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Logic pro x pdf

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Logic Pro X Exam Prep Guide and Practice Exam. Logic Pro .. After you pass a certification exam, you'll receive an email with a PDF certificate, along with . Lesson and media files available for download. Logic Pro X. Professional Audio Production. David Nahmani. Apple Pro Training Series. Level One. Certification. Andy Jones says 'pay attention, you will do this only once' and will hopefully help you take the steps to become a Logic Pro X power user.

You will swipe your mouse across the parts of the takes you want to hear in your comp. The selected take folder and its takes fill the workspace. The book is designed to guide you through the music production process as it teaches Logic. Where is the Workspace and what does it contain? Although those microphones are generally not intended to produce professional-quality recording. For those who prefer to learn in an instructor-led setting. Record two or three takes.

MBP Retina, Mid Just a question about the updated book. When I follow the link you posted, I can only find the book for Am I missing something? Thanks for replying David.

Victor Kennedy Posts: Mon Jan 25, 5: Melbourne Re: Ordered it the other day. Victor Kennedy iMac 27" 3. Logic Pro X tutorial book Wed Apr 20, Download the Logic Pro X tutorial book Thu Apr 21, 5: Ken Nielsen Posts: Wed Apr 03, 5: Logic Pro X tutorial book Tue Apr 26, 5: A great learning system.

Logic Pro X seems to be worthy of 'taking it from the top' and learning it all over again, even if you've used older versions of Logic Pro, LPX is a whole new environment with all new and well-designed controls. Lovin' It! Highly Recommended. Logic Pro X tutorial book Tue Apr 26, 6: Some producers who make intensive use of The Project Settings window opens.

If you choose to use it. Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface. The Audio preferences appear. Project settings. Logic selects that interface as both an input and output device in its audio preferences.

Note In Logic. Logic preferences are the same in all projects. The Input Device is the device into which you plug your microphones or instruments. Choosing an Audio Interface In most situations. The Output Device is the device connected to your monitors or headphones. Note The Audio Engineering Society recommends a 48 kHz sample rate for most applications but recognizes the use of If you choose a new output or input device. Note Using the same audio interface for both audio output and input is very common.

If you do not have an audio interface connected to your Mac. Logic automatically reinitializes the Core Audio engine when you close the window. To create a new track at the bottom of the Tracks area. When adding tracks. Preparing a Track for Recording To record audio.

Recording a Single Track In this example. For more information on these. More Info Some options seldom need to be changed from the default settings. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface. Note Below the Input and Output menus. You can record-enable the track by selecting the Record Enable option below the Output menu.

The New Tracks dialog appears. You will later take precautions to avoid feedback and then record-enable the track from the track header. The new track has a generic audio waveform icon. A new audio track set to Input 1 is created. Logic assigns the name of the project to the audio files. Since six audio tracks were created when you dragged Apple Loops in Lesson 1. For clarity. Tip Logic automatically assigns the name of a track to the audio files recorded on that track.

More descriptive names will help you identify files in the future.

Logic Pro X: The Beginner's Guide

Control-click the icon. Logic automatically assigns the new track to the next available channel. Note To avoid feedback when recording with a microphone. Note You may hear a small delay between the time you play a note and when you hear it. You can monitor the audio routed to record-enabled tracks while Logic is. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector.

You will learn how to reduce latency at the end of this lesson. This delay is called latency. Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. To emulate the character a guitar amp can give to a guitar sound.

Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback. Amp Designer opens. Some interfaces also support other input settings. You can now hear your guitar processed through Amp Designer. Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob.

Working with a low-level recording is better than clipping the input. It sounds like a guitar plugged into a guitar amp. Allow some headroom. On the channel strip. Adjusting the Recording Level Before recording. If the Gain knob is dimmed. If you cannot see the Gain knob at the top of the channel strip.

Make sure the peak sits comfortably below 0 dBFS: When your signal peaks below —2. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea.

You can also insert the Tuner as a plug- in on a channel strip: Note The Tuner is available in the control bar only when an audio track is selected and an input is selected in the input slot of the corresponding channel strip.

The Tuner opens. When it peaks between —2. Checking the Balance Now that the guitar is tuned. If the guitar is now too loud or too soft in comparison to the other tracks. Recording Audio You have set the desired sample rate. You are now ready to start recording. The playhead is positioned at bar A new red region is created behind the playhead on the record-enabled track. The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts.

If you need to adjust the position of the playhead. The playhead and the LCD display in the control bar both turn red to indicate that Logic is recording. The new recording. Guitar Logic appends the number of the recording. To the name of the track. Note By default. You will learn how to alter both the metronome and the count-in settings later in this lesson. When deleting an audio region that was previously recorded.

In the Finder. This alert appears only when you try to delete a recording made since you most recently opened the project. Control-click the project package in the Finder. Keep—The audio region is removed from the Tracks area. If you are not happy with your new recording. Note To find the audio files inside a project package. The playhead jumps to the beginning of the selected region and playback starts.

Logic Pro X: The Beginner’s Guide

The audio file stays in the Project Audio Browser and is still present inside the project package. A Delete alert appears with two choices: Delete—The audio region is removed from the Tracks area. You will keep your recording so you can experiment with recording additional takes in the next exercise. To preserve multiple takes in Logic.

Recording Additional Takes When recording a live performance. The new recording in red appears to be recorded over the previous blue audio region. Rather than deleting the previous recording and repeatedly recording until you get a flawless performance. Tip Despite what the alert says.

Comp A. Note If the recent take you recorded is shorter than a take you recorded earlier. Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. It is currently open. Take 1. The take folder is named Guitar: Take 2.

The previous take. The take folder is on the Guitar track. The track is disarmed. More Info You will examine take folders in more detail and learn to comp takes in Lesson 3. When you stop recording. Take 3. Take 1 and Take 2. The take folder now contains three takes. Tip You can also double-click a take folder to open or close it. Recording in Cycle mode allows you to repeatedly record a single section. It plays back the most recent one.

Logic automatically discards it. Record two or three takes. The Guitar track is automatically disabled for recording. Logic keeps looping the cycle area. Logic automatically record-enables the selected track during recording. When it reaches bar 9.

Note When you stop recording. To keep the last take of a cycle recording. The playhead jumps a bar ahead of the cycle for a one-measure count-in. All the takes recorded in Cycle mode are packed into a take folder. The Guitar track is automatically record-enabled.

The Complete Logic Pro X Guide: Go from Beginner to Advanced

Note If no track is record-enabled. Note Logic does not let you record-enable multiple tracks set to the same input number. Doing so allows you to record several instruments at once. To record more than two tracks at once. The take folder closes. You first create the desired number of tracks. The exercise describes recording an acoustic guitar on Input 1 and a vocal microphone on Input 2.

In the following exercise.

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Note To avoid the sound of the guitar bleeding into the vocal microphone or the sound of the vocals bleeding into the guitar microphone. Make sure that you took precautions to avoid feedback. In this case. When creating multiple tracks. Two new tracks are added at the bottom of the Tracks area and automatically assigned to the next available audio channels Audio 8 and Audio 9.

Their inputs are set to Input 1 and Input 2. You can use the same procedure to simultaneously record as many tracks as needed. The multitrack recording starts. Note The number of inputs available in the Input menu depends on the audio interface selected as an input device in the Logic Audio preferences.

If the tracks already exist in the Tracks area. Note You can record multiple takes on multiple tracks the same way you previously recorded to a single track: You now have a new blue-shaded audio region on each track. Tip Punching is nondestructive.

Punching on the fly is fast but usually requires an engineer to perform the punch-in and punch-out while the musician is performing. Punching In and Out When you want to correct a specific section of a recording—usually to fix a performance mistake—you can restart playback before the mistake.

There are two punching methods: This technique allows you to fix smaller mistakes in a recording while still listening to the continuity of the performance. Click the disclosure triangle next to Global Commands. Assigning Key Commands To punch on the fly. Punching on the fly allows you to press a key to punch in and out while Logic plays. Automatic punching is ideal for the musician-producer who is working alone. At any time.

Logic Pro X For Dummies

A take folder is created. A command likely exists for that functionality that may or may not be assigned. When looking for a specific functionality in Logic Pro X. Tip Many commands are unassigned by default. The Key Commands window lists all available Logic commands and their keyboard shortcuts.

When Learn by Key Label is selected. Control-J is now listed in the Key column next to Record Toggle. An alert indicates that the R key is already assigned to the Record command. You could click Replace to assign R to Record Toggle. Note To be able to punch on the fly.

Punching on the Fly You will now use the Record Toggle key command you assigned in the previous exercise to punch on the Vocals track the bottom track in your Tracks area. Tip To unassign a key command. Position your fingers on the keyboard to be ready to press your Record Toggle key command when you reach the point where you want to punch in. Tip To reset all key commands to their defaults.

When punching on the fly. A comp is automatically created Comp A that combines the original recording up to the punch-in point. You will learn more about fades in Lesson 3. Fades are automatically applied at the punch-in and punch-out points. Keep your fingers in position to be ready to punch out. The playhead continues moving. On the Vocals track. The take folder disappears and you once again see the Vocals 01 region on.

It contains your original recording Take 1 and the new take Take 2. The recording stops while the playhead continues playing the project. When working alone. Punching Automatically To prepare for automatic punching. A dialog opens in which you can choose the buttons you would like to see in the control bar. Setting the punch-in and punch-out points in advance allows you to focus entirely on your performance during recording.

Punching on the fly is a great technique that allows the musician to focus on his performance while the engineer takes care of punching in and out at the right times.

On the other hand. Note The control bar is customized independently for each Logic project file. You can define the autopunch area with more precision when you can clearly see where the mistakes are on the audio waveform. The ruler becomes taller to accommodate for the red autopunch area. Tip Option-Command-click the ruler to toggle the Autopunch mode.

The autopunch area defines the section to be re-recorded. Note When the main window is not wide enough for the control bar to display all the buttons selected in the control bar customization dialog. Here we have a vocal recording in which the two words around bar 3 need to be re-recorded. You can drag the edges of the autopunch area to resize it. Listen while watching the playhead move over the waveform to determine which part of the waveform corresponds to the words you need to replace.

Red vertical guidelines help you align the punch-in and punch-out points with the waveform. Logic zooms in.

When the playhead reaches the punch-in point the left edge of the autopunch area. A take folder. When the playhead reaches the punch-out point the right edge of the autopunch area.

Playback starts. When a marquee selection is present. Tip You can speed up the Autopunch recording process by using the Marquee tool described in Lesson 3. Just as when you punched on the fly in the previous exercise. Some settings do not affect the quality of the audio recording but can alter the behavior of your project during recording or change the audio file format used for recordings.

Logic zooms out so you can see the entire take folder filling the workspace. The next few. The playhead starts from its current position. Setting the Count-In The count-in is the time you have to prepare yourself and get in the groove before the actual recording begins.

An alert asks you to confirm the operation. Until now. If you were only experimenting and wanted to remove the files you recorded during the two previous punching exercises.

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The take folder is deleted. When the playhead reaches bar 5. The audio region is removed from the workspace. The metronome is on. Note When selecting a count-in between one bar and six bars.

Setting the Metronome By default. The playhead jumps two bars ahead to bar 3. The metronome is off. Logic starts recording. At other times. The metronome is back on. The Metronome Settings window opens. Control-click the Metronome button. There are settings for two metronomes: Audio Click also known as Klopfgeist.

You now have inverted the default behavior: The metronome sounds a little low compared to the drum loop on track 1. Even with the volume turned all the way up.

You can play a sound on every division.

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At the bottom of the Metronome Settings window. From the Port menu. Adjusting the tonality of the metronome is important: Under the name of each metronome. The metronome sound changes. When a buffer is full. That means a longer delay between the original sound and the one you hear through Logic.

The advantage of using larger input and output buffers is that the CPU has more time to calculate other processes. Logic processes or transmits the entire buffer. It places a number of samples in an input buffer for recording and in an output buffer for monitoring. The larger the buffers. When a project already contains a drum track.

The drawback to using a larger buffer is that you may have to wait a bit for the buffer to fill before you can monitor your signal. Logic does not receive or transmit just one sample at a time. You hear the metronome for two measures. Depending on the audio device selected in your Audio preferences. The latency is now shorter. When choosing a different audio device. The Audio preferences pane opens.

Note The driver used by your audio interface also influences the roundtrip latency. Note Acoustic sound waves travel through air at roughly one foot per millisecond.

The LCD display now displays more information. When playing the project becomes too much work for the CPU. You can monitor the amount of work each core is doing.

When the CPU works harder. If your Mac has a multicore CPU. During a recording session. Deleting Unused Audio Files The Project Audio Browser shows all the audio files and audio regions that have been imported or recorded in your project. You may also have several unused audio files in the Project Audio Browser that make the project package or folder bigger than it needs to be. When that happens. In this next exercise. Note Some audio effect plug-ins can also introduce latency. If you intend to do more audio recordings.

The audio data in the audio file stays intact. For each audio file. The regions are removed from the workspace. You will learn more about nondestructive editing in Lesson 3. Note Resizing. All the audio files that do not have an associated region in the workspace. Sample rate If a Delete alert appears. The Project Audio Browser opens.

Tip In the Project Audio Browser. While the region plays. You are now ready to tackle many recording situations: An alert asks you to confirm the deletion. The audio files are removed from the Project Audio Browser. You know where to adjust the sample rate. Once you feel satisfied that the selected audio files do not contain any useful material. In Autopunch mode.

In the main menu. An audio file is considered unused when no regions present in the workspace refer to that file. Describe an easy way to access your Metronome settings.

And you can reduce the file size of your projects by deleting unused audio files—which will save disk space. Describe an easy way to access your count-in settings. In Logic. In the Project Audio Browser. What precaution must you take before record-enabling multiple tracks simultaneously? The CPU works less hard so you can use more plug-ins. The sample rate and the bit depth 2. What two fundamental settings affect the quality of a digital audio recording?

Make sure the tracks are assigned different inputs. Adjust the left and right edge of the autopunch area in the middle of the ruler. They could create a smooth transition or crossfade between two pieces of magnetic tape by cutting at an angle. The ability to read that waveform and manipulate it using the Logic editing tools is the key to precise and flexible audio editing.

Assigning Mouse Tools Until now. The waveform displayed on the screen is a visual representation of the digital audio recordings stored on the hard disk. Even as your ability to read waveforms and use the Logic editing tools develops. Assign Left-click and Command-click tools Edit audio regions nondestructively in the workspace Add fades and crossfades Create a composite take from multiple takes Import audio files Edit audio regions nondestructively in the Audio Track Editor Align audio using the Flex tool Audio engineers have always looked for new ways to edit recordings.

Lesson 3. In the days of magnetic recording. You have also. Digital audio workstations revolutionized audio editing. You will open a take folder and use Quick Swipe Comping to create a single composite take. When placed over a region.

In the aftermath of such sessions. You will use the Solo tool to preview the audio regions on the new Guitar track. In the Tracks area and in various editors.

You can hear a region play back in solo mode by placing the Solo tool over the region and holding down the mouse. When editing audio in the workspace. Previewing and Naming Regions During recording sessions. The region is soloed. You can also drag the Solo tool to scrub the region. You can change the playback speed or direction by dragging the Solo tool to the right or to the left.

You can hear that the guitar is playing single. If you hold down Command when your pointer is over a region. Option-click the region with the Solo tool. A text field appears.

You can hear some dead notes at the beginning of this take folder. Your Left-click Tool menu now displays the Solo tool. Instead of moving back and forth from the workspace to the tool menus in the Tracks area menu bar. In those regions. When naming multiple regions. You will edit this take folder later in this lesson. Tip To make sure you start playback from the beginning of each region.

Bb chord. A Tool menu appears at the pointer position. Note Different areas of the main window such as the Tracks area or the editors have their own sets of tools.

Ab chord. This key command will save you a lot of trips to the title bar. You can also Command-click a tool in the pop-up Tool menu to assign it to the Command-click tool. Tip When the Tool menu is open. Added to Your Shopping Cart. Editions Previous Next.

Shows you how to create a project, record live audio and MIDI tracks, import video, and mix songs like a pro Covers editing audio and adding effects and plug-ins to achieve your ideal sound Walks you through the entire audio engineering process from mix-down to mastering and exporting your final cut Includes information on how to use iPad and its touch interface to create amazing sound If you're serious about your sound, Logic Pro X For Dummies is your ultimate guide to achieving the quality you've been dreaming of and turning the volume up on all your musical endeavors.

About the Author Graham English is the cofounder of logicstudiotraining. Leaping into Logic Pro X 5 Chapter 1: Examining Logic Pro Projects 19 Chapter 3: Recording Audio 93 Chapter 7: Making Beats with Drummer and Ultrabeat Chapter Playing Virtual Vintage Instruments Chapter Sound Design with Synths and Samplers Chapter Arranging and Editing Your Project Chapter