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Once that slider is set to a sensible value, everything behaves normally, and shift-double-click on a track header border resizes all tracks to that sensible height. I shan’t list describe every plug-in, but Match EQ is worthy of further exploration. If you have a trackpad you can hold down the option key while you two-finger-swipe left or right to zoom in or out of your project in height horizontal zoom. I found some practical-joke forum posts which suggested shift-double-click on the lower border of a track header. However, most of the plug-ins that failed or crashed the AU validation test have already been updated or are in the process of being updated, and on my system, Logic certainly boots up a lot faster than before.❿


Logic Pro X Cheat Sheet | ShortcutFoo

The Global Tracks display is normally at the top of the relevant window’s working area and can be hidden when not required. Of course, being based on the same engine as EVB3, the processor load is also similar. The amount of pitch correction is shown on a horizontal meter where the centre corresponds to no correction. The EXS24 sampler has also been updated to allow the drag-and-drop placement of samples in the Edit page. When a Garage Band song is imported, Logic tracks are created to match the Garage Band tracks and effects are provided via busses 1 and 2, which are set up with Platinumverb and Tape Delay by default.❿

Horizontal zoom logic pro x free download.Zoom the Tracks area or editor


Any missed transients can be added manually and ‘false hits’ can be removed from the list before the file is saved. As I understand it, the process doesn’t actually slice the file into beats, but rather adds the data to its metadata list, which tells Logic or Garage Band how to deal with the file when its length is changed. This avoids the doubling of transients that can occur with some simpler time-stretch algorithms and is one of the reasons Apple Loops retain such good quality when being sped up, slowed down or changed in pitch.

Anyhow, it seemed easy enough to use and I got some great results without having to do any manual tweaking. After I turned some of my existing rhythm parts into Apple Loops, they could be stretched or compressed by 25 to 30 percent without sounding unduly processed.

A good selection of Apple Loops is included, and working with them is joyously simple via the included Loops Browser. Loops can be auditioned and then dragged directly into a song, at which point their tempo and key will be made to match automatically. I know that serious musicians tend to frown on this kind of ‘identikit’ approach to music making, but it does provide a simple means of sketching out songs, even if you replace all the parts later.

Apple Loops can be transposed from within the new Global Tracks Transpose section using a graphical approach similar to existing automation editing, and Arrange object loops may now be created Garage Band-style by dragging from the upper end of an original Audio object to the desired location. The old Logic looping mode still works too, but the advantage of this new method is that you can stop the loop at any point without having to place an Arrange object in the track to act as an end-stop.

Apple Loops and MIDI parts will follow transpose changes in the Global Tracks, but conventionally recorded or imported audio won’t be affected unless first converted to the Apple Loops format.

Other than the addition of numerous new plug-ins, the Arrange page is where most visual changes to Logic Pro have taken place. Editing is still not sample-accurate in the Arrange window, but the editing system now includes new edit modes that will be more familiar to Pro Tools users.

The new modes are Shuffle, Snap and Crossfade, and are accessed by two small edit behaviour menus Snap and Drag at the top right of the Arrange window. Shuffle joins regions without gaps or overlaps in a similar way to Pro Tools, but also offers separate Shuffle Left and Right modes so that either the object before or the one after the one being worked on does the moving.

The Snap menu provides the option to snap regions to a user-definable time grid or to use an intelligent Auto Snap mode based on the current screen resolution, and Crossfade creates an automatic crossfade when two audio regions are overlapped by dragging one over the other.

These new modes are very useful when using Logic for complex editing, and of course the track grouping facility introduced a few incarnations ago means that you can edit multiple tracks at the same time without losing sync between them.

However, when using groups I’d like to see a more flexible Glue tool bounce dialogue that provides the choice of mixing all the regions in the group to new and separate tracks. Sometimes you just want to make edits permanent without combining the tracks as well, and currently you have to ungroup the parts before you can glue them up separately. Still on the Arrange page, we have new Zoom sliders that can be dragged or clicked to change the horizontal and vertical zoom resolutions and there’s also a ‘crosshair’ section in the horizontal zoom toolbar that can be used for scrolling both horizontally and vertically at the same time.

Three zoom resolutions can be memorised and recalled via keys, but having the vertical and horizontal sliders at diametrically opposite corners of the Arrange window seems somewhat less ergonomic than it could be. Having worked with these for a while now, I still prefer the old ‘telescopes’. You can still use key commands for zooming, though, if you prefer that way of working, and my Logic Control units functioned normally with Logic Pro 7, so you can also zoom from there if you have one.

Double-clicking on an Audio object within the Arrange window now opens the Track Mixer rather than the Audio Environment, and it seems to be Apple’s intention to wean us away from using the Audio Environment for routine mixing work.

In most respects the Track Mixer is extremely good, with view choices that let you see only the type of tracks you want to see, but by only being able to show what’s in the Arrange window, it falls down in not allowing you to see busses and masters unless they already exist on the Arrange page — where you may not really need them to be. If you are to insert master processing plug-ins or buss effects, you need to be able to get at these from within the Track Mixer without littering your Arrange window with things you don’t really want to see.

My current workaround is to put all these at the bottom of the Arrange page and then slim their tracks view as much as possible to save space or hide them , but I feel it would be far better to be able to access them from within the Track Mixer without having to do this. Conversely, a way to access the master level control and meters from the Arrange page would also be useful.

Though the cosmetics of the Track Mixer and Audio Environment seem to have take on an overly grey persona, there are some significant improvements here too, not least of which is that the selected Audio object is now shaded a paler colour to make it very easy to spot.

You can also now save and load channel strip settings, complete with effects, from within the Track Mixer or the Arrange window Channel Strip. Of course this opens up a whole new world for the preset creators, and already there’s a library of hundreds of channel strip settings for those users too shy to create their own settings from scratch.

The ability to save your own processing setups is very welcome, even though you may have to make material-specific tweaks to the plug-in settings once you’ve called them up.

Another time-saver is the improved ability to select multiple Audio Environment objects and then edit their routing simultaneously. This also works in the Track Mixer. You could do this with earlier versions, but then you had to remember which function keys to hold down!

This works for both input and output sources and for the sends, which really does save on a lot of tedium, but it doesn’t allow multiple tracks to be grouped simultaneously — you still need to do that on a track-by-track basis. One gripe that I know a number of users have expressed has finally been addressed — plug-in windows can now have their link box ticked to make them change to whatever plug-in is being used in the selected sequencer track.

This looks at the top plug-in slot where multiple plug-ins are being used and gets around the old problem where you would be looking at one track and inadvertently adjusting the plug-in belonging to another. Furthermore, open plug-in windows can now be saved as part of screensets.

For the travelling composer who likes to write songs on the train or even on the beach using a laptop, pressing the Caps Lock key brings up a keyboard diagram showing which of the computer keys now function as keys for playing MIDI instruments.

Other keys allow the octave and velocity to be changed and, best of all, it works polyphonically so you can enter chords from your computer keyboard simply by pressing down the requisite key combination. The key layout mirrors that of a conventional keyboard, though some key stickers might make it more usable. Composer David Lowe, who dropped around to see Logic Pro 7 in action, picked this as the one feature that would be of most use to him, as he spends such a lot of time working on trains and planes.

Since then, Korg’s Legacy Collection has been updated and is accepted without fuss, as has the Powercore collection. At the time of writing, two of the three Spectrasonics instruments had been tweaked, with the third following close behind, and Waves, Native Instruments and Yamaha were already on the case when I called them. Hopefully the integral testing routine will improve the stability of the system by warning the user against using any plug-ins that might rock the boat.

For power users, the most welcome news is that Logic can now make use of multiple computers to share the processing load, though its approach is very different to that employed by Steinberg who were, as with so many things, first off the starting block in this area.

No additional audio cards, copies of Logic Pro or dongles are needed for the additional computers, just a small piece of software called Logic Node that come with the Logic Pro install discs. This system is based on a conventional network using high-speed Giga Ethernet and the TCP protocol, where the additional computers are known as nodes. The users sets up the network connection between host and node in the usual way.

The documentation suggests that connection over Firewire is also a possibility, but when I asked about this, I was told that Giga Ethernet is the best choice, as Firewire bandwidth is lower than that of Gigabit Ethernet, and in a typical music system, the Firewire buss may already be in use servicing audio interfaces, hard drives and so on, so the bandwidth left for networking would be restricted. Where multiple node computers are connected, the network switcher must also be able support Gigabit bandwidth, and Logic Node requires OS The documentation specifies the node machines as either single or dual-processor G5s, with the host machine being either a G4 with Giga Ethernet or a G5.

In use, you run tracks you’re currently working on on the master machine to avoid latency problems. Once completed, they can be switched from the host processor to node processing using a Track Node button, whereupon everything runs in perfect sync. The Track Node buttons can be brought into view via the View menu and have three states: disabled, enabled but inactive or enabled and active.

I don’t have two Giga Ethernet-compatible machines of my own, but the Emagic engineers set up a working demonstration for me using a G4 Powerbook as the master machine and a G5 as the node. It worked perfectly, with the CPU meter on the laptop hardly flickering, even though the song contained a lot of heavy-duty plug-ins. I didn’t have a chance to see the system working with multiple nodes, but in theory this should be no more problematic. Where multiple node machines are in use, Logic automatically shares the load between them for any node-enabled tracks.

It is now possible to render regions or sections of regions with specific plugin choices. If I simply hit Apply it is rendered. We now have a preference to use a bit summing engine instead of the bit in previous versions, although the latter is still an option. Can you hear the difference? This feature is somewhat similar to a Pro Tools Playlist. You can record several alternatives and then audition them by pressing the power button on each. You then have the options to rename them, duplicate them, hide or delete the inactive ones.

This is not a biggie for me, but for EDM folks it may be. With the Modulator plugin, you can control parameters in other plugins by learning the plugin parameters. You now can trigger sidechaining of a plugin with a software instrument as well as audio, something many mixers have wanted for a long time. You can also now import Music XML files. More articles by this author. Jay is a Los Angeles-based composer, songwriter, arranger and orchestrator, conductor, keyboardist, as well as vocalist.

When the pointer is over an empty part of the Tracks area , you can simply press and hold the Option key. In Logic Pro, click the background with the Zoom tool. This action returns the zoom level to the original setting, or backtracks through previous zoom steps if the tool was used multiple times.

Zoom the Tracks area or editor using the playhead In Logic Pro, press and hold Option as you click and hold in the lower section of the ruler , then drag the top of the playhead up or down. Zoom using your computer trackpad In Logic Pro, pinch on the trackpad using two fingers. Drag to select the area you want to zoom with the Zoom tool. The selected area fills the window.

Reassign any button on your mouse to perform virtually any task. For advanced devices, you can adjust the scroll wheel, cursor speed, and much more Mouse button customization available on Windows and macOS, F-key customization available on Windows only.

Enhanced key functions let you set Logitech keyboards to behave just the way you like. Enable the gesture button to reproduce trackpad gestures you’re already familiar with. Hold the gesture button and move the mouse up, down, left or right to activate different actions such as Windows Task View or Mission Control on the Mac.

Control your media playback, pan, zoom, and rotate too. Customize your buttons for each of the apps you use. Know when your battery life is about to run out and when it’s time to recharge so you’re never caught off guard.

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