Apple MB788 - Logic Express - Mac Operation & User’s Manual

Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Logic Express software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the “keyboard” Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this manual may be slightly different from what you see on your screen. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com Apple, the Apple logo, Bonjour, Final Cut, FireWire, GarageBand, iMovie, iPod, iTunes, iTunes Store, Jam Pack, Logic, Mac, Mac.com, MacBook, Macintosh, QuickTime, Soundtrack, Ultrabeat, and WaveBurner are trademarks of Apple Inc., registered in the U.S. and other countries. Apple Remote Desktop and Finder are trademarks of Apple Inc. MobileMe is a service mark of Apple Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.

17 Preface About Logic Express 17 About the Logic Express Documentation 18 Additional Resources 19 Introducing Logic Express 21 Chapter 1 Creating Music in Logic Express 21 Understanding the Basics of Projects and Regions 23 Setting Up Your System 27 Chapter 2 Designing Your Music Production System 27 Connecting Your Audio and MIDI Devices 34 Using External MIDI Devices 42 Using External Audio Effects 42 Configuring Your Audio Hardware 42 Overview of the Logic Express Interface 45 Chapter 3 Opening Logic Express 46 Introducing the Arrange Window 46 Working in the Arrange Area 48 Using the Toolbar 49 Using the Transport Bar 49 Using the Inspector 50 Working in the Media Area 52 Working in the Notes Area 60 Working in the Lists Area 62 Working in the Editing Area 66 Understanding Common Elements of Logic Express Windows 70 Understanding How Arrange Window Areas Interact 74 Using Logic Express Interface Elements 77 Using the Computer Keyboard 79 Customizing Your Window Setup 81 Chapter 4 Understanding the Window Types 82 3 Contents

84 Moving and Resizing Windows 87 Working at Different Hierarchy Levels 91 Selecting the Working Area 92 Zooming the Working Area 94 Understanding Relationships Between Windows 99 Hiding or Showing the Transport Bar 102 Customizing the Arrange Toolbar 102 Hiding or Revealing the Inspector 103 Adjusting the Bar Ruler Display 104 Displaying Global Tracks 105 Using Screensets 108 Navigating Your Project 113 Chapter 5 Setting the Playhead Position 114 Using the Transport Buttons 117 Using Transport Key Commands 118 Using Transport Shortcut Menus 119 Using Apple Remote 120 Using Cycle Mode 121 Using the Chase Events Function 127 Customizing the Transport Bar 129 Working with Markers 137 Chapter 6 Opening Marker Areas and Windows 138 Creating Markers 140 Copying Markers 143 Selecting Markers 143 Deleting Markers 143 Naming Markers 144 Changing the Appearance of Marker Text 147 Editing Markers 148 Navigating with Markers 150 Switching Between Marker Alternatives 152 Customizing the Marker Display in the Marker List 152 Importing, Removing, and Exporting Marker Information 152 Working with Projects 153 Chapter 7 Learning About Projects 153 Creating Projects 154 Opening Projects 157 Opening and Creating Projects Automatically 160 Previewing Projects with Quick Look 160 4 Contents

161 Checking and Repairing Projects 168 Setting Project Properties 169 Managing Projects 177 Saving Projects 180 Closing and Quitting 183 Basic Operations 185 Chapter 8 Using the Mouse 185 Entering Numerical Values 186 Entering Text 187 Working with Key Commands 188 Working with Tools 196 Working with Help Tags 203 Using the Shortcut Menu 204 Using Selection Techniques 205 Working with the Clipboard 210 Undoing and Redoing Edit Operations 211 Working with Tracks 215 Chapter 9 Understanding Tracks and Channel Strips 216 Configuring the Track Header 218 Reclaiming Workspace Used by the Track Header 220 Creating Tracks and Channel Strips 221 Creating Tracks Only 226 Deleting Tracks in the Arrange Area 228 Selecting Tracks in the Arrange Area 229 Rearranging Tracks in the Arrange Area 229 Naming Tracks in the Arrange Area 230 Assigning Tracks in the Arrange Area 233 Zooming Tracks in the Arrange Area 235 Assigning Track Icons in the Track Parameter Box 236 Muting Tracks in the Arrange Area 237 Soloing Tracks in the Arrange Area 239 Record-Enabling Tracks in the Arrange Area 240 Freezing Tracks in the Arrange Area 240 Hiding Tracks in the Arrange Area 244 Protecting Tracks in the Arrange Area 245 Using Track Button Slide Activation 246 Drum Replacement or Doubling in the Arrange Area 246 Bouncing Regions and Tracks in Place 249 5 Contents

257 Chapter 10 Getting to Know the Arrange Channel Strips 257 Working with Plug-ins 262 Working with Channel Strip Configurations 267 Opening, Closing, and Resizing Plug-in Windows 272 Adjusting Plug-in Parameters 274 Using Common Plug-in Window Functions 276 Using the Library to Choose Plug-in Settings 284 Understanding the Library Folder and Menu Structure 285 Learning About Effect Routings 285 Working with Instruments 291 Working with ReWire Applications 305 Working with External Audio Effects 307 Using Plug-ins from Other Manufacturers 308 Adding Prerecorded Media 313 Chapter 11 Learning About File Formats Supported by Logic Express 313 Accessing Media Files in the Browser 315 Finding Apple Loops in the Loop Browser 322 Adding and Removing Audio Files 332 Adding MIDI and Project Files 340 Getting to Know Regions 341 Chapter 12 What Are Regions? 341 MIDI and Audio Regions Compared 344 Handling Regions in the Audio Bin and Sample Editor 346 Creating Your Arrangement 357 Chapter 13 Getting to Know the Arrange Area 358 Snapping Region Edits to Time Positions 360 Using Drag Modes 363 Scrubbing Your Arrangement 365 Using Shortcut Menus 366 Muting Regions 366 Soloing Regions 367 Naming Regions 368 Assigning Colors to Regions 371 Selecting Regions 372 Adding, Recording, and Removing Regions 376 Restoring Removed Regions 377 Moving Regions 378 Resizing Regions 383 6 Contents

389 Adding or Removing Arrangement Passages 390 Creating Region Aliases 394 Creating Region Clones 397 Converting Regions to a New Sampler Track 398 Creating Multiple Copies of Regions 400 Creating Region Loops 400 Dividing Regions 404 Demixing MIDI Regions 407 Merging Regions (General Tools and Commands) 408 Merging MIDI Regions 409 Merging Audio Regions 409 Working with Folders 411 Creating Crossfades and Fades on Audio Regions 415 Setting Region Parameters 420 Recording in Logic Express 427 Chapter 14 Checking Hardware Connections and Settings for Recording 428 Setting the Project Sample Rate 428 Setting the Project Bit Depth 429 Setting Up the Metronome for Recording 431 Enabling Software Monitoring for Recording 433 Setting the Monitoring Level for Recording 435 Defining the Recording Folder 435 Naming Audio Recordings 436 Choosing the Recording File Type 436 Setting the Recording Format 438 Record-Enabling Tracks 439 Getting to Know Audio Recording 440 Audio Take Recording 441 Audio Multitrack Recording 447 Audio Punch Recording 447 Audio Replace Recording 450 Deleting Audio Recordings 451 Getting to Know MIDI Recording 451 MIDI Take Recording 452 MIDI Multitrack Recording 457 MIDI Merge Recording 461 MIDI Replace Recording 462 Retrospective Recording of MIDI Regions 463 Switching Instruments to Software Instrument Live Mode 464 Filtering MIDI Events When Recording 464 Turning MIDI Thru Off When Recording 465 7 Contents

466 Coloring Takes While Recording 466 Marking a Good Take While Recording 468 MIDI Step Input Recording 469 Editing Audio Take Recordings 477 Chapter 15 Getting to Know Take Folders 478 Previewing Take Folder Recordings 478 Toggling Take Folder Editing Mode 480 Creating Comps 482 Editing Comps 483 Resizing Take Regions 488 Cutting Take Folders and Take Regions 489 Moving Take Folders and Take Regions 492 Duplicating Comps or Creating New Comps 494 Renaming Takes or Comps 496 Deleting Takes or Comps 499 Exporting Takes or Comps to New Tracks 503 Moving Takes or Comps to New Tracks 507 Flattening and Merging Take Folders 511 Unpacking Take Folders 514 Packing Regions into a Take Folder 518 Opening Take Folders in the Sample Editor 519 Flex Time Editing 521 Chapter 16 Turning on Flex View 522 Choosing Flex Modes 522 Getting to Know the Flex Modes 525 Getting to Know Transient, Flex, and Tempo Markers 527 Working with Flex Markers 528 Time Stretching Using Marquee Selections 534 Time Stretching Using Region Borders 535 Snapping Flex Markers to Transient Markers 536 Splitting Audio Regions at Transient Marker Positions 537 Using the Flex Tool 537 Using Varispeed to Alter Playback Speed and Pitch 541 Editing Audio in the Sample Editor 543 Chapter 17 Opening the Sample Editor 544 Getting to Know the Sample Editor 545 Playing Audio Files in the Sample Editor 546 Navigating Audio Files in the Sample Editor 549 Making Selections in the Sample Editor 550 8 Contents

554 Adjusting the Project Tempo in the Sample Editor 565 Using Sample Editor Loop Functions 565 Undoing Edit Steps in the Sample Editor 566 Creating Manual Backups in the Sample Editor 566 Customizing Waveform Amplitude Scale in the Sample Editor 568 Customizing the Ruler in the Sample Editor 568 Customizing Waveform Display in the Sample Editor 570 Getting to Know the Sample Editor’s Digital Factory 571 Using the Sample Editor’s “Time and Pitch Machine” 572 Using the Sample Editor’s Groove Machine 577 Using the Sample Editor’s Audio Energizer 579 Using the Sample Editor’s Silencer 582 Using the Sample Editor’s “Audio to Score” 584 Using the Sample Editor’s Quantize Engine 587 “Audio to MIDI Groove Template” 589 Using an External Sample Editor 589 Working with Tempo and Audio Regions 591 Chapter 18 Automatic Tempo Matching 591 Setting the Project Tempo to Match an Audio Region 593 Time Stretching Regions 595 Using Beat Detection to Create Tempo Changes 597 Importing, Removing, and Exporting Tempo Information 599 Removing Silent Passages from Audio Regions 601 Chapter 19 Opening the Strip Silence Window 601 Getting to Know the Strip Silence Window 602 Removing Silent Passages from a Selected Region 603 Automatic Anchor Creation 604 Understanding How You Can Use Strip Silence 604 Managing Audio Files 607 Chapter 20 Sorting, Grouping, and Renaming Files in the Audio Bin 607 Moving Audio Files 614 Copying or Converting Audio Files 615 Deleting Audio Files 617 Optimizing Audio Files 617 Converting Regions into Independent Audio Files 618 Exporting Tracks as Audio Files 619 Exporting or Importing Region Information 619 Finding and Replacing Orphaned Audio Files 619 9 Contents

623 Chapter 21 Understanding Region- and Event-based Quantization 624 Understanding the Quantize Grid Options 624 Fine-Tuning the Quantize Grid Options 625 Quantizing Audio or MIDI Regions 627 Quantizing Phase-Locked Audio Tracks 629 Quantizing MIDI Regions Permanently 631 Quantizing MIDI Events 632 Working with Groove Templates 634 Introduction to MIDI Editing 641 Chapter 22 Getting to Know the MIDI Editors 641 Opening the MIDI Editors 642 Hearing MIDI Events When Editing 645 Editing MIDI Events in the Arrange Area 645 Monitoring and Resetting MIDI Events 647 Editing MIDI Events in the Piano Roll Editor 649 Chapter 23 Opening the Piano Roll Editor 649 Getting to Know the Piano Roll Editor 650 Creating and Editing Note Events in the Piano Roll Editor 653 Splitting Chords in the Piano Roll Editor 668 Using Hyper Draw in the Piano Roll Editor 669 Customizing the Piano Roll Editor 671 Using Piano Roll Editor Shortcuts 671 Editing MIDI in the Hyper Editor 673 Chapter 24 Opening the Hyper Editor 673 Getting to Know the Hyper Editor 675 Creating and Editing Events in the Hyper Editor 675 Working with Event Definitions 685 Using the Event Definition Parameter Box 690 Working with Hyper Sets 693 Editing MIDI Events in the Event List 699 Chapter 25 Getting to Know the Event List 700 Selecting and Creating Events 705 Editing Events 708 Deleting and Muting Events 711 Soloing and Renaming Regions or Folders 712 Learning About Event Types 712 The Event Float Window 719 10 Contents

721 Chapter 26 Getting to Know the Transform Window 721 Choosing and Using Transform Sets 722 Learning About the Transform Presets 723 Using the Transform Window Parameters 734 Creating Your Own Transform Sets 740 Importing Transform Sets From Other Projects 741 Usage Examples 741 Mixing 747 Chapter 27 Opening the Mixer 748 Getting to Know the Mixer 750 Understanding Channel Strip Types in the Mixer 751 Understanding Channel Strip Controls in the Mixer 752 Understanding the Basic Mixing Stages 753 Working with Mixer Groups 754 Muting Channel Strips 758 Soloing Channel Strips 759 Setting Channel Strip Levels 760 Setting Pan or Balance in the Mixer 765 Adding and Routing Effects in the Mixer 766 Controlling Signal Flow in the Mixer 769 Working with MIDI Channel Strips in the Mixer 777 Customizing the Mixer 781 Using the I/O Labels Window 786 Adjusting Mixer Channel Strips in Record or Playback Mode 787 Copying Entire Mixer Setups 787 Adjusting Elements of Multiple Mixer Channel Strips 788 Navigating Within the Mixer 791 Assigning Colors to Channel Strips in the Mixer 792 Renaming Tracks in the Mixer 792 Linking Control Surfaces to the Mixer 793 Working with Automation 795 Chapter 28 Displaying Track Automation 796 Setting an Automation Mode 800 Writing Track Automation Data 803 Selecting Automation Nodes and Lines 804 Creating Automation Nodes 805 Deleting Track Automation Data 806 Copying and Moving Automation Data 807 Editing Track Automation Data in the Track Header 809 11 Contents

810 Offsetting Automation 810 Editing Track Automation Data in the Event List 812 Writing Track Automation with External Controllers 812 Using Hyper Draw in the Arrange Area 814 Conversion of Automation Data 818 Bouncing Your Project 819 Chapter 29 Creating a Bounce 819 Routing Channel Strips to an Output 820 Defining the Bounce Range 821 Defining Parameters in the Bounce Window 822 Setting the Bounce Filename and Folder 831 Bouncing and Dithering 832 Creating Apple Loops 835 Chapter 30 Creating Apple Loops in Logic Express 836 Creating Apple Loops in the Apple Loops Utility 839 Converting ReCycle Files into Apple Loops 840 Adding Apple Loops to the Loop Browser 842 Adding Acid Loops to the Loop Browser 843 Using Global Tracks with Apple Loops 843 Converting Apple Loops to Audio Files 845 Converting the Sample Rate of Apple Loops 846 Working with Notation 847 Chapter 31 Opening the Score Editor 848 Getting to Know the Score Editor 850 Understanding the Basic Scoring Stages 850 Entering Notes and Symbols in the Score Editor 854 Working with the Part Box 860 Learning About Part Box Groups 863 General Editing in the Score Editor 875 Editing Notes in the Score Editor 882 Creating and Inserting Rests in the Score Editor 888 Editing Clefs in the Score Editor 890 Editing Slurs and Crescendi in the Score Editor 891 Editing Repeat Signs and Bar Lines in the Score Editor 894 Working with Standard Text 895 Working with Automatic Text 902 Working with Lyrics 903 Working with Chords 904 Working with Chord Grids 907 12 Contents

929 Working with Time and Key Signatures 930 Transcribing MIDI Recordings 937 Default Settings for New MIDI Regions 937 Selecting Multiple Regions in the Score Editor 938 Display Parameters 939 Hidden MIDI Regions 944 Using Note Attributes to Change Individual Notes 944 Working with Staff Styles 950 Using Score Sets to Create Scores and Parts 971 Preparing the Score Layout for Printing 977 Exporting the Score as a Graphic File 982 Customizing the Score Editor’s Appearance 983 Project and File Interchange 987 Chapter 32 Sharing Logic Express Data over a Network 988 Backing Up Audio Files 992 Backing Up and Sharing Projects 993 Working with Standard MIDI Files 994 Working with GarageBand Projects 997 Working with OMF Files 998 Working with OpenTL Files 999 Working with AAF Files 1001 Working with Final Cut Pro XML Files 1002 Working with Soundtrack Pro STAP Files 1003 Exporting Individual Regions as Audio Files 1004 Exporting Individual or Multiple Tracks as Audio Files 1006 Advanced Tempo Operations 1011 Chapter 33 Using the Tempo Display in the Transport Bar 1011 Using the Tempo Track 1012 Recording Tempo Changes in Logic Express 1017 Adjusting the Tempo to Fit Audio Regions 1017 Using the Tempo List 1018 Using the Tempo Operations Window 1021 Using the Tempo Interpreter Window 1023 Using the Tempo Fader 1026 Beat Mapping Regions 1027 Chapter 34 Understanding the Concept of Beat Mapping 1027 Beat Mapping MIDI Regions 1028 Beat Mapping Audio Regions 1030 Automatic Beat Mapping of Regions 1031 13 Contents

1033 Beat Mapping to Markers 1033 Editing Transposition with the Chord and Transposition Tracks 1035 Chapter 35 Opening the Chord and Transposition Tracks 1036 Understanding How MIDI Events and Apple Loops Are Transposed 1037 Creating and Editing Transposition and Chord Events 1038 Using the Chord Track to Analyze MIDI Regions 1040 Working in the Environment 1043 Chapter 36 Opening the Environment 1043 Getting to Know the Environment 1044 Working with Layers 1045 Working with Objects 1048 Creating Your MIDI Signal Path 1052 Exchanging Environments 1060 Customizing the Environment Display 1063 Environment Objects Reference 1067 Chapter 37 Opening the Object Parameter Box 1068 Getting to Know Common Object Parameters 1068 Standard Instrument Objects 1070 Multi-Instrument Objects 1072 Mapped Instrument Objects 1076 Touch Track Objects 1081 Fader Objects 1085 Alias Objects 1102 Ornament Objects 1104 GM Mixer Objects 1104 MMC Record Buttons Objects 1107 Keyboard Objects 1108 Monitor Objects 1108 Macro Objects 1109 Arpeggiator Objects 1111 Transformer Objects 1113 Delay Line Objects 1119 Voice Limiter Objects 1120 Channel Splitter Objects 1121 Chord Memorizer Objects 1121 Physical Input Objects 1124 Sequencer Input Objects 1125 MIDI Click Objects 1126 Internal Objects 1128 14 Contents

1130 Working with Video 1135 Chapter 38 Opening a Movie 1135 Using the Movie Window 1137 Using the Video Track 1138 Working with Movie Scene Markers 1139 Handling QuickTime Movie Audio Tracks 1141 Synchronizing Logic Express 1143 Chapter 39 Understanding the Synchronization Protocols 1143 The Synchronization Master and Slave Relationship 1144 Using External Synchronization 1144 Displaying and Using SMPTE Positions 1146 MIDI Machine Control 1148 Synchronization Problems and Solutions 1150 Working with Plug-in Latencies 1153 Chapter 40 Understanding Plug-in Latency in Logic Express 1153 Working in Low Latency Mode 1154 Working with Plug-in Latency Compensation 1155 Working with Split Channel Audio File Formats 1159 Chapter 41 Importing Split Channel Files 1159 Working with Split Stereo Files 1160 Exporting Split Channel Files 1161 Project Settings in Logic Express 1163 Chapter 42 Accessing Project Settings 1163 Saving Project Settings 1165 Synchronization Project Settings 1165 Metronome Settings 1175 Recording Settings 1177 Tuning Settings 1180 Audio Settings 1186 MIDI Settings 1188 Score Settings 1192 Video Project Settings 1215 Assets Project Settings 1217 Preferences in Logic Express 1219 Chapter 43 Accessing Preferences 1219 Saving Preferences 1220 General Preferences in Logic Express 1221 15 Contents

1229 MIDI Preferences in Logic Express 1242 Display Preferences in Logic Express 1247 Score Preferences in Logic Express 1252 Video Preferences in Logic Express 1254 Automation Preferences in Logic Express 1255 Control Surface Preferences in Logic Express 1257 Sharing Preferences in Logic Express 1259 1261 Glossary 16 Contents

all the tools you need to create professional-quality music productions. This preface covers the following: • About Logic Express (p. 17) • About the Logic Express Documentation (p. 18) • Additional Resources (p. 19) About Logic Express Logic Express allows you to record and edit both audio and MIDI, add high-quality effects, and mix your music. The final mix can be exported to one or more standard audio files, or burned to an audio CD or DVD that can be played on any computer, home stereo, or imported into other applications and devices. Some of the things you can do with Logic Express include: • Record MIDI information via connected MIDI input devices, such as keyboards, and play back this information via any connected MIDI device (such as a synthesizer keyboard or module) or the integrated Logic Express software instruments. • Create, arrange, and edit MIDI projects, make use of the powerful Score Editor, then print musical notation via a printer connected to your computer. • Edit the timing of audio files—Flex time editing—by shortening or expanding the distance between transients in the audio. • Digitally record acoustic and electric instruments or vocal performances into your projects, and process these audio recordings with a huge array of built-in real-time effects. • Make use of the integrated software instruments, including Ultrabeat, ES1, ES2, EXS24 mkII, over a dozen high-quality GarageBand instruments, or third-party Audio Units instruments. • Load projects or channel strips from GarageBand, and enhance them with the additional processing and editing possibilities afforded by Logic Express. 17 Welcome to Logic Express Preface

a sophisticated total recall mix automation system. Logic Express includes high-quality effects that you can use in your projects. You can also install and use third-party Audio Units effects and instruments. • Bounce (mix down) all audio data, including instruments, effects and mix automation settings, to stereo files for mastering or further processing. • Work in real time: You can work on Logic Express projects in real time, adding to, and editing audio and MIDI parts while the project is playing, and hearing the results of your changes immediately. • Use existing loop libraries: Logic Express directly supports Apple Loops files, and is compatible with a wide variety of existing audio file types, including those created in ReCycle. • Locate and preview files easily: The Media area, part of the Logic Express interface, provides powerful file browsing and search features, making it easy to locate audio files and other supported file types. About the Logic Express Documentation Logic Express comes with various documents that will help you get started as well as provide detailed information about the included applications. • Logic Express User Manual: The onscreen user manual is a comprehensive document that describes the Logic Express interface, commands, and menus and gives step-by-step instructions for creating Logic Express projects and for accomplishing specific tasks. It is written for users of all levels of experience. The user manual is available in Logic Express Help (in Logic Express, choose Help > Logic Express Help). • Exploring Logic Express: This booklet presents the basics of Logic Express in an easy, approachable way. Each chapter presents major features and guides you in trying things out. A PDF version of the printed manual is available in Logic Express Help (in Logic Express, choose Help > Exploring Logic Express). • Logic Express Control Surfaces Support: This onscreen manual describes the configuration and use of control surfaces with Logic Express. • Logic Express Instruments: This onscreen manual provides comprehensive instructions for using the powerful collection of instruments included with Logic Express. • Logic Express Effects: This onscreen manual provides comprehensive instructions for using the powerful collection of effects included with Logic Express. • Logic Express Working with Apogee Hardware: This onscreen manual describes the use of Apogee hardware with Logic Express. 18 Preface Welcome to Logic Express

resources you can use to find out more. Release Notes and New Features Documents Each application offers detailed documentation that covers new or changed features and functions. This documentation can be accessed in the following location: • Click the Release Notes and New Features links in the application Help menu. Logic Express Website For general information and updates, as well as the latest news on Logic Express, go to: • http://www.apple.com/logicexpress Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. • http://www.apple.com/support For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Logic Express, go to: • http://www.apple.com/support/logicexpress For discussion forums for all Apple products from around the world, where you can search for an answer, post your question, or answer other users’ questions, go to: • http://discussions.apple.com 19 Preface Welcome to Logic Express

of a common workflow when creating music in the application. This chapter covers the following: • Creating Music in Logic Express (p. 21) • Understanding the Basics of Projects and Regions (p. 23) Creating Music in Logic Express Logic Express can be used in a variety of ways, ranging from the simple to the incredibly sophisticated. The following section outlines a common workflow example that many projects adhere to. Stage 1: Creating a Project You begin working in Logic Express by creating a new project, or opening an existing one. A project file contains MIDI data recordings plus information about the audio and other files used, including pointers to these files. All files (audio, video, samples, and so on) can be saved in a project folder. All project files are automatically placed into appropriate sub-folders within the project folder. More details can be found in Understanding the Basics of Projects and Regions. Stage 2: Creating and Importing Your Musical Material Getting musical material into Logic Express can basically be broken down into two methods: • Making new audio or MIDI data recordings (the latter can be played back through either external MIDI synthesizers or software instruments). • Importing existing audio recordings (audio files, samples, loops) or MIDI (and other file data) into your projects. You can import existing audio recordings by simply dragging them from the Media area, shown at the right of the Arrange window. 21 Introducing Logic Express 1

installed in, your Mac. MIDI recordings are used to trigger (play back through) either external MIDI devices, such as synthesizers, or internal software instruments. Software instruments are played back through your audio interface or the Mac audio outputs. Not only can you record the notes of your performance, but you can also record and play back information such as synthesizer parameter changes—all in real time. Audio recordings can be made by playing an instrument (such as a guitar) or singing into a microphone, for example. Stage 3: Arranging and Editing Once your musical material has been imported or recorded into Logic Express, you will generally organize it into a “project structure.” This is done in the main Logic Express window, called the Arrange window. Musical material appears as rectangular blocks, known as regions. These regions run from left to right across the Arrange area, and are positioned on vertically stacked lanes, known as tracks. You may freely copy, repeat, loop, move, shorten, lengthen, or delete regions—either on a track or across tracks. This grid-like layout and the use of building blocks (regions) make it easy to see, and create, the overall song structure. There will be many occasions when you’ll need to perform more detailed edits to your MIDI or audio data recordings than is possible at the region level. Logic Express offers a number of editing windows that allow you to modify your musical material at a variety of levels. For example, this might be useful if: • You have made a recording of a great main vocal performance, but can hear a thud in the silent passages between two phrases, where the vocalist kicked the microphone stand. It probably goes without saying that this isn’t a sound you’d like to have on the finalized CD. No problem. Simply edit the recording by inserting silence during the thud, or perhaps cut that portion out of the recording entirely. • You have made a MIDI keyboard recording that is perfect except for one note that should have been a C, but is a B. No problem. Simply drag the MIDI note event from B to C. More details can be found in Understanding the Basics of Projects and Regions. Stage 4: Mixing, Automating, and Using Plug-ins Following the creation of your arrangement and any edits that may have been required, you would commonly move on to the mixing phase of your project. Mixing, as a term, generally refers to balancing the relative levels of each song component. Put another way, the main vocal needs to be louder than the bass, guitars, drums, and keyboards, thus allowing the lyrics to be heard. 22 Chapter 1 Introducing Logic Express

song components, adding up to a unified and polished final product. Logic Express features numerous effects that can be used to turn your basic song into a professionally finished project. Logic Express allows you to record, or automate, changes you make to track, instrument, and effect parameters, such as volume, pan, filters, and other controls. This can be done in real time or offline with the mouse or an external MIDI device. These changes play back when you play the project, and can be edited independently of the musical material. This is very useful for a number of reasons: • You can only adjust one level or setting of a playback track, if using the computer mouse. The ability to record and play back multiple adjustments of all track elements allows for a sophisticated mix. • Performances are rarely consistent. For example, a vocalist will often sing louder or softer during different sections of his or her performance, so you may need to even out these level changes over the course of the song, or to balance the soft and loud vocal sections against the musical backing. • Song dynamics (the loud and soft sections of a song) benefit from animation. In other words, building the intensity of a song section can often be achieved by gradual or immediate level changes. Songs that are of a consistent level throughout tend to sound flat and lifeless. Stage 5: Exporting and Bouncing The final step of the Logic Express music creation process is exporting your final product. Logic Express allows you to produce a stereo file of your completed mix in a variety of audio file formats. You can also produce several stem files, formatted for most common Surround encoding schemes. You do this in the Bounce window; simply choose the desired outcome(s) in the available menus and click the onscreen Bounce button. You can even burn a stereo mix directly to a CD or DVD, or create an MP3, with one simple step. Understanding the Basics of Projects and Regions This section will provide you with an introduction to the basic elements and terminology of a Logic Express project. Detailed, step-by-step instructions on working with projects, regions, and events are provided in later chapters. Understanding the Basics of Projects You start working in Logic Express by creating a project, or opening an existing one. This is similar to using a word-processing application that requires a document to be opened before you can begin typing. Logic Express, like word processors, also allows you to have multiple documents (projects) open at the same time, and transfer media and other data between them. 23 Chapter 1 Introducing Logic Express

about the audio and video files to be played, and all edits to MIDI and audio data. It is important to note that the project file points to your audio and video files, which are stored as separate entities on your hard disk. You have the choice of including these, and other file types, in the project folder. This approach has two main benefits: • Saving a project without its assets (audio, video, sample files, and so on) minimizes the memory requirements for project (and project backup) file storage. • Saving a project with assets simplifies tasks such as archiving and transport to other Logic Express-based studios—either physically or as email attachments. A project can consist of the complete collection of files used, including the project itself, project backups, all audio, sampler instruments, and samples for the EXS24 or Ultrabeat, and video. These are collectively known as the project assets. When you create a new project, a project folder is created, named, and a hard disk location is specified. New recordings are automatically placed into an Audio Files sub-folder within the project folder. If you include the project assets, further sub-folders are created automatically. These can include Audio Files, Project Backups, Samples, Video, ReCycle, and Sampler Instruments folders. The sub-folder structure of all projects is identical, making it easy and consistent to navigate both your projects and those of other Logic Express users. Understanding the Basics of Regions The main window of Logic Express is known as the Arrange window. This is the window that you first see when you open the application and a project is loaded. This is also the window that is used for recording, editing, and arranging your projects. Your audio and MIDI files appear in the Arrange window as rectangular areas called regions. Audio files are represented by audio regions, MIDI files by MIDI regions. 24 Chapter 1 Introducing Logic Express

Audio regions refer to (point to) an underlying audio file. Audio regions are used as playback markers (start and end points) that can be as long as the entire audio file, or only a few seconds long, playing a small portion of the audio file that they point to. Audio region 1 Audio file Audio region 2 Audio region 3 Any audio file used in Logic Express is automatically linked to at least one audio region that is, by default, the length of the entire audio file. You can freely create as many audio regions as you require. For example, imagine a live stereo drum track that runs for the duration of your project. During the second chorus, the drummer played perfectly, but was a little sloppy during all other chorus sections. Logic Express allows you to create an audio region that points to the second chorus section of the overall (drum track) audio file, and use this perfect take in multiple places in the project. You do this by creating one audio region (that points to chorus 2 in the drum track audio file), and copying it to each position that the chorus occurs in the Arrange area. A great benefit of working with audio regions, rather than audio files, is that they use very little memory, whereas multiple copies of the same section of the audio file would require a lot of hard disk storage space. It is, of course, possible to directly edit, copy, and move audio files. You do this in the Sample Editor and Media area. 25 Chapter 1 Introducing Logic Express

MIDI regions, by comparison, actually contain MIDI data events. They are not related to information stored in external files. MIDI regions can be saved as individual files, but they can also be, and generally are, stored as part of the project. MIDI region MIDI note events MIDI controller events The MIDI data events stored within MIDI regions include note, controller, program change, and other information. These data events represent MIDI performances that you have recorded into Logic Express. MIDI performances are generally created with a MIDI keyboard, but can also be generated with MIDI controllers, MIDI guitars, your computer keyboard, or the mouse. MIDI data events can be affected as a group by processing the MIDI region that contains them. Such processing includes: transposition, quantization (timing correction, which is similar to the spell checker of a word processor, when dealing with the language of music), timing delays, and more. You can also edit individual events within a MIDI region. You do this by opening the region in one of the MIDI editors. These windows allow you to precisely alter the position, length, and pitch of MIDI note events. Other MIDI event types can also be altered in various ways. You can freely enter MIDI data with your MIDI keyboard, the mouse, or computer keyboard in these editors. For more information about MIDI and MIDI event types, see Introduction to MIDI Editing. 26 Chapter 1 Introducing Logic Express

when first installed and opened. There are many circumstances in which you may want to enhance or extend this basic automatic configuration. This chapter will help you to optimize your hardware for use with Logic Express. It also includes background information about components your music production system can incorporate. This chapter covers the following: • Designing Your Music Production System (p. 27) • Connecting Your Audio and MIDI Devices (p. 34) • Using External MIDI Devices (p. 42) • Using External Audio Effects (p. 42) • Configuring Your Audio Hardware (p. 42) Designing Your Music Production System Your music production system can incorporate far more than your computer and Logic Express software. A complete Logic Express studio could conceivably consist of any, or all, of the following components: • A Mac computer and related peripherals, such as a mouse or other pointing device, keyboard, displays, and so on • Audio and MIDI interfaces • External MIDI sound generators, such as samplers and synthesizers • External audio devices, such as mixers, audio converters, pre-amplifiers, channel strips, effects units, and more • External MIDI control surfaces and keyboards. Even external MIDI-controlled lighting can be driven by Logic Express. • Amplification and speakers for stereo or multi-channel surround mixes 27 Setting Up Your System 2

a range of ReWire applications and audio or MIDI software. • Additional effect and instrument plug-ins, including those that are DSP-accelerated, such as PowerCore Computer This section outlines several computing factors that you should consider for your Logic Express system. System requirements are covered in the BeforeYouInstall document, found in the Documentation folder of the Logic Express installation discs. Note: System requirements may change between Logic Express releases, so you should always check the Apple website and the latest Before You Install document included with Logic Express updates. How Fast Should Your Computer Be? Audio processing is complex, so the general rule is: the more powerful your computer, the better. This involves not only the speed of the processors of your Mac, but also includes larger main memory sizes, the speed of busses, and the general efficiency of communication with connected devices. A Portable or Fixed Studio? You may be wavering between a desktop or portable Mac as the basis for your Logic Express system, or perhaps considering the viability of a portable computer for on-the-road composition. The good news is that portable Mac computers are ideal for Logic Express use. They offer excellent audio and MIDI hardware expansion capabilities in the form of FireWire and USB connectors, and are fast enough to allow extensive software instrument and effect use. Due to the power-saving nature of portable computers, slower hard disk drives are usually included, resulting in a lower track count than is possible with a desktop equivalent. Obviously, desktop computers offer additional expansion slots, extending the range of MIDI and audio hardware possibilities available to notebook computers, and can incorporate multiple processors. CPU and hard disk speeds are generally higher, thus allowing higher track playback counts, and the simultaneous use of more software instruments and effects. Tip: If you have both a portable and desktop Mac, you can easily transfer projects and other data between them. Hard Disk Drives and Storage Locations Music production generates a huge number of large files. These include samples for audio instruments, loop libraries, audio recordings, video files, and more. Consider buying a separate, large capacity hard disk drive (or several) for your audio files and sample libraries. 28 Chapter 2 Setting Up Your System

your backup routine, preferably as a daily occurrence. Audio and MIDI Interfaces An audio interface is required to get sound signals into, and out of, your computer. A MIDI interface is required for MIDI input and output signals. When using optional audio and MIDI interfaces, you should install their drivers before starting Logic Express. This will allow Logic Express to find and use these devices at startup. Audio interfaces should be supported by a Core Audio driver and MIDI interfaces should be supported by a Core MIDI driver. Check with the manufacturer of your equipment for details on Mac OS X support. Audio Interface When an analog audio signal arrives at the inputs of your audio interface, it must be converted into digital information before the computer can deal with it. This process is called analog-to-digital conversion and is handled by the analog-to-digital converter of the audio interface. There are countless optional audio interfaces available, and at least as many ways that they can be set up and used with Logic Express and external audio gear. Given the differing requirements and working methods of people across the world, there is no one-size-fits-all audio interface solution. In the simplest scenario, you would use the internal audio interface of your computer to monitor and record audio. When choosing an audio interface, make sure that it is certified to run on Mac hardware. If the device requires a driver, check that it is compatible with the Mac OS X version required by Logic Express. Logic Express supports input from digital audio interfaces up to a maximum sample rate of 192 kHz, and a maximum bit depth of 24 bits. Full details about setting up your audio interface hardware can be found in Configuring Your Audio Hardware. MIDI Interface Your Mac computer does not provide MIDI inputs or outputs. If you want to use MIDI devices equipped with MIDI ports, a MIDI interface is required for communication with your computer. MIDI interfaces are generally connected to your Mac USB ports. Some MIDI interfaces require the installation of driver software, and others are automatically recognized by your Mac. 29 Chapter 2 Setting Up Your System

connection port that enables MIDI (and audio, in some cases) communication with your computer. Such devices do not require an additional MIDI (or audio) interface. Some require the installation of driver software, and others are automatically recognized by Mac OS X. Check the websites of MIDI device manufacturers for further information. Types of MIDI Devices A vast array of MIDI-equipped devices exist. These include MIDI keyboards and sound modules, control surfaces, effect processors, mixers, lighting controllers, and more. MIDI Keyboard The most likely candidate for inclusion in your Logic Express system is a MIDI keyboard. MIDI keyboards are used to input note (and controller) information into Logic Express. Some MIDI keyboards are simply input devices (often called controller keyboards) and some also include their own synthesis engines (synthesizer and sampling keyboards). Logic Express can be used to record keyboard performances as MIDI data, and can play them back through any connected MIDI device or internal software instrument. If you don’t have a MIDI keyboard handy, Logic Express offers the Caps Lock Keyboard, which allows you to use the computer keyboard for MIDI note entry. See Using the Caps Lock Keyboard for MIDI Step Input. Control Surfaces Control surfaces are hardware devices that feature a variety of controls, which can include faders, rotary knobs, switches, and displays. These controls can be mapped to functions in Logic Express, allowing you to change parameters with more precision and speed than you can by using your mouse and computer keyboard. You can also control multiple parameters at the same time. Detailed information on the setup and use of control surfaces can be found in the Logic Express Control Surfaces Support manual. Recording Light Plug-in Logic Express facilitates the use of a control surface plug-in, called the Recording Light, to control an external device via MIDI events. This allows you to control an external recording light or sign, warning visitors not to enter the recording studio before or during recording. Logic Express sends a MIDI signal to turn on the external device when a track is record-enabled or when recording starts. Logic Express sends another MIDI signal to turn off the device when tracks are made record-safe or when recording stops. Note: This control surface plug-in requires additional hardware that is not included with Logic Express. Synthesizers and MIDI-Controlled Effects Logic Express provides plenty of software instruments and effects, and can also act as a host for Audio Units plug-ins from other manufacturers. More information on the use of plug-in instruments and effects can be found in Working with Instruments and Effects. 30 Chapter 2 Setting Up Your System

to your Logic Express music production system. These are connected via a MIDI interface, using MIDI cables. (See Connecting Your Audio and MIDI Devices.) MIDI-controlled effects units do not process MIDI data. Rather, they are audio processors (such as reverb or multi-effect devices) that can be controlled via MIDI messages. This allows you to automate the parameters of these devices—such as delay time or Flanger speed—from Logic Express. Typically, you would connect all external devices, such as synthesizers and MIDI-controlled effects units to either your audio interface or a hardware mixing console. MIDI-controlled effects units would be connected in a send/return loop, using either: • A pair of audio ins and outs (or auxiliary in/out, if available) on your audio interface • An auxilliary in/out (sometimes called FX send/return) pair on your mixing console Both methods allow the use of Logic Express’s In/Out plug-in, allowing you to freely route audio information through the external effects unit and the MIDI connection provides control over the effects parameters. In many ways, this is much like using one of Logic Express’s internal effect plug-ins. Note: It is only practical to use the In/Out plug-in for external device routing when you’re using an audio interface equipped with multiple in and out ports. Both MIDI instruments and effects allow remote patch (preset) selection from Logic Express. This (and control) information can be stored as part of Logic Express project files, ensuring perfect playback from your MIDI devices the next time the project is loaded. Ancillary Audio Devices No discussion of a Logic Express audio system would be complete without covering a number of options that you should seriously consider, in order to make the most of the application. Audio Playback System Your audio interface provides inputs and outputs between the real world and your computer. When performing audio playback, the audio interface translates computer data into something you can hear and understand—sound and music. To facilitate this, an amplifier and speakers are required. You can certainly use headphones, connected to the headphone jack of your audio interface, or the home hi-fi to monitor Logic Express playback, but this is not recommended in the long term. You should look at a dedicated set of reference monitors (speakers), and a matching reference amplifier. Many monitoring systems today have powered speakers, negating the need for a separate amplifier. 31 Chapter 2 Setting Up Your System

response across a wide range (usually 20 Hz to 20 kHz). These are not your average home hi-fi speakers, and are usually only available from professional music and studio equipment dealers. This type of system is recommended due to the precision it offers. Logic Express is capable of delivering CD- or higher-quality audio, and creating your mixes on a home hi-fi will generally result in music that is not properly balanced. Put another way, most home hi-fi speakers tend to enhance particular areas of the frequency spectrum, resulting in mixes that have too much bass, mid, or treble frequency when played back on other systems. Reference monitors and amplifiers are designed to provide a flat frequency response, avoiding emphasis of particular areas of your mix. This translates to a final product that will sound good (or at least, passable) on most monitoring systems—car stereos, home hi-fi, portable players, and so on. Headphones A good set of studio headphones is handy for particular tasks, such as precise EQing and sample editing. Given the design of most headphones, and the fact that they’re used so close to the ears, most people find that headphone mixes tend to be too bright or too bass-heavy. As such, they are not recommended for general monitoring duties, but they are useful tools nonetheless. If you are recording groups of people, you will probably need several pairs of headphones, a headphone distribution amplifier, and a mixing console. Tip: You should not use headphones for longer than ten or twenty minutes at a time, as they can cause listening fatigue, resulting in you making poor choices for your mix. Audio Mixing Consoles The inclusion of an audio mixer—analog or digital—is based on your typical studio use. It also depends on the number of inputs and outputs provided by your audio interface and your working preferences. For example, if you are most likely to record bands, several MIDI synthesizers, or drum kits in your studio, you will need numerous microphone and line-level inputs to simultaneously record the performances of the musicians and vocalists in the group. Microphone inputs differ from line-level inputs in that they provide power (known as phantom power), which is used to amplify the incoming signal from condenser microphones. 32 Chapter 2 Setting Up Your System

recording situations, as different signals can be sent to each performer; for example, a click track to the drummer, a light drum mix and click track to the bass player, a composite mix to the vocalist and guitarist, with a touch of reverb for the singer, and so on. This different strokes approach is commonly used as it facilitates the best performances from each group member. Mixers can also include several auxilliary or bus channels that can be used to simplify a number of jobs; for example, sending different signals (or mixes, if you like) to multiple locations such as a front-of-house P.A. and a multitrack recorder, adding individual effects to multiple channels, rerouting processed audio back to a different position in the signal path, and much more. Many of these mixing tasks can be performed with a multi input/output audio interface—using Logic Express (and the interface control software, if applicable) to adjust levels and routings. The catch-22 with this is twofold: it is not as immediate as physically moving a slider or knob on a mixing console, and your computer generally needs to be turned on, to allow control. To balance the equation, you can add a control surface to your Logic Express system, enabling hands-on operation. On the latter point, a number of current audio interfaces can be used in standalone mode, but the problem of level control remains unless the computer is turned on. Microphones If you are recording acoustic performances—spoken, sung, or played—into Logic Express, you need one or more microphones. The array of microphones available these days is mind-boggling, but to simplify things, they basically fall into two categories: condenser and dynamic. • In general terms, condenser microphones are more sensitive, and are commonly used for vocal recording. They are also used for ambience recording, and for instruments such as guitars and woodwinds. • Dynamic microphones are often used for recordings with high sound pressure levels (loud signals, in other words), such as drums and percussion. Ultimately, either microphone type can be used for any recording job, but each will offer a distinct advantage—sonically—in different recording situations. To further clarify, both condenser and dynamic microphones come in a variety of forms, with many specifically designed for the recording of certain instruments. As such, there’s no one-size-fits-all microphone for every recording you will make, so purchasing or hiring several microphones for different projects is advisable. Note: Condenser microphones require power to function. This can be provided by a separate pre-amplifier or a phantom powered mixing console. 33 Chapter 2 Setting Up Your System

You need to connect your external audio and MIDI devices to your computer to allow communication between Logic Express and the devices. The following sections introduce you to Mac expansion capabilities, audio and MIDI cabling, and other things you should consider when connecting audio and MIDI interfaces to your system. Computer Expansions Depending on your Mac system, some or all of the following expansion capabilities are available, which can be used for audio and MIDI interfaces: • FireWire (IEEE 1394) • USB • PCI Express • ExpressCard/34 Note: Data transfer rates discussed in the following sections are theoretical maximums. In real-world use, this will be reduced due to system overheads. In general, protocols with faster theoretical maximums will deliver data more quickly than slower protocols. FireWire (IEEE 1394) FireWire is a professional and consumer standard that can be used for both audio and MIDI devices, as well as hard disks and other peripherals. It combines fast data transfer rates, high storage capacities, and plug-and-play connection. All current Mac computers offer FireWire connectors, and a number of FireWire audio and MIDI interfaces are available. FireWire 400 FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is an inexpensive and easy way to capture and output high-quality digital video using a variety of camcorders and decks and is capable of data rates as high as 400 Mbps. Standard FireWire cables can be up to 4.5 meters long. There are two kinds of FireWire connectors: a 4-pin connector (typically found on video equipment such as camcorders or decks) and a 6-pin connector (used for computer equipment). However, some newer video equipment uses the 6-pin connector, and some video interfaces use the 4-pin connector. See your equipment’s documentation for more information. FireWire 400 (6-pin) (Sometimes labeled iLINK) FireWire 400 (4-pin) 34 Chapter 2 Setting Up Your System

a higher-bandwidth version capable of data transfer speeds of up to 800 Mbps. FireWire 800 is also capable of supporting cable distances of up to 100 meters. In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and 9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older devices to a FireWire 800 interface. FireWire 800 (9-pin) Note: FireWire 800 is commonly used to connect hard disks and other data peripherals to your computer, but this connector is rarely used to connect video devices. USB (Universal Serial Bus) USB is a consumer standard used for computer peripherals and other devices. USB 1.1 offers a much lower data transfer rate than FireWire (11 Mbps). USB 2.0, however, transfers data at 480 Mbps. It supports plug-and-play operation and the ability to connect several devices in sequence (daisy-chaining). Some USB devices draw their power over the USB cable, while others require a separate power connection. USB 2.0 ports are included on all current Mac computers. There are two kinds of USB connectors: • A connector, typically used to connect a device to a USB hub • B connector, typically used to connect devices together, and also to connect a device to a computer Note: USB audio interfaces should always be directly connected to your computer, not via a hub or to the computer’s display, keyboard, or another peripheral. USB (Universal Serial Bus) PCI Express PCIe (Peripheral Component Interconnect Express) interfaces, unlike FireWire and USB interfaces, require that you install a dedicated card in your computer. PCIe provides extremely high bandwidth and fast data transfer rates, allowing you to record and play back large numbers of files at the highest possible sample rates and bit depths. 35 Chapter 2 Setting Up Your System

available include audio interfaces, hard disk controller (eSATA) cards, networking, wireless adapters, and more. Audio Cabling The following types of audio cables and connectors are usually used on professional and consumer audio equipment: • XLR • 1/4-inch (6.35 mm) audio • 1/8-inch (3.5 mm) miniplug • RCA (Cinch) • S/PDIF • AES/EBU • TOSLINK Optical and ADAT Lightpipe XLR XLR cables and connectors are used on professional-quality microphones, monitors, and other musical equipment. They provide a high-quality, balanced signal at +4 dB level. XLR connector (balanced) 1/4-inch (6.35 mm) Audio 1/4-inch (6.35 mm) connectors (sometimes called phono or phone plugs) are used on a wide variety of professional and consumer musical equipment, including musical instruments and amplifiers, speakers, and external effects devices. They can be either balanced or unbalanced. Some devices require Tip-Ring-Sleeve (TRS) connectors. These three-contact connectors are used for balanced mono signals and unbalanced stereo signals. 1/4-inch Tip-Ring Sleeve (TRS) connector 1/4-inch Tip-Sleeve (TS) connector 36 Chapter 2 Setting Up Your System

Miniplug connectors are used for audio input and output to computers, and on some consumer electronic devices, particularly portable ones. Stereo miniplug connector (unbalanced) RCA (Cinch) RCA connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders. RCA connector (unbalanced) S/PDIF Sony/Philips Digital Interface Format is a consumer-level variation of the AES/EBU digital audio protocol. S/PDIF audio data can be transmitted several ways, including: • Via coaxial cables with an RCA connector • Via optical TOSLINK Connectors for S/PDIF signals are found on most consumer digital equipment, such as DAT (digital audio tape) recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces. S/PDIF optical digital connector AES/EBU The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for transferring digital audio typically uses XLR connectors in professional studio environments. The data protocol is essentially identical to S/PDIF. XLR connector TOSLINK Optical and ADAT Lightpipe TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal formats, although most devices support only one of these formats: • S/PDIF (stereo digital) • AC-3 and DTS (5.1-channel surround) • ADAT Lightpipe (an 8-channel digital signal) TOSLINK connector 37 Chapter 2 Setting Up Your System

format uses TOSLINK optical connectors. Eight channels are supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Connecting Your Audio Interface Logic Express supports plug-and-play for audio interfaces, making it possible to connect and turn on a new audio interface while Logic Express is open. An alert appears when you connect a new device, and prompts you to select and confirm the audio interface and driver that you want to use. All digital audio interfaces can be susceptible to latency—a noticeable delay between the time the audio signal is produced, and when you hear it. You should always attach your audio interface directly to the computer, rather than through a hub, or daisy-chaining it through another device. Doing so can cause an unacceptable amount of latency, particularly with slower USB 1.1 devices. MIDI Cabling MIDI is an abbreviation for Musical Instrument Digital Interface—a universal 5-pin connection standard and computer language—that allows communication between MIDI devices. MIDI Connector Connecting Your MIDI Keyboard and Modules If using a simple MIDI master keyboard without internal tone generation facilities, you only need to connect the MIDI Out port of the keyboard to a MIDI In port on your MIDI interface, using a MIDI cable. Computer MIDI interface Out port Keyboard In port 38 Chapter 2 Setting Up Your System

of the MIDI interface to the keyboard MIDI In port. If your MIDI interface offers more than one MIDI output, connect any other tone generators (or other MIDI devices, such as control surfaces that require bidirectional MIDI communication) to these. Computer MIDI interface Tone generator Out port Out port Keyboard In port In port In port If the MIDI interface connected to your computer only offers one MIDI output, you need to connect the MIDI In of the second tone generator to the keyboard MIDI Thru port. A third device can be connected to the MIDI Thru of the second unit, and so on. Computer MIDI interface Out port Out port Keyboard In port In port In port In port MIDI Thru port Tone generator 2 Tone generator 3 The MIDI Thru port replicates the signals coming into the MIDI In port of the device. It is preferable to use a direct connection from the computer MIDI Out to a device, rather than chaining too many units, one after the other. Doing so can cause timing problems in the chain, if numerous MIDI commands are sent quickly. This is due to the slight delays introduced by each MIDI In to MIDI Thru transaction. As such, a multi input/output MIDI interface is recommended in studios with several MIDI tone generators and controllers. 39 Chapter 2 Setting Up Your System

Most modern MIDI tone generators can simultaneously receive MIDI data on multiple MIDI channels (multi-timbral MIDI devices). Each MIDI channel can be assigned a tone or sound, such as piano, strings, bass, and so on. To take full advantage of the capabilities of each connected multi-timbral device, you need to use separate MIDI Out ports (from the computer MIDI interface to the MIDI In ports) for each device. To explain further, imagine a scenario where: • There are four MIDI tone generators that are capable of receiving data on multiple channels. • All devices can receive on all 16 MIDI channels. • There is only one MIDI Out from the computer, and all devices are daisy-chained via MIDI Thru to MIDI In connections. Logic Express is capable of channelizing MIDI data (routing it to MIDI channels 1 to 16) and is also capable of sending this channelized data to specific MIDI Out ports. Unfortunately, in the scenario above, there is only one MIDI Out port available. As such, all data sent on MIDI channel 1 will be sent to all four of the daisy-chained MIDI tone generators. Each MIDI tone generator will play the incoming data with the sound assigned to channel 1, which may be: • Bagpipes on module 1 • A drumkit on module 2 • A helicopter effect on module 3 and so on While this would be colorful, it would hardly be musical, unless your tastes lean towards the avant-garde. The same applies to the other 15 MIDI channels. MIDI, as you can see from the example, can be separated onto 16 different channels, but it can’t be separated between devices, unless a multi-output MIDI interface is used. Using the scenario above, but substituting a single output MIDI interface with a four-output MIDI interface—connected from MIDI Out ports A, B, C, and D—to the respective MIDI In ports of each device. There are no MIDI Thru connections, which allows Logic Express to assign and send: • A recording/performance on MIDI channel 1 to port A/module 1 • A separate recording/performance—also on MIDI channel 1—to port B/module 2 • A further recording/performance on MIDI channel 1 to port C/module 3, and so on with subsequent channels and modules 40 Chapter 2 Setting Up Your System

In this scenario, it would be like having 64 independent MIDI channels—with 16 channels per port (A, B, C, and D). Not only does this allow you to play up to 64 different sounds simultaneously through your tone generators, it also allows full MIDI control for each channel of each device. This becomes increasingly important when arranging and orchestrating such a large number of instrument parts. If your computer offers several MIDI inputs, you can connect the MIDI outputs of other MIDI expanders and controllers to it. Using USB MIDI Keyboards If using a MIDI keyboard fitted with a USB connector, you don’t require a separate MIDI interface, as it is already built into the keyboard. Just be sure to install the driver, if needed, and connect the keyboard to your computer with a USB cable. Some modern USB keyboards and controllers are automatically recognized by Mac OS X. Separating a MIDI Keyboard from Its Sound Generator If your MIDI keyboard has an internal sound source, it is important that you stop the keyboard from generating sounds directly from its own keyboard. For example, if you buy a new keyboard that is to be used without a sequencer, and connect it to an amplifier, you would expect the device to make a sound when you press its keys—in other words, the keyboard is directly connected to the sound generator. When using the MIDI keyboard with Logic Express, however, this is not desirable. In this situation, the keyboard is used as a computer input device, and Logic Express passes the incoming performance information back to the keyboard’s sound generator (or to an internal software instrument or another connected sound module, if you like). If the direct connection between the keyboard and its tone generator isn’t cut, a doubling of each note results—one played directly from the keyboard to the internal tone generator, and another sent through Logic Express back to the tone generator. Not only does this cause a phased sound, but it also halves the polyphony of the keyboard’s tone generator. In situations where you want to control or record another sound module or software instrument with your keyboard, you would hear both the keyboard sound (due to the direct keyboard to tone generator connection) and the sound of the software or MIDI instrument. This is why the keyboard must be separated from its own internal sound generator. 41 Chapter 2 Setting Up Your System

about losing the ability to use the tone generator of your keyboard. Logic Express will still be able to communicate with your keyboard tone generator just like any other connected, keyboardless sound module or software instrument. Note: If you cannot find the Local Off function in the MIDI menu of your keyboard, consult its manual on sequencer use. Some keyboards allow you to select from: Local, MIDI, or Both for each of their Parts (individual MIDI channels/sounds in multi-timbral MIDI devices). The MIDI setting, if applicable to your keyboard, is the equivalent of Local Off. Using External MIDI Devices Logic Express recognizes all MIDI devices set up in the Audio MIDI Setup (AMS) utility, the integrated audio and MIDI configuration tool of Mac OS X. You can find the AMS utility in the Applications/Utilities folder. For more information on use, see the AMS Help. The Library tab displays all MIDI devices found by the AMS utility (separated into MIDI channels, if multi-channel devices) when an External MIDI track is selected. You can simply select the MIDI device/sub-channel to assign it to the track. You can configure external MIDI devices in the Inspector. For more information, see Standard Instrument Objects, Multi-Instrument Objects, and Mapped Instrument Objects. Using External Audio Effects If you want to send audio to an external (MIDI-controlled) audio effect device, you need to insert the I/O (In/Out) plug-in into one of the Insert slots of the audio channel strip you want to process. For further information, see Working with External Audio Effects. Note: It is only practical to use the In/Out plug-in for external device routing when you have an audio interface equipped with multiple in and out ports. Configuring Your Audio Hardware To use particular audio interfaces with Logic Express, the driver for the device needs to be installed, activated, and configured correctly. Drivers are software programs that enable various pieces of hardware and software to be used with Mac OS X. This allows the device to be recognized by applications, such as Logic Express, and enables data routing between software and hardware, in a format understood by both. You select, activate, and configure a particular audio driver in Logic Express in the Audio Devices preferences. 42 Chapter 2 Setting Up Your System

Do one of the following: µ Choose Logic Express > Preferences > Audio (or use the Open Audio Preferences key command), then click the Devices tab. µ Click the Preferences button in the Arrange toolbar, choose Audio from the pop-up menu, then click the Devices tab. In Mac OS X, all audio devices are accessed via Core Audio, an integral part of the operating system. Core Audio is a high-performance, low-latency audio system that allows audio interface hardware to be used by several applications at the same time. Logic Express is compatible with all audio hardware that offers a Core Audio driver. 43 Chapter 2 Setting Up Your System

Logic Express automatically recognizes any installed Core Audio hardware, and uses the default settings as defined in the Audio MIDI Setup utility (Applications/Utilities/Audio MIDI Setup). It can, however, be advantageous to optimize the settings for your individual hardware setup, particularly if you use several audio interfaces or a multiple input/output device. If possible, you should avoid using different audio devices for input and output. For details about setting up your Core Audio device preferences (in the Logic Express > Preferences > Audio > Core Audio pane), see Core Audio Device Preferences. 44 Chapter 2 Setting Up Your System

This chapter introduces you to the Arrange window, which can incorporate all areas and editors. You’ll learn how it interacts with other Logic Express windows and editors. You are encouraged to open Logic Express to view these windows and editors, and to familiarize yourself with them. Click and explore the various parts of the Logic Express interface as they are discussed. This will give you a feel for where things are, a brief overview of what they do, and how they work with each other. Note: Detailed information about the various editors and their functions can be found in cross-referenced chapters. This chapter covers the following: • Opening Logic Express (p. 46) • Introducing the Arrange Window (p. 46) • Working in the Arrange Area (p. 48) • Using the Toolbar (p. 49) • Using the Transport Bar (p. 49) • Using the Inspector (p. 50) • Working in the Media Area (p. 52) • Working in the Notes Area (p. 60) • Working in the Lists Area (p. 62) • Working in the Editing Area (p. 66) • Understanding Common Elements of Logic Express Windows (p. 70) • Understanding How Arrange Window Areas Interact (p. 74) • Using Logic Express Interface Elements (p. 77) • Using the Computer Keyboard (p. 79) 45 Overview of the Logic Express Interface 3

There are several ways to open Logic Express. To open Logic Express Do one of the following: µ Double-click the Logic Express icon in the Finder > Applications folder. µ Click the Logic Express icon in your Dock. µ Double-click a Logic Express project file. When you open Logic Express for the first time, the Templates dialog is displayed, allowing you to select a template for the project type you want to create. (For more information on the Templates dialog, see Creating Projects.) The setup of the Logic Express interface depends on the chosen template. Introducing the Arrange Window The Arrange window can incorporate all working areas and editors. It features the following areas, each of which can be displayed or hidden within the Arrange window: • Toolbar, at the top of the window • Transport bar, at the bottom of the window • Editing area, horizontally tiled, below the Arrange area • Media, Notes, or Lists area, vertically tiled, right of the Arrange (and editing) area • Inspector, vertically tiled, left of the Arrange (and editing) area If an area is not visible, clicking the appropriate toolbar or Arrange area button opens it, and resizes any existing areas to accommodate the new area. Tip: Many areas can also be opened as separate windows, independent of the Arrange window. This is done using the Window menu (or with the corresponding key commands) or by dragging the appropriate area out of the Arrange window. 46 Chapter 3 Overview of the Logic Express Interface

Click this button to display the Toolbar. Arrange area Click this button to display the Lists area. Click this button to display the Inspector. Arrange window Toolbar Click this button to display the Notes area. Click these buttons to display one of the editors. Transport bar Media area Inspector • Arrange area: This is where you record audio and instrument parts as regions, and arrange these audio and MIDI regions into a project structure. • Toolbar: This is where you have quick access to buttons for frequently used commands. • Transport bar: This is where you find the controls to navigate through your project. The current playback, recording, or editing position is indicated by the playhead—the thin, vertical line that appears in all Logic Express windows that offer real-time display of playback—namely the Arrange window and editors. • Inspector: There is where you set track and region parameters when working in the Arrange area, or the parameters of the editing window with key focus. For example: • Clicking the Score Editor button (above the Transport bar) shows all scoring symbols in the Inspector. 47 Chapter 3 Overview of the Logic Express Interface

of the currently selected hyper definition (selected row within the Hyper Editor). • Notes area: This is where you’ll find tabs to view or edit project and track notes, when the Notes button in the toolbar is clicked. • Lists area: This is where you’ll find various tabs to view MIDI events (Event List), tempo events (Tempo List), and more, when the Lists button in the toolbar is clicked. • Media area: This is where you’ll find various tabs to locate and preview audio files (Browser tab), select effects, instruments, and their settings (Library tab), and more, when the Media button in the toolbar is clicked. • Editing area: This is where you can open or close the Mixer, Sample Editor, Piano Roll Editor, Score Editor, or Hyper Editor directly in the Arrange window. Simply click any of the buttons along the lower edge of the Arrange area. These windows allow you to precisely modify, delete, or add different types of data. Working in the Arrange Area The Arrange area is shown directly below the Arrange toolbar. It is used to record, import, collate, and organize MIDI and audio data containers, known as regions, in a project. The following are some of the main elements you’ll find in the Arrange area: Bar ruler Track list Composition area • Barruler: A linear bar divided into bar and beat segments. The Bar ruler can also display time in hours, minutes, seconds, and finer divisions. It offers a number of functions that can be used to mark project sections for different playback and recording tasks. For detail, see Navigating Your Project. • Composition area: This is where all MIDI and audio regions are displayed on horizontal lanes, called tracks, aligned to time positions in a grid-like layout. 48 Chapter 3 Overview of the Logic Express Interface

or audio regions on each horizontal track lane. The headers of each track list lane can display the track name, icon, and several track buttons. Using the Toolbar The toolbar appears at the top of the Arrange window and contains buttons for frequently used commands. It can be displayed or hidden by clicking the button in the top-right corner of the Arrange window. The toolbar can be customized to include buttons that show the Inspector, Media, and Lists areas, create new tracks, add audio files, and other common functions. For more information, see Customizing the Arrange Toolbar. Using the Transport Bar The Transport bar spans the entire lower edge of the Arrange window. You can use it to move through your project and start recording. It contains buttons that will be immediately familiar if you’ve used a tape recorder or CD/DVD player, such as Play, Rewind, Pause, and so on. The Transport bar also incorporates a number of features that simplify tasks you will perform in Logic Express, such as recording over a repeatedly cycled section, or listening to a part in isolation. The Transport bar consists of three parts: Display area Transport buttons Mode buttons • Transport buttons: Used to navigate your project. • Display area: Provides information that helps with project navigation. • Mode buttons: Enable advanced recording and playback functions. You can alter the Transport bar by adding or removing buttons and displays, providing faster access to the functions you need most often. You can also open an independent SMPTE or Bar display window. For more information, see Hiding or Showing the Transport Bar. 49 Chapter 3 Overview of the Logic Express Interface

The Inspector can be displayed or hidden by clicking the Inspector button in the Arrange toolbar. The horizontal size of the Inspector cannot be altered. The content displayed in the Inspector depends on the area in key focus: either the Arrange area or one of the editing areas below it. In situations where the area in key focus does not provide a parameter area, the Inspector for the Arrange area is displayed. Note: The Inspector updates to display the parameters of the window with key focus. Details of window-specific parameters are found in the chapters for each window. 50 Chapter 3 Overview of the Logic Express Interface

Region Parameter box Track Parameter box Arrange channel strips • Region Parameter box: Used to set playback parameters, such as transposition and quantization, for individual or multiple regions on track lanes. None of the parameters in the Region Parameter box actually alters the original data in the region. They only affect the way the region (and events within the region) are played back. These parameter alterations occur in real time, as the region is played. • Track Parameter box: Used to alter various aspects of track channel strips. All regions on the track lane are affected by any changes made here (as all regions are routed through this channel strip). 51 Chapter 3 Overview of the Logic Express Interface

track. The righ channel strip can vary, depending on actions performed in the left channel strip. For example, the right channel strip can display the first aux or output destination channel strip for the left channel strip. This feature makes it quick and easy to set up flexible effects and audio routing schemes. It also provides an at-a-glance view of processing and routing for the selected arrange track, and you can access all of the Mixer channel strip functions (volume, pan, sends, inserts, and so on) directly from the Arrange area. Any adjustments you make to a track’s arrange channel strip are reflected in the corresponding Mixer channel strip, and vice versa. To show or hide the contents of the Region or Track Parameter boxes µ Click the disclosure triangle to the left of the name in either box. The contents of that box are displayed or hidden. Closing either box provides room for the elements below. To open the Region Parameter box as a floating area Do one of the following: µ Control-click (or right-click) the Region Parameter box, then choose Region Inspector Float (or use the corresponding key command, default assignment: Option-R). µ Double-click the Region Parameter box. Working in the Media Area The Media area can be opened or closed by clicking the Media button in the Arrange toolbar. The Media area is where you manage all files associated with your project, including audio, video, and plug-in settings. It has four tabs: • Audio Bin: Helps you to manage all audio files used in the project. • Loop Browser: Used to search for loop files (Apple Loops, for example). • Library: Used to search for (and can directly assign) plug-in, channel strip, and MIDI instrument settings. • File Browser: Used to search for all Logic Express related files. Introducing the Audio Bin The Audio Bin shows all audio files used in the project. You can picture the Bin as an audio file catalog for the project. It also provides an overview of regions that are derived from each audio file. 52 Chapter 3 Overview of the Logic Express Interface

and regions can be dragged directly from the Bin into the Arrange area, where you can edit, move, and copy them. You can also add files that aren’t yet used in the arrangement to the Bin, allowing easy access during project construction. Name column Loop button Play button Info column • Name column: Displays all audio files in the current project by name. The disclosure triangle to the left of the filename reveals all regions associated with the selected audio file. • Info column: Displays audio file and region information. Horizontal bars indicate the overall audio file length. Colored sections of these bars indicate the location and size of regions within the audio file. Additional data, including the sample rate; bit depth; mono or stereo status; and file size are also shown in the Info column. Mono files are identified by a single circle symbol, stereo files by a double, interlocked circle symbol. • Play button: Click to hear the selected audio file or region. Click a second time to stop playback. • Loop button: Click to hear the selected audio file or region repeatedly. Click a second time to stop playback. 53 Chapter 3 Overview of the Logic Express Interface

column can display waveform overviews of audio files and regions. 54 Chapter 3 Overview of the Logic Express Interface

The Loop Browser is designed to make finding Apple Loops intuitive and efficient. You can search for loops by using keywords, perform text searches, preview loops, view information about loops, and limit the display to loops from a specific Jam Pack or loop library. Matching files are displayed in the Search Results list. When you find files you want to use, you can add them to your project by dragging them into the Arrange area. Search field Category buttons Click to narrow the search for appropriate loops. Search Results list Displays all loops that match the search criteria. View buttons (Music view is the default view.) View menu Volume slider The Loops pane has three views: Music view, Sound Effects view, and Column Effects view. The default Music view displays 54 buttons, each featuring a musically related category. Click buttons in the matrix to narrow your search for appropriate Apple Loops. Activated buttons are highlighted. 55 Chapter 3 Overview of the Logic Express Interface

People. Column view offers a standard Mac OS X column file menu that is hierarchically separated into All, By Genres, By Instruments, By Moods, and Favorites search criteria. Category columns • View buttons: Click to switch between the three views. The left button switches to Column view, the second button (featuring the note icon) switches to Music view, and the third button (featuring the FX icon) switches to Sound Effects view. • View pop-up menu: Restricts displayed loops to a specific loop library. • Search field: Type text in the field to display files with names that contain the search text string. • Categorybuttons(MusicviewandSoundEffectsviewonly): Click to display files matching the category in the Search Results list. • Category columns (Column view only): Select a category column to display its subcategories. • Search Results list: Displays all loops that match the set search criteria. • Volume slider: Adjusts the playback volume of the selected file. 56 Chapter 3 Overview of the Logic Express Interface

The Library is a powerful tool that you can use to access the following file types. • Channel strip settings (.cst) • Plug-in settings (.pst) • EXS instruments (.exs) • Environment instruments, and programs or banks of MIDI instruments created in the Audio MIDI Setup utility • ReWire MIDI instruments, and active ReWire hosts The Library automatically displays setting files that match the selected channel strip type and section (Channel Strip Settings menu, Insert slot, Instrument slot). A white frame indicates the selected section of the Arrange channel strips. You can browse for files by opening folders, or search by performing text searches. Matching files are displayed in the Search Results list. When you find a file you want to use, you can load it by selecting it. 57 Chapter 3 Overview of the Logic Express Interface

The File Browser allows you to navigate to, or search for, all file types that can be used in Logic Express, giving you easy access to (and use of) this data during production. It displays the following file types on any connected media volume: • Logic project files • Song files of older Logic versions • GarageBand projects • All project interchange file formats Logic Express is compatible with (OMF, AAF, OpenTL, XML, MIDI files) • Audio files • QuickTime movies View buttons Back and Forward buttons Action pop-up menu Search field Search filters File list Path menu Computer, Home, and Project buttons Play button Volume slider • BackandForwardbuttons: Move through previously viewed levels of the folder hierarchy. 58 Chapter 3 Overview of the Logic Express Interface

move back to a previous level. • Computer button: Displays the contents of the local hard disk, optical drive, and other storage media connected to your computer, if applicable. • Home button: Displays the contents of your home directory. • Project button: Displays the contents of the current project folder. • View buttons: Switches the file list between Column and List view. • Search field: Type text in the field to display files with a name that contains the search text. In addition to searching for files by name, you can search by other criteria (further information stored with your files). Click the plus button to display additional search filters. Logic Express always searches at the displayed location. • Search filters: Use the menus to narrow down your search to specific file types, file formats, date, size, and other criteria. • File list: Displays Logic-related files and folders at the current location. In Column view, you can browse folder contents by selecting the folders. • Action pop-up menu: Choose menu items to add a selected audio file to the Audio Bin, or show the file location in the Finder. • Volume slider: Adjust the playback volume of the selected file. • Play button: Click to hear the selected file. Click a second time to stop playback. 59 Chapter 3 Overview of the Logic Express Interface

The Notes area can be opened or closed by clicking the Notes button in the Arrange toolbar. It provides two independent tabs that show the following information: • Project Notes: Displays notes that are associated with the project. • Track Notes: Displays notes that are associated with individual tracks. 60 Chapter 3 Overview of the Logic Express Interface

The Project pane displays project-specific notes, of which there can only be one set per project. You can use this pane to create, edit, or delete project notes. • Project Text area: Enter project-specific text here. • Project Text Edit button: Activates project text editing mode. • Project name field: Displays the project name. Introducing Track Notes The Track pane displays track-specific notes, of which there can only be one set per channel strip object. You can use this pane to create, edit, or delete track notes. • Track Text area: Enter track-specific text here. • Track Text Edit button: Activates track text editing mode. • Track number and name: Display the number and name of the current track selection. 61 Chapter 3 Overview of the Logic Express Interface

The Lists area can be opened or closed by clicking the Lists button in the Arrange toolbar. It provides four independent tabs that show a listing of the following types of data: • Event List: Displays regions or MIDI events in the project. • Marker List: Lists all markers in the project. • Tempo List: Displays all tempo changes in the project. • Signature List: Shows all time signature and key change events in the project. The List tabs are well-suited for a number of precise editing tasks, and when a complete view of all data is required. Introducing the Event List The Event List presents a list of all events in your project, such as MIDI note events or region start events. Use it whenever you need to make precise alterations to recorded data, and when the graphic display of the other editors is not as well-suited to the task. You can restrict the types of events that are shown, making it easier to find specific event types. 62 Chapter 3 Overview of the Logic Express Interface

information that is displayed depends on the current hierarchy level—in other words, whether you are viewing information at the Arrange level, or looking inside one or more MIDI regions in the Arrange area. Further information about the display hierarchy can be found in Working at Different Hierarchy Levels. Event type buttons Region display Event display Hierarchy button Create and Filter buttons List area • Hierarchy button: Click to move up one level in the Event List hierarchy. This allows you to see all regions in the current project. • Create and Filter buttons: Determine the function of the event type buttons. When you activate the Create button, clicking the event type button adds the selected event type. When you activate the Filter button, you can use the event type buttons to filter specific event types from the display. This merely hides the events from the display; it does not affect playback. • Event type buttons: Click to filter specific event types from the display, or add them (depending on the status of the Create and Filter buttons). • List area: Shows the actual list of events or regions, separated into columns. For details, see Editing MIDI Events in the Event List. 63 Chapter 3 Overview of the Logic Express Interface

The Marker List displays all markers in the project. You can use it to create new markers, edit existing ones, and to select markers for text editing. It also serves as a navigation aid—you can click a marker name to jump to (move the playhead to) that marker position. Marker Text Edit button Create button Marker List area Marker Text area Marker Text Area button • Create button: Creates a new marker. • Marker List area: Displays all markers in your project. • Marker Text Area button: Click to display the optional Marker Text area, allowing you to enter or edit marker text. • Marker Text area: Enter text for the selected marker here. • Marker Text Edit button: Activates marker text editing mode. 64 Chapter 3 Overview of the Logic Express Interface

The Tempo List displays all tempo changes in the project. You can also use it to create new tempo events, or to edit existing ones. Create button Tempo list • Create button: Click to create a new tempo event. • Tempo list: Displays all tempo changes, and their position in a project. • AdditionalInfobutton: Displays all additional tempo changes located on a tempo curve, and their position in a project. Introducing the Signature List The Signature List shows all time and key signature events in the project. Score symbols, if present in the score of the project, are also shown. These include repeat signs and double bar lines (including end of score events), half/short bar lines, hidden bar lines, and manually inserted bar lines. 65 Chapter 3 Overview of the Logic Express Interface

events. The initial time and key signature of the project is always displayed at the top of the list, without bar position indicators. Working in the Editing Area You can open the following editing areas directly in the Arrange window by clicking the corresponding button at the bottom of the window. • Mixer • Sample Editor • Piano Roll Editor • Score Editor • Hyper Editor 66 Chapter 3 Overview of the Logic Express Interface

The Mixer is where you mix your project. Each track is played back through a channel strip. You can adjust the level and pan position of a channel strip, add effects, mute and solo tracks, and send the output of a channel strip to other channel strip types, such as output and auxiliary channel strips. Channel strips and channel strip controls Filter buttons View buttons • Channel strips: Use to process audio or MIDI information that is routed from arrange tracks. • Channel strip controls: Use to adjust the level and other aspects of the audio signal played through the channel strip. • View buttons: Use to switch the Mixer between Single, Arrange, and All views, limiting the Mixer view to channel strips required for the task at hand. • Filter buttons: Use to filter the display of specific channel strip types. Full details can be found in the Mixing chapter. 67 Chapter 3 Overview of the Logic Express Interface

The Sample Editor displays the contents of audio files as waveform graphics. You can use the Sample Editor to precisely edit audio files (and regions). The Sample Editor also features a number of useful destructive processing tools. These allow you to time stretch and pitch shift audio, change sample rates, extract MIDI grooves from the audio, and even quantize audio. Info display Region area Waveform overview Ruler Waveform display Anchor Playhead • Ruler: Indicates the position and length of the region selected in the Arrange area, or in the Audio Bin. • Info display: Displays the start point and length of the selected area. • Waveform overview: Displays a miniature view of the entire audio waveform. • Waveform display: Provides a detailed view of the waveform area selected in the waveform overview. • Playhead: Reflects the current playback position. • Anchor: Indicates the absolute start point of the audio file. • Region area: Edit this beam to adjust the region length. Full details can be found in Editing Audio in the Sample Editor. 68 Chapter 3 Overview of the Logic Express Interface

The Piano Roll Editor displays MIDI notes as beams on a grid. The piano keyboard to the left is aligned with the note pitches represented by each beam. Note length is indicated by the relative length of each beam. Note position is displayed from left to right—a ruler and vertical grid lines make it easy to see where notes begin and end. Note velocity (how hard a note is struck, and usually how loud) is indicated by color. Full details can be found in Editing MIDI Events in the Piano Roll Editor. Introducing the Score Editor The Score Editor uses traditional music notation to display the MIDI note events (plus pedal and other event types) of MIDI regions. You can insert and edit MIDI note events in staffs, and use musical symbols to clarify their meaning in this editor. Text, such as lyrics, titles, and comments, can also be integrated into the score. The Print function allows you to print complete scores, with staff numbers only limited by the paper size. 69 Chapter 3 Overview of the Logic Express Interface

Introducing the Hyper Editor The Hyper Editor displays MIDI note or controller events as vertical beams, placed along a user-defined time grid. This makes the Hyper Editor the ideal place to: • Add or edit controller data, such as note velocities. It makes some editing tasks—such as data scaling—much faster. • Quickly create and edit MIDI drum parts. Event Definition Parameter box MIDI events Event definitions • Event definition: Each horizontal row (or lane) provides an event definition, which determines the type of event displayed or affected. When you select a row in the name column, its event definition is shown in the Inspector’s Event Definition Parameter box. • MIDIevents: Each MIDI event is represented by a vertical beam, aligned with a particular time position. The value of the controller, or velocity of the note, is indicated by the height of the beam. Taller beams indicate higher values. Full details can be found in Editing MIDI in the Hyper Editor. Understanding Common Elements of Logic Express Windows All Logic Express windows, including the Arrange area, feature a number of common elements. This consistent approach between windows makes your life easier, as you’ll find these elements in the same place throughout the application. 70 Chapter 3 Overview of the Logic Express Interface

A window’s local menu bar contains buttons that access functions specific to the window. For example, the Score Editor provides an enharmonic shift function, which is relevant to notation, but not to Piano Roll editing. Local menu bar Tool Menus The tools available in the Tool menus of each window are specific to tasks performed in the window. For example, the Arrange area provides tools for different arrangement tasks, such as cutting or moving regions, and automation editing. The Score Editor provides tools used for score layout, and tasks such as voice separation. The Left-click Tool menu assigns the Left-click tool. The Command-click Tool menu assigns the Command-click tool. A further Tool menu (Right-click Tool menu) appears if the right mouse button is assigned to a tool. For full details, see Working with Tools. 71 Chapter 3 Overview of the Logic Express Interface

Most windows contains Catch, Link, and Hierarchy buttons. These are used to tie or associate Logic Express windows, and can aid in navigating through different levels of your project structure. For example, if you click a region in the Arrange area, the contents of a linked window (the Piano Roll Editor, for example) update immediately to show the events within the region. Hierarchy button Catch button Link button Scroll Bars Vertical and horizontal scroll bars are shown at the right and bottom edges of the window. These allow you to view sections that fall outside the visible display area. Zoom Sliders Vertical and horizontal sliders are shown at the bottom-right corner of the window. These allow you to horizontally or vertically resize the contents of the window, giving you a closer or more distant view of data. Bar Ruler All linear editing windows feature a Bar ruler at the top. The position of regions and events within a project are aligned with Bar ruler positions. The Bar ruler displays markers and locators, and reflects time signature changes. It also indicates three important operational modes—solo, recording, or synchronized. 72 Chapter 3 Overview of the Logic Express Interface

ruler, when opened. Click the disclosure triangle to the left of the Bar ruler (labeled Global tracks) to view the global tracks. • Marker track: Contains markers, which are used to label bar positions and parts of the project. Their length, text, and color can be edited freely. For further information, see Working with Markers. • Tempo track: Contains all tempo changes in the project. For further information, see Using the Tempo Track. • Beat Mapping track: Allows you to assign a bar position to any musical event (both MIDI notes and distinct accents in audio regions). This makes it possible to adjust the musical timeline to the original timing of a MIDI or audio region that has been recorded rubato (free time, including speeding up and slowing down), or just without a metronome click. The audible outcome remains unchanged, but the resulting display will fit the musical timeline. For further information, see Beat Mapping Regions. • Signature track: Contains the basic key of the project, along with all time and key signatures, as they are displayed in the Score Editor. For further information, see Working with Time and Key Signatures. 73 Chapter 3 Overview of the Logic Express Interface

with the mouse. These chord symbols may also be inserted into the score. The root note of the chords determines the transposition (pitch shifting) of all Apple Loops, and can also affect the playback of MIDI regions. For further information, see Editing Transposition with the Chord and Transposition Tracks. • Transposition track: Shows global transposition events. It is linked to the progression of the chord root notes in the Chord track. Changing a chord root is reflected in the Transposition track, and vice versa. For further information, see Editing Transposition with the Chord and Transposition Tracks. • Video track: Displays frames of a QuickTime movie as thumbnails that are perfectly synchronized with the music, making it ideal for film scoring. Cuts in the movie can be detected automatically and marked. For further information, see Using the Video Track. Understanding How Arrange Window Areas Interact The Arrange window contains various areas that interact with each other. This gives you access to all files, editing methods, and track and channel strip parameters in one place, making your workflow much faster. The following task outlines how these Arrange window areas work in harmony, to accelerate music production. To understand how Arrange window areas interact 1 Open the Media area by clicking the Media button in the Arrange toolbar. 2 Click the File Browser tab, then browse to a folder that contains audio files. 3 Select the audio filename and drag it to an audio track lane in the Arrange area. Release the mouse button when the help tag displays position 1 1 1 1. A region is created in the Arrange area. 4 Click the Sample Editor button at the bottom of the Arrange area. 74 Chapter 3 Overview of the Logic Express Interface

Arrange area. 5 Click the Audio Bin tab. The Bin contains the audio file you just added to the project. 6 Click the Loops tab, then click a category button to see matching loops in the Loop Browser’s Search Results list. 7 Select a loop with a green icon and drag it to a software instrument track in the Arrange area. Release the mouse button when the help tag displays position 1 1 1 1. A MIDI region is created in the Arrange area. 75 Chapter 3 Overview of the Logic Express Interface

Loop Browser directly into the blank Arrange area. A track and corresponding channel strip are automatically created, and the Apple Loop is loaded. 8 Click the Piano Roll button at the bottom of the Arrange area. The Piano Roll Editor is shown, displaying the contents of the region you just created in the Arrange area. 9 Move the playhead to the beginning of your project by clicking the Go to Beginning button in the Transport bar. 10 Play your project by clicking the Play button in the Transport bar. You will hear the audio file and instrument loop you added to the project. You may like the melody of the software instrument loop, but not its sound. Utilize the Library to assign another sound to the software instrument track. 76 Chapter 3 Overview of the Logic Express Interface

The left channel strip displays the software instrument and effect of the selected track. 12 Click the Library tab, and browse through the displayed channel strip settings. Because this is a software instrument track/channel strip, only software instrument channel strip settings are shown in the Library. 13 Select one of the channel strip settings to load it. 14 Start playback again to audition the new sound. Using Logic Express Interface Elements You can access all of the buttons, switches, sliders, and menus in the Logic Express interface using the mouse and computer keyboard. 77 Chapter 3 Overview of the Logic Express Interface

Checkboxes are square boxes that are selected when you click them, in order to activate an option (or function). Click the checkbox a second time to turn it off, and deactivate the option. Some buttons behave in a similar fashion, in that the function they represent is temporarily enabled (while the button is clicked, and usually illuminated). A second click on the button disables the function. Examples of these types of buttons include the Mute and Solo buttons. A different type of checkbox is the round radio button. A number of grouped buttons (each representing a different option) are available, and you need to select one of them. They differ from checkboxes and other button types in that only one of them can be activated at any given time. A good example are the Type radio buttons in the New Tracks dialog. Pull-Down and Pop-Up Menus Pull-down menus open when you click the menu name. Pop-up menus open when you click certain input fields or buttons. In some menus, an arrow is shown beside one or more items, indicating a submenu. To choose an item from a submenu, move the mouse in the direction of the arrow, and then move vertically over the desired item. Click to activate the chosen command or setting. 78 Chapter 3 Overview of the Logic Express Interface

mouse over the arrow at the top or bottom edge of the menu. The menu will scroll. Shortcut Menus Shortcut menus (also called contextual menus) are accessed by Control-clicking or right-clicking in different areas of various Logic Express windows. These offer a number of selection, editing, and other area-specific commands, providing quick access to commonly used functions. Note: Right-click functionality is dependent on the Right Mouse Button: Opens Shortcut Menu option being chosen in the Logic Express > Preferences > General > Editing pane. Using the Computer Keyboard You can access most Logic Express functions with key commands. Whenever this documentation mentions a key command, this refers to a function or option that can be accessed with a computer keyboard keystroke (or keystroke combination, such as pressing both the Control and W keys on your keyboard). Use of key commands, rather than the mouse, can greatly accelerate your Logic Express workflow. Throughout this documentation, you will encounter a number of practical usage examples, often in step form, that include the default key commands for particular functions. It is recommended that you follow the steps outlined in the documentation, and make use of these default key commands while familiarizing yourself with Logic Express. Not only will this help you to remember them, but will also aid you in developing good (and faster) working practices from the outset. 79 Chapter 3 Overview of the Logic Express Interface

to work, you can freely assign your own set of key commands. Logic Express functions and options that can be assigned to key commands can also be assigned to MIDI commands, sent from your MIDI controller. More detail on these advanced topics can be found in Working with Key Commands. 80 Chapter 3 Overview of the Logic Express Interface

and the task at hand. While you will perform most of your work in the Arrange window, you can open different combinations of windows (even several of the same type) and adjust each individually. It is also easy to save different window arrangements called screensets, (discussed in Using Screensets), and recall them by pressing a key. All open windows in a project are constantly updated, following the position of the playhead. Alterations made in one window are immediately reflected in all other open windows. For example, if the pitch of a note event is changed in the Score Editor, this change is instantly shown in an open Piano Roll Editor window. This chapter outlines how you can customize and save your overall window setup. The display options of individual windows and editors are covered in their respective chapters. This chapter covers the following: • Understanding the Window Types (p. 82) • Opening and Closing Windows (p. 84) • Moving and Resizing Windows (p. 87) • Working at Different Hierarchy Levels (p. 91) • Selecting the Working Area (p. 92) • Zooming the Working Area (p. 94) • Understanding Relationships Between Windows (p. 99) • Hiding or Showing the Transport Bar (p. 102) • Customizing the Arrange Toolbar (p. 102) • Hiding or Revealing the Inspector (p. 103) • Adjusting the Bar Ruler Display (p. 104) • Displaying Global Tracks (p. 105) • Using Screensets (p. 108) 81 Customizing Your Window Setup 4

There are two different types of windows in Logic Express: normal windows and floating windows. Working in Normal Windows You can open as many normal windows as you like, including several of the same type. Even though the contents of all windows are constantly updated, only one window is ever the top, or active, window. This is the window that is in the foreground when several normal windows overlap. It is referred to as having key focus. Key focus windows can be recognized by a title bar that is illuminated (with the title bar text in black) and a white focus frame around the window content. 82 Chapter 4 Customizing Your Window Setup

focus frame around the focused area. To assign key focus to a window or area Do one of the following: µ Choose Window > Cycle Through Windows (or use the corresponding key command). This command assigns key focus to the next open window, if it is fully obscured by other windows. µ Click the window title bar, or within the working area. Be careful if using the latter option, as you may accidentally insert an event or region if the Pencil tool is active in the window. The Arrange window can incorporate several other windows in different areas. These can be given key focus by clicking the background or title bar of the window (the area of the Arrange window you want to use), or by using a tool in the window. Tip: You can also use Tab or Shift-Tab to cycle through the Arrange window areas: Tab cycles forward, Shift-Tab cycles backward. The main characteristic of the key focus window (or area of the Arrange window) is that key commands only affect this window, and not any of the others. Working in Floating Windows Floating windows are so-named because they always float in the foreground, even above the key focus window. (Opening numerous floating windows inevitably leads to them covering each other—click the one you want to move to the foreground.) 83 Chapter 4 Customizing Your Window Setup

Floating windows are usually recognizable by their narrower, gray title bar (except the plug-in window, which has a different title bar style). Mouse operations performed in floating windows behave in the same way as in normal windows. Handling Background Windows Background windows are not fully obscured, and can be identified by a dimmed title bar and a faded name. They can be positioned next to the top window, or tiled underneath it. In background windows, you cannot only observe changes, but make almost any kind of change, without needing to give the window key focus before making alterations. Independent tool selection is memorized for each window, allowing you to directly edit the contents of any window, whether it has key focus or not. As soon as any such edits are made, the window is automatically made the key focus window. For example, suppose you have an Arrange window with the Piano Roll Editor and Event List visible: the Pointer tool is active in the Arrange area, the Pencil tool is active in the Piano Roll Editor, and the Eraser tool is active in the Event List. The tool automatically becomes active as you drag the mouse pointer across the boundaries of each window. Opening and Closing Windows There are various ways to open and close windows in Logic Express. 84 Chapter 4 Customizing Your Window Setup

Do one of the following: µ Choose Window > [window type] (Arrange, Score, and so on) in the main menu bar (or use the corresponding key command). Each window type has a corresponding key command that opens the window, without using the mouse. For example, Command-1 opens the Arrange window, Command-2 opens the Mixer, and so on. The key command designations are shown beside each window name in the Window menu. It’s a good idea to learn and use these key commands, rather than the mouse, as they will speed up your workflow. µ Drag the appropriate tab (Audio Bin, Event List, and so on) out of the Arrange window. The tab you drag becomes an independent window. You can open multiple windows of the same type, which may be useful when you want to individually display and alter the contents of several regions in a particular editor type. However, in order to streamline window management and avoid accidentally opening multiple windows of the same type, the following behavior is observed when opening windows: • If the requested window type is in the background of the screenset, it is brought to the foreground. • If the requested window type is already in the foreground, another window of the requested type is opened. • If the requested window is not open in the current screenset, it is opened. There are also a number of ways to open the Logic Express editors in the Arrange window. To open the Logic Express editors Do one of the following: µ Click the appropriate button at the bottom of the Arrange window. 85 Chapter 4 Customizing Your Window Setup

window as you drag it. µ Double-click an audio region in the Arrange area to open the Sample Editor at the bottom of the Arrange window. µ Double-click a MIDI region in the Arrange area to open the default editor at the bottom of the Arrange window. Note: You can determine the default editor by choosing a menu item from the “Double-clicking a MIDI region opens” pop-up menu in the Logic Express > Preferences > General > Editing pane. µ Hold down the Option key and double-click a region to open the default editor as a separate window. The Toggle Window key commands allow you to define one key command to open or close the window or area of the assigned type in the active Arrange window. If the window is not available as an Arrange window area, it is opened as an independent window. For example, in the Arrange window you can open and close (toggle) the Lists and Media areas with the Toggle File Browser key command, Toggle Library key command, and so on. There are also a number of ways to close windows in Logic Express. To close a window Do one of the following: µ Choose File > Close in the main menu bar (or use the Close Window key command, default assignment: Command-W). This closes the window with key focus. 86 Chapter 4 Customizing Your Window Setup

µ Option-click the close button to close all windows of the active project. Note: If you close all open windows of a project, Logic Express assumes that you want to close the project, and asks if you want to save your changes. Moving and Resizing Windows You can move and resize all open windows individually, even across multiple monitors. You can also alter the size of all window elements that feature the resize bar. The size relationship of the editing and Arrange areas within the Arrange window can also be adjusted, by clicking between them, and dragging vertically. The pointer changes to a Resize pointer. The vertical height of the Mixer area is memorized independently. All other editing areas share the same height. You cannot resize the other Arrange window elements (the Inspector and Media or Lists area). You can only open or close these areas. 87 Chapter 4 Customizing Your Window Setup

of various MIDI regions. You may want to increase the height of the Piano Roll Editor to work at a high zoom level, thus decreasing the height of the Arrange area. You would then reduce the Arrange area zoom level, because it only needs to be used for region selection duties. Resize pointer To move a window µ Click and hold the title bar and drag the window to a new position. 88 Chapter 4 Customizing Your Window Setup

Do one of the following: µ Drag the lower-right corner of the window, as with any window in the Finder. µ Position the mouse pointer over the window edge. When the mouse pointer turns into the Resize pointer, drag in any direction. To adjust the size of window elements 1 Move the mouse over the resize bar. 2 When the mouse pointer turns into the Resize pointer, drag the window element. To maximize a window Do one of the following: µ Select the window, then choose Window > Zoom. µ Click the zoom button (the rightmost button of the three window controls) in the top-left corner of the window. Click the zoom button again to restore the original window size. 89 Chapter 4 Customizing Your Window Setup

Do one of the following: µ Select the window, then choose Window > Minimize (or use the Minimize Window key command, default assignment: Command-M). µ Click the minimize button (the middle button of the three window controls) in the top-left corner of the window. An icon (a minimized version of the window) is placed in the Dock. The window can be restored by clicking the icon in the Dock. To adjust the size of a plug-in window Do one of the following: µ Drag the lower-right corner of the plug-in window. This scaling applies to individual plug-ins. µ Choose the window size in the plug-in window’s View menu. This scaling applies to individual plug-ins. 90 Chapter 4 Customizing Your Window Setup

Mixer pane. This scaling applies to all plug-ins. Working at Different Hierarchy Levels Logic Express allows you to view projects at an overview level (Arrange level) and also at a microscopic level (editor level). These different hierarchical levels are designed for different types of tasks, such as arranging project sections or refining instrument parts. In many cases, you can switch between these different display levels directly, without needing to open or access another window. Normally, the editors are at the lowest display level, which shows individual events within the selected region. Clicking the Hierarchy button in the top-left corner of a window or window area moves the displayed view up one level (generally to the Arrange level). Note: Double-clicking the background of the editing area of a window also moves up one display level. 91 Chapter 4 Customizing Your Window Setup

all regions in the Arrange area. Clicking the Hierarchy button in the Event List moves you up one level in the display hierarchy, just like the other editors. In the Event List, however, the display remains much the same but shows a list of regions, rather than a list of individual events, along with region positions, names, track numbers, and lengths. The MIDI region that you were just editing is selected within the list of region names. Double-clicking a MIDI region (or using the Go Into Folder or Region key command) returns you to the lowest display level, and shows the contents of the MIDI region. Double-clicking an audio region opens it in the Sample Editor. In the Score Editor, clicking the Hierarchy button takes you to the higher display level. Unlike the other editors, individual events can also be edited while in higher display levels in the Score Editor. Double-clicking a staff (at an empty point), reverts to a lower display level. Selecting the Working Area The scroll bars at the right and bottom edges of a window allow you to move through the working area in either a vertical or horizontal direction. Scroll bar Scroll bar 92 Chapter 4 Customizing Your Window Setup

There are two points to note: • The size relationship of the scroller to the overall scroll bar length corresponds to the size of the visible section of the window, in relation to the overall window size. • The visible section changes as you move the scroller. Use the Page Up, Page Down, Page Left, and Page Right key commands to scroll one page up, down, left, or right, as if you had clicked in the gray area (in the scroll bar) above or below the vertical scroller, or to the left or right of the horizontal scroller. Click the gray area below the vertical scroller to scroll one page down. The Page Top, Page Bottom, Page Left-Most, and Page Right-Most key commands move the visible section of the working area to the top, bottom, left, or right, just as if you had moved one of the scrollers to one of its extreme positions. In the Arrange area, Event List, Hyper Editor, and Piano Roll Editor, View > Scroll to Selection moves the visible section of the edit window to the first set of selected events. This function is available as a key command and works in the currently active window. Note: When a marquee selection is active, using this key command moves the visible section of the edit window to mirror the marquee selection. 93 Chapter 4 Customizing Your Window Setup

Do one of the following: µ Press Shift-Control, click-hold the Arrange window background, then drag it in the desired direction. µ Click-hold the Arrange window background with the third mouse button (the mouse wheel, for example), then drag in the desired direction. The distance of the mouse pointer from the initial clicked position determines the scrolling speed. Note: This second option only works if you haven’t assigned the third mouse button to a global command, such as Exposé, for example. Zooming the Working Area The zoom controls are used to zoom in and out on the working display area. The zoom value you choose reduces or increases the size of events or regions in the displayed screen section. This allows you to: • See more events or regions in the same amount of screen space (zoom out) • See a detailed display of events or regions (zoom in) While zooming, the top-left (and selected) event or region is kept in the visible area of the screen. In other words, the first selected region or event is retained in the zoomed window. If no selected region or event is visible, zooming is centered around the playhead. If the playhead isn’t visible, the current center of the window is retained. The horizontal and vertical zoom controls are located in the bottom-right corner of the working area of the window. Vertical zoom control Horizontal zoom control To zoom out µ Click the more closely spaced bars to decrease the zoom level. 94 Chapter 4 Customizing Your Window Setup

µ Click the widely spaced bars to increase the zoom level. You can drag the zoom sliders to step through several zoom levels. Any relative size differences between tracks are retained when zooming. Command-clicking a value in the zoom control sets the zoom slider to the respective zoom level. Zooming with the Playhead The playhead can be used to zoom in and out on the working display area. To zoom with the playhead 1 Click-hold in the lower section of the Bar ruler. 2 Drag the top of the playhead up or down. Zooming with the Scroll Bars The scroll bars not only allow you to move through your arrangement and editing windows; they can also be used for zooming. To zoom with the scroll bars µ Click-hold the zoom handles at either end of the scroll bar, and drag: • Up or down on the vertical scroll bar 95 Chapter 4 Customizing Your Window Setup

As you drag, the window contents zoom. Zooming with the Trackpad The trackpad can be used to zoom in and out on the working display area. To increase the zoom level µ Pinch open on the trackpad using two fingers. To decrease the zoom level µ Pinch close on the trackpad using two fingers. Zooming with the Waveform Zoom Button Next to the Arrange area’s horizontal zoom control, you can find the Waveform Zoom button. This button can be used to visually resize the waveform of all audio regions and the waveform in the Beat Mapping track, if Beat Mapping is enabled in global tracks. To toggle the state of the Waveform Zoom button µ Click the Waveform Zoom button (or use the Toggle Waveform Vertical Zoom key command). When this button is activated, the waveform shown in all audio regions, and in the Beat Mapping track, zooms to the assigned zoom level. You can change the zoom level to suit your needs. 96 Chapter 4 Customizing Your Window Setup

1 Click-hold the Waveform Zoom button. A slider appears. 2 Drag the slider. As you do, the waveform shown in all audio regions, and in the Beat Mapping track, is increased or decreased in size. Note: This is a purely visual function. The amplitude (level) of the waveform is not affected. You can also change the zoom level using the following key commands: • Waveform Vertical Zoom In • Waveform Vertical Zoom Out • Waveform Vertical Zoom x 1 (Normal) • Waveform Vertical Zoom x 2 • Waveform Vertical Zoom x 4 • Waveform Vertical Zoom x 8 97 Chapter 4 Customizing Your Window Setup

To enlarge a section of the screen to fill the whole window, drag to select the area with the Zoom tool. You can do this repeatedly, if you need to zoom in further. Tip: You can access the Zoom tool when other tools are selected by holding down the Control and Option keys. Storing and Recalling Zoom Settings You can store three different zoom settings for each window using the Save as Zoom 1–3 key commands. Use the Recall Zoom 1–3 key commands to recall your zoomed settings. These commands only apply to the active window or window area. Reverting to the Previous Zoom Setting Click the background with the Zoom tool. This action returns the zoom level to the original setting, or backtracks through previous zoom steps if the tool was used multiple times. Using Zoom Navigation Key Commands You can set, and recall, up to 30 zoom level and scroll bar positions for each window. These allow you to navigate through a number of window zoom levels and scroll bar positions, making repetitive editing tasks much faster. You can use the following commands to zoom selected events, or a region defined by the locators, to fit the screen. The use of all zoom commands creates a new step in the navigation path. • Zoom to fit Selection vertically and horizontally, store Navigation Snapshot: Displays the current selection as large as possible, and saves it in the navigation path. Note: When a marquee selection is active, using this key command changes the current zoom level to fit the marquee selection. • ZoomtofitSelectionhorizontally,storeNavigationSnapshot: Displays the current selection as large as possible horizontally, and saves it in the navigation path. 98 Chapter 4 Customizing Your Window Setup

zoom level to fit the marquee selection. • Zoom to fit Selection vertically, store Navigation Snapshot: Displays the current selection as large as possible vertically, and saves it in the navigation path. • Zoom to fit Locators, store Navigation Snapshot: Displays the current locator area as large as possible, and saves it in the navigation path. • Zoom to fit All Contents, store Navigation Snapshot: Adjusts the zoom level in order to fit the entire contents of the focused window into the current view. The navigate key commands allow you to recall the previous or next zoom settings. • Store Navigation Snapshot: The current zoom and scroll bar (window position) settings are saved as a step in the navigation path. • Navigation: Back: Recalls the previous step in the navigation path. • Navigation: Forward: Advances to the next step in the navigation path. As an example of where the navigation path commands could be useful: Imagine cutting and pasting sections of an audio region to several other locations, in a project with hundreds of tracks. One step in your navigation path would be a zoomed view of the audio region. Another step could be a vertically zoomed-in version of several tracks (the target tracks for the pasted region sections). A further step could be a horizontally zoomed-out section of the project, allowing you to paste the region segments to a later position. Note: There are no default key commands for most of these navigation options, so you need to assign them in the Key Commands window. Choose Logic Express > Preferences > Key Commands and type “nav” in the search field. This will display the entries described above. For more information about assigning key commands, see Assigning Key Commands to Computer Keys. Understanding Relationships Between Windows Logic Express allows you to independently link or unlink windows, providing you with flexible viewing options. For example, you can set up two Event Lists, one showing arrange regions, and the other showing the contents of the regions. Simply click the region name to update the contents of the second Event List. The two buttons at the top-left corner of most windows determine its relationship to: • The playhead position (Catch) 99 Chapter 4 Customizing Your Window Setup

Working in Catch Mode When you work in Catch mode, the visible section of a window follows the playhead during playback or recording. Simply click the Catch button. If the button is disabled, the display does not update, even when the playhead moves past the right edge of the visible portion of the window. In the Logic Express > Preferences > General > Catch pane, you can set the following options: • Catch when Logic starts: Activates Catch mode whenever you click Play or Pause. • Catchwhenmovingplayhead: Activates Catch mode whenever you move the playhead. You also have the option of using Catch mode together with the Scroll in Play setting. The View menus of all windows that display time horizontally (Arrange area, Score Editor, Piano Roll Editor, and Hyper Editor) offer the View > Scroll in Play setting. If the Catch function of the window is also activated, the playhead remains in the middle of the window, while the background scrolls smoothly from right to left. Working in Link Mode The Link mode options—No Link, Same Level Link, and Content Link—allow you to define how information is displayed when working with related editor windows. To set any of these modes µ Control-click (or right-click) the Link button, then choose the mode you want from the shortcut menu. • No Link: Unlinks the window from other windows. • Same Level Link: When activated in a given window, this window always displays the same contents as the key focus window. The display updates whenever the selection (of data) in the key focus window changes. For example, imagine the key focus window is a Piano Roll Editor. In Same Level Link mode, the Score Editor and Event List will display the same data in another form. 100 Chapter 4 Customizing Your Window Setup