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Understanding Logic's window structure

Understanding Logic's window structure provides you with in-depth training on Audio + Music. Tau… Show More

Logic Pro 8 Essential Training

with Joe Godfrey

Video: Understanding Logic's window structure

Understanding Logic's window structure provides you with in-depth training on Audio + Music. Taught by Joe Godfrey as part of the Logic Pro 8 Essential Training
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  1. 14m 25s
    1. Welcome
      1m 45s
    2. Understanding Logic Pro
      1m 35s
    3. Using this title
      1m 49s
    4. Using the software's Keyboard
      2m 30s
    5. An important note for laptop users
    6. Using the exercise files
      1m 52s
    7. Troubleshooting the exercise files
      4m 6s
  2. 16m 45s
    1. Installing the program
    2. Launching Logic for the first time
      2m 48s
    3. Setting up audio interfaces
      4m 33s
    4. Understanding WordClock
      1m 23s
    5. Setting up MIDI interfaces
      1m 9s
    6. Verifying MIDI input
      1m 18s
    7. Connecting outboard MIDI gear
      2m 7s
    8. Importing an existing environment
      1m 35s
    9. Selecting an outboard synth
      1m 5s
  3. 1h 18m
    1. Understanding types of projects and which to use
      3m 39s
    2. Completely customizable keystrokes
      5m 59s
    3. Understanding Logic's window structure
      12m 32s
    4. Creating and customizing screensets
      2m 16s
    5. Understanding the importance of saving iterations
      2m 12s
    6. Customizing the Transport window
      6m 1s
    7. Customizing the Arrange window
      6m 21s
    8. Exploring Meter options
      3m 23s
    9. Exploring Key Signature options
      4m 32s
    10. Exploring Tempo options
      3m 23s
    11. Using the Metronome feature
      4m 8s
    12. Using Channel Strips
      6m 30s
    13. Using Tracks
      3m 44s
    14. Using Regions
      4m 16s
    15. Merging Regions
      3m 18s
    16. Demixing
      1m 50s
    17. Naming Regions
      1m 44s
    18. Coloring Regions
      2m 38s
  4. 30m 9s
    1. Using the Window Media Browser
      2m 15s
    2. Sorting Loops
      3m 52s
    3. Auditioning Loops
      7m 53s
    4. Favoriting Loops
      1m 51s
    5. Using loops to build a groove
      6m 37s
    6. Editing MIDI Loops
      7m 41s
  5. 1h 13m
    1. Creating a live tracking session
    2. Building your groove
      9m 35s
    3. Tracking a virtual bass
      10m 51s
    4. Setting up a cue
      3m 35s
    5. Recording the vocal
      6m 56s
    6. Comping the vocal
      9m 27s
    7. Tracking a live instrument
      5m 45s
    8. Arranging the song
      7m 32s
    9. Understanding the Mix window
      3m 7s
    10. Mixing the song
      7m 20s
    11. Recording vocal automation
      4m 41s
    12. Bouncing the song
      3m 40s
  6. 45m 33s
    1. Understanding virtual instruments
      2m 14s
    2. Sequencing with Ultrabeat
      11m 23s
    3. Using the EXS24 MkII
      8m 7s
    4. Sound sculpting in Sculpture
      7m 5s
    5. Using the EVP88 Vintage Piano Synth
      5m 19s
    6. Using the EVB3 Vintage Organ Synth
      4m 27s
    7. Using the EVD6 Vintage Clavinet Synth
      6m 7s
    8. Exploring other virtual synths
  7. 50m 24s
    1. Using Logic with video
      2m 38s
    2. Importing a movie into Logic
      4m 47s
    3. Creating timeline markers
      3m 38s
    4. Understanding bars, beats, and timecode
      3m 50s
    5. Adjusting tempo and song structure
      2m 5s
    6. Scoring a movie
      14m 39s
    7. Adding sound effects to your movie
      4m 29s
    8. Exporting OMF and XML files from Final Cut Pro into Logic
      10m 15s
    9. Exporting XML files from Logic back into Final Cut Pro
      4m 3s
  8. 1h 5m
    1. Beginning the remixing process from a vocal track
      6m 36s
    2. Building the rhythm track using Logic's library
      13m 10s
    3. Editing the parts of the rhythm
      8m 0s
    4. Adding guitar strums using Delay Designer
      4m 36s
    5. Adding the instrumental solos
      10m 42s
    6. Editing and adding vocal effects
      6m 20s
    7. Final touch-ups
      8m 2s
    8. Bouncing the mix
      7m 53s
  9. 57m 4s
    1. The mixer interface
      7m 38s
    2. Learning the sounds using EQ Sweep
      7m 52s
    3. Mixing using MIDI velocity
      2m 59s
    4. Writing and editing volume automation
      13m 47s
    5. Setting up busses for reverb and delay
      6m 23s
    6. Using the Space Designer
      3m 19s
    7. Using the Delay Designer
      4m 0s
    8. Freezing your tracks
      2m 44s
    9. Naming your Input and Output labels
      2m 7s
    10. Learning how to "Surroundify" your mix
      1m 46s
    11. Bouncing stems
      4m 29s
  10. 29m 18s
    1. Introducing Printing
      2m 24s
    2. Editing in Score layout
      5m 29s
    3. Working with key signatures and transposition
      5m 53s
    4. Printing an orchestral score
      5m 17s
    5. Printing individual parts
      2m 26s
    6. Using the Camera tool for snapshots
      1m 17s
    7. Logic's Chord Analysis tool
      3m 51s
    8. Understanding what the parts tell you
      2m 41s
  11. 10m 23s
    1. Saving custom settings and templates
      3m 54s
    2. Archiving your project
      5m 14s
    3. Backing up custom settings to a network
      1m 15s
  12. 20m 12s
    1. Burning discs with Waveburner
      4m 35s
    2. Timing your tracks
      2m 33s
    3. Adding track markers and index points
      5m 48s
    4. Processing the audio
      3m 24s
    5. Normalizing the audio
      1m 49s
    6. Deciding whether to burn, bounce, or save
      2m 3s
  13. 1m 37s
    1. Additional resources
      1m 3s
    2. Goodbye

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Understanding Logic's window structure
Video duration: 12m 32s 8h 13m Beginner


Understanding Logic's window structure provides you with in-depth training on Audio + Music. Taught by Joe Godfrey as part of the Logic Pro 8 Essential Training

Audio + Music
Logic Pro

Understanding Logic's window structure

Logic keeps track of a lot of data. It uses a series of windows to let you see what you need for different operations. We use different windows as we do different phases of our project but for now, let's just take a look around and see what's in here. Our goal here isn't go into detail about each one. Our goal here is just to briefly describe what each of them shows you and why they are there. So, take a deep breath, here we go. We are already in the Arrange window. That's the default window. It's a timeline where you will choose your sounds and record your music.

It's probably where you will spend most of your time in Logic. So, what I have here is a little piano sound playing a whole note scale, let me solo it and play. Spacebar to play. (Piano plays.) Let me solo a little drum loop that comes with it. 0 to return the playhead to the beginning and spacebar to play. (Music plays.) And together they sound like...

(Music plays.) Now, the Arrange window has a lot of options, so there is a movie about those options later in this chapter. Let's return to playhead to the beginning and take a look at the next window. The windows I am showing you are all listed in the Window menu, but I am going to use the keystrokes for them. So, the next one up on the list is the mixer. Every track that's in your timeline has a channel in the mixer. The mixer is where you will make adjustments to those sounds like how much reverb it has and then you will set the volumes and other parameters once your composition is built.

So, we will be coming back here when it's time to mix. Let me close this for now. Next on this list is the Event List. This is a window that's displaying what's in my sequence. I have a region and we will talk about regions later too. I have a region played by the exotic world beat and one played by this Steinway Piano. If I click on the Steinway Piano region, I get inside of it and I can take a look at the position and the channel and the pitch and the length and the velocity of each of the notes in my sequence.

So, let me play it in the Arrange window and you will see it in the Event List. (Music plays.) So, the playhead that's moving across the timeline here is moving up and down here. Let me select that very last note. And just by clicking on it I hear it. I am just clicking on the note and dragging my mouse up and down. (Individual piano notes.) Let's take it way up to a high note and see what it sounds like.

(Individual piano notes.) That's C. (Music plays.) So, the point here is you can edit the start point and the pitch and the length of notes in a data processing way. Let me close the event list. Next up is the Score window. Let's move the playhead back to the beginning. Score is your own personal copyist.

It's always transcribing what you play in musical notation. But you can edit in here as well. This note that I changed in the event list is a really high note. Let's push it back down. (Individual piano notes.) And now, let's play the sequence again. (Music plays.) So, you can just pick up a note and push it around. (Piano plays.) On the musical notation, pick the note you like.

Let's move the playhead back to the beginning, but before I close this out, notice that it kept track of the pedal move too. This is a sustain pedal on/sustain pedal off. Let's close that window and take a look at the Transform window. Transform is a different way of editing your MIDI data. If you think about the event list as letting you precisely edit events, Transform is more for editing groups or clusters of notes. You can select let's say all the notes from bar one to bar five and then perform an action on them.

There are some presets here that are kind of handy. Let's double speed those notes. And let's select and operate and listen to it. (Music plays.) Whoops. Playhead back to the beginning. (Music plays.) It made them go twice as fast. Let's solo that just so that we can hear it. (Piano plays.) Now, you might be thinking wow! This means I can finally play that Beethoven sonata that I have been working on all this time and play it really, really slow and then speed it up.

Yeah, that's what that means. Now, I am going to undo that, take it back to their normal length, okay. So that's back to where I want it. Let's look at one more option in here. Let's do a fixed note length and make these notes be really, really short. Let's go 000120 and listen to the result. We want to select and operate. (Music plays.) Well, here's the thing.

It did make them really, really short. If you can see up here, let me undo, these are nice big long notes. If I select and operate they become little tiny short notes, but the thing is I had the sustain pedal down. So, if I didn't have the sustain pedal down, you'd hear the tiny little short notes. So this is a place to edit in a different kind of way. But let me undo that and get back to where we were, close this window and let's look at the Hyper Editor. Now, I have chosen the Pencil tool here, so that I can write in a volume move, let's say, and I just draw it in with the pencil and you can see in the lower left-hand corner, whatever move I make here is changing the volume of this piano sound.

So, this is yet another way to edit your data. I don't care for this that much. I don't use this that much, but if it helps you to think of it this way, in a graphic way, great. I am going to undo that data and reset my piano. I just Option-clicked on this fader and set it back to zero. Let's move the playhead back to zero and take a look at the next window. This is the piano roll. Now here's yet another way to look at your MIDI data and this is my favorite window for editing MIDI.

On the left here is a keyboard. I can just click and hear the notes. If I play the sequence you can hear the notes and see them at the same time. (Music plays.) And let me jump back to the beginning here. These notes have different colors because they have different velocities. If I go to the Velocity tool up here, I can click and drag and add Velocity. (Single piano note played faster.) As I am doing this, I hear the different velocity responses.

(Single piano note played slower and faster.) That this sound gives me. (Single piano note played faster.) I am just going to push them all into the sort of a brighter color area. Now that one is just a little bit too bright. This one is maybe not quite bright enough. (Piano playing.) Okay, let's listen from the beginning.

(Music plays.) So, this is my favorite way to edit the data. I am going to take the tool off of the Velocity tool, so that I can use the pointer, (Piano scale played up and down.) And show you that I can move something around on the keyboard. Let me undo that. Scroll down here to where the notes are. I can also move a note earlier in time. Let's have this note start earlier.

(Music plays.) This note is very quiet, so it's kind of getting a lost against this other note. Let's edit it and make it big and loud, so we can hear the change. (Music plays.) Let me undo those two things. Another option I like is to use the pointer and Option-Drag something. So, now I have the original note back here and it's cloned over here on the downbeat.

(Music plays.) And I can make this a nice big long note, just grab the trimmer, grab the end of it. I can shorten it, lengthen it. I am just going to delete that note. Select it, good-bye! So, I have a lot of control over the way I edit in this window. I think you can see now why it's my favorite. All right let me close that window. Next step is the Transport. Now, this is a tiny little Transport. There is already a big Transport at the footer of your Arrange window, so let's close this Transport and take a look at the one that's at the bottom of the Arrange window.

This is where you set the tempo and the length of your sequence. The counters give you a numerical readout of where the playhead is in both bars and beats and SMPTE code. Now, if this is the first time you are hearing about SMPTE code and you wonder if you need to know this to be able to write a song, the answer is no. Let me show you what this is doing. This is keeping track of the playhead and this is just counting a clock. Let's take a look. (Music plays.) SMPTE is just another way of counting time.

It's measured in hours, minutes, seconds and frames and sub-frames instead of bars and beats. So, it's just another way of measuring time. You can also set the meter of your sequence and the divisions and we will talk about this later. One handy thing in the Transport window is if you have a MIDI keyboard hooked up. If you tap it, it will tell you that it's receiving MIDI. It tells you the channel, the pitch, and the velocity when you tap.

That's a nice feature so you can verify that your keyboard is actually working. Now, there is more to talk about in the Transport and there is a movie about this later in this chapter. One more to look at. Let's look at the Environment. The Environment is how Logic communicates with other devices in its environment, like your MIDI keyboard and your outboard synths. Now, this time I see that my Xboard 49 is in here. It's a physical input. It's wired to the input notes, which then is wired to the input view, which then is wired into Logic.

This is a way of sort of verifying your MIDI connections. Let me show you what I mean. (Piano plays.) So, I am tapping my MIDI keyboard. You see the keys here on the keyboard display. You also see them as a note list over here. So this is a way of verifying that your MIDI data is getting from your keyboard into Logic. Let's close the Environment. Now, we are back in Arrange, so that's a quick trip around the windows and like I said earlier, this Arrange window is probably where you will spend most of your time crafting new music.

So, you can choose those windows from the Window menu or you can do Command and the appropriate number and there is another function in Logic where you just tap a number and see what you want to see. Those are called Screensets and that's up next.

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