Apple Logic Pro X

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Чуть впереди, у остановки, притормозил городской автобус. Беккер поднял. Дверцы автобуса открылись, но из него никто не вышел.

Дизельный двигатель взревел, набирая обороты, и в тот момент, когда автобус уже готов был тронуться, из соседнего бара выскочили трое молодых людей.



Logic Pro – Apple (IN)


Notice the cursor icons in the center of your workspace and editing window. There you will be able to select the editing tools you need. Logic Pro has a lot of tools for manual editing. It has everything you need to manipulate transients the way you want them. The main thing is to understand all the features and try them out.

Logic Pro X has over fifty different built-in plugins. They include everything you need for both mixing and mastering : EQs , compressors , filters , effects , meters , and more. It seems that the creators of Logic decided to treat their users to the full.

The variety of mixing plugins here is impressive. The creators of Logic Pro have also prepared for you some plugins that you can use in stereo bus processing. As we can see, the number of built-in plugins in Logic Pro is simply overwhelming.

After that, they may well make their way into your working arsenal. Logic Pro X features more than 20 virtual instruments that may surprise you with their sound quality. You can use vintage and modern synthesizers , samplers , studio horns and strings , organs , drum machines , and acoustic drums. Here are a few of the most outstanding in our opinion. It is a beautiful place to experiment with sound and find your perfect sound. The DAW market is now more developed than ever.

A ton of software is available that will allow you to achieve professional results, both in your home studio and on a more commercial level. But should you give your preference to Logic Pro? Over the years, Apple has done an incredible job providing its users with fantastic professional music software.

We advise you to weigh all the pros and cons that might be crucial for you. Does your budget allow you to purchase this software? Do you have a Mac that is not very old? If yes, then you can safely try this software for yourself. If you already have experience in DAW, learning Logic will be elementary for you. There are plenty of DAWs out there that are cheaper. Are Tube Amps Worth It? Tube vs Solid-State Amps. How often guitar necks need reset?

Yes, But Is It Safe? Does a Preamp Improve Sound Quality? Do headphones get worse with age? Does Heat Damage Headphones? Each drummer is essentially a bank of drum loop families, and you can reassign any drummer’s patterns to any other drum kit. You can even tie the timing and complexity in with an audio track, such as a bass guitar, and it will tweak itself on the fly to follow along.

In version Also, a new drum machine designer plug-in gives you new sounds and features for custom electronic drum kits in several different styles. This “virtual drummer” idea has been around for a while, with plugin apps such as Strike and BFD, and the Logic Drummer works in a largely similar way.

In the right hands, it’s definitely more expressive than simple drum loops, but even with the new drummers and categories, there’s still a loop-based feel to it.

The latest version of Logic Pro X also includes new synth patches and 10 classic Mellotron instruments. The original Mellotron was an instrument that generated sounds via audio tape loops, and was used by bands such as The Beatles, Led Zeppelin and several other progressive rock bands.

As an example, you might remember the breathy flute sounds that accompanied Jimmy Page’s guitar in “Stairway to Heaven. But beyond just new sounds, you also get some revamped tools. The piano roll editor has been improved to show more notes in less vertical space and lets you identify drum sounds by name.

You can easily compress or expand the timing of selected notes using new time handles. If you want to add some notes in a specific section, you can use the new Brush Tool in the Piano Roll Editor to click and drag notes that conform to a scale so even randomly placed notes will end up sounding good.

The Compressor plug-in has been redesigned with a scalable Retina-ready interface and features seven different models of compressor, including a new Classic VCA voltage-controlled amplifier model, designed to simulate famous real-world compressor hardware from Neve, Focusrite, and others.

New automation features let you add automation to a region rather than the whole track. This means you’ll be able to add things like a section where the volume or effect changes to just a selected region within a track.

To round out the new features, we finally get a plug-in manager that lets you customize the organization of your menu. This means you can now keep all your most-used plug-ins handy so you can make quick changes while recording or at a performance.

You can use multi-touch gestures to shape the tone of individual tracks using the Visual EQ, rather than simply changing values or presets from a list. It also lets you remotely add or reorder plug-ins — an option that was limited to the desktop in the previous version. This time, however, a major new release wasn’t quite so unexpected, thanks to a screenshot that had briefly appeared on Apple’s web site at the end of March.

The screenshot in question showed a version of Logic featuring what looked like two GarageBand-inspired features — Live Loops and Remix FX — portending what could be expected in a forthcoming upgrade. Despite the toothpaste being out of the tube, Apple remained silent until May 12th when I found myself downloading the newly released Logic Pro It’s worth noting that when Apple recently extended the free trial period of Final Cut Pro X the company’s video editing application from 30 to 90 days, they also introduced a free trial of Logic Pro X for the first time.

This can be downloaded from the company’s web site as opposed to the App Store and currently expires after the same generous period. Apple recommend that existing users should back up both their project files as well as the currently installed version of Logic Pro X before updating, and this is exceptionally good advice. Whilst backing up work is always prudent, it won’t be possible to download previous releases of the application from the Mac App Store once you’ve updated to You can archive the existing version by right-clicking the application’s icon and selecting Compress from the contextual menu, storing the resulting.

ZIP file which you might want to rename in a safe place in case you need to revert to this earlier version, or move it to another Mac. As anticipated, the headline new feature in Logic Pro However, as you might expect, Logic Pro X proffers a more sophisticated implementation, aiming to combine a second, nonlinear approach to music creation within a single, Logic-based workflow. Traditionally, Logic has used a linear method of timeline-based sequencing, while the new, nonlinear approach invites an unavoidable comparison to Ableton’s Live, enabling you to work from a collection of ideas in a more free-form manner without worrying about a timeline.

To make this possible, the Project window can now display two different views, either together or individually. There’s the traditional Tracks Area we all know and love, where regions of musical data are represented by rectangles based on their musical length, and the new Live Loops grid shown above , where individual musical ideas that generally work well as loops are stored as cells within that grid.

A vertical line of cells in the grid is referred to as a scene, and each horizontal row plays a cell back via the corresponding track in the track list or ‘Track Header area’ in Logic parlance. This is particularly neat, since it makes it straightforward to share ideas between the two areas, as we shall see.

Getting started with Live Loops is easy, thanks to some new options in the Project Chooser window. By selecting New Project in the list on the left, you can either create an Empty Project as before, or you can start a new Live Loops Project, where the Live Loops Grid is shown instead.

Conceptually, cells are to the Live Loops grid what regions are to the Tracks Area, and in the same way you can have different types of regions — such as audio, MIDI and Drummer — the Live Loops grid also has the equivalent cell types. Empty cells are displayed as blank, dark grey rectangles, while a cell containing musical data is represented by a colourful square.

A cell looks a bit like a region, in that its name is shown at the top above a visual overview of the content, this time in the form of a circular graphic representing the Loop Length of a cell. Note that although you can play back cells on different rows simultaneously, only one cell per row can be playing at any given time. Starting a cell on the same row as another cell that’s playing will switch playback to the newly started cell, ceasing playback of the previous cell.

To start all cells within a scene, click the trigger button for that scene depicted by a ‘hat’ symbol at the bottom of the Live Loops Grid. To stop the playback of a scene or any combination of cells , you can click the Grid Stop button at the bottom right of the grid. This is because Logic waits for the cell’s next Quantise Start time before carrying out the action, enabling cells to be started and stopped in time with other cells that might be playing.

If a cell has a Quantise Start time of ‘1 Bar’, for example, it will always start or stop playing on the next bar position. Each cell can have its own Quantise Start value, although a cell will use the grid’s Quantise Start time if its own parameter is set to Global. To set the grid’s Quantise Start time, simple click the setting in the right-hand side of the Live Loop grid’s toolbar.

And you can also assign a Quantise Start time to a scene, which will be used by all the cells in that scene when it’s triggered, overriding a cell’s own setting. To do this, right-click a scene’s trigger button to open a contextual menu and select the time required from Quantise Start submenu.

Starting and stopping cells during playback as just described is known as queuing, although ‘cueing’ might seem more appropriate.

If you want to queue a cell for playback, simple right-click a cell and choose Cue Cell Playback from the context menu.

You’ll notice how a cell that’s queued for playback blinks to indicate it will start playing when you engage Logic’s normal playback, such as by pressing Space. If you stop the playback by using Logic’s transport pressing Space again, for example , playback stops immediately, as opposed to waiting for the next Quantise Start position, but the queued cell remains queued.

You can dequeue a cell by right-clicking it and selecting Dequeue Cell from the context menu, or clicking the Grid Stop button. Queuing a single cell for playback probably isn’t that useful, so it’s possible to select multiple cells simultaneously and add all of them to the queue. To do this, select a cell by clicking its name at the top part of a cell, and then, holding down Shift, select other cells in the same manner. Using the Cue Cell Playback command from the context menu will queue the selected cells, or you can use the handy Option-Return key command.

Selected cells can be removed from the queue by choosing Dequeue Selected Cells from the context menu or by pressing Option-Return again, as well as using the Grid Stop button, or by using Logic’s Stop command multiple times by pressing Enter. As you might expect, you can queue and dequeue a scene rather than individual cells by right-clicking a scene’s trigger button and choosing Queue and Dequeue Scene from the context menu.

And, again, you can dequeue a scene using the Grid Stop or standard Stop commands.


Apple Logic Pro X


As an example, there’s no longer a separate window for editing instruments; the Mapping and Zone controls are now included as panes within the main interface, allowing for a simpler workflow. Starting with an empty Sampler instance, you can drag audio files and regions onto the Navigation bar to build your instrument. When you drag something over this bar, it displays two dropzone areas: Chromatic and ‘Optimized’. Chromatic will map the samples to keys chromatically from C2, using the original looping, length, tuning and loudness settings from the audio file.

Optimized, on the other hand, will map samples to keys based on pitch analysis, crop any silence, search for loop points, and adjust the tuning and loudness as required, courtesy of some Redmatica-inspired goodness. These tasks can also be carried out after a zone has been imported if you’d rather start with the default, vanilla options.

When one or more items are dragged over the Chromatic area, it splits into two further dropzones specifying either Zone per File or Split at Silence.

If the audio is dropped on to Zone per file, a new group will be created containing one zone for each file; if the destination is Split at Silence, a new group is created for each file, with zones being created within each group representing audio segments split between silence from the appropriate file. Similarly, if the Optimized dropzone is used, this also subdivides into two dropzones: Zone per File, as just described, or Zone per Note, where a group is again created for each file, but this time with zones being created and mapped based on the pitch analysis of each note in a file.

This represents just one method to create groups and zones. You can also create them manually through the Group and Zone menus in the Mapping pane, assigning audio files to zones as required, or by dragging audio into the Zone pane or onto a key or range of keys in the Mapping pane’s keyboard view.

Adding and removing audio files to and from zones can be achieved just as easily with a similar variety of methods. Since the concept of Articulations was added in Logic Pro Articulations are specified at the group level with an ‘Enable by Articulation’ parameter: simply switch it on and specify an Articulation ID value starting with 1 to which that group should belong.

When an instrument is loaded that supports Articulations, you can select New from the Articulation Set pop-up in the Track Inspector, which will create and use an Articulation Set based on the Sampler instrument. It would, of course, be convenient if there was a way for this step to be carried out for you. For those whose sampling needs are, dare I say, simpler, a second new sampler instrument called Quick Sampler is also included. And it’s even possible to use a MIDI clip or region if its output is a software instrument, prompting Logic to automatically render an audio file to be used as the basis for a new instrument.

The new Quick Sampler makes it possible to create a new sample-based instrument from a single audio file. Here we can see a drum loop with markers that have been created from transients, enabling each slice to be played independently. When you drag something to be imported into Quick Sampler the upper section shows two dropzones, similar to Sampler, so you can decide whether to import the original audio as is, or whether it should be ‘Optimized’.

Any audio file that’s used by or created with Quick Sampler is stored within a Project. Classic mode plays back the sample for as long as you hold a key and enables loop points to be specified, whereas One Shot plays the entire sample when triggered and obviously doesn’t permit looping.

In either mode you can set whether the sample should be played forwards or in reverse, which is a nice touch. Slice mode places markers within the sample to indicate slices of audio, such as different beats within a drum loop.

Alternative patterns are available within each element, and the kick-and-snare element also offers half- and double-time options, as well as a mode that asks the drummer to try to Follow a designated track in your project. You can have any combination of these elements active, though it’s important to note that choosing, say, toms as the second element doesn’t mean that you won’t hear the hi-hat or cymbal; it just means you’ll mostly hear them for fills and other embellishments.

Speaking of fills, there’s a Fill knob that you can use to suggest to the drummer how frequently he might like to perform a fill, and a Swing knob is also provided. If you click the Details button, three further controls become visible to allow you to adjust the feel of the performance ie.

As you make adjustments in the Drummer Editor, Logic re-renders the drum performance and updates the audio in the Drummer Region. This means that there’s a slight lag in hearing the result as you adjust parameters, but it also means that you get the same playback every time.

If you want to fine-tune the performance even further, you can convert a Drummer Region to a MIDI Region, making it easy to use Drummer-generated content with any other virtual drum instrument you may have.

To the left of the Drummer Editor is an area where you can specify the drummer personality that’s selected to perform.

Each drummer gets a caricature and an often, presumably unintentional, amusing description, such as: “Inspired by hard rock bands and funk pioneers, Jesse plays in-your-face beats on a tight-sounding kit. The sounds performed by Jesse and the other virtual drummers are powered by a new virtual instrument called Drum Kit Designer, which makes it easy to change the drums, or kit, your drummer is playing. The plug-in’s user interface is frankly leviathan and shows a picture of the currently selected drum kit on the kind of dodgy red rug one expects to see in a studio.

Clicking on a drum selects it for further sonic tweaking, and on the right are three edit controls where you can adjust the tuning, damping and volume of the drum. You can either adjust the left and right cymbals together or individually. Drum Kit Designer provides 15 drum kits, and when you’re tweaking the bass and snare drums you’ll also get a choice of alternative drums on the left-hand side.

Clicking a handy info button opens a pop-up that gives you the specification of the drum, so you can confirm that the drum you’re seeing on screen really does have a Black and Gold Duco finish.

Some advanced controls are also available if you click the disclosure triangle at the bottom of the window. Here, you can adjust the volume of the percussion elements in the kit as well as the sticks, presumably for rim clicks and also set the input mapping, since it’s possible to play Drum Kit Designer as you would any other virtual instrument. The default is GM General MIDI , but you can also choose a similar GM mode that allows the modulation wheel to control how open the hi-hat is, and a V-Drum mode that enables you to trigger the instrument from one of Roland’s electric kits.

This latter mode will certainly be welcomed by anyone who’s ever had to mess around with V-Drum mapping. By default, Drum Kit Designer routes the audio from the drum kit to a single stereo output, which is only so useful when mixing more serious productions. So, for those who really want to have full control over the drum sound, Apple have also included so-called Producer Kit versions, where each drum in the kit has its own dedicated output.

Switching between standard and Producer kits is easy: open the Library with the Drummer track selected and, in the Drum Kit category, you’ll notice a folder at the bottom labelled Producer Kits. Now simply select the appropriate kit notice that the names are prefixed with the plus sign and you’re ready to go.

What’s really great about the multi-channel kits is that they make use of the Track Stacks feature. And what’s useful about this is that the Producer Kits come pre-loaded with the tracks for all the necessary splits, meaning that you don’t have to worry about setting this up yourself. Simply open the Stack and you’ll see Channel Strips for all the drums with the current mix, where an engineer has already set up initial levels, pans and various EQs and compressors for you.

If you open Drum Kit Designer with a Producer Kit loaded, you’ll notice there are more alternate drums to choose from, and four additional settings that can be configured for each drum. Leak sets whether the sound of that drum is heard in the mics for other drums in the kit, Overheads sets whether the drum is heard in the overhead microphone, and Room lets you toggle the room emulations, as well as choosing between one of two rooms.

It’s clear that Apple have put a tremendous amount of effort into Drummer and Drum Kit Designer, and in terms of integration, ease of use, and the quality of the results, it’s quite possibly the best virtual drummer yet. Smart Controls enable you to create a simple interface to control any parameter for any plug-in on a given Channel Strip. Here, I’ve edited one of the presets by making one of the knobs a Note Length Smart Control that adjusts both the Note Length parameter in the Arpeggiator MIDI plug-in and the cutoff frequency in the ES2 synth, the latter inverted so that the filter opens up as the notes get shorter.

One of the things I’ve always liked about Logic is the way in which Logic’s instrument plug-ins tended not to have built-in effects. It made sense to me to have a fairly dry instrument plug-in to generate sounds, and then to use the available insert plug-ins to add the requisite effects.

However, this meant that every time you wanted to recall a certain sound, you needed to manually load up all the plug-ins and choose the requisite presets.

This problem was solved in Logic Pro 7 by Channel Strip presets, but a second disadvantage remained: you had to open and interrogate multiple plug-in windows to adjust what was, in essence, a single sound. Logic Pro X aims to solve this latter problem with a new feature called Smart Controls, which allow miniature user interfaces to be created that can control any parameter used in any plug-in on a given Channel Strip.

This means if you had a Channel Strip featuring, say, a synth sound in EXS24 and a Tape Delay plug-in, you could create a Smart Controls layout that had a knob to control the cutoff frequency in EXS24, and another to adjust the Wet level of the delay. Now, instead of opening two plug-in windows to adjust these parameters, you can do it from a single Smart Controls layout.

Every patch in Logic Pro X’s Library includes pre-configured Smart Control setups, which you can see by opening the Smart Controls area in the main window or in a dedicated Smart Controls window, and it’s easy to adjust these or create your own. You can change the parameter to which the Smart Control is mapped by clicking the mapping entry and selecting another parameter from a hierarchical pop-up menu that shows all plug-ins and parameters available.

Alternatively, you can enable the Learn button, open the plug-in, click the parameter you want to control, and then disable the Learn button. A particularly nice touch is that you can set minimum and maximum values for mapping, so the Smart Control doesn’t have to control the full range of the parameter, and it’s also possible to invert the value, as well as scale it using parameter mapping graphs.

Another nice touch is that it’s possible for a Smart Control to be mapped to multiple parameters from different plug-ins. Simply click the first mapping entry and choose Add Mapping from the pop-up menu, and another mapping will be added, compete with its own independent settings. This makes for some interesting possibilities, since, in the previous example, you could have a single Smart Control that adjusts EXS24’s cutoff frequency and the delay’s wetness simultaneously.

Once clicked, the Arpeggiator is added and enabled, and a pop-up menu appears next to the button, enabling you to change both Arpeggiator settings and presets from the Smart Controls area. Smart Controls can also be useful when used in conjunction with Summing Stacks, because while each sub-track can have its own Smart Controls layout, so can the main track, with the ability to access all the parameters of all the sub-tracks.

Overall, Smart Controls are a great way to add a front end to patches you create in Logic, and possibly the only aspect that I found slightly limiting was being restricted to only work with the layouts provided by the program. For example, some layouts contain switches and some don’t, and some layouts contain more controls than you might need, and some too few. Having more user control over the appearance and controls used in a layout would be really helpful.

Setting it up is easy: simply make sure both the iPad and Mac are connected to the same network, run Logic, and then run Logic Remote.

A list of available Macs running Logic will appear in Logic Remote, and, when you select one, Logic will ask you to confirm the connection. After that, both Logic and Logic Remote will remember this marriage, and re-establish it automatically whenever both sides are available.

Logic Remote consists of a number of views that allow you to interact with Logic in different ways, drawing heavily on Apple’s experience in designing GarageBand for iOS. Always visible at the top of the screen is a miniature Control bar where you’ll find various global controls. There’s a button that lets you select different views, as well as transport controls, an LCD that shows the current time in beats and the currently selected Track, Cycle and Metronome buttons, and a Settings button.

The LCD also has left and right buttons on either side for selecting next and previous tracks in the Track List, and tapping it toggles the display of a ruler. You can use the ruler to scrub time, and if Cycle Mode is active, you can even adjust the Cycle Region.

Logic Pro X has never been shy when it comes to offering sounds, and while other audio apps will gate new library additions behind more expensive bundles or subscription services, Apple has thrown a huge number into There are over 2, new loops in plenty of genres, as well as new instrument and audio patches, 50 new drum kits, and plenty more.

Skipping through your workspace is fluid particularly on the latest MacBook Pro , and being able to export a track quickly to share with colleagues or friends is great. Perhaps one of the biggest advantages is the advancement in energy efficiency.

Software Coupons. Visit Site. You must have an active iTunes account to download the application. This download may not be available in some countries. Editors’ Review Download. Full Specifications.

What’s new in version Release March 2, Date Added March 2, Version Operating Systems. Additional Requirements None. Total Downloads , Downloads Last Week 8. The creators of Logic Pro have also prepared for you some plugins that you can use in stereo bus processing. As we can see, the number of built-in plugins in Logic Pro is simply overwhelming. After that, they may well make their way into your working arsenal.

Logic Pro X features more than 20 virtual instruments that may surprise you with their sound quality. You can use vintage and modern synthesizers , samplers , studio horns and strings , organs , drum machines , and acoustic drums. Here are a few of the most outstanding in our opinion. It is a beautiful place to experiment with sound and find your perfect sound. The DAW market is now more developed than ever. A ton of software is available that will allow you to achieve professional results, both in your home studio and on a more commercial level.

But should you give your preference to Logic Pro? Over the years, Apple has done an incredible job providing its users with fantastic professional music software. We advise you to weigh all the pros and cons that might be crucial for you.

Does your budget allow you to purchase this software? Do you have a Mac that is not very old? If yes, then you can safely try this software for yourself. If you already have experience in DAW, learning Logic will be elementary for you. There are plenty of DAWs out there that are cheaper. Are Tube Amps Worth It? Tube vs Solid-State Amps. How often guitar necks need reset?

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