Tips Chronicles Volume One

Apple Pro Training Series: Logic Pro X Advanced Audio Production
Apple Pro Training Series

Software Instruments: Program Mixing: Mix real-world sessions in stereo and Time and Pitch: Manipulate timing and pitch
the ground-breaking synthesizers and surround sound while gaining a mastery over signal using Logic Pro’s arsenal of tools, including the
samplers in Logic Pro. flow in the Logic Pro mixer. Flex Time and Flex Pitch features.
Composing and Producing Professional Audio

Logic Pro X Advanced Audio Production
The Apple-Certified Way to Learn
In this Apple-certified guide, author David Dvorin demonstrates The Apple Pro Training Series is both a self-paced
the powerful advanced features in Logic Pro X that have led many learning tool and the official curriculum of the Apple Training
of the world’s top producers, composers, and engineers to make and Certification program. To find an Apple Authorized Training
this program the centerpiece of their music studios. Starting Center near you, please visit training.apple.com.
with tips to speed up your workflow, he teaches you how to fully
utilize Logic’s deep feature set for music production and editing, Also in the Apple Pro Training Series:
notation, and working with video. Along the way, he reveals real-
 Final Cut Pro X 10.2
world techniques for mixing, editing, and producing, and shares
 Pages, Numbers, and Keynote
 OS X Support Essentials 10.10
professional secrets for streamlining production workflows and
 OS X Server Essentials 10.10
constructing a mix to meet the most exacting standards.
About the Author David Dvorin, Emmy-nominated composer,
Experienced Logic users and newcomers alike will find invaluable
methods for manipulating tempo and pitch, fine-tuning audio educator, author, and performer, has composed music for film, Apple Pro Training Series
and MIDI tracks, managing signal flow, and programming Logic’s video games, and television projects, as well as numerous concert
revolutionary software instruments. works. In addition to his own work as a recording artist and
performer, he has collaborated extensively with such musical
Logic Pro X
 Downloadable lesson and media files allow you to perform
luminaries as composer Terry Riley and the Kronos Quartet.
the hands-on exercises.
A former education and Logic Pro specialist at Apple Inc., David
 Focused lessons take you step by step through professional
has also served as a professional consultant to music technology
real-world projects.
companies such as Native Instruments. He is currently a professor
Advanced Audio
 Accessible writing style puts an expert instructor at your side.
of music composition and electronic music at California State
 Ample illustrations help you master techniques fast.
University, Chico.
 Lesson goals and time estimates help you plan your time.
 Chapter review questions summarize what you’ve learned.
Production
Dvorin
Companion Web Page: USA $59.99 Canada $74.99
www.peachpit.com/apts.logicproxadv
ISBN-13: 978-0-13-413581-6
ISBN-10: 0-13-413581-4
Composing and Producing Professional Audio
Level: Intermediate/Advanced 5 5 9 9 9
Peachpit Press Category: Audio Production/Digital Video
www.peachpit.com Requires: Logic Pro X 10.1, OS X 10.9
or later, 64-bit processor
9 780134 135816
David Dvorin
Lesson and media files available for download
Apple Pro Training Series
Logic Pro X Advanced

Audio Production
David Dvorin
Apple Pro Training Series: Logic Pro X Advanced Audio Production
David Dvorin
Copyright © 2015 by David Dvorin
Updated for Logic Pro X v10.1.1 June, 2015
Peachpit Press
www.peachpit.com
To report errors, please send a note to errata@peachpit.com.

Peachpit Press is a division of Pearson Education.
Apple Series Editor: Lisa McClain

Editor: Bob Lindstrom
Production Coordinator: Maureen Forys, Happenstance Type-O-Rama
Technical Editor: Robert Brock
Apple Project Manager: Shane Ross
Apple Reviewer: Shane Ross
Copy Editor: Darren Meiss
Proofreader: Darren Meiss
Compositor: Cody Gates, Happenstance Type-O-Rama
Indexer: Jack Lewis
Cover Illustration: Paul Mavrides
Cover Production: Cody Gates, Happenstance Type-O-Rama
Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For infor-
mation on getting permission for reprints and excerpts, contact permissions@peachpit.com.
Footage from “2nd Impressions” used with permission of Ripple Training. ©2015 Ripple Training. “Georgie the
Spider,” “Sintra,” and “The Only Light That’s On” composed, performed, recorded, and produced by David Dvorin.
Composition ©2010 by Re:Beat Music/BMI. “Midnight Wonder” from the album Friends of Mine by The Colonel’s
Men appears courtesy of Harrison Hedriana. ©2015 Harrison Hedriana. “A Blues for Trane” appears courtesy of Grant
Levin and Rocky Winslow. ©2007. Originally recorded by Dann Sargent, Brian Randolph, Eric Markow, Nicholas
Lowe, Jordan Zizzi, and Dan Phelps. Original producer, chief engineer, and recording and mixing supervisor was Joe
Alexander. “Anatomy of a Human Bomb” appears courtesy of Caesar Filori and Wideband Network. ©2009.
The projects and footage supplied with this book may only be used for educational purposes in association with the
lessons included. Any other use, including but not limited to incorporating footage into another project, duplicating or
distributing footage, is expressly forbidden and requires explicit permission from the copyright holders listed above.
Notice of Liability
The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been
taken in the preparation of the book, neither the author nor Peachpit Press shall have any liability to any person or
entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions con-
tained in this book or by the computer software and hardware products described in it.
Trademarks
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks.
Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear
as requested by the owner of the trademark. All other product names and services identified throughout this book are
used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark.
No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book.
ISBN 13: 978-0-13-413581-6

ISBN 10: 0-13-413581-4
98765432
Printed and bound in the United States of America
Acknowledgments Love and humble thanks to my wife Keri, son
Jonah, and daughter Zinnia for their support and patience throughout the
writing of this book.
Special thanks to all of the talented musicians who provided material for use in
this edition of the book:
Harrison “Polo” Hedriana and The Colonel’s Men for their
song “Midnight Wonder”
Grant Levin for his composition “A Blues for Trane”
Rocky Winslow and Randy McKean for playing on “Georgie the Spider”
Steve Martin for the use of the “2nd Impressions” footage
Caesar Filori and Wideband Network for providing “Anatomy
of a Human Bomb”
Contents at a Glance
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Setup and Production

Lesson 1 Speeding Up Your Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Lesson 2 Working with Time and Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Creating Your Own Sounds with Software Instruments

Lesson 3 Synthesis with the ES2 Synthesizer . . . . . . . . . . . . . . . . . . . . . . . .81
Lesson 4 Sampling with the EXS24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Lesson 5 Sound Design with Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Lesson 6 Building Drum Sounds with Ultrabeat . . . . . . . . . . . . . . . . . . 165
Editing
Lesson 7 Working with the Arrangement. . . . . . . . . . . . . . . . . . . . . . . . . 197
Lesson 8 Advanced Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Lesson 9 Advanced MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Mixing
Lesson 10 Managing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Lesson 11 Controlling Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Lesson 12 Controlling the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Advanced Topics
Lesson 13 Working with Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Lesson 14 Real-time MIDI Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Lesson 15 Working with Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Lesson 16 Working with Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
See last page of this eBook for instructions on downloading your lesson files.
v
Table of Contents
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Setup and Production
Lesson 1 Speeding Up Your Workflow . . . . . . . . . . . . . . . . . . . 3

Creating Your Own Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Customizing the Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Using Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Accessing the Tool Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Saving a Project Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Opening and Creating Projects Automatically . . . . . . . . . . . . . . 27
Backing Up and Transporting Your Setup . . . . . . . . . . . . . . . . . 29
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Lesson 2 Working with Time and Pitch . . . . . . . . . . . . . . . . 33

Stretching and Compressing Time . . . . . . . . . . . . . . . . . . . . . . . . 34
Using Flex Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Using Flex Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Working with Rubato Passages . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Creating Your Own Sounds with Software Instruments
Lesson 3 Synthesis with the ES2 Synthesizer . . . . . . . . . . . . . 81

Understanding the User Interface . . . . . . . . . . . . . . . . . . . . . . . . 82
Exploring the Oscillator Waveforms . . . . . . . . . . . . . . . . . . . . . . 83
vi
Contents vii
Using Oscillator Modulation to Create Interesting Sounds . . . 88

Sculpting Your Sound Using the Filters . . . . . . . . . . . . . . . . . . . . 92
Using Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Exploring the Output/Processing Section . . . . . . . . . . . . . . . . . 113
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Lesson 4 Sampling with the EXS24 . . . . . . . . . . . . . . . . . . . . 117

Creating Sampler Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Using the EXS24 Instrument Editor. . . . . . . . . . . . . . . . . . . . . . 120
Creating Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Using the Parameter Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Creating Multiple Zones from Region Transients . . . . . . . . . . 132
Using Filters and Modulation to Process the Sound . . . . . . . . 136
Using Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Routing Individual Sounds for Processing . . . . . . . . . . . . . . . . 143
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Lesson 5 Sound Design with Sculpture . . . . . . . . . . . . . . . . 149

Understanding the User Interface . . . . . . . . . . . . . . . . . . . . . . . 150
Understanding the String. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Using Objects in Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Adjusting the Pickups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Processing the Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Using Modulation in Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Saving and Trying Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Lesson 6 Building Drum Sounds with Ultrabeat . . . . . . . . 165

Selecting Sounds in the Assignment Section . . . . . . . . . . . . . . 166
Exploring the Sound Generators . . . . . . . . . . . . . . . . . . . . . . . . 168
Processing with the Filter and Bitcrusher . . . . . . . . . . . . . . . . . 179
Creating Drum Patterns with Step Sequencing . . . . . . . . . . . . 181
Automating Parameters in Step Mode . . . . . . . . . . . . . . . . . . . . 188
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
viii Contents
Editing
Lesson 7 Working with the Arrangement . . . . . . . . . . . . . . 197

Navigating the Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Using Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Saving Arrangements as Alternative Files . . . . . . . . . . . . . . . . . 216
Using Global Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Comparing Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Lesson 8 Advanced Audio Editing . . . . . . . . . . . . . . . . . . . . 235

Smoothing Transitions with Crossfades . . . . . . . . . . . . . . . . . . 236
Fixing Clicks in the Audio File Editor . . . . . . . . . . . . . . . . . . . . 242
Creating New Parts from Existing Ones . . . . . . . . . . . . . . . . . . 245
Editing with Mixer Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Repairing Drums with Marquee Transient . . . . . . . . . . . . . . . . 265
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Lesson 9 Advanced MIDI Editing . . . . . . . . . . . . . . . . . . . . . 279

Using Aliases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Working with Region Parameters . . . . . . . . . . . . . . . . . . . . . . . . 283
Selecting MIDI Events for Editing . . . . . . . . . . . . . . . . . . . . . . . 300
Using MIDI Transform Functions . . . . . . . . . . . . . . . . . . . . . . . 302
Separating MIDI Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Mixing
Lesson 10 Managing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Importing Channel Strips and Data . . . . . . . . . . . . . . . . . . . . . . 320
Working with the Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Creating Production Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Panning Stereo Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Switching the Contents of the Plug-in Window . . . . . . . . . . . . 334
Changing Plug-in Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Using a Plug-in’s Extended Parameters . . . . . . . . . . . . . . . . . . . 338
Contents ix
Using Mixer Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Lesson 11 Controlling Signal Flow . . . . . . . . . . . . . . . . . . . . . 349

Using Side Chain Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Positioning Sends Pre or Post Channel Strip Controls . . . . . . 356
Labeling Your Audio Interface’s Inputs and Outputs. . . . . . . . 364
Incorporating External Effects Processors . . . . . . . . . . . . . . . . 367
Bouncing in Place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Lesson 12 Controlling the Mix . . . . . . . . . . . . . . . . . . . . . . . . 379

Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Applying Automation to Multiple Tracks at Once . . . . . . . . . . 390
Using Control Surfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Advanced Topics
Lesson 13 Working with Surround . . . . . . . . . . . . . . . . . . . . . 419

Configuring Logic for Surround . . . . . . . . . . . . . . . . . . . . . . . . . 420
Mixing in Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Using Surround Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Checking the Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Downmixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Bouncing the Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
Lesson 14 Real-time MIDI Processing . . . . . . . . . . . . . . . . . . 451

Processing MIDI with MIDI Plug-ins . . . . . . . . . . . . . . . . . . . . 452
MIDI Processing in the Environment . . . . . . . . . . . . . . . . . . . . 458
Navigating in the Environment. . . . . . . . . . . . . . . . . . . . . . . . . . 458
Creating Environment Objects . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Creating Signal Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Using Touch Tracks Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
x Contents
Lesson 15 Working with Notation. . . . . . . . . . . . . . . . . . . . . . 501

Creating Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Entering Notes Using Graphic Input . . . . . . . . . . . . . . . . . . . . . 503
Entering Notes Using Step Input . . . . . . . . . . . . . . . . . . . . . . . . 513
Working with Guitar Notation . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Creating Chord Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Transcribing a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Working with Drum Notation . . . . . . . . . . . . . . . . . . . . . . . . . . 541
Creating Scores and Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
Lesson 16 Working with Picture . . . . . . . . . . . . . . . . . . . . . . . 559

Creating Post-Production Audio . . . . . . . . . . . . . . . . . . . . . . . . 560
Opening the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
Using Markers to Spot the Movie . . . . . . . . . . . . . . . . . . . . . . . . 569
Importing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Positioning Events on the Timeline . . . . . . . . . . . . . . . . . . . . . . 577
Creating the Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Exporting Audio to Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Lesson Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
See last page of this eBook for instructions on downloading your lesson files.
Getting Started
We are lucky to live during one of the most exciting periods in the history
of the music production industry. Just a few years ago, you would need a
studio filled with synthesizers, hardware effects processors, mixing con-
soles, and expensive multitrack tape machines to accomplish what you can
now produce in a small project-based environment with a computer, an
audio interface, and the right software. It’s a good time to be a musician.
Apple Pro Training Series: Logic Pro X Advanced Audio Production:

Composing and Producing Professional Audio is intended to help experi-
enced composers, arrangers, and producers enhance their current Logic
skills while working with real projects based on real-world scenarios.
You’ll learn how to accelerate editing tasks and increase the overall
efficiency of your production workflow. You’ll refine your mixing tech-
niques, manipulate tempo and pitch, create notated parts and scores, mix
for surround sound, and develop music and audio tracks for video and
film. You’ll unlock the limitless potential of the groundbreaking software
instruments in Logic by creating your own sounds from scratch.
Whether you’re tweaking a song structure, applying effects processing,

or editing audio and MIDI tracks, this book explains insider techniques
to make your time with Logic Pro X more productive and creative.
xi
xii Getting Started
The Methodology
This book is written for users who already have a working knowledge of Logic Pro.
(Beginning or less-experienced Logic users should read Apple Pro Training Series: Logic
Pro X 10.1: Professional Music Production by David Nahmani (Peachpit Press). Composers,
audio engineers, and music producers currently working with Logic Pro will have the
most to gain from this book.
The book is divided into six sections:
▶ Lesson 1 lays a foundation by helping you customize your Logic workflow. You’ll cre-
ate an environment designed to increase efficiency well after you’ve completed the
exercises in the book.
▶ Lesson 2 reveals the deep Logic feature set for manipulating time and pitch, including
Flex Time and the new Flex Pitch feature.
▶ In Lessons 3 through 6, you’ll create your own sounds using the most advanced soft-
ware instruments in Logic: ES2, EXS24 mkII, Sculpture, and Ultrabeat. Gaining an
understanding of these powerful synthesizers and samplers will add a wealth of musi-
cal resources to your future sessions.
▶ In Lessons 7 through 9, you’ll shape your tracks into an arrangement. Using the MIDI
and audio editing tools, you will refine the sound and structure of your composition,
correcting production problems and making the most of your best takes.
▶ A composition is only as good as it sounds, which makes mixing and mastering your
arrangement an essential part of the creative process. Lessons 10 through 12 guide
you in taking your composition to the final level. You’ll use the Logic Pro Mixer, auto-
mation, control surface support, and effects processing to bring your creative output
to highest degree of production quality.
▶ For many projects, Logic Pro will be an all-inclusive working environment that car-
ries composers and producers from musical idea to final recording, from manuscript
paper to the big screen. Lesson 13 provides a foundation for developing your sur-
round sound mixing skills by using Logic’s extensive surround support. In Lesson 14
you’ll creatively process MIDI data both with MIDI plug-ins and by creating objects
in the Environment. Lesson 15 shows you how to use Logic Pro’s extensive notation
capabilities to create musical parts and scores. Finally, in Lesson 16 you’ll explore
Logic Pro’s power as a film and video scoring tool.
System Requirements xiii
System Requirements
Before beginning to use Apple Pro Training Series: Logic Pro X Advanced Audio Produc-
tion: Composing and Producing Professional Audio, you should have a working knowledge
of your computer and its operating system. Make sure that you know how to use the
mouse, navigate standard menus and commands, and also open, save, and close files. If
you need to review these techniques, see the printed or online documentation included
with your system.
For the basic system requirements for Logic Pro X, go to www.apple.com/logic-pro/specs.
Preparing Your Logic Workstation

The exercises in this book require that you install Logic Pro X along with its default media
content. If you have not yet installed Logic, you may purchase it from the App Store. When
your purchase is completed, Logic Pro X is automatically installed on your hard drive.
All the instructions and descriptions in this book assume that you installed Logic Pro X
on a Mac without any legacy Logic media, and that you downloaded all the additional
media except for the Legacy and Compatibility content.
When you first open Logic Pro X, the app will automatically download and install about
2 GB of essential content. An alert then offers to download additional media content.
Click Download Additional Content to install all the Logic Pro X media content. In the
Additional Content window, click the Select All Uninstalled button at the lower left, and
double-click the “Legacy and Compatibility” checkbox to deselect it. Depending on the
speed of your Internet connection, the following download may take several hours.
NOTE ▶ If you have already installed Logic Pro X but did not install the additional
content, choose Logic Pro X > Download Additional Content, and click Select All
Uninstalled (make sure the “Legacy and Compatibility” content is not selected).
Finally, click Install.
xiv Getting Started
After you’ve installed all additional media, your Additional Content window will resemble
the following figure:
NOTE ▶ If you have previously installed the “Legacy and Compatibility” content, or if
earlier versions of Logic are installed on your Mac, you may not always see the same
results as those shown in this book, especially when viewing the library, the Loop
Browser, or the plug-in settings menus.
Downloading and Using the Logic Lesson Files

The downloadable content for Apple Pro Training Series: Logic Pro X Advanced Audio
Production: Composing and Producing Professional Audio includes the project and media
Preparing Your Logic Workstation xv
files you will use for each lesson. After you save the files to your hard disk, each lesson
instructs you in their use.
To download these files, you must have your access code, which is available on a card
placed in the back of the printed editions or on the “Where Are the Lesson Files?” page in
electronic editions. When you have your code, do the following:
1 Using a browser, go to www.peachpit.com/redeem, and enter your access code.
2 Click Redeem Code, and sign in or create a Peachpit.com account.
3 In the Lesson & Update Files tab, locate the downloadable files on your Account page.
4 Click the lesson file link and download the file to your Mac desktop.
NOTE ▶ If you purchase or redeem a code for the electronic version of this book
directly from Peachpit, the lesson file link will automatically appear on the Lesson &
Update Files tab without the need to redeem an additional code.
5 After downloading the file to your Mac desktop, you’ll need to extract the .zip file to
your Mac desktop to access a folder titled Advanced Logic X_Files.
The Advanced Logic X_Files folder contains two subfolders—Lessons and Media—
that contain the project files for this course. Make sure you keep these two folders
together in the Advanced Logic X_Files folder on your hard disk. When you do so,
your Mac will maintain the original links between the lessons and media files. Each
lesson explains which files to open for that lesson’s exercises.
Using Default Preferences and Selecting the Advanced Tools

All the instructions and descriptions in this book assume that you have enabled the
Advanced Tools in Preferences. If you haven’t, follow these steps:
1 Choose Logic Pro X > Preferences > Advanced Tools.
2 Select Show Advanced Tools.
3 Click the Enable All button.

xvi Getting Started
Using the U.S. Key Command Preset

This book assumes that you are using the default initialized key command preset for a
U.S. keyboard. If you are not, you may find that some of the key commands in your Logic
installation do not function as described in this book.
If at any point you find that the key commands don’t respond as expected, make sure
that the U.S. key command preset is enabled on your Mac by choosing Logic Pro X > Key
Commands > Presets > U.S.
Screen Resolution
Depending on your display resolution, some of the project files may look different on
your screen when compared to the figures in the book. When you open a project, if you
can’t see the whole window, move it until you can see the three window controls at the left
of the title bar, and Option-click the Zoom button (the third button from the left) to fit
the window to the screen.
When using lower display resolutions, you also may have to zoom or scroll more often
than described in the book to perform some of the exercise steps. In some cases, you may
have to temporarily resize or close an area of the Tracks window to complete an action in
another area.
About the Apple Pro Training Series

Apple Pro Training Series: Logic Pro X Advanced Audio Production: Composing and Pro-
ducing Professional Audio is part of the official training series for Apple Pro applications
developed by experts in the field. The lessons are designed to let you learn at your own
pace. You’ll find that this book explores many advanced features and offers tips and tech-
niques for using the latest version of Logic.
Although each lesson provides step-by-step instructions for creating a specific project,
there’s room for exploration and experimentation. Try to follow the book from start to
finish, or at least complete the lessons in each part of the book in order. Each lesson con-
cludes with a review section summarizing what you’ve covered.
For a complete list of Apple Pro Training Series books, see the ad at the back of this book,
or visit www.peachpit.com/apts.
Apple Pro Training and Certification Program xvii
Apple Pro Training and Certification Program

The Apple Pro Training and Certification Program is designed to keep you at the forefront
of Apple digital media technology while giving you a competitive edge in today’s ever-
changing job market. Whether you’re an editor, sound designer, special effects artist, or
teacher, these training tools are meant to help you expand your skills.
For more information, go to training.apple.com.
Resources
Apple Pro Training Series: Logic Pro X Advanced Audio Production: Composing and Produc-
ing Professional Audio is not intended as a comprehensive reference manual, nor does it
replace the documentation that comes with the application. For more information about
Apple Logic Pro X, refer to these sources:
▶ Logic Pro Help, accessed through the Logic Pro X Help menu, contains a description
of most features. Other documents available in the Help menu can also be valuable
resources.
▶ The Apple websites www.apple.com/logic-pro/ and www.apple.com/support/logicpro/
4
Lesson Files Advanced Logic X_Files > Lessons > 04_EXS24_Start.logicx
Media Advanced Logic X_Files > Media > EXS24
Time This lesson takes approximately 60 minutes to complete.
Goals Build new sampler instruments from audio regions
Assign pitch mapping and tuning to zones
Create loop points for sustaining sounds
Use groups to assign common parameters to multiple zones
Use filters and modulation to change the character of sampled material
Route output of specific groups for individual processing

Lesso n 4
Sampling with the EXS24
A sampler is an extremely versatile tool. Essentially, it allows you to

map digital audio files, or samples, across pitch ranges for triggering
via MIDI. It does this by dynamically changing the playback speed
of the samples in real time to match the pitch specified by the MIDI
note value.
Individual samples are referenced and mapped in a sampler instrument.

In this lesson, you will explore the abilities of the EXS24 by creat-
ing unique sampler instruments using specific audio regions from the
Tracks area.
117
118 Sampling with the EXS24
Creating Sampler Instruments

Traditionally, new sampler instruments are produced by first creating a blank sampler
instrument, and then adding and mapping individual samples one by one, building
the instrument from the ground up. However, Logic can also use a single command to
automatically create a new EXS24 track loaded with a new sampler instrument wrapped
around a selected audio region in the Tracks area. With this feature, extending the creative
possibilities of audio files is especially easy, placing triggering and processing capabilities
right under your fingertips.
1 Choose File > Open.
2 Open Music > Advanced Logic X_Files > Lessons > 04_EXS24_Start.logicx.
3 Use the Mute tool to unmute the Vox Note region on Track 1.
4 Play the project, listening to the Vox Note audio region. You will use this recording of
a singer holding a single pitch for your first sampler instrument.
5 Stop playback.
6 Go to the beginning of the project.
7 In the Tracks area, select the Vox Note region, if necessary.
8 From the Track menu, choose Convert Regions to New Sampler Track.
Creating Sampler Instruments 119
In the Convert Regions to New Sampler Track dialog, you can set how the selected
audio region will be initially mapped in the new sampler instrument. Samples are
mapped in zones, which contain settings that control how the sample is played back,
including key ranges.
9 Select Create Zones From Regions, if necessary.
A single zone will reference the Vox Note audio region (as outlined at the bottom of
the dialog).
You can also set the pitch range of the created zone, as specified by the Trigger Note
Range menus (low to high). Because only a single audio region was selected (you can
also select multiple regions), it will utilize only the lowest trigger note to map the region.
10 From the first Trigger Note Range pop-up menu, choose C3 (60) to create a new zone
at C3, right in the middle of the keyboard.
11 Click OK.
A new EXS24 track (named Vox Note) is created below the original track, along with
a new MIDI region. This new region contains a held C3 note that triggers the newly
mapped audio file for the same duration as the original audio region. Note that the
original region is muted. The new MIDI region, in effect, replaces the original one in
the arrangement.
12 Play the project while listening to the new Vox Note MIDI region played through the
EXS24.The playback sounds identical to the original.
This new zone will be automatically velocity mapped so that the harder you strike the
key, the louder the sample will play.
13 Press C3 on your MIDI keyboard at varying velocities and listen to the results.
The Vox Note audio file plays as long as you hold down the key, while changing vol-
ume (amplitude) depending on hard you hit the key.
Using the EXS24 Instrument Editor

Let’s take a look inside the newly created sampler instrument with the goal of exploring
the creative potential offered by the EXS24. You edit Sampler instruments in the EXS24
Instrument Editor, which is accessible from the EXS24 interface.
1 In the inspector, double-click the EXS24 in the channel strip to open the EXS24
interface.
Using the EXS24 Instrument Editor 121
The EXS24 Parameter window opens with the newly created sampler instrument, Vox
Note, displayed. You will be working with the parameters in this window later in the
lesson; but for now, you will use it to quickly access the EXS24 Instrument Editor.
2 Click the Edit button.
The EXS24 Instrument Editor opens.

3 To save some screen real estate, close the EXS24 Parameter window (but not the
EXS24 Instrument Editor).
The EXS24 Instrument Editor has two views: Zones and Groups. You are currently
looking at the Zones view (more on Groups later), as indicated by the selected button
at the upper left.
The top portion of the EXS24 Instrument Editor is called the Parameters area, and it
displays the settings of each sample referenced by the sampler instrument. The bot-
tom portion of the window displays how each sample is mapped to various pitches, as
represented by the keyboard at the bottom of the window. As you can see, a new zone
named Vox Note.1 was created, mapped to C3 on the keyboard.
When you create a sampler instrument with the Convert Regions to New Sampler Track
command, the zone created is without range—that is, mapped to only a single pitch.
Using the EXS24 Instrument Editor 123
You can, of course, extend the zone’s range to map the audio file to multiple pitches,
either by changing settings in the Key Range columns of the Parameters area, or by
directly dragging the zone in the lower area.
4 In the Key Range parameters, double-click the Hi field and enter c4. Press Return.
The zone extends in range to the right, from C3 to C4.
5 In the lower area of the EXS24 Instrument Editor, drag the zone’s left border toward
the left, extending the range to C2.
6 Play the C2 to C4 keys on your MIDI keyboard, listening to the result.
The pitch (and speed) of the sample shifts up and down, mapped in relation to your
MIDI keyboard input.
NOTE ▶ You can also create new sampler instruments by choosing New from the
EXS24 Instrument Editor’s Instrument menu, or by clicking the Edit button on
the EXS24 interface when an instrument isn’t currently loaded. Doing so creates a blank
sampler instrument in which you can manually add zones by choosing New Zone or
Load Multiple Samples from the Zones menu. You can also create new zones by dragging
audio files from the Project Audio, Media, or All Files Browser, or even the Finder.
If you have perfect pitch, you might have noticed that the sung note is a little flat
compared to standard tuning (A440). It wouldn’t be a problem if this were the only
instrument used in the project, but if other instruments will be played at the same
time, it would sound out of tune. Using the zone’s Pitch parameters in the Instru-
ment Editor, you can compensate for tuning discrepancies in Coarse or Fine degrees.
(Coarse equals semitones, and Fine equals cents, or 1/100th of a semitone.)
The best way to tune a zone by hand is by inserting a Tuner plug-in on the EXS24
channel, monitoring the results as you adjust parameters.
7 Click the Audio FX slot of the new Vox Note (EXS24) channel, and choose Metering >
Tuner > Stereo to open the Tuner.
8 While watching the Tuner readout, hold down the C3 key on your MIDI keyboard
and drag the zone’s Fine parameter upward to about 28 cents. (The Tuner’s readout
will bob around the 12 o’clock position.)
The sample plays in tune relative to standard tuning.
9 Close the Tuner window.

Creating Loop Points 125
Creating Loop Points

Looping is a technique that stems from the days when samplers had tiny memory stores
(by today’s standards) in which to load samples. Many sounds start off with complex
attacks but soon settle into a more or less steady waveform. By repeating this “settled”
area, a sample can be sustained indefinitely without using up limited memory space. Even
with modern software samplers that have access to gigabytes of memory (like the EXS24),
looping is a useful technique to create sustaining sounds out of samples that are otherwise
quite short, such as the audio file you are working with in this exercise.
By default, this editor displays only some of the Zone parameters, while hiding others,
including the Loop parameters. You can select the parameters you want to display in the
View menu.
1 From the local View menu, choose View All.
All Zone parameters are displayed, including the Loop parameters.
NOTE ▶ Depending on the size of your EXS24 Instrument Editor window, you might
need to scroll to the right to view the Loop parameters.
To enable looping, you first need to select the Loop On option.
2 In the Loop parameters, select Loop On.
Although you could enter start and end times (by sample number) in the parameters
area, doing so would be arbitrary and counterintuitive. Selecting an area on the wave-
form itself using the Audio File Editor is much easier.
3 In the Audio File parameters for the zone, click the disclosure triangle to the right of
the audio file name and choose “Open in Sample Editor.”
The Audio File Editor opens, displaying the referenced audio file, Vox Note.aif.
NOTE ▶ You most likely will need to expand the Audio File Editor window to com-
plete the following exercise. If you have limited screen real estate, you can minimize
the EXS24 Instrument Editor window, temporarily storing it in your Dock.
Double-clicking an audio file in a zone also opens the audio file in the Audio
File Editor.
You can set the Audio File Editor’s timeline to display time using various units of
measurement, depending on which is most useful for the task. For example, when
setting loop points, you may find it most helpful to view the timeline in samples
(1 sample = 1 ÷ sample rate per second.) That type of timeline setup corresponds to
the numerical display in the EXS24 Instrument Editor.
NOTE ▶ Don’t confuse samples (as a measurement of time) with audio samples, as
mentioned earlier in the chapter. The latter is another way of saying “digital audio
files,” while the former refers to the tiny components that make up a digital waveform.
4 From the local View menu, choose Samples, if necessary.
The timeline is now displayed in samples.
The trick to setting loop points is to find a sustaining portion in the audio file you can
repeat without interruption. To make smooth edits, you must make selections that do
not interrupt the waveform above or below the zero axis (thereby creating an audible
click). When you enable “Snap Edits to Zero Crossings” in the Audio File Editor, all
new selections will be justified to the nearest point the waveform crosses the zero axis.
5 If not set already, choose Snap Edits to Zero Crossings from the local Edit menu.
6 Using the help tags, select an area from approximately 28800 to 91900 samples (refer
to the following figure).
You can audition your selection by selecting the Prelisten and Cycle buttons at the top
of the Audio File Editor.
7 Click the Prelisten and Cycle buttons to listen to your selection looping.
8 Click the Prelisten button to stop playback.
Your loop points may sound a bit rough at first, but with further massaging,
you can create a smoother result. You do this by zooming in on the start and end loop
points and fine-tuning the selection while auditioning the results.
Now that you’ve identified the area you want to be looped, you need to set the start
and end loop points to the zone in the EXS24 Instrument Editor.
9 From the Audio File Editor’s local Edit menu, choose Selection > Sample Loop.
The Sample Loop lane in the Audio File Editor displays the selected area in orange.
10 Close the Audio File Editor.
The results of your selection appear in the Loop parameters of the EXS24 Instrument
Editor.
11 Hold down C3 on your MIDI keyboard, listening to the result.
The sample plays, now looping the selected area for as long as you hold down the key.
To aid you in smoothing out the repeating loop’s start and end points, you can apply a
short crossfade (much as you would smooth region transitions in the Tracks area).
12 In the Loop parameters, double-click the Xfade field and enter 30. Press Return.
An option is also available to make the crossfade equal powered, which creates an
exponential curve with a 3 db volume boost in the middle to compensate for the
volume dip that normally occurs in a linear crossfade.
13 In the Loop parameters, select the E. Pwr option.
14 Hold down a C3 on your MIDI keyboard, listening to the result.
The sample plays, smoothly looping the selected area for as long as you hold down
the key.
Using the Parameter Window

After a sampler instrument is loaded, the triggered sounds are further refined and
processed by the global playback parameters located on the interface of the EXS24 itself.
These parameters, which are nearly identical to the sound processing functionality of a
synthesizer, allow you to further shape your sampler instrument sounds.
1 In the EXS24 Instrument Editor window, click the EXS24 button.
The EXS24 Parameter window (interface) opens. It offers a convenient way to access
the EXS24 playback parameters without having to go back to the channel strip.
2 Close the EXS24 Instrument Editor.
A Save dialog appears.
3 Click Save.
Now look at the EXS24’s interface. Note that the EXS24 shares many interface charac-
teristics with the ES2 synthesizer covered in Lesson 3. It has filter, output, modulation
routing, and modulation source sections in similar places in the interface.
Using the Parameter Window 131
Filter section Output section
Modulation section
In this exercise, you will use the amplitude envelope to change the Vox Note sampler
instrument’s character to that of a swelling choir-like pad that decays slowly. In the
EXS24, Envelope 2, which is hardwired to amplitude, controls the dynamics of how
the sound is shaped over time for each key pressed.
4 In the controls for Envelope 2, drag the bottom half of the Attack slider upward to
about 820 ms.
You can split the Attack controls of both Envelopes 1 and 2 to create a range.
This intensity range is modulated via note velocity, wherein high values trigger the
sound more quickly (represented by the lower half of the control), and low values
trigger the sound more slowly (represented by the upper half of the control).
5 In the controls for Envelope 2, drag the Release slider upward to about 820 ms.
6 Hold down a chord between C2 and C4 on your MIDI keyboard, listening to the result.
You should hear a swelling, sustained choir sound, based on the original audio file,
Vox Note.aif.
7 From the preset menu in the EXS24 window, choose Save As.
8 Name the preset Vox Note and click Save.
9 Close the EXS24 window
Creating Multiple Zones from Region Transients

In the previous exercises, you created a single zone sampler instrument from an audio
file in the Tracks area. Using a similar technique, you can create a sampler instrument
with multiple zones based on detected transients in the audio file. This is especially useful
when dealing with rhythmic material such as drum and percussion loops that have clear
transients.
In the following exercises, you will create a new sampler instrument from a basic drum
loop and explore ways to extend and transform the sound using the EXS24 playback
parameters and routing flexibility.
1 Use the Mute tool to mute the new Vox Note region (Track 2).
2 Select the Basic Drums track (Track 3).

Creating Multiple Zones from Region Transients 133
3 Unmute the Basic Drums region on Track 3.
4 Play the project, and listen to the Basic Drums region to become familiar with the
material.
5 From the Track menu, choose Convert Regions to New Sampler Track.
The Convert Regions to New Sampler Track dialog appears.
6 Select Create Zones From Transient Markers.
NOTE ▶ When you create zones from transient markers, Logic performs a quick
transient detection similar to the one performed when you first activate Flex on a
track. The number of detected transients appears in the info area at the bottom of the
Convert Regions to New Sampler Track dialog.
7 Click OK.
A new EXS24 track (also named Basic Drums) is created, along with a new MIDI
region. This new region contains multiple note events that trigger each of the created
zones in order, and for the same duration as the original audio region, thereby replac-
ing the original audio region in the arrangement.
NOTE ▶ This operation is similar to using the Slicing Flex mode, wherein an audio
region is chopped up according to its transients.
8 Play the project, listening to the new Basic Drums MIDI region played through the
EXS24. The playback sounds identical to the previous version.
9 In the inspector, double-click the EXS24 in the channel strip to open the EXS24
interface.
10 Click the Edit button, located at the upper right.
The EXS24 Instrument Editor opens, displaying the multiple zones created from
transients.
As you can see in the Parameters area, each transient from the original audio file is
mapped chromatically to MIDI pitches C3 through G3.
11 Play the C3 through G3 keys on your MIDI keyboard, listening to the results.
When playing the associated MIDI pitches on the keyboard, you hear each individual
slice. However, the slice plays only for as long as you hold down the key, and it can
sound truncated if you release the key before the slice plays in its entirety. To allow
the sample to play its complete length irrespective of the key release, you need to
enable 1Shot in the Zone parameters.
Creating Multiple Zones from Region Transients 135
12 With the EXS24 Instrument Editor window having key focus, press Command-A to
select all of the zones.
13 On any of the selected zones, select the 1Shot checkbox to select it for all.
NOTE ▶ You can create 1 Shot zones automatically when converting audio files to
sampler tracks by selecting Create ‘1 Shot’ Zones in the Convert Regions to New
Sampler Track dialog.
14 Play the C3 through G3 keys on your MIDI keyboard, and listen to the results.
The slices play in their entirety.
Although this method provides an effective way to trigger the drums as a perfor-
mance instrument, let’s explore additional playback parameters in the EXS24 Instru-
ment Editor to further process the sound.
15 Click in the background of the EXS24 Instrument Editor to deselect all zones.
16 In the Parameters area, Command-click the zones mapped to C#3, D#3, and G3 to
select them.
To use your MIDI controller to select zones, choose Zone > Select Zone of
Last Played Key.
17 Select the Reverse checkbox for one of the selected zones to enable it for all
selected zones.
18 Play the C#3, D#3, and G3 keys on your MIDI keyboard, listening to the result. The
samples play in reverse.
19 Close the EXS24 Instrument Editor window.
20 In the dialog that appears, click Save.
Using Filters and Modulation to Process the Sound

Just as you used the ES2 synthesizer to process the oscillators’ signal, you can use the
EXS24 filter and modulation options to process a sampler instrument you created. In fact,
the EXS24’s filter and modulation routers directly mirror the ones in the ES2, with the
exception of offering only a single filter, instead of a pair.
The filter in the EXS24 is a multimode filter that includes high-pass, low-pass, and band-
pass modes. To take advantage of its sound-shaping properties, you need to turn it on.
1 Click the filter on/off button located at the right side of the filter section.
Using Filters and Modulation to Process the Sound 137
NOTE ▶ The on/off switch for this filter enables you to quickly audition sounds with
and without the filter’s influence. Also note that when the filter is active, Logic uses
more processor power, so switch off the filter when you don’t need it.
Now that the filter is turned on, you can apply filter settings to shape the sound.
2 Do the following with the EXS24’s filter settings (as in the following figure):
▶ Click the 6 db low-pass (LP) filter mode/slope button to gradually attenuate fre-
quencies above the cutoff frequency.
▶ Drag the Cutoff knob to about 68%.
▶ Drag the Resonance knob to about 45% to accentuate the cutoff frequency by
applying a gain boost.
▶ Click the Fat button to retain the low frequencies that are naturally diminished by
high-resonance settings.
▶ Drag the Drive knob to about 20% to distort the filter and add harmonics.
Now that you’ve adjusted your filter settings, it’s time to hear the result.
3 Play the C3 through G3 keys on your MIDI keyboard, listening to the results of the
filter settings.
You can further expand the filter’s sound-shaping properties by applying modulation
to the cutoff frequency. The goal is to create a surging filter sweep that is timed to the
tempo of the song. You can do so by using the EXS24’s modulation router, which is
nearly identical to the ES2’s modulation router except that it calls a parameter that is
changed dynamically the “destination” instead of the “target.”
4 In the third (empty) slot in the modulation router, choose filter cutoff (Flt Cutoff) as
the destination (Dest), and LFO1 as the source (Src).
5 Drag the Intensity slider to about +7.7%.
6 Select the top sawtooth setting for LFO1’s waveform.
7 Drag LFO1’s Rate knob to the left to 1/8.
You now have a filter sweep for every eighth note, regardless of the project tempo.
NOTE ▶ The EXS24’s LFO1 is polyphonic with its own envelope generator, just like
the ES2.
Now you’ll test your modulation routing. Because it’s tempo dependent, let’s listen to
it playing in the Tracks area.
Using Groups 139
8 In the Transport bar, click the Cycle button.
9 Play the project, listening to the result.
You should hear a sweeping, pulsing, swelling drumbeat that is significantly trans-
formed from the original.
10 Stop playback.
While the loop was playing, you might have noticed that the EXS24 was distorting,
and the channel volume pushed well into the red. This is because of the extra gain
introduced by boosting the Drive and Resonance controls. You can recover a little
headroom by lowering the EXS24 Volume control, located to the far right of the
interface.
11 Drag the Volume knob downward to a value of –7 db.
Using Groups
In the EXS24 Instrument Editor, you can organize zones into groups to apply common
parameters to multiple zones simultaneously. Groups contain many of the same param-
eters you use in zones, but they also offer some unique parameters. For example, you can
offset both the filter settings and the envelopes, which allows you to create different cutoff
and resonance values for different zones.
In the sampler instrument you created, the low-pass filter cut out the high frequencies of
all samples. By using groups, you can, in effect, apply a different cutoff frequency for just
the snare hits.
1 In the EXS24 interface, click the Edit button to open the EXS24 Instrument Editor.
2 From the local menu, choose Group > New Group.
A new group, named Group #3, appears in the Zones column.
NOTE ▶ In addition to the newly created group, the Zones column displays All
Zones, Ungrouped, and Basic Drums groups. The All Zones group contains all zones,
regardless of their assignments. The Ungrouped group contains only zones that have
no assignment whatsoever. The Basic Drums group, created by default when you
imported the samples into the EXS24 Instrument Editor, contains all the slices created
using the Convert Regions to New Sampler Track setting.
3 In the Zones column, double-click the new group name (Group #3), and enter Filter.
Press Return.
To display the newly created group’s parameters, you need to switch to Groups view.
4 Click the Groups view button.

Using Groups 141
The group parameters appear.
NOTE ▶ By default, the editor displays only some of the group parameters, while
hiding others. As you did with zones in an earlier exercise, while in Groups view you
can select the parameters that will appear in the View menu.
5 In the Filter Offsets parameters, double-click the Cutoff field and enter –5 to lower
the filter cutoff frequency for any zone assigned to this group. Press Return.
Now that you created and modified the group, you’ll assign the zones to it using the
Zones view.
6 Click the Zones view button.

You might be asking yourself, “Where did the zones go?” Not to worry; you are
currently viewing the Filter group, which does not yet have any zones assigned to it.
7 Click the All Zones group to display all zones.
You can easily assign zones to groups by dragging them onto the groups in the Zones
column.
8 Command-click the zones mapped to D3 and F#3 to select them.
9 Drag the selected zones to the Filter group.
10 In the Zones column, select the Filter Group.
The two zones you added appear.
11 Play the project, listening to the result.
The snare samples mapped to D3 and F#3 have a slightly different filter cutoff fre-
quency, thereby changing their sounds.
Routing Individual Sounds for Processing 143
Routing Individual Sounds for Processing

As if the options offered by the EXS24’s modulation and filter sections weren’t enough,
Logic allows you to further process the EXS24 sound by placing plug-ins into the signal
chain. When you do so, the entire EXS24 signal is processed. Although processing the
entire signal normally isn’t a problem, in some instances you may want to apply separate
processing to individual zones in a sampler instrument. To do so, you need to isolate the
zone or group on its own mixer channel for individual processing.
Fortunately, the EXS24 allows you to route individual sounds through separate virtual
“outputs” to accomplish just that. These routings are selected by the Output menu in the
Mixer parameters in either the Zone or Group parameters.
1 Click the Groups view button.
2 Click the Output field for the Filter group (currently set to Main), and choose 3-4.
NOTE ▶ The selections with dashes separating numbers represent stereo routings, and
the selections with single numbers (without dashes) represent mono routings.
3 From the local Instrument menu, choose Save.
To use this special function, you need to instantiate the EXS24 as a multi-output
instrument. So far you’ve been working with the EXS24 as a stereo instrument and
have done quite a bit of work modifying the zones and groups. Luckily, Logic allows
you to keep all your current settings when changing from stereo to multi-output
instantiations.
NOTE ▶ Logic transfers all settings and content contained in a software instrument
when you switch modes (mono, stereo, multi-output, and 5.1).
4 Close the EXS24 Instrument Editor window.
5 Click the Mixer button to open the Mixer.

6 On the Basic Drums channel strip (Track 4), click and hold down the mouse button over
the Instrument slot to open the Instrument Plug-in menu. Choose EXS24 (Sampler) >
Multi Output.
The EXS24 interface opens after reloading the associated samples and current settings.
7 If necessary, move the EXS24 window so that you can see the EXS24 Basic Drums
channel strip (Track 4).
8 Just under the Solo button, click the small + (plus sign) button on the EXS24 Basic
Drums channel strip (Track 4).
Routing Individual Sounds for Processing 145
A new Aux 1 channel strip is created immediately to the right of the EXS24 Basic
Drums channel strip (Track 4). It will be the receiving channel for your Filter group.
By default, Logic creates an aux channel with the default stereo input of 3-4 for the
associated multi-output instrument (in this case, the EXS24).
9 Play the project, stopping playback after you’ve had a chance to hear the output of the
Aux 1 channel.
The zones assigned to the Filter group play through the Aux 1 channel, while the
remaining zones play through the EXS24 Basic Drums channel (Track 4).
This technique works well for drum sampler instruments that need separate
compression, EQ, and ambience treatments for individual drums (kick, snare, and so on).
Now that the snare slices are isolated on their own mixer channel, you can insert
plug-ins or apply send effects for further processing without affecting the other
slices in the sampler instrument. In the following steps, you will send the snare slices
through a simple Echo plug-in to create rhythmic echoes.
10 Click the Aux 1 channel’s top insert slot, and choose Delay > Echo >Stereo.
The Echo plug-in is instantiated, and its interface window opens.

11 Click the Time menu, and choose 1/8 T to set the repeat time to eighth-note triplets.
12 Drag the Wet slider down to 23% to lower the repeats’ volume level so they do not
overpower the original signal.
13 Play the project, listening to the effect of all the EXS24 programming you’ve done in
the previous exercises.
The result is a surging, shuffling, processed drum loop, quite abstracted from the
original audio file.
14 From the Echo plug-in’s preset menu, choose Save As.
15 Name the preset Snare Repeats and then click Save.
To gain perspective on just how much you changed the original loop, let’s finish by
listening to it.
16 Close both the Echo and EXS24 windows.
17 Close the Mixer.
18 Using the Mute tool, select the Basic Drums.1 region on Track 3, thereby unmuting
the original region.
19 In the Transport bar, click the Solo button to enable it.
20 Play the project.

Lesson Review 147
21 While the project is playing, select the original Basic Drums audio track (Track 3) and
EXS24 Basic Drums software instrument track (Track 4) alternatively to solo them.
22 Stop playback.
23 In the Transport bar, click the Solo button to disable it.
Lesson Review
1. Where are individual samples referenced and mapped?
2. Where do you find the settings that determine how a sample is played, including
key ranges?
3. Which tuning parameter in the EXS24 Instrument Editor is used to tune by cents:
Coarse or Fine?
4. Are loop points set in zones or groups?
5. Which EXS24 Instrument Editor parameter is used to smooth out transitions between
the end points and start points of a loop?
6. How are groups used in the EXS24 Instrument Editor?
7. Are filter and envelope offsets set in zones or groups?
8. What do multi-output instruments do?
Answers
1. Samples are mapped in sampler instruments.
2. Zones contain the settings for sample playback and key range.
3. The Fine parameter is used to tune by cents.
4. Loop points are set in zones because they refer to specific samples.
5. The Xfade parameter allows you to assign a crossfade between the end and start
points of a loop, making it smoother.
6. Groups are used to assign common parameters to multiple zones.
7. Filter and envelope offsets are set in groups.
8. Multi-output instruments (such as Ultrabeat and EXS24) can route individual sounds
to separate channel strips for isolation or further processing.
Index
Symbols and quantizing drums with phase- Analog waveforms

locked editing, 263–265 oscillators and, 83–88
Numbers repairing drums with marquee Ultrabeat features, 168
, (comma), positioning playhead, 207 transient, 265–269 Analyse Transients option, in Beat
. (period), positioning playhead, 207 replacing drums, 269–276 Mapping pop-up, 75–76
5.1 format review, 269–276 Animation, string animation in
assigning audio interface outputs smoothing transitions with Sculpture, 151
for surround sound, crossfades, 236–239 Apple Loops, using with touch tracks,
420–422 Advanced MIDI editing 493–497
downmixing, 445 adjusting project feel, 288–289 Apple Pro Training Series: Logic Pro X:
format options for surround aliases, 280–283 Professional Music Production
sound, 420 altering articulation, 289–290 (Nahmani), 37
setting surround format, 422 altering MIDI events, 283 Apple QuickTime
7.1 format, 420 applying new transform sets, adding scene cuts, 571–573
311–312 playback control, 569
A arpeggiating chords, 296–298 spotting (identifying) where to add
AAC files, choosing audio format, 582 correcting and modifying rhythm, music, 569–571
AC3 (Dolby Digital), 448 290–296 synchronizing video and Logic
Acoustic guitar. See also Guitars creating new transform functions, using SMPTE timecode,
automating mutes, 380–381 305–311 566–568
copying automation data, 384–388 modifying region velocity, 285–287 for video playback, 563
snapping automation data to overview of, 279 Arpeggiating chords, with Q-Flam,
timeline, 381–384 region parameters, 283 296–298
switching contents of plug-in review, 315 Arpeggiator MIDI plug-in, 465
window, 334–336 selecting MIDI events, 300–302 Arpeggiator objects
Adaptive mixer, 323 separating MIDI events, 312–314 cabling to transformer object,
Adding Scene Cuts function, 571–572 template parameters in, 298–300 480, 482
ADT (Automatic Double Tracking), 63 transposing regions, 283–285 changing track objects, 475–476
Advanced audio editing working with transform sets, creating, 481
activating/deactivating groups, 302–305 dragging output to cable switcher,
259–261 Alerts, 19 483
applying crossfades to multiple Aliases, in MIDI editing, 280–283 using, 465–469
regions, 240–242 All Files Browser, 321 Arrange area, global tracks, 68, 70
configuring edit groups, 256–259 All view, Mixers, 322, 326–328 Arrange track list
creating comps, 250–255 Alter Existing Randomly, applying to changing track assignment,
creating new parts from existing, triggers, 187 471–472
245–246 Alter selection, in Offset shortcut menu, configuring objects for use in, 466
editing groups with Flex editing, 191 placing delay line object in, 473
261–263 Alternative option, File menu, 217–218, Arrange window, Region parameter, 488
editing using mixer groups, 232 Arrangements
255–256 Amplifiers comparing, 231–232
fixing clicks, 242–245 assigning outputs for surround creating markers, 206–210
overview of, 235 sound, 420–422 editing marker positions, 210–212
packing parts into take folder, built-in, 364 extending, 227–231
246–250 Amplitude envelope, 131–132 global edits, 218
587
588 Index
inserting material, 218–221 creating headphone mix using pre- creating headphone mix using pre-
inserting space, 221–223 fader sends, 361–364 fader sends, 361–364
isolating material, 199–200 labeling inputs/outputs, 364–367 format options (stereo, mono,
Marker Lists and, 214–216 output channels in, 327 surround), 358
naming and coloring markers, Audio regions. See also MIDI regions;
212–214 Regions
navigating, 198, 214 applying crossfades to multiple
B
Balance analyzer, MultiMeter plug-in,
omitting section during playback, regions, 240
443–444
200–201 beat mapping, 74–76
Balance control
overview of, 197 changing name of, 59
panning stereo tracks, 331
playback using specialized Convert Regions to New Sampler
working with surround sound, 424
commands, 203–205 Track, 118–119
Band pass (BP) filters
playback with Bar ruler, 198–199 Create Zones From Regions, 119
in EXS24, 136
playback with Marquee tool, fixing clicks or pops, 242–245
multimode filters, 96
201–203 manipulating timing of, 35–36
in Ultrabeat, 179
removing material, 223–227 manipulating with Flex Time,
Ultrabeat noise generators and,
review, 232–233 37–38
172
saving alternatives, 216–218 muting/unmuting, 75, 260–261
Band reject (BR) filters
Arrow keys, playing selections with, renaming audio regions, 249
multimode filters, 96
266–267 Audio settings, Project Setting window,
in Ultrabeat, 179
As Text option, Style menu, 485 422, 565
Banjo tracks
Assignment section, of Ultrabeat Audio Track Editor
bending automation curves,
interface, 167 doubling parts, 60–61
389–390
Asymmetry control, in Ultrabeat, 169 editing audio selections, 55
channel strip for, 328
Attack slider, envelope generators, 103, enabling Flex options, 59–60
Bar ruler
105 formant correction, 62
creating cycle areas, 199–200, 219,
Audio timing adjustment, 62–63
223, 227
adding to picture, 569–571 Audio waveforms. See Waveforms
jumping to marker positions, 208
advanced editing. See Advanced Automatic Double Tracking (ADT), 63
navigating projects, 207–208
audio editing Automation
playing arrangements, 198–199
audio editing compared with MIDI applying to multiple tracks
playing movies, 568
editing, 279 simultaneously, 390–393
scrubbing audio, 243–244
channels for, 319 assigning vocal track to VCA
skip cycle area and, 201
clipping effect, 339 group, 393–396
Bars, Beat Mapping track, 69
creating post-production, 560–563 bending automation curves,
Bass Clarinet tracks
creating/configuring tracks, 5–7 389–390
editing transient markers, 53–55
exporting, 582–584 copying automation data, 384–388
Groove templates, 57–58
formats, 582 editing automation data, 380–381
Bass staff style, Style menu, 517
preferences, 420 importing automation data, 321
Bass Synth track, altering articulation of,
prevalence of surround sound, 419 of parameters in Step mode,
289–290
processing audio input, 175 188–191
Bass tracks
quantizing, 49–53 showing/hiding automation data,
adjusting center and LFE levels,
rendering, 374–376 375
428–429
routing audio signals, 349 snapping automation data to
working with surround sound,
samples. See Samples (audio) timeline, 381–384
423–425
shifting and stretching, 46–49 trimming automation values,
Beat Mapping track
synchronizing audio events to 396–398
audio regions, 74–76
SMPTE positions, 577–579 Automation curve, 389–390
checking, 73–74
Audio File Editor Automation mode
creating tempo changes, 67–69
defining transient markers, 267 Group Settings window, 391–392
markers and, 571
editing transient markers, 53–55 Latch option, 395
MIDI regions, 69–73
enabling looping, 126–129 Read option, 395, 398
Beat patterns, in Ultrabeat, 181
fixing clicks or pops, 242–245 Touch option, 396–397
Beats, tempo and, 69
Audio FX slot, on new Vox Note channel, Automation Parameter pop-up menu,
Bending automation curves, 389–390
124 388
Bit depth, choosing, 583
Audio interfaces. See also Interfaces Automation Snap Offset, 383
Blend slider, on synthesizer filter, 92,
assigning outputs for surround Aux channels
97–98
sound, 420–422 Create New Auxiliary Channel
Body EQ, 158
built-in amplifiers, 364 Strip, 368
Index 589
Bouncing assigning outputs for surround Collapse Mode button, Piano Roll Editor,
constructing string quality, sound, 421–422 313
155–156 assigning to Mixer groups, Color
creating master multichannel file 339–344 assigning to markers, 212–214
of surround mix, 446–448 displaying multiple, 326–328 assigning to objects, 465–466
Region in Place, 371–374 displaying single, 328 assigning to regions, 249
Track in Place, 375–376 filter buttons, 324–325 Comma (,), positioning playhead, 207
BP filters. See Band pass (BP) filters grouping to share automation Component modeling, in Sculpture, 149
BR filters. See Band reject (BR) filters modes, 390 Compressing time, 34–36
Broadcast WAVE files (BWF), 575–577 highlighting in Tracks area and in Compression, creating parallel
Browsers Mixer, 323 compression, 356–361
All Files Browser, 321 importing, 321 Compressor plug-in
Loop Browser, 493–494 isolating speaker output, 441–442 acoustic guitar example, 335–336
Buttons, for switching between modes, master channels. See Master changing plug-in locations,
410–412 channels 337–338
BWF (Broadcast WAVE files), 575–577 for MIDI, audio, and software side chain techniques, 355
Bypass Effects Plug-ins, 373, 376 instruments, 319 Comps, creating, 250–255
Bypass parameter, modulation and, 104 parallel compression, 356–361 Continuous control number (cc#), 406
selecting in Mixer, 423–424 Control bar
Ultrabeat output capacity, 191 customizing, 8–10
C Charts Metronome button, 53
Cable switcher objects, 483–488
creating chord charts, 528–531 Control key, modifier keys for working
Cables
creating chord grids, 532–536 with functions, 24
connecting arpeggiator to
Chord memorizer objects Control surfaces. See also MIDI
transformer object, 480, 482
changing track objects, 475–476 controllers
connecting delay line object to
creating one-measure MIDI region assigning buttons for switching
monitor object, 473
in, 487 between modes, 410–412
connecting memorizer object to
positioning in Environment assigning channel controls,
monitor object, 470
window, 479 401–405
output of object to another object,
using, 470–472 assigning transport controls,
464–465
Chord Trigger MIDI plug-in, 470 399–401
Carrier oscillator
Chords changing fader banks, 412–415
in frequency modulation, 88–89
adjusting note length, 510–512 controlling live automation, 380
in ring modulation, 90–91
arpeggiating, 296–298 creating zones and adding modes
Center channel, adjusting surround
creating chord charts, 528–531 for, 407–410
sound, 427–429
creating chord grids, 532–536 mapping controls to multiple
Channel EQ plug-in
creating complex rhythmic parameters, 405–407
acoustic guitar example, 334–335
patterns, 465 overview of, 398
changing plug-in locations,
dragging into score, 509–510 Controller Assignments window
337–338
positioning in graphic notation, changing fader banks, 412–415
multi-mono insert effects, 437–440
508 closing, 405
Channel strips
Clarinet tracks creating new modes, 408–410
accessing in inspector, 11
doubling parts, 58–61 creating new zones, 408
Create New Auxiliary Channel
editing transient markers, 53–55 Learn mode, 403–405
Strip, 368
formant correction, 61–62 mapping controls to multiple
filters, 324–325
Groove templates, 57–58 parameters, 406–407
importing, 320–322
timing adjustment, 62–63 Mode Change option, 411
panning stereo tracks, 331–333
Click & Ports layer, routing MIDI signals, viewing assignments, 402
Select All, 362
460 Controllers. See MIDI controllers
selecting/grouping from drum
Clicks Control-Option key, modifier keys for
track, 256–257
fixing in Audio File Editor, working with functions, 24
settings for control assignments,
242–245 Control/Parameter list, 404–405
405
smoothing transitions with Control-Shift key, modifier keys for
Channels
crossfades, 236 working with functions, 24
analyzing in surround mix,
Clipboard, copying to, 267 Convert Regions to New Sampler Track
442–444
Clipping effect, 339 converting audio regions to
assigning controls, 401–405
Coarse tuning, correcting pitch sampler instruments,
discrepancies, 123 118–119
590 Index
creating multiple zones from Cycle regions, creating, 37 creating mapped instruments,
region transients, 133 Cymbals, loading samples in Ultrabeat, 542–547
creating new sampler instruments, 176–177 creating parts for printing,
122 552–556
Convert > Loops to Regions, Edit menu, creating score sets, 548–551
541
D overview of, 541
Data
Convert > MIDI Loops to Aliases, Edit Drum sounds, with Ultrabeat. See
copying automation data, 384–388
menu, 281 Ultrabeat instrument plug-in
editing automation data, 380–381
Copy/Paste, copying automation data, Drum tracks
importing, 320–322
384–388 activating/deactivating edit groups,
showing/hiding automation data,
Create Marker button, on Marker track 259–261
375
header, 207–208 applying automation to multiple
snapping automation data to
Create Markers From Regions, 210 tracks simultaneously,
timeline, 381–384
Create Zones From Regions, 119 391–393
viewing MIDI data accurately,
Create Zones From Transient Markers, applying crossfades to multiple
538–541
133 regions, 240–242
DAWs (Digital audio workstations), 197
Crescendo effect, 389–390 configuring edit group for,
Decibels per octave, slope as, 94
Cross-fades 256–259
Delay line objects
adjusting, 58 consolidating, 541–542
dragging cable switcher output
adjusting parameter for, 66 creating multiple zones from
to, 484
applying to multiple regions, region transients, 132–136
using, 472–475
240–242 editing using mixer groups,
Delay parameter, for adjusting project
loop parameters and, 129 255–256
feel, 288–289
Quick Swipe Comping and, 252 flam sounds, 296
Delay slider, in envelope generator, 106
smoothing transitions with, panning stereo tracks, 331
Diatonic Insert option, in notation, 507
236–239 parallel compression, 356–361
Digital audio workstations (DAWs), 197
between synthesizer filters, 92 quantizing, 49–53, 263–265
Digital video, 563. See also Picture
Cue sheets, 573 repairing drums with marquee
Digiwaves (digital waveforms)
Cut/Insert Time, Edit menu transient, 265–269
digital waveforms, 83–84
Cut Section Between Locators, replacing drums, 269–276
as modulation source, 89
224, 226–227 routing individual sounds for
Direction Mixer plug-in, panning stereo
Insert Section at Playhead, 220 processing, 144–147
tracks, 331–334
Insert Silence Between Locators, separating MIDI events, 313–314
Direction parameter, Object parameters,
222 soloing, 240
482
Repeat Section Between Locators, working with surround sound,
Distortion effects
228 423–425
applying to synthesizers, 113
Cutoff frequencies Dubbing, creating stems for, 584
filter settings, 137
adjusting, 94–96 Duplicate Track button, 246
processing using Ultrabeat filters,
filter settings, 137 Duration
179–181
of low-pass filter, 104 adjusting note length, 510–512
Distortion Level slider, introducing audio
modulating for snare drum sound, entering notes graphically, 506
clipping effect, 339
172–173 Dynamics menu
Disturbers, constructing string quality,
Cutoff knob, controlling frequencies Compressor > Stereo, 358–359
155
with, 93–94 Region parameter, 286–287
Dobro guitar, 159
Cuts, adding scene cuts, 571–573
Dolby Digital (AC3), 448
Cycle area
converting to skip cycle area, 201
Double-time, manipulating timing of E
audio regions, 35–36 Echo effects, 289
creating, 199–200, 219
Down Mixer plug-in, 444–446 Echo plug-in, 145–146
creating with Bar ruler, 223
Downmixing, 444–446 Edit Decision Lists (EDL)
dragging to Marker track, 220
Drag menu, No Overlap option, 268 creating, 573
Cycle mode
Drive knob, adding distortion to filters, synchronizing audio events to
extending arrangements, 227–231
137 SMPTE positions, 577–579
isolating material in arrangements,
Drum Machine Designer, 192 Edit groups. See Mixer groups
199–200
Drum machines, Ultrabeat inspired Edit menu
omitting section during playback,
by, 165 accessing and viewing commands,
200–201
Drum notation 13
playing Vox Telephone region, 221
consolidating drum tracks, Convert > Loops to Regions, 541
transport controls, 401
541–542
turning on/off, 52, 57
Index 591
Convert > MIDI Loops to Aliases, Electric guitar. See also Guitars sculpting sound with filters, 92–98
281 importing channel strips and data, user interface, 82–83
Cut/Insert Time commands. See 320–322 vector envelope generator, 106–113
Cut/Insert Time, Edit menu Tracks view example, 323–324 Event inspector
Diatonic Insert option, 507 Envelope generators Region inspector and, 515
Join > Regions, 314, 541 ES2 synthesizer options, 102–106 viewing chord parameters, 511
Repeat Multiple, 282 user-created, 159 Event List Editor, 283
Select All, 362, 366 using amplitude envelope, 131–132 Events
Select > Invert Selection, 300–301 vector envelope generator, 106–113 altering with MIDI editors, 283
Select > Lowest Notes, 300 Envelopes Gate Time parameter affecting
Select > Same Subposition, 301 for modulations sources in length of MIDI events,
Select > All Following of Same Ultrabeat, 170–171 289–290
Track, 311 Ultrabeat interface and, 166 positioning on timeline, 577–579
Separate MIDI Events > By Note Environment selecting MIDI events, 300–302
Pitch, 314 creating Environment objects, separating MIDI events, 312–314
Time Stretch, 36 462–463 Expert View button, 402
Trim, 230, 302 creating mapped instruments, 542 Export
Editing. See also by individual editors navigating, 458–462 of audio, 582–584
advanced audio. See Advanced processing in, 458 Key commands for, 29
audio editing using arpeggiator objects, 465–469 EXS24
advanced MIDI. See Advanced using chord memorizer objects, beat mapping EXS24 mkll piano
MIDI editing 470–472 part, 73
altering MIDI events, 283 using delay line objects, 472–475 creating loop points, 125–129
arrangements. See Arrangements using monitor objects, 463–465 creating multiple zones from
audio editing compared with MIDI EQ region transients, 132–136
editing, 279 Gain Reduction meter, 434 creating sampler instrument,
automation data, 380–381 insert effects using I/O plug-in, 118–120
Flex editing, 261–263 370 filters and modulation in
global edits. See Global edits settings for LFE channel, 437–440 processing sound, 136–139
marker positions, 210–212 EQ plug-in grouping zones by parameters,
markers, 206–207 acoustic guitar example, 334–335 139–142
optimizing screenset for, 10–11 changing plug-in locations, Parameter window, 130–132
preferences, 25–26 337–338 playing notes entered graphically,
sampler instruments, 120–123 EqP (Equal Power Crossfade) 507
transient markers, 53–55 applying crossfades to multiple review, 147
Ultrabeat patterns, 188 regions, 240 routing individual sounds for
EDL (Edit Decision Lists) smoothing transitions with processing, 143–147
creating, 573 crossfades, 238 sampling with, 114
synchronizing audio events to Eraser tool EXS24 Instrument Editor
SMPTE positions, 577–579 changing tool assignments by creating multiple zones from
Effects screenset, 23 region transients, 132–136
clipping effect, 339 correcting beat allocation, 73 editing sampler instruments,
crescendo effect, 389–390 correcting doubled notes, 276 120–123
flex modes, 58 ES2 synthesizer organizing zones into groups,
with Gate Time parameter, envelope generators, 102–106 139–142
289–290 exploring output/processing, Parameter window, 130–132
incorporating external effects 113–114 Extensible Markup Language (XML),
processor, 367–370 EXS24 interface compared with, 574–575
low-frequency effects. See Low- 130
frequency effects (LFE) Frequency Modulation (FM),
multichannel effects, 433–436 88–89
F
Fade parameters
multi-mono insert effects, 436–440 low-frequency oscillators, 100–102
applying crossfades to multiple
overview of, 433 modulation and, 98–100
regions, 240
placing, 337–338 oscillator synchronization, 91–92
smoothing transitions with
side chain effects, 350–355 oscillator waveforms, 83–88
crossfades, 237
with Ultrabeat filters, 179–181 overview of, 81
Fade tool
EFM1 synthesizer, tuning relationship review, 115
accessing, 237
between synth oscillators, 452–458 ring modulation, 90–91
modifier keys for working with, 24
592 Index
Faders doubling parts, 58–61 G

assigning channel controls, formant correction, 61–62 Gain
401–405 overview of, 58 Gain Reduction meter, 434
changing fader banks, 412–415 timing adjustments, 62–63 Multichannel Gain plug-in,
changing without affecting other Flex Time 441–442
channels, 344–346 creating flex markers, 39–46 Gate Time parameter, for altering
creating headphone mix using pre- creating/using Groove templates articulation, 289–290
fader sends, 361–364 with, 55–58 Global edits
mapping controls to multiple doubling parts, 58–61 arrangements, 218
parameters, 405–407 editing transient markers, 53–55 extending arrangements, 227–231
positioning send controls, 356 quantizing audio, 49–53 inserting material into
trimming automation values, replacing drums, 271 arrangement, 218–221
396–398 sound design with, 64–66 inserting space into arrangement,
VCA fader, 394 working with, 37–38 221–223
Fat setting Flex view removing material from
adjusting high resonances, 94–95 creating flex markers, 39–46 arrangement, 223–227
EXS24 filter settings, 137 enabling, 37–38 Global tracks
File menu turning on/off, 262, 265 displaying, 68
Alternative option, 217–218, 232 FM. See Frequency modulation (FM) positioning and editing markers,
creating templates, 4–5 Fonts 206–207
importing Logic projects, 321 production notes, 330 showing/hiding, 425
importing project settings, 30, 312 text attributes, 525 Go To Position command
New option, 560 text styles, 526–527 navigating projects, 207–208
Open option, 82 Formant Shift hotspot, Audio Track notation and, 539
Save As option, 216–218 Editor, 62 Grain Size parameter, 66
Save As Template option, 27, 563 Formants (resonance) correction Graphs/girds, entering notes graphically,
Filters controls for, 159 503–508
channel strips, 324–325 with Flex Pitch, 61–62 Groove tracks, creating/using, 55–58
ES2 interface, 82–83 Formats Group Clutch
EXS24 interface, 130–131 audio, 582 activating/deactivating Mixer
processing EXS24 sound, 136–139 options for surround sound, 420 groups, 259–261
processing using Ultrabeat filters setting for surround sound, 422 assigning channel controls and,
and distortion circuit, Forward, basic transport commands, 403
179–181 400–401 assigning channels to Mixer
sculpting sound with, 92–98 Frame rate, matching frame rate of digital groups and, 344–346
Sculpture interface, 150 video clip, 565–566 repairing drums with marquee
Ultrabeat interface, 166 Frequency controls, in oscillators, 87–88 transient and, 265
Final Cut Pro, 574–575 Frequency modulation (FM) Group inspector
Fine tuning, correcting pitch creating hi-hat effect, 173–175 accessing group settings, 256–257
discrepancies, 123 FM knob on filters, 95–96 phase-locked option, 261, 263
Flam, drum sounds, 296 Ultrabeat features, 168 Group Settings window, automation
Flatten tool, 255 using, 88–89 mode, 391–392
Flex editing, 261–263 Full-view function, viewing relationships Groups
Flex markers between sounds in pattern, applying automation to multiple
aligning to transients, 52 185–188 tracks simultaneously,
creating, 39–46, 56–57 Functions 390–393
quantizing audio, 49–53 accessing via Key commands, assigning vocal track to VCA
shifting and stretching audio, 20–21 group, 393–396
48–49 customizing control bar, 8–10 deactivating, 403
undoing, 43 full-view function, 185–188 mixer groups. See Mixer groups
Flex modes Functions > Name Regions by organizing zones into groups,
Monophonic option, 54 Track Name, 314 139–142
Polyphonic option, 53 MIDI Transform > routing individual sounds for
Rhythmic option, 52 Custom Humanize, 312 processing, 143
selecting, 50–51 MIDI Transform > Humanize, view options, 122
Slicing option, 262–263 303–305, 311 Gtr Ostinato track, quantizing, 52–53
special effects, 58 modifier keys for working with, Guides, View menu, 535
Flex Pitch 24–25
choosing, 60 Scene Cuts function, 571–572
Index 593
Guitar notation I Junction tool, changing transitions

creating chord charts, 528–531 Importing between markers, 211
creating chord grids, 532–536 Broadcast WAVE files, 575–577
creating polyphonic staff style,
517–524
channel strips and data, 320–322 K
Key commands for, 29 Key commands
overview of, 515–517 Logic projects, 321 assigning for MIDI controllers,
preparing MIDI regions, 536–538 media, 574 399–401
text styles, 525–527 project settings, 30, 312 assigning generally, 17–20
text use in, 524–525 screensets, 30 backing up, 29
transcribing performances, 536 XML, 574–575 functions accessible via, 20–21
viewing MIDI data, 538–541 Inner Loss, damping string material, 151 list of common, 24–25
Guitars Inputs for viewing assignments, 16–17
creating comps, 250–255 choosing stereo inputs, 6 Key focus, assigning, 14
creating new parts from existing, labeling, 364–367 Key Range parameters, for sampler
245–246 processing audio input, 175 instrument, 123
fixing clicks, 242–245 Insert effects, multi-mono effects, Key signatures
importing channel strips and data, 436–440 displaying global tracks, 69
320–322 Inspectors entering notes graphically and, 505
packing parts into take folder, accessing channel strips, 11 Keyboards
246–250 Event inspector, 511, 515 Chord Memorizer window and,
printing parts, 553–556 Group inspector, 256–257, 261, 471
processing sound, 159 263 MIDI. See MIDI keyboards
removing material from Region inspector, 515, 538–539, onscreen musical keyboard, 168
arrangement, 223–227 540 Step Input keyboard, 513–515
smoothing transitions with viewing/hiding, 13 Kicks
crossfades, 236–239 Instrument Editor. See EXS24 Instrument adjusting project feel, 288–289
switching contents of plug-in Editor creating kick drum sounds,
window, 334–336 Intensity parameter, modulation router, 168–171
99, 105 modifying region velocity, 285–287
H Intensity range, creating with envelope production note example, 330
Half-time, manipulating timing of audio generator, 132 quantizing drums, 264–265
regions, 35–36 Interfaces replacing drums, 269–276
Hardware, incorporating external effects assigning outputs for surround separating MIDI events (kicks
processor, 369–370 sound, 420–422 from hi-hats), 313–314
Harmony/harmonics built-in amplifiers, 364 side chain effects, 350–355
EXS24 filter settings, 137 comparing ES2 and EXS24, 130 Knobs
hi-hat effect and, 173 creating headphone mix using pre- assigning channel controls,
ring modulation and, 90 fader sends, 361–364 401–405
sidebands and, 89 customizing for improved mapping controls to multiple
using Flex Time and Pitch to workflow, 8–10 parameters, 405–407
double a part, 60–61 ES2 user interface, 82–83
Headphones, creating headphone mix EXS24 user interface, 120–121
using pre-fader sends, 361–364 labeling inputs/outputs, 364–367 L
output channels in, 327 Latch mode, for automating recordings,
High-pass filters
Sculpture user interface, 150–151 395
on LFE channel, 440
Ultrabeat, 166 Layer menu
multimode filters, 96–97, 136
I/O (input/output). See Inputs; Outputs Click & Ports layer, 460
in Ultrabeat, 172, 179–180
I/O plug-in Create Layer, 462
Hi-hats
incorporating external effects Rename Layer, 463
creating hi-hat sounds, 173–175
processor, 367–370 Layouts
panning stereo tracks, 331
as insert effect, 370 Show Score sets, 549
separating MIDI events (kicks
Show Staff Styles, 518–519
from hi-hats), 313–314
Learn by Key Label button, assigning key
trimming HiHat region of drum J commands, 18–19
track, 259–260 Jitter generators, in modulation section Learn mode
Humanize function of Sculpture, 159 assigning channel controls,
customizing, 312 Join > Regions option, Edit menu, 314, 403–405
transform functions, 303–305, 541 changing fader banks, 412–415
307, 311
594 Index
creating button for switching on LFE channel, 439 toggling between Tracks view and
between modes, 411 multimode filters, 96–97, 136–137 All view, 328
mapping controls to multiple in Ultrabeat, 172, 179 working with surround sound, 424
parameters, 406–407 LVOX channel Material Pad
Learn New Assignments button, 400–401 extended plug-in parameters, constructing string quality,
Legato effect, with Gate Time parameter, 338–339 151–152
290 placing effects, 337–338 processing sound, 158
Level meters, MultiMeter plug-in, 443 Media
Level sliders, Down Mixer plug-in, importing Broadcast WAVE files,
445–446
M 575–577
Mallet-Bell track, 290–296
LFE. See Low-frequency effects (LFE) importing generally, 574
Mapped instruments, creating,
LFOs. See Low-frequency oscillators importing XML, 574–575
542–547
(LFOs) Media Loss, controlling damping of
Marimba track
Library string, 152
MIDI signals in Environment,
Chord Grid Library, 532 Metronome
460–462
selecting kick sound from, auditioning tempo, 580
using monitor objects, 463–465
273–274 checking beat mapping, 76
Marker Lists, 214–216, 571
List Editors button, 570 turning on/off, 53, 57
Marker tracks
Lists area, Marker Lists, 214–216 Middle C preferences, MIDI keyboard,
Create Marker button on track
Load Sample command, 176 81
header, 207–208
Locators Middle-side (MS) mode, working with
deselecting regions, 210, 227
inserting space into arrangement, stereo tracks, 334
displaying, 220, 425
221–223 MIDI controllers. See also Control
inputting markers directly into,
left and right locators in global surfaces
209
edits, 219 assigning channel controls,
positioning and editing markers,
setting, 291 401–405
206–207
Zoom to Fit Locators command, assigning generally, 399
Markers
387 assigning transport controls,
creating, 206–210
Locking screensets, 15, 19 399–401
creating flex markers, 39–46
Loop Browser, displaying Apple Loops, auditioning crash symbol sample,
editing positions of, 210–212
493–494 177
editing transient markers, 53–55
Loops auditioning drum pattern created
Marker Lists, 214–216, 571
converting into aliases, 280–281 with step sequencer,
naming and coloring, 212–214
creating loop points for samplers, 182–183
navigating using, 214
125–129 auditioning drum sequences, 184
overview of, 206
Region parameter, 36, 488 auditioning fast tremolo effect, 179
scene markers, 571–572
using Apple Loops with touch auditioning filter and distortion
shifting and stretching audio,
tracks, 493–497 effects, 180–181
48–49
Low-frequency effects (LFE) auditioning hi-hat effect, 173
for spotting (identifying) where to
adjusting surround sound, auditioning kick drum sounds,
add music to video, 569–571
427–429 169–171
viewing transient, 263
downmixing and, 446 auditioning snare drum sounds,
Marquee tool
MultiMeter LFE Correlation meter, 172–173
dividing regions at selection
444 auditioning Ultrabeat sounds,
borders, 254
multi-mono insert effects, 436–440 166–168
modifier keys for working with, 25
subwoofers and, 420 buttons for switching between
playing arrangements, 201–202
Low-frequency oscillators (LFOs) modes, 410–412
playing selected area of project,
creating fast tremolo, 177–179 changing fader banks, 412–415
202–203, 266
making gradual changes, 99 controlling live automation, 380
repairing drums, 265–269
in Sculpture, 159 creating zones and adding modes
selecting using Tool click zones,
tuning relationship between synth for, 407–410
25–26
oscillators, 453–458 entering notes into score, 514–515
shifting and stretching audio,
in Ultrabeat, 166 mapping controls to multiple
46–49
using, 100–102 parameters, 405–407
Master channels
Low-pass filters navigating Environment window
creating master multichannel file
envelope generators compared and, 460–462
of surround mix, 446–448
with, 104 overview of, 398
downmixing, 444–446
in ES2, 93 triggering key command remotely,
in EXS24, 136–137 22
Index 595
MIDI editing. See Advanced MIDI MIDI Thru signal flow in. See Signal flow
editing adding arpeggiator to Tracks Single view, 328
MIDI events. See Events area, 466 switching contents of plug-in
MIDI keyboards applying Region parameters to window, 334–336
envelope generators, 103–106 incoming MIDI signals, 285 Mix, surround sound
exploring Oscillator 1 waveforms, assigning selected tracks to adjusting center and LFE levels,
83–84, 86–88 Environment objects, 427–429
exploring Oscillator 2 waveforms, 545–546 balancing stereo to surround
84–88 assigning Touch Tracks object to signals, 429–432
exploring Oscillator 3 waveforms, selected track, 492 bouncing, 446–448
85–88 changing track objects, 475–476 checking, 441–444
Frequency Modulation (FM), MIDI transforms. See Transforms downmixing, 444–446
88–89 Mix, controlling overview of, 423–425
listening to looping selection, 129 applying automation to multiple Surround Panner for positioning
listening to results of EXS24 filter tracks, 390–393 signals in surround field,
settings, 137 assigning buttons for switching 425–427
low-frequency oscillators, 100–102 between modes, 410–412 Mixer groups
Middle C preferences, 81 assigning channel controls, activating/deactivating, 259–261
playing slices, 135–136 401–405 assigning channels to, 339–344
sculpting sound with filters, 92–98 assigning transport controls, configuring, 256–259
working with modulation, 98–100 399–401 disabling temporarily, 344–346
MIDI plug-ins, 452–458 assigning vocal track to VCA editing groups with Flex editing,
MIDI real time processing group, 393–396 261–263
creating Environment objects, bending automation curves, editing using, 255–256
462–463 389–390 overview of, 339
creating signal chains, 475–476 changing fader banks, 412–415 quantizing drums with phase-
in Logic Environment, 458 control surfaces, 398 locked editing, 263–265
navigating Logic Environment, copying automation data, 384–388 Mixers
458–462 creating zones and adding modes, adjusting center and LFE levels,
overview of, 451 407–410 427–429
review, 498–499 editing automation data, 380–381 All view, 326–328
using Apple Loops with touch mapping controls to multiple applying automation to multiple
tracks, 493–497 parameters, 405–407 tracks, 391–393
using arpeggiator objects, 465–469 overview of, 379 assigning vocal track to VCA
using cable switcher objects, review, 415 group, 393–396
483–488 snapping automation data to changing plug-in locations,
using chord memorizer objects, timeline, 381–384 337–338
470–472 trimming automation values, channel strip filter buttons,
using delay line objects, 472–475 396–398 324–325
using MIDI plug-ins, 452–458 Mix, managing dedicating separate screenset to,
using monitor objects, 463–465 All view, 326–328 11–12
using touch track objects, 489–493 assigning channels to Mixer display modes, 322
using transformer objects, 476–483 groups, 339–344 maximizing screen space, 13–14
MIDI regions. See also Audio regions; changing plug-in locations, panning stereo tracks, 331–334
Regions 337–338 parallel compression using post-
affecting display of MIDI regions, channel strip filters, 324–325 pan sends, 356–361
515 creating production notes, routing audio signals, 349
beat mapping, 69–73 329–331 Single view, 328
checking beat mapping, 73–74 disabling Mixer groups, 344–346 Tracks view, 323–324
creating one-measure region in importing channel strips and data, in Ultrabeat interface, 167
Tracks area, 487–488 320–322 working with surround sound,
creating sampler instruments, 120 Mixer display modes, 322 423–425
manipulating timing, 36 Mixer groups, 339 Modes. See also by individual types
marquee selection techniques Mixer Tracks view, 323–324 buttons for switching between,
with, 269 overview of, 319 410–412
parameters affecting display of, panning stereo tracks, 331–334 creating, 407–410
515 plug-in extended parameters, Modulation
preparing for notation, 536–538 338–339 envelope generators as source
review, 346–347 of, 104
596 Index
in ES2, 82–83, 113 playing Ultrabeat sounds, 168 preparing MIDI regions for,
in EXS24, 130–131 Muting/unmuting (Mute tool) 536–538
Frequency Modulation (FM), automating, 380–381 review, 557
88–89 drum regions, 260–261 text styles, 525–527
of intensity range by note velocity, guitar track, 247 text use in, 524–525
132 mVox Note region, 118 transcribing performances, 536
processing EXS24 sound, 136–139 piano regions, 75 viewing MIDI data accurately,
ring modulation, 90–91 538–541
routing in Ultrabeat, 170–171 Note Attributes dialog, 540–541
in Sculpture, 150, 159–162
N Note On Random modulators, Sculpture
Naming
of snare drum sound, 172–173 modulation, 159
audio regions, 249
Tension Mod slider, 152 Note Repeater MIDI plug-in, 472
markers, 212–214
in Ultrabeat, 166, 168 Notes. See also Notation
monitor objects, 465
working with, 98–100 adjusting length of, 510–512
regions by track name, 314
Modulation router, 98–100 altering articulation of MIDI
Navigation
Modulator oscillator notes, 289–290
of arrangements, 198
in frequency modulation, 88–89 dragging into score, 509–510
Go To Position command,
in ring modulation, 90–91 entering graphically, 503–508
207–208
Modulator plug-in, 452–458 entering using step input, 513–515
of picture, 568
Monitor objects selecting events by note pitch, 314
Set Rounded Locators by Selection
cabling delay line object to, 473 selecting lowest note, 300
command, 225
cabling memorizer object to, 470 Notes (production notes), 329–331
using markers, 214
changing track objects, 475–476
New Assignment button, 399–400
dragging cable switcher output
to, 484
New Track with Duplicate Settings O
button, 59 Object group, entering notes graphically,
using, 463–465
New Tracks dialog, 5–7, 560 504
using with Transformer object, 480
Next Marker command, 214 Object parameters
Monophonic
No Overlap option, Drag menu, 268 overview of, 467–468
changing channel modes, 351
Noise Gate, signal threshold settings, Range parameter, 484–485
downmixing surround sound to,
352–355 Repeats parameter, 473–474
444–446
Noise generators setting, 481
low-frequency oscillators and, 102
creating snare drum sounds in Objects
selecting flex modes, 50, 54
Ultrabeat, 171–173 creating Environment objects,
Ultrabeat channel capacity, 191
in Oscillator 3, 85 462–463
Morph Pad, modulation in Sculpture,
Notating sequencer, Logic as, 501 resizing Environment objects, 487
159–161
Notation Sculpture, 153–157
Mouse
adjusting note length, 510–512 using arpeggiator objects, 465–469
creating/adjusting flex markers, 46
consolidating drum tracks, using cable switcher objects,
positioning mouse pointer, 47–48
541–542 483–488
Tool menu control with two-
creating, 502–503 using chord memorizer objects,
button mouse, 26–27
creating chord charts, 528–531 470–472
Movie pop-up menu, 564
creating chord grids, 532–536 using delay line objects, 472–475
Movies. See Picture
creating mapped instruments, using monitor objects, 463–465
MS (middle-side) mode, working with
542–547 using touch track objects, 489–493
stereo tracks, 334
creating parts for printing, using transformer objects, 476–483
Multichannel Gain plug-in, 441–442, 444
552–556 Octaves
Multichannel surround processor,
creating polyphonic staff style, changing, 282–283
433–436
517–524 selecting lowest note and, 300
MultiMeter plug-in, 442–443
creating score sets, 548–551 transposing regions, 283–285
Multimode filters
dragging notes into score, 509–510 Offsets, randomizing for triggers,
in EXS24, 136
drum notation, 541 190–191
processing sound, 158
entering notes graphically, Onscreen musical keyboard, 168
types of, 96–97
503–508 Operation on Byte 2, Transform window,
in Ultrabeat, 172, 179
entering notes using step input, 304
Multi-mono surround processor
513–515 Operations on Selected Events,
insert effects, 436–440
guitar notation, 515–517 Transform window, 304, 309
types of surround processors, 433
overview of, 501 Option key, modifier keys for working
Musical Typing
with functions, 24–25
MIDI signals in Environment, 461
Index 597
Option-drag Parameters adjusting Q-Velocity and

copying automation data, 384–388 affecting display of MIDI regions, Q-Length parameters,
positioning flex markers, 45 515 299–300
Options menu, 394 applying to multiple zones, changing note octave, 282–283
Option-Shift key, modifier keys for 139–142 checking Beat Mapping, 73–74
working with functions, 24–25 automating, 188–191 Collapse Mode button, 313
Organ track copying automation data between, correcting doubled kicks, 276
looping, 36 388 creating note in one-measure
manipulating timing of, 34–35 Delay parameter, 288–289 MIDI region, 487–488
Oscillators EXS24, 130–132 creating polyphonic staff style, 518
creating kick drum sounds in EXS24 Instrument Editor, 122–123 Humanize function, 303–305
Ultrabeat, 169 extended plug-in parameters, playback using specialized
exploring Oscillator 1 waveforms, 338–339 commands, 204
83–84, 86–88 Gate Time parameter, 289–290 showing/hiding, 75
exploring Oscillator 2 waveforms, mapping controls to multiple types of MIDI editors, 283
84–88 parameters, 405–407 viewing notes entered graphically,
exploring Oscillator 3 waveforms, Object parameter, 467–468 507
85–88 Region parameter, 283 viewing notes in chords, 297
Frequency Modulation (FM), Repeats parameter, 473–474 viewing track contents, 291
88–89 Template parameter, 298–300 Piano tracks
low-frequency oscillators, 100–102 viewing, 125 balancing stereo to surround
offsetting pitch range in snare, Part box signals, 429–432
188–191 Chord Grid group, 528–531 beat mapping, 72–73
ring modulation, 90–91 dragging notes from, 509–510 breaking chords apart, 296
sending signal to filter in entering notes graphically, creating new transform functions,
Ultrabeat, 179 503–504 305–311
synchronization, 91–92 Parts creating post-production audio,
Outputs creating comps, 250–255 560–563
All view for displaying output creating for printing, 552–556 panning stereo tracks, 331–333
channels, 326–328 creating new parts from existing, rendering software instrument
assigning for surround sound, 245–246 tracks as audio, 374–376
420–422 packing into take folder, 246–250 sound design with Flex Time,
choosing stereo output, 6 Pattern mode, enabling, 182 64–66
ES2 synthesizer interface, 82–83, Patterns staff style options, 517
113–114 copying, 183 working with MIDI transform sets,
EXS24 interface, 130–131 editing, 188 303–305
labeling, 364–367 full-view of relationships between Pick exciter object, 154–157
routing individual sounds for sounds in, 185–188 Pickups
processing, 143–147 sequencing sounds, 183–185 adjusting, 157
Sculpture interface, 150 swing pattern applied, 185 constructing string quality,
Ultrabeat interface, 166, 191 Pencil tool 154–157
viewing channel assignments, 422 drawing out clicks in audio file, Picture
244–245 adding scene cuts, 571–573
inputting markers directly into creating score, 579–582
P Marker track, 209 exporting audio to, 582–584
Pan controls
positioning notes in staff, 506 markers for spotting (identifying)
assigning buttons for switching
Period (.), positioning playhead, 207 where to add music,
between modes, 410–412
Phase Invert button, Multichannel Gain 569–571
creating Pan mode, 409
plug-in, 444 navigating, 568
creating parallel compression using
Phase-locked opening movies, 563–566
post-pan sends, 356–361
Group inspector option, 261 overview of, 559
mapping controls to multiple
quantizing drums, 263–265 positioning events on timeline,
parameters, 405–407
Phrasing, manipulating with Flex Time, 577–579
panning stereo tracks, 331–334
37 review, 582–584
positioning send controls, 356
Physical modeling synchronizing video and audio,
working with surround sound, 424
in Sculpture, 149 566–568
Parallel compression, using post-pan
in Ultrabeat, 168 Pitch
sends, 356–361
Piano Roll Editor adjusting playback speed, 58
Parallel processing, filters and, 98
adjusting note length, 510–512 adjusting timing, 62–63
598 Index
changing by dragging pitch slider, MultiMeter plug-in, 442–444 Processing. See also Outputs
177 Note Repeater MIDI plug-in, 472 ES2 synthesizer interface and,
correcting formant, 61–62 processing EXS24 sound, 143 82–83
doubling parts, 58–61 Space Designer plug-in, 433–436 exploring for ES2 synthesizer,
Flex Pitch, 58 switching contents of plug-in 113–114
offsetting pitch range in snare, window, 334–336 Sculpture interface and, 150
188–191 Test Oscillator plug-in, 351–354 sound, 158–159, 175
oscillator pitch and waveform Tuner plug-in, 124 Ultrabeat filters and distortion
selection, 101–102 Ultrabeat. See Ultrabeat circuit in, 179–181
overview of, 33 instrument plug-in Ultrabeat interface and, 166
review, 74–76 using plug-in extended parameters, Processors
of samples, 123 337–338 creating signal chains, 475–476
selection criteria, 309 Pointer tool incorporating external effects
separating MIDI events by, 314 cabling memorizer object to processor, 367–370
Play, basic transport commands, 400–401 monitor objects, 470 side chaining, 350
Play from Left Window Edge command, changing to/from Pencil tool, 209 surround sound, 433
playback using specialized changing tool assignments by Production notes, 329–331
commands, 204–205 screenset, 23–24 Project Setting window
Play from Selection, playback using connecting objects between layers Audio settings, 422, 565
specialized commands, 203–204 of Environment, 481 Global option, 553–554
Playback editing marker positions, 211–212 Projects
adjusting speed of, 58 marquee selection, 254 creating templates, 4–5
of arrangement with Bar ruler, modifier keys for working with, 24 importing settings, 30, 312
198–199 placing effects, 337 opening/creating automatically,
of arrangement with Marquee tool, placing monitor object, 465 27–29
201–203 positioning mouse pointer, 47–48 saving templates, 27
controlling movies, 568–569 selecting automation nodes, 388
delaying, 288 selecting snare region, 266
omitting sections of arrangements, selecting using Tool click zones, 26
Q
Q-Flam parameter, Region parameters,
200–201 working with monitor objects, 465
296–298
searching for playback functions, Polyphonic
Q-Length parameter, Region parameters,
20 flex modes, 53
298
specialized commands for, low-frequency oscillators and, 102
Q-Range parameter, Region parameters,
203–205 staff style, 517–524
294–296
stopping with spacebar, 200 Pops, smoothing transitions with
Q-Strength parameter, Region
Ultrabeat, 168, 183 crossfades, 236
Playhead Post-pan send, creating parallel
Q-Swing parameter, Region parameters,
cycle areas and, 200 compression, 356–361
293
locating in Score Editor, 513 Pre-fader send, creating headphone mix,
Quantization
moving Bar ruler to, 199 361–364
adjusting Q-Velocity and
navigating using markers, 214 Preferences
Q-Length parameters,
options for positioning, 207 audio, 420
298–300
placing events by playhead automation, 383
arpeggiating chords with Q-Flam,
position, 579 editing, 25–26
297
positioning with Marquee tool, middle C, 81
of audio, 49–53
201–203 opening Preferences window, 25
correcting and modifying rhythm,
Plug-ins startup, 27–29
290–296
Arpeggiator MIDI plug-in, 465 Prelisten button
of drums with phase-locked
Bypass Effects Plug-ins, 373, 376 editing transient markers, 54
editing, 263–265
Chord Trigger MIDI plug-in, 470 fixing clicks or pops, 243
Groove templates as, 55, 57
Compressor plug-in, 355 selecting kick sound, 274
notation and, 539
Direction Mixer plug-in, 331–334 synchronizing audio events to
selecting options from Quantize
Down Mixer plug-in, 444–446 SMPTE positions, 578
menu, 51–52
extended parameters, 338–339 Presets
Quick Swipe Comping, 250–255
importing, 321 Sculpture, 162
QuickTime. See Apple QuickTime
I/O plug-in, 367–370 transform functions, 305–306
Q-Velocity parameter, Region
MIDI plug-ins, 452–458 Previous Marker command, 214
parameters, 298
Multichannel Gain plug-in, Printing parts, 552–556
441–442
Index 599
R Repeats parameter, Object parameters, memory stores and, 125

Random option, Velocity pop-up menu, 473–474 pitch of, 123
310, 468–469 Replace or Double Drum Track, Track Samples (time measurement), displaying
Randomize function, ES2 synthesizer, menu, 270–275 timeline as, 127
114 Resolution Saturation control, testing kick drum
Randomize selection, Offset shortcut of arpeggiated notes, 469 sounds in Ultrabeat, 169
menu, 191 constructing string quality, 152 Save As option, File menu, 216–218
Range parameter, Object parameters, setting Object parameters, 482 Save As Template option, File menu,
484–485 Resonance 27, 563
Read option, automation mode, 395, 398 controls for formants correction, Saxophone tracks
Realtime processing. See MIDI real time 159 balancing stereo to surround
processing correcting formants with Flex signals, 430–432
Reassign Track menu, 471–472 Pitch, 61–62 multichannel effects, 433–436
Record, basic transport commands, EXS24 filter settings, 137 Surround Panner for positioning
400–401 processing using Ultrabeat filters signals in surround field,
Region inspector and distortion circuit, 180 425–427
Interpretation option, 540 sculpting sound with filters, 94–95 Scene cuts, 571–573
parameters affecting display of Reverb, multichannel effects, 433 Scene markers, 571–572
MIDI regions, 515, 538–539 Rewind, basic transport commands, Scissors tool
Region parameters 400–401 changing tool assignments by
adjusting project feel, 288–289 Rhythm. See also Rubato (rhythmic screenset, 23
altering MIDI events, 283 flexibility) selecting, 223
applying permanently, 287 correcting and modifying, 290–296 trimming HiHat region of drum
correcting and modifying rhythm, creating rhythmic echoes, 145–146 track, 259–260
290–296 entering notes graphically and, 506 Score
Gate Time parameter, 289–290 flex mode options, 52 creating picture score, 579–582
Loop options, 36, 488 manipulating with Flex Time, 37 creating score sets, 548–551
modifying region velocity, 285–287 moving rhythmic feel between dragging notes into, 509–510
Q-Flam parameter, 296–298 regions, 55–58 Score Editor
transposing regions, 283–285 swing pattern, 185 adjusting note length, 510–512
Regions. See also Audio regions; MIDI tightening uneven, 53–54 consolidating drum tracks,
regions Right mouse button, 26–27 541–542
aliases, 280–283 Ring modulation creating chord charts, 528–531
applying crossfades to multiple, applying in creating hi-hat effect, creating chord grids, 532–536
240–242 173–175 creating mapped instruments,
Bounce Regions In Place, 372 overview of, 90–91 542–547
creating multiple zones from Ultrabeat features, 168 creating notation, 502–503
region transients, 132–136 Rubato (rhythmic flexibility) creating parts for printing,
defining transient markers for, 267 beat mapping audio regions, 74–76 552–556
deselecting, 227, 265 beat mapping MIDI regions, 69–73 creating polyphonic staff style,
joining (combining), 314 checking beat mapping in Piano 517–524
modifying velocity, 285–287 Roll Editor, 73–74 creating score sets, 548–551
moving into Marker track, creating tempo changes using Beat dragging notes into score, 509–510
209–210 Mapping track, 67–69 drum notation, 541
moving playhead position, 205 Ruler. See Bar ruler entering notes directly into, 501
naming by track name, 314 entering notes graphically,
503–508
playing Vox Telephone region, 221 S entering notes using step input,
rhymic feel between, 55–58 Sample Loop lane, Audio File Editor, 128
tool click zones for editing, 25–26 513–515
Sample Rate pop-up menu, 565
transposing, 283–285 guitar notation, 515–517
Sampler instruments. See also EXS24
trimming HiHat region, 259–260 options for displaying, 503
creating, 118–120
trimming Region End to Next overview of, 501
value of, 117
Region, 230 preparing MIDI regions for
Samples (audio)
viewing content of, 54 notation, 536–538
loading, 176–179
Relative mode, compared with Trim review, 557
mapping across pitch ranges, 117
mode, 398 text styles, 525–527
mapping in zones, 119
Release slider, envelope generators, 132 text use in notation, 524–525
matching sample rate of video
Repeat Multiple option, Edit menu, 282 transcribing performances, 536
audio track, 564–566
600 Index
types of MIDI editors, 283 Set Rounded Locators by Selection creating picture score, 580–581
viewing MIDI data accurately, command, Navigate menu, 225 in Marker List, 571
538–541 Settings menu, Compressor Tools, 359 navigating projects, 207–208
Score sets Setup scene markers and, 572
creating, 548–551 backing up/transporting, 29 synchronizing audio and video,
Ensemble option, 556 speeding up workflow. See 566–568, 577–579
printing parts, 552–556 Workflow, speeding up Snap Automation, snapping automation
Screen space. See Workspace Shift key, modifier keys for working with data to timeline, 381–384
Screensets functions, 24 Snap Edits to Zero Crossings, Audio File
adding tool assignments to, 22–23 Show Mixer, View menu, 256 Editor, 127
creating, 10–12 Side chaining Snap menu options, Automation Snap
importing, 30 effects, 350–355 Offset, 383
locking, 15 processing audio input with Snap to menu, working with arpeggiated
making Environment window part Ultrabeat, 175 notes, 469
of, 458–459 techniques, 355 Snap to parameter, Object parameters,
maximizing screen space, 13–14 Sidebands 482
Scrubbing regions, around clicks or pops, harmonics, 89 Snares
243–245 ring modulation and, 90 applying edits across multiple
Sculpture Signal chains, 475–476 tracks, 262–263
adjusting pickups, 157 Signal flow creating rhythmic echoes, 145–146
modulation, 159–162 bouncing in place, 371–374 creating snare drum sounds,
objects, 153–157 creating headphone mix using pre- 171–173
processing the sound, 158–159 fader sends, 361–364 muting drum regions, 261
review, 163 creating parallel compression using offsetting pitch range, 188–191
saving and trying presets, 162 post-pan sends, 356–361 randomizing existing triggers,
sound design with, 149 incorporating external effects 186–187
string element, 151–152 processor, 367–370 repairing drums with marquee
Ultrabeat compared with, 175 labeling audio interface inputs/ transient, 265–269
user interface, 150–151 outputs, 364–367 sequencing sounds, 184–185
Selection. See also Marquee tool; Pointer MIDI signals in Environment, Software instruments. See also by
tool 461–462 individual types
All Following of Same Track, 311 overview of, 349 creating post-production audio,
all zones, 135 positioning send controls, 356 560–563
combining selection commands review, 376–377 creating/configuring tracks, 7
with global edits, 225 side chain effects, 350–355 delay in engaging live mode, 84
inverting, 300–301 Ultrabeat buttons, 179 rendering as audio, 374–376
lowest note, 300 Signatures. See also Key signatures Soloing (Solo tool)
MIDI events, 300–302 signature tracks, 69 automatically selecting, 25–26
Select All, 61, 366 time signatures for inserting space drum track, 240
Select Events by Conditions, 304, into arrangement, 222–223 enabling/disabling Transport bar,
308 Sine wave, generating raw waveforms, 146–147
Send controls 351–354 modifier keys for working with, 25
creating headphone mix using pre- Single view, Mixers, 322, 328 snare track, 184–185
fader sends, 361–364 Skip cycle, omitting section during Strings and Tremolo tracks,
creating parallel compression using playback, 200–201 282–283
post-pan sends, 356–361 Slices/slicing trumpet track, 39
effects, 433–436 creating multiple zones from Sound design
mapping to multiple parameters, region transients, 134–135 with Flex Time, 64–66
405 flex modes, 50–51, 262–263 with Sculpture. See Sculpture
positioning, 356 Slice at Transient Markers, 64 Sound generation
routing signals with, 349 Slope, as decibels per octave, 94 ES2 synthesizer, 82–83
Sends, importing, 321 Slope control, testing kick drum sounds Sculpture, 150
Sequences, step sequencer in creating in Ultrabeat, 169 Ultrabeat, 166, 168
drum patterns, 181–183 Smoothing control, Modulator plug-in, Sound triggers. See Triggers
Set Locators and Play 458 Source parameter, modulation router,
playback using specialized SMPTE timecodes 99, 105
commands, 205 adding display to Tracks area, Space Designer plug-in, 433–436
utilizing functions accessible via 561–563 Spacebar, stopping playback with, 200
key commands, 21
Index 601
Speakers Style menu T

assigning outputs for surround Guitar option, 517 Takes
sound, 420–422 Staff style options, 516–517 creating transition between, 252
isolating output of, 441–442 As Text option, 485 packing parts into take folder,
positioning signals in surround Subwoofers 246–250
field, 425–427 low-frequency effects, 420 tools in take folder, 255
Speed, flex modes, 58 multi-mono insert effects, 436–440 Tape Delay parameter, 338–339
Spotting, identifying where to add music Summing Stack, creating, 360–361 Target parameter, modulation router,
to video, 569–571 Surround Panner 99, 105
Spread sliders adjusting center and LFE levels, Templates
balancing stereo to surround 427–429 adjusting Q-Velocity and
signals, 430 balancing stereo to surround Q-Length parameters,
working with stereo tracks, 333 signals, 429–432 298–300
Staccato effect, with Gate Time positioning signals in surround backing up, 29
parameter, 289–290 field, 425–427 creating, 4–5
Staff style Surround sound creating/using Groove templates
creating polyphonic staff style, adjusting center and LFE levels, with Flex Time, 55–58
517–524 427–429 saving project templates, 27
options, 517 assigning audio interface outputs, startup preferences, 27–29
Show Staff Styles, 518–519 420–422 Tempo. See also Time/timing
Startup Action pop-up, 27–29 balancing stereo to surround auditioning, 580
Status menu, specifying MIDI event signals, 429–432 changing using Beat Mapping
type, 308 bouncing surround mix, 446–448 track, 67–69
Stems, creating for dubbing, 584 checking surround mix, 441–444 delay settings, 288
Step Editor, types of MIDI editors, 283 configuring, 420 managing, 73–75
Step grid, sequencing sounds, 183–185 downmixing, 444–446 new tempo events, 70–71
Step Input keyboard, entering notes into effects, 433 rubato (rhythmic flexibility), 67
score, 513–515 formats, 422 stretching and compressing time,
Step mode, for automating parameters, mixing in, 423–425 34–36
188–191 multichannel effects, 433–436 Tempo pop-up menu
Step sequencer multi-mono insert effects, 436–440 checking beat mapping in Piano
creating drum patterns, 181–183 overview of, 419 Roll Editor, 73–74
sequencing sounds, 183–185 positioning signals, 425–427 Tempo Sets option, 73, 75
Ultrabeat interface, 166–167 review, 448 Tempophone mode
Stereo Swing pattern, 185 flex modes, 58
balancing to surround signals, Swing settings, Region parameters, 293 sound design with, 64–66
429–432 Symmetry Tension Mod slider, 152
changing channel modes, 351 Modulator plug-in Symmetry Test Oscillator plug-in, 351–354
choosing inputs and outputs, 6 control, 457 Text/Text tool
creating rhythmic echoes, 145–146 Ultrabeat Asymmetry control, 169 changing region name, 59
downmixing surround sound to, Synchronization renaming audio regions, 249
444–446 of audio events to SMPTE renaming monitor objects, 465
Mixer channels, 331–334 positions, 577–579 As Text option of Style menu, 485
panning stereo tracks, 331–334 of oscillators, 91–92 text styles, 525–527
Ultrabeat channel capacity, 191 of video and audio using SMPTE text use in notation, 524
Stiffness (rigidity), of string material, 151 timecode, 566–568 Thresholds
Stomp boxes, 370 Synth Pulse track kick settings, 272–273
Stop, basic transport commands, selecting MIDI events, 300–302 signal threshold settings, 352–353
400–401 using template parameters, Ticks, compared with frames of video,
Strength parameter, string parameters, 298–300 578
154–155 Synthesis, Sculpture approach to, 149 Timbre
Stretching time, 34–36 Synthesizers. See also by individual types consistency of, 286
String altering articulation of, 289–290 formant correction with Flex Pitch,
as basic element in Sculpture, hybrid, 81 61–62
151–152 tuning oscillator relationships, hi-hat effect and, 173
Ultrabeat exciter types, 175 453–458 oscillator synchronization and, 92
Strings and Tremolo Pad tracks ring modulation and, 90
aliases example, 280–283 string parameters, 154–156
transposing regions, 283–285
602 Index
Time signatures, inserting space into duplicating settings in, 59 smoothing with crossfades,
arrangement and, 222–223 viewing, 11–12 236–239
Time stretch Tracks area Transport bar
creating flex markers in Flex adding arpeggiator, 466 enabling/disabling, 146–147
view, 40 creating one-measure MIDI movie playback control, 568
Edit menu command, 36 region, 487–488 Transport controls
Timecodes. See SMPTE timecodes editing marker positions, 210–212 assigning, 399–401
Timeline enabling Flex view, 37–38 basic commands, 400
Audio File Editor, 127 maximizing screen space, 13–14 customizing control bar, 8–9
positioning events on, 577–579 positioning playhead, 201–203 Marquee tool as, 201–203
snapping automation data to, removing material from Transpose
381–384 arrangement, 223 delay line object and, 475
Time/timing transform functions, 311 pitch, 61–62
beat mapping audio regions, 74–76 viewing tracks, 11–12 regions, 283–285
beat mapping MIDI regions, 69–73 Tracks view Treble staff style, 517
checking beat mapping, 73–74 filter buttons, 324–325 Tremolo
creating flex markers, 39–46 Mixers, 322–324 creating fast tremolo, 177–179
creating tempo changes, 67–69 Tracks window, creating offline ring modulation as fast tremolo, 90
creating/using Groove templates, automation, 380 soloing, 282–283
55–58 Transcribing performances Trigger Note Range menu, 119
editing transient markers, 53–55 overview of, 536 Triggers
overview of, 33 preparing MIDI regions for graphical view of, 186
quantizing audio, 49–53 notation, 536–538 randomizing existing, 186–187
review, 74–76 viewing MIDI data accurately, randomizing offsets for, 190–191
shifting and stretching audio, 538–541 Trim command
46–49 Transform window, types of MIDI applying to automation values,
sound design with Flex Time, editors, 283 396–398
64–66 Transformer objects Edit menu options, 302
stretching and compressing, 34–36 cabling to arpeggiator object, 480 Region End to Next Region, 230
working with Flex Time, 37–38 configuring from Transformer Trumpet tracks
Tool click zones, for editing regions, window, 477–479 adjusting center and LFE levels,
25–26 creating, 476 428–429
Tool menus overview of, 476 balancing stereo to surround
accessing, 23–24 positioning in Environment signals, 430–432
controlling with two-button window, 479 soloing/unsoloing, 39, 46
mouse, 26–27 Transforms working with Flex Time, 37–38
location of, 22 applying new transform sets, working with surround sound,
saving to different screensets, 311–312 423–425
22–23 creating new transform functions, Tuner plug-in, 124
Toolbars, customizing interface, 9–10 305–311 Tuning controls
Touch mode, automation mode options, working with MIDI transform sets, correcting pitch discrepancies, 123
396–397 302–305 in oscillators, 87–88
Touch tracks Transient Editing Mode, in Audio File
using Apple Loops with, 493–497 Editor, 54
using touch track objects, 489–493 Transient markers
U
Ultrabeat instrument plug-in
Track menu audio transients, 74–76
automating parameters in Step
Convert Regions to New Sampler creating flex markers, 39–46
mode, 188–191
Track, 118–119 creating zones from, 133
creating hi-hat sounds, 173–175
Replace or double Drum track, creating/using Groove templates
creating kick drum sounds,
270–275 with Flex Time, 57–58
168–171
Track stacks, creating, 360–361 defining for regions, 267
creating snare drum sounds,
Tracks. See also by individual types editing, 53–55
171–173
applying automation to multiple, quantizing audio and, 49–53
Drum Machine Designer and, 192
390–393 Slice at Transient Markers, 64
exploring sound generators, 168
applying edits across multiple, viewing, 263
full-view function, 185–188
261–263 Transitions
loading samples, 176–179
creating new, 246 creating between takes, 252
overview of, 165
creating/configuring, 5–7 Quick Swipe Comping and, 250
processing audio input, 175
Index 603
processing using filters and selecting parameters for sampler list of common key commands,
distortion circuit, 179–181 instruments, 125 24–25
review, 192–193 Show Mixer, 256 locking screensets, 15
selecting sounds, 166–168 Views, Mixer, 322 maximizing screen space, 13–14
sequencing sounds, 183–185 Vintage Clav, 149 opening/creating projects
step sequencer in creating drum Vintage Electric Piano, 149 automatically, 27–29
patterns, 181–183 Vocal tracks, assigning to VCA group, overview of, 3
swing pattern applied, 185 393–396 review, 31
Undo (Command-Z), 208 Voice mode, toggling on/off from Step saving project templates, 27
Unpack tool, in take folder, 255 mode, 191 Tool click zones for region editing,
USB flash drive, transporting setup Voice Separation tool, 523 25–26
via, 29 Volume/volume controls Tool menu control with two-
User interfaces. See Interfaces adjusting EXS24 volume, 139 button mouse, 26–27
assigning buttons for switching utilizing functions accessible via
between modes, 410–412 key commands, 20–21
V assigning fader controls, 401–405 viewing key command
Variable-pulse wave, in oscillators, 85–86
consistency of, 286 assignments, 16–17
Variation slider, string parameters,
creating crescendo effect, 389–390 Workspace
154–155
creating Volume mode, 410 maximizing screen space, 13–14
VCA fader
mapping controls to multiple minimizing EXS24 Instrument
assigning vocal track to VCA
parameters, 405–407 Editor, 126
group, 393–396
positioning send controls, 356
trimming automation values,
Vox Note audio region, 118
396–398
Vox Telephone region, 221
X
Vector envelope generator Xfade parameter, 129. See also Cross-
controlling modulation fades
parameters, 111–113 W XML (Extensible Markup Language),
listening to mix, 109–110 Waveforms 574–575
looping between oscillator mixes, analog, 168 X-Y (Planar) pad, 111–113
111 digital waveforms as modulation
opening and assigning targets in source, 89
mix mode, 106–108 drawing out clicks in audio file,
Z
Zones
overview of, 106 244–245
creating multiple zones from
turning off Solo Point in mix generating raw waveforms,
region transients, 132–136
mode, 109 351–354
EXS24 Instrument Editor view
Velocity oscillator pitch and, 101–102
options, 122–123
modifying region velocity, 285–287 oscillators, 83–88
mapping controls to multiple
Random parameter, 310, 468–469 smoothing transitions with
Repeats parameter, 474 crossfades, 236
organizing into groups, 139–142
sensitivity parameters, 154 testing kick drum sounds in
routing individual sounds for
setting Object parameters, 482 Ultrabeat, 169
processing, 143
Via parameter, modulation router, 99 Waveshaper, processing sound, 158
Zooming/Zoom tool
Vibrato Workflow, speeding up
editing marker positions, 211
frequency modulation as fast accessing Tool menu, 23–24
navigating drums track, 49–50
vibrato, 88 adding tool assignments to
navigating to playhead position or
low-frequency oscillators and, screensets, 22–23
to region, 205
100–102 assigning Key commands, 17–20
in Score Editor, 555
Video. See Picture backing up/transporting setup, 29
selecting tracks, 229
View menu creating screensets, 10–12
viewing region content, 54
assigning color to objects, 465–466 creating templates, 4–5
Zoom to Fit Locators, 387
Channel Strip Components > creating/configuring tracks, 5–7
Notes, 331 customizing interface, 8–10
Guides, 535 importing screensets, 30

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Apple Pro Training Series: Logic Pro X Advanced Audio Production

Apple Pro Training Series

Composing and Producing Professional Audio

 Chapter review questions summarize what you’ve learned.

Logic Pro X Advanced

To report errors, please send a note to errata@peachpit.com.

Apple Series Editor: Lisa McClain

ISBN 13: 978-0-13-413581-6

Setup and Production

Creating Your Own Sounds with Software Instruments

Setup and Production

Lesson 1 Speeding Up Your Workflow . . . . . . . . . . . . . . . . . . . 3

Lesson 2 Working with Time and Pitch . . . . . . . . . . . . . . . . 33

Creating Your Own Sounds with Software Instruments

Lesson 3 Synthesis with the ES2 Synthesizer . . . . . . . . . . . . . 81

Using Oscillator Modulation to Create Interesting Sounds . . . 88

Lesson 4 Sampling with the EXS24 . . . . . . . . . . . . . . . . . . . . 117

Lesson 5 Sound Design with Sculpture . . . . . . . . . . . . . . . . 149

Lesson 6 Building Drum Sounds with Ultrabeat . . . . . . . . 165

Lesson 7 Working with the Arrangement . . . . . . . . . . . . . . 197

Lesson 8 Advanced Audio Editing . . . . . . . . . . . . . . . . . . . . 235

Lesson 9 Advanced MIDI Editing . . . . . . . . . . . . . . . . . . . . . 279

Lesson 10 Managing the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Using Mixer Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Lesson 11 Controlling Signal Flow . . . . . . . . . . . . . . . . . . . . . 349

Lesson 12 Controlling the Mix . . . . . . . . . . . . . . . . . . . . . . . . 379

Lesson 13 Working with Surround . . . . . . . . . . . . . . . . . . . . . 419

Lesson 14 Real-time MIDI Processing . . . . . . . . . . . . . . . . . . 451

Lesson 15 Working with Notation. . . . . . . . . . . . . . . . . . . . . . 501

Lesson 16 Working with Picture . . . . . . . . . . . . . . . . . . . . . . . 559

Apple Pro Training Series: Logic Pro X Advanced Audio Production:

Whether you’re tweaking a song structure, applying effects processing,

Preparing Your Logic Workstation

Downloading and Using the Logic Lesson Files

1 Using a browser, go to www.peachpit.com/redeem, and enter your access code.

2 Click Redeem Code, and sign in or create a Peachpit.com account.

Using Default Preferences and Selecting the Advanced Tools

1 Choose Logic Pro X > Preferences > Advanced Tools.

2 Select Show Advanced Tools.

3 Click the Enable All button.

Using the U.S. Key Command Preset

About the Apple Pro Training Series

Apple Pro Training and Certification Program

Media Advanced Logic X_Files > Media > EXS24

Time This lesson takes approximately 60 minutes to complete.

Goals Build new sampler instruments from audio regions

Assign pitch mapping and tuning to zones

Create loop points for sustaining sounds

Use groups to assign common parameters to multiple zones

Use filters and modulation to change the character of sampled material

Route output of specific groups for individual processing

Sampling with the EXS24

A sampler is an extremely versatile tool. Essentially, it allows you to

Individual samples are referenced and mapped in a sampler instrument.

Creating Sampler Instruments

1 Choose File > Open.

6 Go to the beginning of the project.

7 In the Tracks area, select the Vox Note region, if necessary.

9 Select Create Zones From Regions, if necessary.