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Logic’s Legacy plug-ins offer some great music-making tools — you just need to know where to look Geoff Smith is taking a well-deserved break from Logic Notes, so I’m stepping in with a few tips of my own. Geoff has done a fantastic job in covering the new Logic features as they emerge, but адрес month Geview going to pri on some of Logic’s Legacy content that tends to get overlooked in the light of newer and shinier alternatives.

Logic has some great reverbs built in, from the super-realistic Space Designer to the recent algorithmic Chromaverb, accompanied by its display of coloured candy-floss fountains — though not on my old Mac Pro as the prk card isn’t candy-floss compatible, which revew I still get the reverb but no fancy display.

However, I’m not here to tell you what you already know but to look at some of the older offerings, including the humble SilverVerb. In fact I’m surprised SilverVerb hasn’t been relegated into the Legacy folder along with PlatinumVerb and its friends. Don’t dismiss it, though, as while it can sound a bit challenged on drums and percussion, it can do absolutely magical things when used on piano, guitar and wind instruments.

We’re all familiar with the hardware equivalent of this story — a new more realistic echo, reverb or whatever comes along, but then we start to rediscover the joys of the old ones when it turns out that their shortcomings added to their musicality. This is certainly true of reverb, where the somewhat coarse character of those early units really works with certain sound sources. SilverVerb certainly falls into that camp. It is so coarse that at some settings it sounds more like a delay, but that’s exactly what makes it such a dreamy sounding reverb.

With only a handful of controls, SilverVerb is pretty easy to use, though not all the controls correspond to what you’d normally expect to find on a reverb plug-in. For example, there’s no single decay time control.

All have some effect on the length and character of the reverb tail. As its name suggests, Reflectivity changes the amount of sound energy bounced back from the virtual walls, while Size changes logic pro x review sound on sound free volume of the virtual space. The modulation section is fairly straightforward, rwview LFO rate подробнее на этой странице intensity controls, but a nice touch is the Phase control that lets you offset the phase of the modulation between the left and right channels when you’re using SilverVerb in stereo-out mode.

Set Reflectivity to zero and Density Time to zero and you’ll hear just a single repeat, the time of which is set using the Size control. This goes from a 20ms slap up to a ms delay. Increase Reflectivity and you get a repeating echo, frew you would when turning up the feedback with a simple digital delay. Use the filters to stop the low end of the reverb from becoming too washy and there are some truly lovely reverb effects to be had.

Try adjusting these settings while playing a basic dry piano sound to see what I mean. Or try my settings from Screen 1 above. The real source of ‘forgotten’ stuff is the Legacy menu, and for the life of me I can’t figure out why Apple didn’t just leave the word Legacy in the plug-in list.

Instead you have to know to hold down the Option Alt key before clicking in the plug-in box, then the word Legacy appears and only then do you get to see what’s inside. Other items tucked away under Legacy can be seen in Screen 2. Most нажмите чтобы узнать больше worth trying, other than the somewhat unsuccessful Denoiser.

Screen 2: Hold Нажмите чтобы увидеть больше when loading a new insert effect to reveal the Legacy items. AVerb is a bit like SilverVerb but without the modulation or filtering, and though it can sound useful when combined with EQ and modulation plug-ins, such as Ensemble, it is probably best left to rest in peace in the Legacy section, as SilverVerb is so light on CPU overhead anyway.

The same might be said of GoldVerb, as its bigger brother PlatinumVerb is more useful and doesn’t demand much more in the way of CPU overhead, but there is one trick you might want to try with Logic pro x review sound on sound free not to use it logic pro x review sound on sound free a reverb but rather as a means of changing the timbre s a sound. Windows 10 pro retail key free works because of phase cancellation causing filtering within the ER generation section, and can produce interesting variations on tuned percussion or piano sounds.

Do the same ‘holding down Alt’ thing when instantiating a software instrument and you’ll find another list of instruments under the Legacy header. One that I’ve made good use of on several occasions is Digital Stepper, as there’s no direct counterpart in Logic’s version latest free works microsoft 9.7.613 instrument armoury. Despite its lack of a fancy interface and its small number of controls, Digital Stepper makes it easy to create ‘altered’ organ sounds, FM-like pads and — thanks to its stepper section — it can also incorporate rhythmic timbral change via a cutoff filter and the introduction of harmonic steps.

A Balance control morphs between a very digital-sounding additive harmonic type of synthesis and a smoother, more analogue-like character. This particular instrument is logic pro x review sound on sound free easy to use that you don’t even get any windows pro disk free presets — there are only nine horizontal faders needed to set up a sound see Screen revieew. Screen 3: Digital Stepper may have been relegated to the Legacy folder but it offers some good organ sounds, FM-like pads and rhythmic timbral changes.

Fun though Digital Stepper is, it’s not the only game in Legacy town. Despite it simplicity, it is capable of producing some very usable, instant word 2013 mail merge name field free sounds that are easy to tweak, from sampled strings to trance logic pro x review sound on sound free to Korg M1-type pads. Hybrid Morph looks similar but uses pgo different waveform set plus some sound morphing capabilities to generate evolving sonud pad sounds.

Its handful of faders include a multi-mode resonant filter. While none of the above instruments are super-sophisticated, they do provide a very quick way of coming up with easily-tweakable sounds that fit into a number of rfee. In fact you might also be tempted to check out the tonewheel organ instrument. This doesn’t have the lovely graphics of the one in Logic’s main instrument section and you don’t have any drawbars as such — but what you do get is a single slider that sweeps through a huge number of drawbar combinations so you can choose a sound that logic pro x review sound on sound free entirely by ear without ever having to logic pro x review sound on sound free how to build up sounds using drawbars.

Each update to a major DAW such as Logic brings with it new features that some users will find indispensable and that как сообщается здесь may not have such a strong need for; Logic pro x review sound on sound free hoping to find time to explore the latest additions to see if any will benefit the way I нажмите для продолжения. Fun though new stuff is, it is always worth taking the occasional backward glance to see if there’s anything hidden away that you can make use of.

After all, something old you didn’t already know about is effectively something new. Since I discovered logic pro x review sound on sound free useful SilverVerb can be, for example, I’ve used it on pretty much all of my ambient compositions with Cydonia Collective, alongside Logic’s more up-to-date effects and instruments. It takes up so little processing power that you don’t have to feel guilty about lpgic multiple instances посетить страницу источник different settings on multiple logic pro x review sound on sound free, rather than settling on one setting to access via an aux send.

As with life itself, don’t just assume that just because something is old and not pretty, it can’t be worth anything. Zound PDF version. Previous article Next article. New forum posts Re: Charts – you are fake news!

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Apple Logic Pro X – Free download and software reviews – CNET Download – Complete Buying Guide


Automatic take management. Logic Pro makes it all easy to do — and undo. You can create projects with up to 1, stereo or surround audio tracks and up to 1, software instrument tracks, and run hundreds of plug-ins. Logic Pro goes beyond the average sequencer with an advanced set of options that let you record, edit and manipulate MIDI performances.

Transform a loose performance into one that locks tight into the groove using region-based parameters for note velocity, timing and dynamics. Live Loops is a dynamic way to create and arrange music in real time. Kick off your composition by adding loops, samples or your recorded performances into a grid of cells.

Trigger different cells to play with your ideas without worrying about a timeline or arrangement. Once you find combinations that work well together you can create song sections, then move everything into the Tracks area to continue production and finish your song. Step Sequencer is inspired by classic drum machines and synthesisers.

Using the Step Sequence editor, quickly build drum beats, bass lines and melodic parts — and even automate your favourite plug-ins. Add sophisticated variations to your pattern with a wide range of creative playback behaviours. Use Note Repeat to create rolling steps, Chance to randomise step playback and Tie Steps Together to create longer notes.

Get hands-on with a super-tactile experience in Live Loops via Launchpad — an 8×8 grid of expressive pads for cell control, dynamic note input, mixer control and more. Learn more about novation launchpad.

Bring DJ-style effects and transitions to an individual track or an entire mix with a collection of stutters, echoes, filters and gating effects. Create nuanced drum tracks, mix and match music while staying on tempo, and more. As your song develops, Logic Pro helps you organise all your ideas and select the best ones. Group related tracks, audition alternate versions and consolidate multiple tracks. Quickly manipulate the timing and tempo of your recording with Flex Time. Easily move individual beats within a waveform to correct a drum, vocal, guitar or any other kind of track without slicing and moving regions.

Edit the level and pitch of individual notes quickly and easily with Flex Pitch. Roll over any note and all parameters become available for tweaking. Play freely and stay on beat with Smart Tempo, a way to effortlessly mix and match music and beats without worrying about the original tempo.

Record freely without a click track. And easily combine and edit MIDI and audio tracks — from vinyl samples to live instruments to multi-track audio stems — with constant or variable tempo.

Create organic-sounding acoustic drum tracks or electronic beats with the intelligent technology of Drummer. You can choose from dozens of drummers across many musical genres, and direct their performances using simple controls. Edit the drum pattern in real time, including volume, complexity and swing.

Drummer can even follow along to a specified track and adjust its playing accordingly — much like a live drummer would. Click and drag to choose the best sections of each take to create a seamless comp, complete with transition-smoothing crossfades.

Save multiple comps and switch among them to pick the one you like best. Consolidate multiple related tracks into a single track. Use a Summing Stack as a quick way to create submixes. Or create layered and split instruments. Create alternate versions of a track or multiple grouped tracks, and switch between them at any time to audition different options.

Create, store and select from different edits and arrangements of track regions to make it easier to experiment with various creative ideas.

Load any version to make changes without compromising your original. Assign any selection of channels to a track group, then control the levels or other parameters of all tracks in the group from any single channel in the group. Easily capture changes to any channel strip or plug-in parameter.

Just enable automation, press Play and make your changes. Make your songs and other audio productions sound their best with a complete collection of dynamics processors, EQs and other production effects. Use built-in Logic Pro plug-ins or any third-party Audio Unit effects to directly and permanently render effects in any portion of an audio file or to multiple files at once. Transform MIDI performances into music notation in real time as you play, creating perfectly readable notation even from a performance that may be less than perfect.

Logic Pro makes scoring and sound design a snap. Share projects and tracks with AirDrop, Mail Drop or a comprehensive set of features for exporting stems. Render, or bounce, a project to a single audio file — or to multiple audio files. A project can be bounced to several different file formats simultaneously and a surround project can be bounced to a set of surround audio files.

Learn more about transitioning from GarageBand to Logic Pro. Learn more about mainstage. Download MainStage from the App Store. Logic Pro. Buy Logic Pro. Best voice recording software Best audio converter software Best audio editing software Ableton Live 10 review. Waveform Free review. FL Studio 20 review. The smart tempo feature automatically quantizes audio and MIDI files to match the tempo of the session. You can also use the flex time and flex pitch features to manually move a missed beat or fix a wrong note.

Logic Pro X is the best splurge music production software available. The virtual instruments are easy to control and sound eerily similar to their hardware counterparts. The loop library is diverse and uses the same great-sounding instruments. If you are serious about producing professional-quality recordings, the investment is well worth it.

The only drawback is you can only use Logic on a Mac. Best Music Production Software of opens in new tab. Top Ten Reviews has reviewed the Best Music Production Software of so that we’re able to offer you the authoritative buying advice you expect.

He’s a keen sax player, and lives in Utah. His areas of expertise are diverse, and he has a particular passion for AV and audio tech. Home Reviews. Top Ten Reviews Verdict.


Logic Pro X Review: Is It Worth It? (Cons & Pros)


When you change the colour of the Track Stack track, the background in the Tracks area changes for all but the last track in the Stack. However, if you move the scroll bar, collapse and expand the Stack, or do anything that forces a redraw, the colour is changed to the correct one.

Summing Stacks behave very similarly to Folder Stacks, but differ in one important way. With a Summing Stack, the main track behaves like an Aux Input track, and Logic automatically uses a new bus to route the output of the sub-tracks to the input of the main tracks. This opens up some interesting possibilities, because if the tracks within a Summing Stack are Instrument tracks, then, unlike with Folder Stacks, you can select the main track and treat it as if it was a stand-alone Instrument track triggering all the sub-tracks within.

The only thing to watch out for is that if you create or record Regions on the main track of a Summing Stack, Logic will only show those Regions when you collapse the Stack, regardless of whether there are any Regions on the sub-tracks.

Say you have no taste and you create a Summing Stack containing an Instrument track for piano and another for strings. You can now choose either the piano or the strings sub-track and record onto them individually as normal, or you could record a Region onto the main track that triggers both piano and strings together.

If you look through the Library of new patches that come with Logic Pro X, you’ll notice quite a few that adopt this technique. It’s also not possible to have sub-Stacks, meaning that you can have Stacks within Stacks.

This makes sense with Summing Stacks, but is a slight organisational limitation with Folder Stacks. One of the biggest new features in Logic Pro X is a virtual drummer, who will accompany your music based on various parameters that you can specify and won’t charge you union rates.

The basic operation of Drummer is incredibly simple. Once you add the Drummer track to your Project — there can only be one — Logic will automatically create two Drummer regions for you on that track. These regions look like Audio Regions, but they act a little differently. By creating Regions on the Drummer track, you tell your virtual drummer when to play — and, of course, when not to.

But the neat thing is that each Region can have a different set of performance parameters, specified in the Drummer Editor that appears in the lower part of the main window. The Drummer editor in the lower part of the main window lets you adjust settings for the currently selected Drummer Region in the Tracks area. There’s a nifty vector control to adjust complexity along the Y-axis against loudness along the X-axis, and also an area where you can select what drums in the kit play the main pattern.

There are three main instrument elements that can contribute to the pattern: kick and snare, which can be muted and unmuted independently; toms, cymbals or hi-hat; and a percussion element where you can choose between a tambourine, a shaker or a handclap.

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 Remote lets you control Logic’s mixer from your iPad, and even includes a meter bridge. The Mixer view works pretty much as you might expect.

In the upper part of each Channel Strip, there are four buttons for setting the automation mode, record enable if available for that track , and mute and solo.

Below these buttons, there’s a choice of what to see: volume and pan controls which is the default , just the first four send knobs, or simply a volume fader if you want to have a longer fader throw. The Settings button on the Control bar provides access to some useful commands, such as undo and redo, as well as commands for creating new tracks.

Once you’ve done that, the new track gets selected and you can tap the Control bar’s Library button to access the library of available instrument patches and pick one to assign to that track. Next, you can switch to the Smart Controls view, which shows the same Smart Controls editor as you would see in Logic, as well as a controller to actually play the sound.

By default, Logic Remote selects the most appropriate controller for the instrument, so you’ll see a keyboard for a piano patch, guitar strings for a guitar patch, and drum pads for a drum patch, although you can override this selection in the Views pop-up if you wish.

A related view is the Chord Strips view, which allows you to play the current instrument via the Chord Strips you may know and love from GarageBand. If you have a drum instrument selected, the Drum Pads view will be available instead, showing more pads than are available on the Smart Controls view. Logic Remote makes it easier to set up and access key commands Logic Remote’s Key Commands view makes it possible to trigger key commands from your iPad.

Here you can see the configuration pop-out that makes it possible to assign your own key commands and colours. Tapping in an empty key command opens a pop-up that lets you select a key command from all of those available in Logic.

The list is organised into categories in exactly the same way as Logic’s Key Commands window, and can also find the key command with a handy search field at the top of the pop-up.

To reconfigure an existing key command, change its colour, or remove it, tap with two fingers on the key command to reopen the pop-up. The Key Commands view is great, although it would be even greater if you could see more key commands on a single page.

Adding just one extra row, to have 24 plus six commands visible at once, wouldn’t make the buttons that much smaller. And wouldn’t it be nice if the six key commands along the bottom could be optionally persistent across multiple views, much like the way the Control bar is always visible along the top? The final view provided by Logic Remote is a very simple idea that’s also rather clever: Smart Help.

Taking the idea of the main window’s Quick Help option one step further, if you hover the mouse over a user interface while Logic Remote is connected, Smart Help will open the corresponding section in the manual explaining that particular feature. So, if the mouse is over a Record Enable button, Smart Help will automatically show the ‘Enable tracks for recording’ section in the manual.

And if you want to read something in more detail without Smart Help jumping to another section, the Library button becomes a handy Lock button that can disable the link between Smart Help and Logic. Convenient doesn’t even begin to explain it, although it seems a shame you can’t look through the Smart Help manual when offline and not connected to Logic.

Logic Remote is probably the best remote-control app for Logic, thanks to a level of integration that simply wouldn’t be possible with a third-party solution. There’s clearly a great deal of potential for where Apple could take this app in the future, but even so, for a 1.

There is no doubt that Apple have developed some very sophisticated features in Logic Pro X. Drummer, Track Stacks, Flex Pitch, Smart Controls and Logic Remote are, for the most part, brilliantly implemented and serve their purpose well, along with other bonuses such as MIDI plug-ins and being able to have Alternatives within a project.

But many of the big new features appeal to very different sets of users. Unless you need a drum kit, Drummer isn’t going to be that useful; and while that sounds obvious, the reality is that there are thousands of professional Logic users who will never need a virtual drummer, no matter how good. Such features demonstrate how Apple are trying to broaden Logic Pro’s appeal beyond the sort of people who used Logic prior to Apple’s acquisition of Emagic 11 years ago.

And while that’s completely understandable, it means, perhaps inevitably, that certain areas of the program, and certain lingering requests from long-time users, are still arguably not getting the attention they warrant.

For example, the only real improvements made to the Piano Roll editor in this release have been to bring GarageBand-style editing techniques to the Inspector. Now, there’s nothing wrong in having features for quantising pitch to a given scale, it’s just that I think most Logic users I know would have preferred to be able to see multiple lanes of MIDI Draw at the same time, or have better surround support. And certainly, if you compare Logic Pro’s Piano Roll editor with, say, Cubase’s Key Editor, there’s an increasing gap in functionality between the two.

Furthermore, the measures that Apple have taken to simplify the program mean that certain ways of working with previous versions now seem to be impossible. For example, previously if you had multiple Regions open in the Piano Roll editor, double-clicking a note would move you up a level and display only the notes from the Region to which the clicked note belonged.

Now, double-clicking a note opens up the Event List or the Score Editor if you hold down a modifier and there seems no way to get back to the old way. I don’t want to end on a completely negative note, because there are a great number of advanced features that have been added if you dig around. But perhaps the ultimate problem with Logic being promoted to and used by a broader user base is that there are so many different types of users to serve — and not everyone is a songwriter.

If users have to wait so long between updates while observing the movements of competing products, it will always be hard for Apple to meet expectations. Ultimately, though, Logic Pro X is still Logic deep down, has many new features, and is available at a ridiculous price. The user interface changes in Logic Pro X see some attention paid to the mixer controls. First of all, you’ll notice the volume-fader cap now looks like a more conventional hardware fader cap and no longer displays the current level of the fader, which seems a shame.

Instead, the volume is shown in its own display above the fader, next to an easier-to-read peak level display. The Audio Effects slots, formerly known as the insert slots, have also been tweaked a little. If there are no plug-ins in a slot, you’ll see an area labelled Audio FX that you can click to add a plug-in.

The slot appears much as it did before, with the name of the plug-in, but now when you hover the mouse over a slot, you’ll see three controls for bypass, opening the editor, and selecting a new plug-in or removing it altogether.

This is quite nice, since it means you can now bypass a plug-in using just the mouse. Rather than displaying a fully open second slot when the first is in use, there’s now just a tiny area visible, which is where you click to add the next plug-in.

Alternatively, you can drag the first plug-in into this area, as before, to move it into the second slot. Send slots also get the mouse-hover-bypass control, and Channel Strips now feature a gain-reduction meter, positioned just above the EQ display.

This is a nice touch, but it isn’t quite as powerful as the one featured in Pro Tools it’s not located in such a useful position, and it only works with Logic’s own dynamics plug-ins. Following on from Logic Pro 9’s Flex Time, which allowed you to correct the timing of recorded audio, Logic Pro X introduces Flex Pitch to let you correct or otherwise adjust the pitch of recorded audio.

To edit the pitch of an Audio Region, you double-click it to open it in the new Audio Track editor. This isn’t the new name for the old Sample editor, which is still there and is now known as the Audio File editor, but a new audio editor designed to edit Audio Regions in much the same way you might edit MIDI Regions in the Piano Roll editor. Enable Flex mode on the Audio Track editor’s toolbar, choose Flex Pitch from the pop-up menu, and Logic will present that familiar Melodyne-esque display of a piano-roll-style note display superimposed on the audio waveform.

You can also edit Flex Pitch information in the main window, which is neat, though I really don’t know why you’d want to, as the Audio File editor makes this kind of manipulation so much easier.

You can change the pitch and timing of the notes in pretty much the same way as you would in the Piano Roll editor, including being able to split and merge notes. More advanced editing is equally simple, because as you hover over each note in the editor, a number of so-called ‘hotspots’ appear around the note that you can click and drag to adjust more specific properties. Above the note are three hotspots for dealing with pitch: pitch drift in, if you want to bend into a note; fine pitch, to adjust the note pitch with more granularity than semitones; and pitch drift out, to bend out of the note.

What’s nice about the handles is that they update the display in the editor as you drag, making it easy to see what you’re doing. Below the note are three additional handles for controlling the gain, the amount of vibrato, and the formant shift of the note. Of course, Flex Time isn’t necessarily about pitch correction. When this is enabled, playing a note on your MIDI keyboard will transpose the note under the playhead to the note that you played and then advance the playhead to the next note.

This generally works well, although sometimes I found that the initial note’s timing was off just enough for it not to fall under the playhead.

Generally speaking, the quality of the results was really good, although I found that sometimes notes were detected in the wrong octave, especially high bass notes. Significantly, the Staff Settings window has been redesigned and, in addition to making the settings much clearer to see and work with, there’s a handy preview display of how the currently selected Staff Style will appear.

Also, in addition to Linear View where the score appears in continuous horizontal staves and Page View, there’s a new Wrapped View that’s something of a cross between the two, wrapping the score to fill all the available editing area in the score editor.

Looped Regions are now visible in the score, with notes that are part of the loop appearing in a fainter grey colour on the stave. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as plug-ins that cause long delays when active.

After recording, click off the Low Latency button and all your tardy plug-ins and buses come back to life. Using buses is no problem if you are treating a dry guitar track you’ve already recorded, but if you want to hear something like the final sound as you record, bus sends are probably not the way to go. Which amplifiers you choose depends on the sound you’re out to achieve, but a useful tactic is to choose an amplifier and speaker combination that delivers a bright attack for one channel with perhaps a warmer sound that has more body to it for the other.

By mixing them using the amplifier output level controls, you should be able to get a solid sound that still has a well-defined attack. One often—overlooked feature of Logic’s guitar amplifiers is that if you click EQ above the tone controls, you’ll see a menu offering alternative EQ types, and they all sound distinctly different.

If the amp sound is too dull or too edgy, try a different EQ. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone. Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. Speakers make a huge difference to the sound and, in very general terms, the smaller speakers tend to sound thinner and brighter whereas the larger ones have more low end and less ‘edge’ to the sound.

There’s also a huge difference between the various 12—inch speaker types, with the mic type and position offering yet more variation. As a rule, putting the mic close to the centre of the speaker cone gives the brightest sound whereas moving it away and to one side gives a warmer sound.

The SM57 model has a bright, slightly nasal character while the ribbon mic model has the warmest sound. For bluesy overdrive tones, adding just a small amount of dirt using a pedal at the input combined with a modest amount of amplifier gain will usually get you close to where you need to be. For a clean sound I’ll often pick something like a Fender or Vox amp model on one channel and a clean preamp on the other channel, with the speaker emulation bypassed on the clean preamp channel.

Mixing a clean DI’ed sound with an amp emulation sometimes gets you a sweeter clean sound than using an amp emulation on its own. If you don’t want the two sounds panned hard left and right, you can use another instance of Logic’s Direction Mixer plug-in, after the Amp Designer, to narrow the stereo field or even collapse it to mono. Try using different delay settings for the left and right channels, to give you a wider guitar sound. For those big rock solos, delay often works better than reverb, and if you put a Dual Mono version of Logic’s Tape Delay after the amplifier, you can then use the Deviation control to the right of the delay knob to shift the delay time slightly away from the tempo-locked value.

I also tend to set the LFO modulation to be slightly different on the two sides too. This could go anywhere after the amp plug-in, though I generally put it directly after the amp. Set each channel to percent wet, select the Timing mode as Pitch Tracking for one side and Manual for the other, then set the Manual channel’s Delay slider to around 15ms. This spreads both the pitch and timing of the two amplifiers very slightly, producing a decent double-tracked sound.

The Rotor Cabinet plug-in is great for adding a bit of warmth to your sound when set to its ‘Brake’ mode. Another useful trick that you can use if the finished guitar sound still comes across as too hard or edgy is to insert Logic’s Rotary Speaker plug-in, but set the speed control to its Brake position so there’s no modulation. This adds a lovely warm character to the sound. You can experiment further by changing the rotary speaker type in the box just above and to the left of the picture of the speaker.

They all sounds very different, though I usually find that one of the the first three sounds best. If you’re an old hippy like me, turn the speaker motor back on and enjoy the swirls.

I’m sure there are lots of other strategies that can be employed to create usable guitar tones — after all, every guitarist has their own ideal sound in their head, which is what makes the electric guitar a truly unique instrument.


Logic Pro X Review – Pros, Cons and Verdict | Top Ten Reviews


While the focus on this Logic workshop is on getting the most out of Amp Designer, I like where possible to put some analogue pedals before the input to my audio interface rather than relying on Logic’s pedalboard for everything. As well as ensuring you have the right input impedance, using analogue pedals helps round off any sharp peaks that might cause brief converter clipping, which in turn makes the attack of the notes sound more natural.

And don’t be tempted to push your record levels too high — peaking at around dBFS is more than loud enough. If you call up a Dual Mono plug-in you’ll see L and R tabs that let you view and adjust the left and right channels independently. This opens up some interesting creative possibilities, particularly when it comes to guitar processing.

To make use of these Dual Mono plug-ins, we need a stereo channel — even though the guitar input or pre-recorded dry track is probably mono. My approach is to set the track to stereo input, then instantiate a Direction Mixer plug-in from the Imaging plug-in menu and adjust its Spread fader to give zero stereo width — which puts your mono input equally into the two channels.

A Dual Mono instance of the Pitch Correction plug-in will let you achieve a natural-sounding double-tracked effect. If you want a safety net to ensure your bent notes end up in exactly the right place, then put an instance of Logic’s Pitch Correction after it set to Chromatic and with a slow correction speed — about half way up on the correction speed fader.

This allows your bends and wobbles to pass through intact but any long sustained notes will land on an accurate pitch. This might sound like a bit of a cheat, and it won’t work quite so well if you like to use those slightly off-key blues bends, but it can also be used creatively by setting different correction speeds for the two sides of a Dual Mono instance, to introduce small changes in pitching when notes are being bent.

This helps cement the fake stereo double—tracking illusion that I’ll cover later on. A little compression before any amp modelling can help make the sound feel more springy.

If you haven’t got a compressor pedal you can always just use a plug-in — I like to use the Logic X Opto or Vintage FET compressor models set to an attack time of 10 to 20 ms and a release time of maybe 50ms.

A ratio of around usually works well, then adjust the threshold to get between 5 and 10 dB of gain reduction on the loudest peaks.

This doesn’t sound too obviously compressed but adds a bit of life to the guitar sound. Placing a compressor early on in the signal path will help smooth out the ‘spimky’ DI signal. As any amp or pedal designer with tell you, EQ is a powerful pre-treatment, as the overdrive section of an amp or pedal will react differently according to the EQ of the input. I’m planning to use a Dual Mono amplifier for this example so I’ve put a Dual Mono Channel EQ after the compressor, dialling in a few dB of mid-range boost between 1 and 2.

If you make the centre frequency a little different on the two channels, that will also help create a bigger stereo image. Using mid—boost EQ in this way helps sharpen up the amp sound without making it ‘fizzy’. Some users suggest feeding two chains of amps and effects from buses, but to play without annoying latency, it is necessary to engage Logic’s Low Latency button, and this disables bus sends as well as plug-ins that cause long delays when active.

After recording, click off the Low Latency button and all your tardy plug-ins and buses come back to life. Using buses is no problem if you are treating a dry guitar track you’ve already recorded, but if you want to hear something like the final sound as you record, bus sends are probably not the way to go. Which amplifiers you choose depends on the sound you’re out to achieve, but a useful tactic is to choose an amplifier and speaker combination that delivers a bright attack for one channel with perhaps a warmer sound that has more body to it for the other.

By mixing them using the amplifier output level controls, you should be able to get a solid sound that still has a well-defined attack. One often—overlooked feature of Logic’s guitar amplifiers is that if you click EQ above the tone controls, you’ll see a menu offering alternative EQ types, and they all sound distinctly different.

If the amp sound is too dull or too edgy, try a different EQ. It’s well worth experimenting with different amp and cabinet models. The virtual microphone position can also make a big difference to your final tone. Amps load up with default choices of loudspeaker cabinet but again you can mix and match to get closer to the sound you’re looking for. This is a USB audio interface that is worth its weight in gold especially for the very friendly price tag.

This compact audio interface offers you bit audio at rates of up to 48khz, plus a mic preamp that runs on phantom power. Installation is easy. The Apogee One is a Perfect portable audio interface. You still get the option for low latency monitoring, and all you have to do is set it up via the Maestro Control Panel. The internal mic is not chintzy by any means and offers a clean sound. This is a professional audio interface that can fit in your pocket.

Check out this guide to see how the Apogee One compares to its big brother, the Apogee Duet! Logic Pro X is a Mac product , so make sure you have a Mac that can handle this beast of a program. These specs are directly from Apple , so read with confidence!

Not all logic users have hit it big with our productions yet! This budget interface will give you what you need to start.

Higher-end models have all the bells and whistles required for top-quality sound creation. Do you have a whole room devoted to your work? If so, you can afford to be generous with the size of your audio interface. If space is an issue, you may need to install a rack to save space since you are operating in limited quarters.

Size also matters if you plan on taking the equipment with you as you travel or work in new locations. You have to know the three main connection types so you can choose the one that works best for you and your home studio. Most often, this is an entry-level DAW version or a plugin. Make sure you review the software, if any, comes with your audio interface of choice.

DSP allows you to send them to specific outputs. Your music production and style will affect the type of audio interface you buy. You will need an audio interface with extras to make it sound great for EDM or other electronic music. For those of you looking to do podcasts or solo recordings, you can get by using a 2i2 interface.

A high-quality card can affect the recording quality of the mic. Look for a card that converts the analog sounds to digital.

We hope your home studios and recording sessions will benefit from this buying guide on the best audio interface for logic pro x! After becoming obsessed with the beats that were the soundtrack to his youth, Nick became a student of hip hop, digging for vinyl records, looking for the perfect break.

Before he got his hands on an MPC sampler, he would mash these records, beats, and breaks into mixtapes and live DJ sets. BPM Skills is an independent site that provides content for informational purposes only. This content is not meant to be a replacement for professional advice.

BPM Skills is reader-supported. When you purchase through links on our site, we may earn an affiliate commission. Learn more.

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