David Nahmani. Marco Perino. Jumpstart Logic Pro Jay Asher. Edgar Rothermich. Everything is explained in great detail. What’s more, it’s extremely affordable, and those who already use the program but feel there’s a lot more to discover could really benefit. Thanks for your interest in my book. Please use the ” Look inside ” feature by clicking on the book cover to browse through the book.

This way you will get an idea about my unique concept of “Graphically Enhanced Manuals”. As you can imagine, I spend a lot of time creating those graphics and diagrams to demonstrate and better visualize the functionality of the various software applications I cover in my books. Make sure to also check out the interactive multi-touch iBooks version of my books for an even better, more engaging learning experience.

All the links are available on my website DingDingMusic. About the Author Empty. Read more. Live virtual adventures for the family. Amazon Explore Browse now. About the author Follow authors to get new release updates, plus improved recommendations. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content.

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. Images in this review. Reviews with images. See all customer images. 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. Also, no index in a book that is supposed to be a reference to a multifaceted, complex program?

Very useful! This graphically enhanced manual really is superior to anything I’ve ever tried to read in the realm of a software tutorial book. Edgar explains things really well and the use of the numbering system to bring you exactly to where in the graphic the words on the page are describing is really a wonderful tool.

I would encourage Edgar in the future to use different shapes and colors for these link symbols. The book I purchased utilizes numbers 1 thru whatever may be necessary in a black circle. It is sometimes difficult to find the number in the graphic and perhaps if different colors or shapes were used that might be easier but this is still a 5 star book. This book is far and away the best explanation of Logic Pro that I have found. Logic has the deserved reputation for being a powerful but obscure program, especially to non-professional musicians like me.

The book begins with an explanation of Logic’s architecture using an excellent analogy, and I found understanding the architecture to be key to understanding Logic’s multifaceted and obscure UI. While this old document has many typos, it is also an excellent description of how Audio Midi Setup works, especially with regard to Network MIDI connections.

After many attempts to get it working, Edgar’s explanation helped me understand the architecture of this as well. Get this book, and get the MIDI description from his website. You won’t regret it. I must say, these GEM books are amazing, so much better than all the other Logic books that I’ve seen that just explain one feature after another and are often very dry to read through.

Their visual approach is more engaging and I actually understand the features and functionality and can implement them right away. Focused lessons take you step by step.

Ample illustrations help you master techniques fast. Lesson goals and time estimates. Chapter review questions help you prepare for the Logic Pro X Apple Pro Training Series is both a self-paced learning tool and the official curriculum of the Apple Training and. Certification program. Upon completing the course material in this guide, you can become Apple Certified by passing the.

Logic Pro X To find an Apple Authorized Training. Provider near you, please visit training. Veteran producer and composer David Nahmani uses step-by-step, project-basedinstructions and straightforward explanations to teach everything from basic music creation to sophisticated productiontechniques. You will create both acousticand electronic virtual drum performances using Drummer tracks with Drum Kit Designer and Drum Machine Designer.

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Self publishing. Share Embed Flag. The metronome is back on. You now have inverted the default behavior: the metronome is on during playback and is automatically turned off during recording. The Metronome Settings window opens. There are settings for two metronomes: Audio Click also known as Klopfgeist, which is German for knocking ghost , which you are using, and MIDI Click, which is now off.

Under the name of each metronome, you can adjust the pitch and velocity of the notes playing on each bar and beat. The metronome sounds a little low compared to the drum loop on track 1. In fact, you can hear it only when no drum hit occurs on that beat. At the bottom of the Metronome Settings window, you can drag a couple of sliders to adjust the sound of the metronome. The metronome sound changes, and you can start hearing a pitch.

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

When a buffer is full, Logic processes or transmits the entire buffer. The larger the buffers, the less computing power is required from the CPU. The advantage of using larger input and output buffers is that the CPU has more time to calculate other processes, such as instrument and effects plug-ins.

The drawback to using a larger buffer is that you may have to wait a bit for the buffer to fill before you can monitor your signal. That means a longer delay between the original sound and the one you hear through Logic, a delay called roundtrip latency.

Usually, you want the shortest possible latency when recording and the most available CPU processing power when mixing so that you can use more plugins. The Audio preferences pane opens. When choosing a different audio device, make sure you click Apply Changes to update the Resulting Latency value displayed. The latency is now shorter. If your Mac has a multicore CPU, you can see a meter for each core. You can monitor the amount of work each core is doing. When the CPU works harder, you might hear pops and crackles while the song plays.

When playing the project becomes too much work for the CPU, playback stops and you will see an error alert. Deleting Unused Audio Files The Project Audio Browser shows all the audio files and audio regions that have been imported or recorded in your project.

During a recording session, the focus is on capturing the best possible performance, and you may want to avoid burdening yourself with the decision making that comes with deleting bad takes. You may also have several unused audio files in the Project Audio Browser that make the project package or folder bigger than it needs to be. In this next exercise, you will select and delete all unused audio files from your hard drive.

The audio data in the audio file stays intact, and the regions merely point to different sections of the audio file. You will learn more about nondestructive editing in Lesson 3.

If a Delete alert appears, select Keep and click OK. The regions are removed from the workspace, but their parent audio files are still present in the Project Audio Browser. All the audio files that do not have an associated region in the workspace are selected.

While the region plays, a small white playhead travels through the regions. Once you feel satisfied that the selected audio files do not contain any useful material, you can delete them. An alert asks you to confirm the deletion. The audio files are removed from the Project Audio Browser.

In the Finder, the files are moved to the Trash. You are now ready to tackle many recording situations: you can record a single track or multiple tracks, add new takes in a take folder, and fix mistakes by punching on the fly or automatically.

You know where to adjust the sample rate, and you understand which settings affect the behavior of the software during a recording session. And you can reduce the file size of your projects by deleting unused audio files—which will save disk space, and download and upload time should you wish to collaborate with other Logic users over the Internet.

What two fundamental settings affect the quality of a digital audio recording? In Logic, where can you find the sample rate setting? What precaution must you take before record-enabling multiple tracks simultaneously?

In Autopunch mode, how do you set the punch-in and punch-out points? Describe an easy way to access your Metronome settings. Describe an easy way to access your count-in settings. In the Project Audio Browser, when selecting unused files, what determines whether a file is used or unused? The sample rate and the bit depth 2. Make sure the tracks are assigned different inputs. Adjust the left and right edge of the autopunch area in the middle of the ruler. Control-click the Metronome button, and choose Metronome settings.

The CPU works less hard so you can use more plug-ins, but the roundtrip latency is longer. An audio file is considered unused when no regions present in the workspace refer to that file. Goals Assign Left-click and Command-click tools Edit audio regions nondestructively in the workspace Add fades and crossfades Create a composite take from multiple takes Import audio files Edit audio regions nondestructively in the Audio Track Editor Align audio using the Flex tool Audio engineers have always looked for new ways to edit recordings.

In the days of magnetic recording, they used razor blades to cut pieces of a recording tape and then connected those pieces with special adhesive tape. They could create a smooth transition or crossfade between two pieces of magnetic tape by cutting at an angle.

Digital audio workstations revolutionized audio editing. The waveform displayed on the screen is a visual representation of the digital audio recordings stored on the hard disk. The ability to read that waveform and manipulate it using the Logic editing tools is the key to precise and flexible audio editing.

In this lesson, you will edit audio regions nondestructively in the workspace and the Audio Track Editor, and add fades and crossfades. You will open a take folder and use Quick Swipe Comping to create a single composite take. Even as your ability to read waveforms and use the Logic editing tools develops, never forget to use your ears and trust them as the final judge of your work.

Assigning Mouse Tools Until now, you have exclusively worked with the default tools. You have also used keyboard modifiers such as Control-Option to choose the Zoom tool, and changed the pointer to tools such as the Resize or Loop tools. When editing audio in the workspace, you will need to access even more tools.

In the Tracks area and in various editors , two menus are available to assign the Left-click tool and the Command-click tool. Previewing and Naming Regions During recording sessions, helping the talent produce the best possible performance often takes priority over secondary tasks such as naming regions.

In this exercise, you will assign tools to the mouse pointer. You will use the Solo tool to preview the audio regions on the new Guitar track, and apply the Text tool to rename them. You can hear a region play back in solo mode by placing the Solo tool over the region and holding down the mouse button.

In the control bar, the Solo button turns on, and the LCD display and the playhead both turn yellow. The region is soloed, and you can play back starting from the location where you placed the Solo tool. You can also drag the Solo tool to scrub the region. You can change the playback speed or direction by dragging the Solo tool to the right or to the left.

You can hear that the guitar is playing single, muted notes, so you will give it a descriptive name based on those notes. If you hold down Command when your pointer is over a region, it changes to the Text tool. A text field appears, in which you can enter a new name for the region.

You can hear some dead notes at the beginning of this take folder, and about a bar of funk rhythm guitar in bar You will edit this take folder later in this lesson. In those regions, the guitar sustains chords, so you will name the regions after the chord names. Instead of moving back and forth from the workspace to the tool menus in the Tracks area menu bar, you can press T to open the Tool menu at the current pointer position.

A Tool menu appears at the pointer position. This key command will save you a lot of trips to the title bar. You can also Command-click a tool in the pop-up Tool menu to assign it to the Command-click tool.

The Tool menu opens and closes, and the Left-click tool reverts to the Pointer tool. Both tools are back to their default assignments: the Pointer tool for the Left-click tool and the Marquee tool for the Command-click tool. Editing Regions in the Workspace Editing audio regions in the workspace is nondestructive.

Regions are merely pointers that identify parts of an audio file. When you cut and resize regions in the workspace, only those pointers are altered. No processing is applied to the original audio files, which remain untouched on your hard disk. As a result, editing in the workspace provides a lot of flexibility and room for experimentation because you can always adjust your edits at a later date. In this next exercise, you will edit the Muted Single Notes region on the Guitar track.

In the Snap menu, a checkmark appears in front of the modes you choose. The help tag shows that the region length is now 4 0 0 0. You will now repeat the simple motif in the last two bars of the Muted Single Notes region a couple more times, from bars 9 to 13, where the synthesizers play.

The Command-click tool is now the Marquee tool, and the Left-click tool is the Pointer tool. This is a very powerful tool combination when editing audio in the workspace. You can select a section of an audio region with the Marquee tool, and move or copy that selection using the Pointer tool.

The section you selected with the Marquee tool is highlighted. The playhead jumps to bar 7 and plays the selection. It corresponds exactly to the two-bar pattern of the guitar you are going to copy.

Option-dragging a marquee selection automatically divides, copies, and pastes the selection to a new location regardless of region boundaries. In this example, the two-bar guitar pattern is copied and pasted at bar 9.

Remember to release the mouse button first and the Option key second. When the mouse button is released, the original region is automatically restored. The guitar plays a melodic riff with high notes when it first comes in, and then it plays more discretely throughout the following sections, leaving room for the two synths to shine. Still, you can bring back a little bit of the excitement just before the breakdown at bar This last region brings back a welcome variation to the monotonous pattern that the guitar has been playing for the past five bars, returning in time to lead to the break in the next section.

Now you know how to select the desired material within a region and move or copy that material anywhere on the track. Comping Takes In the previous lesson, you recorded several takes of a guitar performance and packed them into a take folder.

Now you will learn how to preview those individual takes and assemble a composite take by choosing sections from multiple takes, a process called comping. Comping techniques are useful when you have recorded several takes of the same musical phrase, each with its good and bad qualities. In the first take, the musician may have messed up the beginning but played the ending perfectly. And in the following take, he nailed the beginning and made a mistake at the end.

You can create a perfectly played comp using the beginning of the second take and the ending of the first take. You can use the same comping techniques to create a single musical passage from multiple musical ideas. As they improvise in the studio, musicians will often record a few takes and later comp the best ideas of each performance into a new, virtual performance.

Previewing the Takes Before you start comping, you need to become familiar with the takes you are going to comp. While doing so, you will assign the takes different colors to help distinguish between them, and then decide which part of which take you will use.

The selected take folder and its takes fill the workspace. The take folder is on the Guitar track, and the three takes it contains are on lanes below the Guitar track. Take 3 at the top is selected and is the take currently playing. The other takes are dimmed to indicate that they are muted. This is useful when you need to assign other regions the same color.

Take 1 is purple. You will keep the blue color for Take 2, and choose a new color for Take 3. The selected take, Take 3, plays. This time the first bar sounds good, but the second bar is rather messy; the third bar sounds good, and then the guitar player plays the wrong chord and stops.

This time the guitarist misses the entire beginning but gives a good performance in the fourth bar of the breakdown. Although each take is a very poor performance, you have all the material you need to create a comp take that will sound good. You will swipe your mouse across the parts of the takes you want to hear in your comp. The entire take is selected, and its color and name are displayed in the take folder.

The mouse pointer does not automatically snap to the grid when Quick Swipe Comping, but snapping would help you edit this kind of rhythmic material. This time the mouse pointer snaps, making it easier to select exactly one measure. Notice that in the take folder on the Guitar track, the waveform and its background color match the sections of the selected takes.

Your comp name, Comp A, now appears next to the take folder name, and the letter A is displayed in the Take Folder pop-up menu to the right of the disclosure triangle. An easy way to start a new comp is to Option-click a take to select it, and start comping again.

There is, however, a lingering noise present at the end of Take 2 you can delete. The upper part of the clicked section is white, indicating that the section is selected. You can hear a double-attack on the downbeat of bar You will now clean up that edit. Holding Control-Shift while you drag temporarily disables the snapping, giving you the precision you need to clean up this edit.

The take folder is replaced by the current comp. The selected sections of the takes in the folder are now replaced by audio regions, and crossfades are displayed at the junctions between regions. You now have a flawless funk rhythm guitar performance during the break. The crossfades, automatically added between edit points during the comping, ensure smooth transitions between the regions.

You will learn how to apply and adjust your own fades and crossfades in the following two exercises. Adding Fades and Crossfades When editing audio, you usually want to avoid abrupt transitions on edit points: the region boundaries and the junctions between regions.

You can use nondestructive fades in the workspace to create smooth transitions. Adding a Fade-Out The very last region on the Guitar track ends abruptly, before the guitar chord has finished its natural decay. You will now add a fade-out to make that last chord end more naturally. You can hear odd blip sounds at the edit points: the beginning of the first region, the junctions between regions, and the end of the last region. The clicks are exacerbated by the reverb in the Amp Designer plug-in on the channel strip.

You can now clearly hear the clicks. The third region, a C minor chord, ends abruptly and the sustain tail of that chord does not sound natural. You can create fades only over region boundaries.

Here, the rectangular frame should cover the end of the region. A fade-out is created. The position where you started dragging determines the length of the fade-out. The fade is curved in the direction you drag.

The guitar and the piano fade out simultaneously at the end of the song, which now sounds cleaner and smoother. The Left-click tool is reassigned as the Pointer tool.

Adding Fades to Remove Clicks In this exercise, you will add very short fades and crossfades to eliminate click sounds that occur at edit points on the final three regions on the Guitar track. You can hear a click at the beginning of the region. You may need to zoom in a few more times to clearly see the shape of the waveform. To add fades using the Pointer tool, you can Control-Shift-drag over the region boundary.

A fade-in is added. The click sound at the beginning of the Ab chord region disappeared. You can hear a click sound at the edit point. A crossfade is added at the junction between the two regions. The click sound at the junction between the regions disappeared. All you need is a very short fade at the edit point to smooth the transition.

This time you will add the crossfade using the parameters in the Region inspector to avoid zooming in and out. A five-millisecond fade-out is added at the end of the selected region. In the workspace, you can see that the fade-out at the end of the selected region is replaced by a crossfade. After editing a section, you may have many small regions with fades between them. You can choose to keep those small regions with the fades so that you can readjust the edits later.

However, if you are ready to commit and would rather deal with a single audio region for the entire section, you can join the regions to render your edits into a new audio file.

An alert asks you to confirm the creation of a new audio file. A new audio region is created in place of the selected regions and their fades. Zooming and scrolling in the workspace can help to an extent; however, when you want to edit the regions of a single track, you can use the Audio Track Editor to focus on that track without changing the zoom level of the Tracks area.

Importing Audio Files Using the All Files Browser You will now import a new audio file to the project: a white noise sound effect you will use later to accentuate the transition between song sections at bar The All Files Browser opens. At the top, three buttons allow you to access all the volumes connected to your computer, your home folder, or the current project folder. The contents of your home folder appear in the browser.

The wave. A new track is created, and the wave audio region is added at bar The audio file was recorded at a low level, and its waveform is rather flat.

Depending on your zoom level, you may not even see a waveform at all. In the next exercise, you will zoom in to the waveform so you can see it clearly. The white noise effect sounds like it will work in that section. However, for maximum effect, it must be positioned so that the climax of the wave sound occurs at bar Using the Audio Track Editor You will now continue editing the wave region nondestructively, but this time in the Audio Track Editor, which allows you to clearly see the grid and the ruler above the regions without having to change the zoom level of the Tracks area.

The Audio Track Editor opens, displaying the wave track and its single region. The wave region fills the Audio Track Editor. You can clearly see the ruler just above the waveform, with vertical grid lines displayed under the waveform.

You can see that the wave region is a stereo audio region because it has two interleaved circles next to its name, and two waveforms are displayed in the Audio Track Editor. As you reach a certain zoom level, two waveforms are displayed, one for each channel. The waveform is a little taller. In the workspace, the wave audio region is moved accordingly. The climax of the wave sound is now perfectly aligned with the transition between song sections at bar The effect would sound even better if the rise before bar 17 were shorter.

Then drag to the right so the region starts at bar The region is now trimmed. All the edits you perform in the Audio Track Editor are reflected in the workspace.

The wave sound now rises rapidly in the last bar of the breakdown and decays slowly in the next section, which works better for this transition. Playing an Audio Region Backward You will now create a new region from the last chord of the Gtr chords region at the end of the Guitar track, and copy it to the beginning of the song.

You will then reverse the new audio region to create a swelling sound effect during the introduction. You will now copy that region to bar 4, the last bar of the introduction. You have a new Gtr chords. In the Tracks area, you can see the Gtr chords.

The swelling guitar chord sounds about right. To get the full impact of the break at the end of the intro, the Gtr chords. To help line up the end of the reversed guitar with the first notes on the bass track, you can zoom in horizontally and position the playhead at the beginning of the Skyline Bass.

Now the swelling guitar chord sounds smooth. Aligning Audio Accurately aligning audio material to the grid, or to other instruments in the song, is crucial to realizing a professional-sounding song. No amount of plugins, mixing, or mastering techniques can fix a sloppy arrangement, so getting a tight-sounding arrangement before moving on is important. You will now import a guitar recording that was removed from the workspace but kept in the Project Audio Browser.

That guitar was removed because of timing issues, which you can now fix using the Flex tool. The third note, at bar 2, sounds out of place, while the other notes play at the second and fourth beat of each bar, much as a snare would be heard in a drum pattern.

You will move that third dead note to the second beat of bar 2. The audio files used on the Guitar track are analyzed for transients. You may see a progress window briefly. You will learn more about flex editing in Lesson 7.

Depending on its position over the waveform, the Flex tool can perform different functions, indicated by different tool icons. The dead notes in the first two bars now sound consistent. The dead notes in this guitar region are still not located perfectly on the grid.

If you wanted to take this a little further, you could set your snap mode to Beat, zoom in closer on the first guitar note, and use the Flex tool to drag it exactly on the beat. You now know how to read a waveform, identifying notes and their attacks to perform precise and clean edits.

You acquired skills with a number of editing tools—such as the Marquee tool, Fade tool, Resize tool, Flex tool, take folders, and snap modes—that you will continue to use as you edit recordings and arrange projects. Further, you can now accelerate your workflow by choosing the appropriate Left-click and Command-click tools for each job.

As you produce more music in Logic, you will continue sharpening those skills in the course of becoming an increasingly proficient audio engineer. What is nondestructive audio editing? Where can you perform nondestructive editing? How do you comp takes? How do you prepare to edit the takes inside a take folder? How can you see the result of your comp as regions?

How do you add a fade-in or fade-out to a region? How do you add a crossfade between two regions? How do you select a section of an audio region? Which tool allows you to move an individual note inside an audio region without dividing the region? Audio region editing that does not alter the audio data in the referenced audio file 2.

In the workspace or in the Audio Track Editor 3. Open the take folder, and drag over each take to highlight the desired sections. The take folder assembles a comp including all the highlighted sections. From the Take Folder pop-up menu, choose Flatten. Drag the Fade tool over the boundaries of a region or Control-Shift-drag the Pointer tool , or adjust the Fade In parameter in the Region inspector.

Drag the Fade tool over the junction of the regions or Control-Shift-drag the Pointer tool , or adjust the Fade Out parameter in the Region inspector. Use the Marquee tool. Goals Create a new project with a Drummer track Choose a drummer and drum kit Edit the drummer performance Arrange the song structure Edit performances in the new sections Customize the drum kit Tune and dampen individual kit pieces Work with electronic drummers Customize drum machines Convert Drummer regions to MIDI regions In most popular modern music genres, drums are the backbone of the instrumentation.

They provide the foundation for the tempo and groove of the piece. For recording sessions in which the instruments are not tracked at the same time, drums are usually recorded or programmed first so that the other musicians can record while listening to their rhythmic reference. In this lesson, you will produce virtual indie-rock, hip-hop, and electro-house drum tracks. Creating a Drummer Track Drummer is a Logic Pro X feature that allows you to produce drum tracks using a virtual drummer with its own personal playing style.

Its performance is placed in Drummer regions on a Drummer track. Using the Drummer Editor, you can edit the performance data contained in a Drummer region.

Each virtual drummer also comes with its own drum kit software instrument plug-ins: Drum Kit Designer or Drum Machine Designer which controls Ultrabeat in the background.

A new project opens along with the New Tracks dialog. A Drummer track is created along with an eight-bar Drummer region. At the bottom of the main window, the Drummer Editor opens, allowing you to edit the performance in the Drummer region that is selected in the workspace. The track is named SoCal Kyle , which is the name of the default drum kit and default virtual drummer in the Rock category.

The project tempo is set to bpm, which suits the selected music genre. The drummer starts with a crash cymbal and plays a straightforward rock pattern. At the end of the Drummer region, a drum fill leads into the next section, which you will add later. If necessary, continue zooming vertically by dragging the vertical zoom slider or pressing Command-Down Arrow until you can see two lanes in the Drummer region. The Drummer region displays drum hits as triangles on lanes, roughly emulating the look of drum hits on an audio waveform.

Kicks and snares are shown on the bottom lane; cymbals, toms, and hand percussions are on the top lane. Now you can read the Drummer region. In the next exercise, you will listen to multiple drummers and several performance presets.

Later, you will zoom in again to see the Drummer region update as you adjust its settings in the Drummer Editor. Choosing a Drummer and a Style Each drummer has his own playing style and drum kit, and those combine to create a unique drum sound. In the Library, drummers are categorized by music genres.

By default, choosing a new drummer means loading a new virtual drum kit and updating Drummer region settings. But sometimes you may want to keep the same drum kit while changing the drummer, which you will do in this exercise.

The Library lets you access drummers and drum kit patches. The Drummer Editor shows the settings for the selected Drummer region. A yellow ruler allows you to position the playhead anywhere within the region, and you can click the Play button to the left of the ruler to preview the Drummer region.

As in the Tracks area, you can also double-click the ruler to start and stop playback. The selected region plays in Cycle mode, and the cycle area automatically matches the region position and length. The selected region is soloed— indicated by a thin yellow frame. Soloing the region helps you focus on the drums when you have other tracks in the project. You are looking for a drummer with a simple, straightforward style that more appropriately serves the song.

In the Tracks area, Cycle mode is automatically turned off, the dimmed cycle area returns to its original position and length, and the selected region is no longer soloed. When you click a preset, the region settings update and you can hear another performance from the same drummer.

The current patch is locked, and changing the drummer will no longer load a new drum kit. You are now ready to customize the performance. Editing the Drum Performance In a recording session with a live drummer, the artist, the producer, or the musical director must communicate their vision of the completed song. They may ask the drummer to play behind or ahead of the beat to change the feel of the groove, switch from the hi-hat to the ride cymbal during the chorus, or play a drum fill in a specific location.

In Logic Pro X, editing a drummer performance is almost like giving instructions to a real drummer. In this exercise, you will play a drum region in Cycle mode as you adjust the drummer settings. Next to the presets, an XY pad with a yellow puck lets you adjust both the loudness and the complexity of the drum pattern.

After positioning the puck, you must wait for the region to update update time varies depending on your computer. If you drag the puck constantly, the region will not update. As you position the puck farther to the right, the drum pattern becomes more complex, and as you move the puck toward the top of the pad, the drummer plays louder. As the drummer plays softer, he closes the hi-hat and switches from hitting the snare drum on the skin to playing rim clicks hitting only the rim of the drum.

As he plays louder, he opens the hi-hat and start playing rim shots hitting the skin and the rim simultaneously for accent. The menu lets you choose a track to influence what the drummer plays on the kick and snare. The drummer now simply alternates kick and snare on every beat. Listen to the hi-hat. It is currently playing eighth notes. The hi-hat now plays only on the beat quarter notes , which works well for up-tempo songs.

The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9. You should still see a fill at the end of the region. Dragging the Fills knob by a tiny amount is a quick way to refresh a region. You can also click the Action pop-up menu next to the Presets menu and choose Refresh Region.

You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. A new eight-bar Drummer region is created at bar 9. The new region is selected, and the Drummer Editor displays its region settings, the same as the original Drummer region on the track. You can hear the second region in Cycle mode. The hi-hat is dimmed, the cymbals are yellow, and you can hear the drummer play a ride cymbal instead of the hi-hat.

The drummer is playing the ride cymbal on every eighth note. For a more powerful chorus, you instead want it to play crash cymbals on every beat. You now hear crash cymbals on every beat and the beat has more impact. You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern. You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus. They are the two most important building blocks of the song you will now start arranging.

Arranging the Drum Track In this exercise, you will lay out the song structure and populate the Drummer track with Drummer regions for the whole song.

Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song. The global tracks open, with the Arrangement track at the top. A shortcut menu opens in which you select the global tracks you want to display. The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships.

An eight-measure arrangement marker named Intro is created at the beginning of the song. By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song.

You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. An eight-bar marker is created. A four-measure intro will be long enough, so you can resize the Intro marker before moving it.

The Intro marker is inserted at bar 1, and the Verse and Chorus markers move to the right of the new Intro section. In the workspace, the Drummer regions move along with their respective arrangement markers.

As with regions in the workspace, you can Option-drag a marker to copy it. Option-drag the Verse marker to bar 21, right after the chorus.

 
 

 

Logic pro x manual pdf freefree

 

In this best-selling series, I also released a few Logic manuals. This is the best way to learn this app, no matter if you are a beginner, intermediate, or even an advanced user. No other Logic book provides such an in-depth explanation my Logic books have a total of over 2, pages that is so easy to learn due to the visual approach. Order books:. The most in-depth explanations of all the new features and changes in Logic Pro With unique diagrams you won’t find anywhere else.

Preview it. There are also a few free books. Want to start with GarageBand first? Graphically Enhanced Manuals. Your books can be considered as a reference model for software manuals. I cannot praise you enough, you are great at this – Scot C. I like your book style. Cuts to the workings and is spot on for a full explanation.

Love your writing! Thank you for your wonderful book – Larry C. Thanks for a fantastic series of books – just what the doctor ordered.

I love your manuals. They are a huge help and are written in a concise and informative style that is rare in the manual world! Again, congratulations on a really excellent manual! Many thanks for the effort you put into these books. A true gem. My Logic Books are endorsed by Apple. Logic Pro X Manuals.