard rate for an audio CD. If your goal is to use your audio in a video project, consider using a 48 kHz sample rate, which is the video standard. Using higher sample rates depends on your hardware capabilities and project needs.
After you start your project, you’re ready to begin recording, arranging, editing, and mixing. It’s a dream come true.
