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A text entry box appears, and the current name—Fine Line Beat—is selected. Both the first channel strip in the Mixer and track 1 in the Tracks area are renamed Beat Loop. A text entry box opens. This time you will enter a name and open the text entry box of the next track with a single key command. Track 2 is renamed Drums. Track 3 is renamed Bass, and track 4 is ready to be renamed. Should you enter a name incorrectly, press Shift-Tab to open the text entry box of the previous track or channel strip.

Notice that track 2 has only a generic audio waveform icon. A shortcut menu displays icons organized in categories. A collection of various drum icons appears. The icon is now visible in the track header. The same icon is also assigned to the corresponding channel strip in the Mixer, as you will see in a moment. When your creative juices are flowing, and you just want to make a quick adjustment to the sound of an instrument, wasting time looking for the correct track or channel strip can be frustrating.

Or worse, you could become a victim of the classic mistake: turning knobs and faders but not hearing the sound reacting to your adjustments, until you realize you were adjusting the wrong instrument!

Taking a minute to assign your tracks and channel strips descriptive names and appropriate icons can accelerate your workflow and avoid potentially costly mistakes.

You can see your new names at the bottom of the channel strips. You can resize the Mixer area to see more of the channel strips. A Resize pointer appears. The Mixer is now taller, and you can see more options at the top of the channel strips. You will learn about those options as needed.

In that case, you can drag the vertical scrollbar to the right of the Mixer to scroll up and see all the options. With the Mixer open and occupying most of the main window, the workspace is much smaller. Depending on your display resolution, navigating your song efficiently may prove challenging or nearly impossible.

To remedy that, you will now adjust the locators in the Tracks area ruler and use Cycle mode to continuously repeat a part of the song that contains all the instruments. If necessary, scroll or zoom out in the workspace so you can see your entire arrangement.

Remember: to see all your regions, click the background of the workspace and press Z. Cycle mode is turned on, and a cycle area appears where you dragged. The cycle area spans the part of the song in which the two synths, the drums, and the bass play, so you can focus on adjusting the sounds of those instruments.

Playback starts at the beginning of the cycle area, and the playhead keeps repeating bars 9 through 13, where the two synths are playing. Synth 2 is significantly louder than Synth 1. Continue adjusting the Volume fader until the Gain display reads The Volume fader affects how much gain is applied to the audio signal flowing through the channel strip and, therefore, controls how loudly that instrument plays.

Synth 2 is now quieter and closer to the level of Synth 1. You will now adjust the Pan knobs on the two synth tracks to spread them farther apart in the stereo image. The synths sound too far apart now and seem disconnected from the rhythm section. The effect is even more pronounced if you listen to the song through headphones.

The two synths come back closer to the center of the stereo field. Now they sound like they belong in the mix. Now you will apply effect plug-ins to process the audio signal flowing through the channel strip, thereby changing the tone of your instruments. In this exercise, you will use a bass amp plug-in to add an edgier character to the bass, and a reverberation plug-in to bring warmth and dimension to the piano.

When multiple formats are available in the menu, if you navigate to only the name of the plug-in, the most likely plug-in format is automatically used. The Power button dims to indicate that the plug-in is off.

You can hear what the bass sounds like without the plug-in. It sounds a bit muffled and vaguely distant. The attacks of the bass notes sound brighter and have a little grit to them, giving the bass character. The bass amp also made the bass a bit louder.

In fact, it is a little too loud now. You will now add a plug-in to the Piano channel strip. But first you need to move the cycle area, so you can hear the piano. The piano immediately occupies more space and has more body. And in your arrangement, whenever the piano plays, not many other instruments are playing, so this setting works great.

In the inspector, look at the peak level display on the Output channel strip. When a part of the song is too loud, the Output channel strip peak level display shows a positive value and turns red, indicating that the audio signal is distorted. In this project, the highest peak in the song is under 0 dB FS, and no distortion is created. In a relatively short time, you have produced a one-minute instrumental song with six tracks, edited the regions in the workspace to build an arrangement, mixed the instruments in the Mixer, and added plug-ins to process their sounds.

You now have a piece of music that would work fine, for example, during the credits of a radio or TV show or as a music bed for a TV ad. Mixing Down to a Stereo File The last step is to mix down the music to a single stereo audio file so that anyone can play it on consumer-level audio software or hardware.

In this exercise, you will bounce the project to a stereo audio file. By first selecting all your regions, you avoid the need to manually adjust the bounce start and end positions.

You can choose one or more Destination formats and adjust parameters for each format. You will bounce an MP3 format file that you can easily email or upload to a website. Below the Destination box, notice that the End position is correctly adjusted to the end of bar 23, when the last piano note finishes sustaining.

A Bounce dialog opens. Bouncing creates a new stereo audio file on your hard drive. You will save the new MP3 file to your desktop. A Bouncing progress bar opens, and toward the end of the operation, an additional progress bar indicates the preparation of the MP3 file. When the progress bars disappear, your MP3 file is ready on your desktop.

Logic Pro X is hidden, and you can see your desktop. To unhide an app, press Command-Tab to select it. Your file starts playing. You can now share that MP3 file with all your friends and family!

Lesson Review 1. Where is the inspector and what are its uses? Where is the Tracks area and what does it contain? Where is the control bar and what does it contain?

Where is the workspace and what does it contain? When multiple panes are open, how do you make sure the desired pane reacts to key commands? Describe two ways to adjust a numerical value in Logic. How do you copy a region? How do you resize a region? How do you loop a region? In the Mixer, where do you add effect plug-ins? In the help tag, what are the units of the four numeric values used to determine the length and position of a region? How many ticks are there in a sixteenth note?

How do you mix down your project to a stereo audio file? Answers 1. The inspector opens to the left of the Tracks area. Its contextual parameters adapt depending on which area has key focus, and what is selected. The Tracks area is in the center of the main window.

It contains the track headers to the left, the ruler at the top, and the workspace where you edit regions. The control bar is the row of buttons and displays at the top of your display. It contains transport buttons, information LCD displays, and mode buttons. The workspace is in the Tracks area, to the right of the track headers and below the ruler, and it contains the regions used in your project.

Drag the value vertically, or double-click it and enter a new value. Option-drag the region and always release the mouse button first, followed by the Option key. Place the mouse pointer over one of the two lower corners so it changes to a Resize pointer, and then drag horizontally.

Select the region and press L, or select the Loop checkbox in the inspector. In the Audio FX slots of the channel strips. Bars, beats, divisions, and ticks There are ticks in a sixteenth note. Goals Choose digital audio settings Record single and multitrack audio Record additional takes Record in Cycle mode Re-record sections by punching in manually and automatically Adjust count-in, metronome, and other settings Delete unused audio files To build a song, you need to come up with the raw material you will later arrange and mix.

You might start with an idea you have in your head, a part you rehearsed on an instrument, or a prerecorded sample or loop, or you may just start experimenting until inspiration strikes. To sustain and develop that initial inspiration, you need to master the techniques that Logic offers to record, create, and edit the audio and MIDI regions that constitute the building blocks of your project.

In this lesson, you will configure Logic for audio recording and study activities you will typically perform when working with live musicians: recording a single instrument, recording additional takes of the same instrument, cycle recording, multitrack recording, punching on the fly, and automatic punching.

Setting Up Digital Audio Recording Before you record audio in Logic, you must connect a sound source such as a microphone, an electric guitar, or a synthesizer to your Mac. You then choose the desired recording settings and adjust the recording level of your sound source to avoid distortion.

In the following exercises, you will set up Logic to prepare for a music recording. The microphone transforms sound pressure waves into an analog electrical signal. The microphone preamp amplifies the analog electrical signal. A gain knob lets you set a proper recording level and avoid distortion.

The audio interface sends the digital data stream from the converter to the computer. Logic Pro saves the incoming data as an audio file displayed on the screen by a waveform representing the sound pressure waves.

To convert the analog signal into a digital data stream, the digital converters sample the analog signal at a very fast time interval, or sample rate. The sample rate identifies how many times per second the audio is digitally sampled.

The bit depth identifies the number of data bits used to encode the value of each sample. The sample rate and bit depth settings determine the quality of a digital audio recording. Logic does not exert any influence over the quality of your recordings. Also, most modern Mac computers include a built-in audio interface.

Many Mac notebook computers and iMac computers even have internal microphones. Although those microphones are generally not intended to produce professional-quality recording, you can use the internal microphones to perform the exercises in this lesson in the absence of an external microphone.

By default, Logic records with a bit depth of 24 bits, which is fine for most uses. However, you may need to use different sample rates for different projects. Playing an audio file at the wrong sample rate will result in the wrong pitch and tempo, much like playing an audiotape or vinyl record at the wrong transport speed.

The Project Settings window opens, and you can see your Audio settings. By default, the sample rate is set to To determine which sample rate to choose, consider the sample rate of any prerecorded material you will use such as samples and the sample rate of the target delivery medium. Some producers who make intensive use of Traditionally, music is recorded at Choosing an Audio Interface In most situations, Logic automatically detects an audio interface when you connect it to your Mac and asks if you want to use that interface.

If you choose to use it, Logic selects that interface as both an input and output device in its audio preferences. The Audio preferences appear. The Output Device is the device connected to your monitors or headphones. The Input Device is the device into which you plug your microphones or instruments. If you do not have an audio interface connected to your Mac, choose from the built-in output and input devices.

If you choose a new output or input device, Logic automatically reinitializes the Core Audio engine when you close the window. Recording a Single Track In this example, you will record a single instrument. The exercise describes recording an electric guitar plugged directly into an instrument input on your audio interface, but feel free to record your voice or any instrument you have. Preparing a Track for Recording To record audio, you first have to create a new audio track, select the correct input the input number on your audio interface where the guitar is plugged in , and enable that new track for recording.

When adding tracks, the new tracks are inserted below the selected track. To create a new track at the bottom of the Tracks area, you first need to select the bottom track. The New Tracks dialog appears.

You can record-enable the track by selecting the Record Enable option below the Output menu; however, in some situations creating a recordenabled track may produce feedback. You will later take precautions to avoid feedback and then record-enable the track from the track header. A new audio track set to Input 1 is created. Logic automatically assigns the new track to the next available channel. Since six audio tracks were created when you dragged Apple Loops in Lesson 1, the new track is assigned to the Audio 7 channel and is automatically named Audio 7.

More descriptive names will help you identify files in the future. The new track has a generic audio waveform icon. You can now hear your guitar and see its input level on the Guitar channel strip meter in the inspector. This delay is called latency. You can monitor the audio routed to record-enabled tracks while Logic is stopped, playing, or recording. Otherwise, you will be monitoring the signal twice, resulting in a flangy or robotic sound.

To emulate the character a guitar amp can give to a guitar sound, you can use Amp Designer, a guitar amplifier modeling plug-in. Note that you are still recording a dry guitar sound. The effect plug-in processes the dry audio signal in real time during the recording and playback.

Recording a dry signal means that you can continue fine-tuning the effect plug-ins or exchange them for other plug-ins after the recording is completed. Amp Designer opens. Here, you can dial in a sound or choose a preset. You can now hear your guitar processed through Amp Designer.

Adjusting the Recording Level Before recording, make sure you can monitor the sound through Logic, and then adjust the source audio level to avoid overloading the converters.

On the channel strip, look at the peak level meter, and make sure it always stays below 0 dBFS decibels full scale, the unit used to measure levels in digital audio ; a level above 0 dBFS would indicate that you are clipping the input of your converter. Keep in mind that you need to adjust the audio level before the converter input by using your microphone preamp gain knob. Allow some headroom, especially if you know that the artist might play or sing louder during the actual recording.

Working with a low-level recording is better than clipping the input. Some interfaces also support other input settings, such as phantom power, hi-pass filter, and phase. If the Gain knob is dimmed, it means that the feature is not supported by your audio interface. Make sure the peak sits comfortably below 0 dBFS: the wider the dynamic range of the source, the more headroom it needs to avoid clipping.

When your signal peaks below —2. When it peaks between —2. When it peaks above 0 dBFS, the peak level meter turns red to indicate the audio is clipping. Tuning the Instrument Making sure an instrument is in tune before recording is always a good idea. The Tuner opens. Checking the Balance Now that the guitar is tuned, you can practice the performance and make sure that you can hear yourself and the other instruments comfortably. If the guitar is now too loud or too soft in comparison to the other tracks, in the inspector, drag the volume fader on the Guitar channel strip to adjust the monitoring level, or drag the volume slider in the Guitar track header.

Recording Audio You have set the desired sample rate, adjusted the recording and monitoring levels, inserted a plug-in to emulate the sound of a guitar amp, and tuned the instrument. You are now ready to start recording. The playhead is positioned at bar If you need to adjust the position of the playhead, drag it left or right. The playhead and the LCD display in the control bar both turn red to indicate that Logic is recording.

The playhead jumps one bar earlier and gives you a four-beat count-in with an audible metronome click before the recording starts. You will learn how to alter both the metronome and the count-in settings later in this lesson. The new recording, Guitar 01, appears as a blue-shaded audio region. To the name of the track, Logic appends the number of the recording. The playhead jumps to the beginning of the selected region and playback starts.

If you are not happy with your new recording, you can delete it and start over. In the Finder, the audio file is moved from inside the project package to the Trash. The audio file stays in the Project Audio Browser and is still present inside the project package, allowing you to later drag it back to the workspace if necessary.

This alert appears only when you try to delete a recording made since you most recently opened the project. When deleting an audio region that was previously recorded, the behavior corresponding to the Keep option is automatically applied and an alert does not appear. You will keep your recording so you can experiment with recording additional takes in the next exercise.

Recording Additional Takes When recording a live performance, musicians can make mistakes. Rather than deleting the previous recording and repeatedly recording until you get a flawless performance, you can record several takes repeat performances of the same musical part and later choose the best take, or even combine the best parts of each take to create a comp composite take. To preserve multiple takes in Logic, you can record new performances over previous ones. The new recording in red appears to be recorded over the previous blue audio region.

Both the original recording Take 1 and the new recording Take 2 have been saved into a take folder. The take folder is on the Guitar track. It is currently open, so the two takes you recorded are displayed on subtracks below. By default, the take folder plays the most recent take you recorded: Take 2, in this case. The previous take, Take 1, is dimmed and muted. The track is disarmed, and you can no longer hear the sound coming from Input 1 on your audio interface.

The take folder now contains three takes. It plays back the most recent one, Take 3, while the two previous ones, Take 1 and Take 2, are muted. Recording in Cycle mode allows you to repeatedly record a single section, thereby creating a new take for each pass of the cycle. When you stop recording, all the takes are saved inside a take folder. The Guitar track is automatically record-enabled. The playhead jumps a bar ahead of the cycle for a one-measure count-in, and starts recording the first take.

When it reaches bar 9, the end of the cycle area, it jumps back to bar 5 and starts recording a new take. Logic keeps looping the cycle area, recording new takes until you stop recording. Record two or three takes. All the takes recorded in Cycle mode are packed into a take folder.

The Guitar track is automatically disabled for recording. To keep the last take of a cycle recording, make sure you stop the recording more than one bar after the beginning of the cycle area. The take folder closes. Doing so allows you to record several instruments at once, placing each instrument on a separate track, so that you can later adjust their volumes and stereo positions or process them individually. You first create the desired number of tracks, making sure that each track is assigned to a different input number that corresponds to the input number on your audio interface where the microphone is plugged in.

In the following exercise, you will record two mono tracks at the same time, which you can do using the built-in Mac audio interface. To record more than two tracks at once, you need an audio interface with more than two inputs.

The exercise describes recording an acoustic guitar on Input 1 and a vocal microphone on Input 2. When creating multiple tracks, selecting Ascending automatically sets the inputs or outputs to ascending settings. In this case, you will create two tracks, so the first will be assigned to Input 1 and the second to Input 2.

Make sure that you took precautions to avoid feedback, as explained at the beginning of this lesson; this time you will create record-enabled tracks. Two new tracks are added at the bottom of the Tracks area and automatically assigned to the next available audio channels Audio 8 and Audio 9. Their inputs are set to Input 1 and Input 2, and both are record-enabled.

The multitrack recording starts, and after a one-measure count-in, you see the red playhead appear to the left of the workspace, creating two red regions, one on each record-enabled track. You now have a new blue-shaded audio region on each track. You can use the same procedure to simultaneously record as many tracks as needed. If the tracks already exist in the Tracks area, make sure you assign them the correct inputs, record-enable them, and start recording. Punching In and Out When you want to correct a specific section of a recording—usually to fix a performance mistake—you can restart playback before the mistake, punch in to engage recording just before the section you wish to fix, and then punch out to stop recording immediately after the section while playback continues.

This technique allows you to fix smaller mistakes in a recording while still listening to the continuity of the performance. At any time, you can open the take folder and select the original recording. There are two punching methods: on the fly and automatic. Punching on the fly allows you to press a key to punch in and out while Logic plays, whereas automatic punching requires you to identify the autopunch area in the ruler before recording. Punching on the fly is fast but usually requires an engineer to perform the punch-in and punch-out while the musician is performing.

Automatic punching is ideal for the musician-producer who is working alone. Assigning Key Commands To punch on the fly, you will use the Record Toggle command, which is unassigned by default.

Click the disclosure triangle next to Global Commands. The Key Commands window lists all available Logic commands and their keyboard shortcuts, if any.

When looking for a specific functionality in Logic Pro X, open the Key Commands window and try to locate the function using the search field. A command likely exists for that functionality that may or may not be assigned.

When Learn by Key Label is selected, you can press a key, or a key plus a combination of modifiers Command, Control, Shift, Option , to create a keyboard command for the selected function. An alert indicates that the R key is already assigned to the Record command.

You could click Replace to assign R to Record Toggle, but then Record would no longer be assigned to a keyboard shortcut. Control-J is now listed in the Key column next to Record Toggle, indicating that the command was successfully assigned.

Punching on the Fly You will now use the Record Toggle key command you assigned in the previous exercise to punch on the Vocals track the bottom track in your Tracks area. When punching on the fly, you may first want to play the performance to determine which section needs to be re-recorded, and to be ready to punch in and out at the desired locations. Position your fingers on the keyboard to be ready to press your Record Toggle key command when you reach the point where you want to punch in.

The playhead continues moving, but Logic is now recording a new take on top of the previous recording. Keep your fingers in position to be ready to punch out. The recording stops while the playhead continues playing the project.

On the Vocals track, a take folder was created. It contains your original recording Take 1 and the new take Take 2. A comp is automatically created Comp A that combines the original recording up to the punch-in point, the new take between the punch-in and punch-out points, and the original recording after the punch-out point. Fades are automatically applied at the punch-in and punch-out points. You will learn more about fades in Lesson 3. The take folder disappears, and you once again see the Vocals 01 region on the Vocals track.

Punching on the fly is a great technique that allows the musician to focus on his performance while the engineer takes care of punching in and out at the right times. On the other hand, if you worked alone through this exercise and tried to punch in and punch out while playing your instrument or singing, you realize how challenging it can be.

When working alone, punching automatically is recommended. Punching Automatically To prepare for automatic punching, you enable the Autopunch mode and set the autopunch area. Setting the punch-in and punch-out points in advance allows you to focus entirely on your performance during recording. First, you will customize the control bar to add the Autopunch button. The ruler becomes taller to accommodate for the red autopunch area.

The autopunch area defines the section to be re-recorded. You can define the autopunch area with more precision when you can clearly see where the mistakes are on the audio waveform.

Logic zooms in, and the selected region fills the workspace. Here we have a vocal recording in which the two words around bar 3 need to be re-recorded. Listen while watching the playhead move over the waveform to determine which part of the waveform corresponds to the words you need to replace. You can drag the edges of the autopunch area to resize it, or drag the entire area to move it. Red vertical guidelines help you align the punch-in and punch-out points with the waveform. Playback starts.

When the playhead reaches the punch-in point the left edge of the autopunch area , the Record button turns solid red and Logic starts recording a new take. When the playhead reaches the punch-out point the right edge of the autopunch area , the recording stops but the playback continues. A take folder, Vocals: Comp A, is created on the track.

Logic zooms out so you can see the entire take folder filling the workspace. Just as when you punched on the fly in the previous exercise, a comp is automatically created that plays the original recording up to the punch-in point, inserts the new take between the punch-in and punch-out points, and continues with the original recording after the punch-out point.

When a marquee selection is present, starting a recording automatically turns on the Autopunch mode, and the autopunch area matches the marquee selection. Recording Without a Metronome Musicians often use a tempo reference when recording. In most modern music genres, when live drums are used, drummers record their performance while listening to a metronome or a click track. When electronic drums are used, they are often recorded or programmed first, and then quantized to a grid so that they follow a constant tempo.

The other musicians later record their parts while listening to this drum track. Still, some musicians prefer to play to their own beat and record their instrumental tracks without following a metronome, click track, or drum track. When recording audio in Logic, you can set up Smart Tempo to analyze a recording and automatically create a tempo map that follows the performance so that the notes end up on the correct bars and beats.

Subsequent recording or MIDI programming can then follow that tempo map, ensuring that all tracks play in sync. An empty project template opens, and the New Tracks dialog opens.

To make Logic analyze the audio recording and create a corresponding tempo map, you should set the Project Tempo mode to Adapt. The orange color indicates that those parameters will be affected by a new recording. Get ready to record. Because the Project Tempo mode is set to Adapt, the metronome does not automatically play unlike the Project Tempo mode set to Keep mode.

You no longer need it! Try playing something that has an obvious rhythmic quality to it, such as a staccato rhythm part in which you can clearly distinguish the individual chords or notes. During the recording, Logic displays red vertical lines over the recording when it detects beats. An alert offers to open the File Tempo Editor so you can preview the recording and adjust the positions of the beat markers that Logic created while analyzing the file. In the Global Tempo track, you can see multiple tempo changes.

In that case, perform this exercise again, making sure you can hear a strong rhythmic reference in your recording. For example, try tapping a very basic beat with your fingers in front of the microphone. You have recorded a rubato performance without listening to a timing reference. Logic automatically detected your tempo changes and applied them to the project tempo.

Some settings do not affect the quality of the audio recording but can alter the behavior of your project during recording or change the audio file format used for recordings. The next few exercises will show you how those settings affect the audio recording process and explain how to modify them. Setting the Count-In The count-in is the time you have to prepare yourself and get in the groove before the actual recording begins.

The take folder is deleted. Until now, every time you pressed Record, the playhead jumped to the beginning of the previous measure so you could have a four-beat count-in. However, sometimes you may want to start recording without a count-in. The playhead starts from its current position, and Logic starts recording right away. At other times, you may need a longer count-in, or you may want Logic to count in for a specific number of beats.

The audio region is removed from the workspace, but the audio file is still in the project folder. The playhead jumps two bars ahead to bar 3, and playback starts.

When the playhead reaches bar 5, Logic starts recording. Setting the Metronome By default, the metronome is turned off during playback and automatically plays during recording. In this exercise, you will change the default behaviors using the Metronome button and later go into the Metronome settings to adjust its sounds. The metronome is on. The metronome is off. The metronome is back on. You now have inverted the default behavior: the metronome is on during playback and is automatically turned off during recording.

The Metronome Settings window opens. There are settings for two metronomes: Audio Click also known as Klopfgeist, which is German for knocking ghost , which you are using, and MIDI Click, which is now off.

Under the name of each metronome, you can adjust the pitch and velocity of the notes playing on each bar and beat. The metronome sounds a little low compared to the drum loop on track 1. In fact, you can hear it only when no drum hit occurs on that beat. At the bottom of the Metronome Settings window, you can drag a couple of sliders to adjust the sound of the metronome.

The metronome sound changes, and you can start hearing a pitch. When a project already contains a drum track, you may need the metronome only during the count-in to get into the groove before the song starts. You hear the metronome for one measure, and then it stops playing as the song and the recording start at bar 1. It places a number of samples in an input buffer for recording and in an output buffer for monitoring.

When a buffer is full, Logic processes or transmits the entire buffer. The larger the buffers, the less computing power is required from the CPU. The advantage of using larger input and output buffers is that the CPU has more time to calculate other processes, such as instrument and effects plug-ins. The drawback to using a larger buffer is that you may have to wait a bit for the buffer to fill before you can monitor your signal.

That means a longer delay between the original sound and the one you hear through Logic, a delay called roundtrip latency. Usually, you want the shortest possible latency when recording and the most available CPU processing power when mixing so that you can use more plugins. The Audio preferences pane opens.

When choosing a different audio device, make sure you click Apply Changes to update the Resulting Latency value displayed. The latency is now shorter. If your Mac has a multicore CPU, you can see a meter for each core.

You can monitor the amount of work each core is doing. When the CPU works harder, you might hear pops and crackles while the song plays.

When playing the project becomes too much work for the CPU, playback stops and you will see an error alert. Deleting Unused Audio Files The Project Audio Browser shows all the audio files and audio regions that have been imported or recorded in your project.

During a recording session, the focus is on capturing the best possible performance, and you may want to avoid burdening yourself with the decision making that comes with deleting bad takes. You may also have several unused audio files in the Project Audio Browser that make the project package or folder bigger than it needs to be.

In this next exercise, you will select and delete all unused audio files from your hard drive. The audio data in the audio file stays intact, and the regions merely point to different sections of the audio file.

You will learn more about nondestructive editing in Lesson 3. If a Delete alert appears, select Keep and click OK. The regions are removed from the workspace, but their parent audio files are still present in the Project Audio Browser. All the audio files that do not have an associated region in the workspace are selected.

While the region plays, a small white playhead travels through the regions. Once you feel satisfied that the selected audio files do not contain any useful material, you can delete them. An alert asks you to confirm the deletion.

The audio files are removed from the Project Audio Browser. In the Finder, the files are moved to the Trash. You are now ready to tackle many recording situations: you can record a single track or multiple tracks, add new takes in a take folder, and fix mistakes by punching on the fly or automatically.

You know where to adjust the sample rate, and you understand which settings affect the behavior of the software during a recording session. And you can reduce the file size of your projects by deleting unused audio files—which will save disk space, and download and upload time should you wish to collaborate with other Logic users over the Internet. What two fundamental settings affect the quality of a digital audio recording?

In Logic, where can you find the sample rate setting? What precaution must you take before record-enabling multiple tracks simultaneously? In Autopunch mode, how do you set the punch-in and punch-out points? Describe an easy way to access your Metronome settings. Describe an easy way to access your count-in settings. In the Project Audio Browser, when selecting unused files, what determines whether a file is used or unused?

The sample rate and the bit depth 2. Make sure the tracks are assigned different inputs. Adjust the left and right edge of the autopunch area in the middle of the ruler. Control-click the Metronome button, and choose Metronome settings. The CPU works less hard so you can use more plug-ins, but the roundtrip latency is longer. An audio file is considered unused when no regions present in the workspace refer to that file. Goals Assign Left-click and Command-click tools Edit audio regions nondestructively in the workspace Add fades and crossfades Create a composite take from multiple takes Import audio files Edit audio regions nondestructively in the Audio Track Editor Align audio using the Flex tool Audio engineers have always looked for new ways to edit recordings.

In the days of magnetic recording, they used razor blades to cut pieces of a recording tape and then connected those pieces with special adhesive tape. They could create a smooth transition or crossfade between two pieces of magnetic tape by cutting at an angle. Digital audio workstations revolutionized audio editing. The waveform displayed on the screen is a visual representation of the digital audio recordings stored on the hard disk.

The ability to read that waveform and manipulate it using the Logic editing tools is the key to precise and flexible audio editing. In this lesson, you will edit audio regions nondestructively in the workspace and the Audio Track Editor, and add fades and crossfades. You will open a take folder and use Quick Swipe Comping to create a single composite take. Even as your ability to read waveforms and use the Logic editing tools develops, never forget to use your ears and trust them as the final judge of your work.

Assigning Mouse Tools Until now, you have exclusively worked with the default tools. You have also used keyboard modifiers such as Control-Option to choose the Zoom tool, and changed the pointer to tools such as the Resize or Loop tools.

When editing audio in the workspace, you will need to access even more tools. In the Tracks area and in various editors , two menus are available to assign the Left-click tool and the Command-click tool. Previewing and Naming Regions During recording sessions, helping the talent produce the best possible performance often takes priority over secondary tasks such as naming regions.

In this exercise, you will assign tools to the mouse pointer. You will use the Solo tool to preview the audio regions on the new Guitar track, and apply the Text tool to rename them. You can hear a region play back in solo mode by placing the Solo tool over the region and holding down the mouse button. In the control bar, the Solo button turns on, and the LCD display and the playhead both turn yellow.

The region is soloed, and you can play back starting from the location where you placed the Solo tool. You can also drag the Solo tool to scrub the region. You can change the playback speed or direction by dragging the Solo tool to the right or to the left. You can hear that the guitar is playing single, muted notes, so you will give it a descriptive name based on those notes. If you hold down Command when your pointer is over a region, it changes to the Text tool. A text field appears, in which you can enter a new name for the region.

You can hear some dead notes at the beginning of this take folder, and about a bar of funk rhythm guitar in bar You will edit this take folder later in this lesson. In those regions, the guitar sustains chords, so you will name the regions after the chord names.

Instead of moving back and forth from the workspace to the tool menus in the Tracks area menu bar, you can press T to open the Tool menu at the current pointer position. A Tool menu appears at the pointer position. This key command will save you a lot of trips to the title bar.

You can also Command-click a tool in the pop-up Tool menu to assign it to the Command-click tool. The Tool menu opens and closes, and the Left-click tool reverts to the Pointer tool. Both tools are back to their default assignments: the Pointer tool for the Left-click tool and the Marquee tool for the Command-click tool. Editing Regions in the Workspace Editing audio regions in the workspace is nondestructive.

Regions are merely pointers that identify parts of an audio file. When you cut and resize regions in the workspace, only those pointers are altered. No processing is applied to the original audio files, which remain untouched on your hard disk. As a result, editing in the workspace provides a lot of flexibility and room for experimentation because you can always adjust your edits at a later date.

In this next exercise, you will edit the Muted Single Notes region on the Guitar track. In the Snap menu, a checkmark appears in front of the modes you choose. The help tag shows that the region length is now 4 0 0 0.

You will now repeat the simple motif in the last two bars of the Muted Single Notes region a couple more times, from bars 9 to 13, where the synthesizers play. The Command-click tool is now the Marquee tool, and the Left-click tool is the Pointer tool. This is a very powerful tool combination when editing audio in the workspace. You can select a section of an audio region with the Marquee tool, and move or copy that selection using the Pointer tool. The section you selected with the Marquee tool is highlighted.

The playhead jumps to bar 7 and plays the selection. It corresponds exactly to the two-bar pattern of the guitar you are going to copy. Option-dragging a marquee selection automatically divides, copies, and pastes the selection to a new location regardless of region boundaries. In this example, the two-bar guitar pattern is copied and pasted at bar 9. Remember to release the mouse button first and the Option key second.

When the mouse button is released, the original region is automatically restored. The guitar plays a melodic riff with high notes when it first comes in, and then it plays more discretely throughout the following sections, leaving room for the two synths to shine. Still, you can bring back a little bit of the excitement just before the breakdown at bar This last region brings back a welcome variation to the monotonous pattern that the guitar has been playing for the past five bars, returning in time to lead to the break in the next section.

Now you know how to select the desired material within a region and move or copy that material anywhere on the track. Comping Takes In the previous lesson, you recorded several takes of a guitar performance and packed them into a take folder.

Now you will learn how to preview those individual takes and assemble a composite take by choosing sections from multiple takes, a process called comping. Comping techniques are useful when you have recorded several takes of the same musical phrase, each with its good and bad qualities. In the first take, the musician may have messed up the beginning but played the ending perfectly.

And in the following take, he nailed the beginning and made a mistake at the end. You can create a perfectly played comp using the beginning of the second take and the ending of the first take. You can use the same comping techniques to create a single musical passage from multiple musical ideas. As they improvise in the studio, musicians will often record a few takes and later comp the best ideas of each performance into a new, virtual performance. Previewing the Takes Before you start comping, you need to become familiar with the takes you are going to comp.

While doing so, you will assign the takes different colors to help distinguish between them, and then decide which part of which take you will use. The selected take folder and its takes fill the workspace. The take folder is on the Guitar track, and the three takes it contains are on lanes below the Guitar track.

Take 3 at the top is selected and is the take currently playing. The other takes are dimmed to indicate that they are muted. This is useful when you need to assign other regions the same color.

Take 1 is purple. You will keep the blue color for Take 2, and choose a new color for Take 3. The selected take, Take 3, plays. This time the first bar sounds good, but the second bar is rather messy; the third bar sounds good, and then the guitar player plays the wrong chord and stops. This time the guitarist misses the entire beginning but gives a good performance in the fourth bar of the breakdown.

Although each take is a very poor performance, you have all the material you need to create a comp take that will sound good.

You will swipe your mouse across the parts of the takes you want to hear in your comp. The entire take is selected, and its color and name are displayed in the take folder. The mouse pointer does not automatically snap to the grid when Quick Swipe Comping, but snapping would help you edit this kind of rhythmic material.

This time the mouse pointer snaps, making it easier to select exactly one measure. Notice that in the take folder on the Guitar track, the waveform and its background color match the sections of the selected takes. Your comp name, Comp A, now appears next to the take folder name, and the letter A is displayed in the Take Folder pop-up menu to the right of the disclosure triangle.

An easy way to start a new comp is to Option-click a take to select it, and start comping again. There is, however, a lingering noise present at the end of Take 2 you can delete.

The upper part of the clicked section is white, indicating that the section is selected. You can hear a double-attack on the downbeat of bar You will now clean up that edit. Holding Control-Shift while you drag temporarily disables the snapping, giving you the precision you need to clean up this edit. The take folder is replaced by the current comp.

The selected sections of the takes in the folder are now replaced by audio regions, and crossfades are displayed at the junctions between regions. You now have a flawless funk rhythm guitar performance during the break. The crossfades, automatically added between edit points during the comping, ensure smooth transitions between the regions. You will learn how to apply and adjust your own fades and crossfades in the following two exercises.

Adding Fades and Crossfades When editing audio, you usually want to avoid abrupt transitions on edit points: the region boundaries and the junctions between regions. You can use nondestructive fades in the workspace to create smooth transitions. Adding a Fade-Out The very last region on the Guitar track ends abruptly, before the guitar chord has finished its natural decay. You will now add a fade-out to make that last chord end more naturally.

You can hear odd blip sounds at the edit points: the beginning of the first region, the junctions between regions, and the end of the last region. The clicks are exacerbated by the reverb in the Amp Designer plug-in on the channel strip. You can now clearly hear the clicks. The third region, a C minor chord, ends abruptly and the sustain tail of that chord does not sound natural.

You can create fades only over region boundaries. Here, the rectangular frame should cover the end of the region. A fade-out is created. The position where you started dragging determines the length of the fade-out. The fade is curved in the direction you drag. The guitar and the piano fade out simultaneously at the end of the song, which now sounds cleaner and smoother. The Left-click tool is reassigned as the Pointer tool. Adding Fades to Remove Clicks In this exercise, you will add very short fades and crossfades to eliminate click sounds that occur at edit points on the final three regions on the Guitar track.

You can hear a click at the beginning of the region. You may need to zoom in a few more times to clearly see the shape of the waveform. To add fades using the Pointer tool, you can Control-Shift-drag over the region boundary. A fade-in is added. The click sound at the beginning of the Ab chord region disappeared.

You can hear a click sound at the edit point. A crossfade is added at the junction between the two regions. The click sound at the junction between the regions disappeared. All you need is a very short fade at the edit point to smooth the transition.

This time you will add the crossfade using the parameters in the Region inspector to avoid zooming in and out. A five-millisecond fade-out is added at the end of the selected region. In the workspace, you can see that the fade-out at the end of the selected region is replaced by a crossfade.

After editing a section, you may have many small regions with fades between them. You can choose to keep those small regions with the fades so that you can readjust the edits later.

However, if you are ready to commit and would rather deal with a single audio region for the entire section, you can join the regions to render your edits into a new audio file.

An alert asks you to confirm the creation of a new audio file. A new audio region is created in place of the selected regions and their fades. Zooming and scrolling in the workspace can help to an extent; however, when you want to edit the regions of a single track, you can use the Audio Track Editor to focus on that track without changing the zoom level of the Tracks area. Importing Audio Files Using the All Files Browser You will now import a new audio file to the project: a white noise sound effect you will use later to accentuate the transition between song sections at bar The All Files Browser opens.

At the top, three buttons allow you to access all the volumes connected to your computer, your home folder, or the current project folder. The contents of your home folder appear in the browser.

The wave. On pages the author explains all the new features and changes with in-depth demonstrations, including information and instructions not found anywhere else. No need to read through of pages of dry text explanations.

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For over 20 years, Edgar has had a successful musical partnership with electronic music pioneer and founding Tangerine Dream member Christopher Franke. In addition to his collaboration with Christopher, Edgar has been working with other artists, as well as on his own projects.

In he started to release his solo records in the “Why Not All albums are available on Amazon and Apple Music, including the release, the re-recording of the Blade Runner Soundtrack. In addition to composing music, Edgar Rothermich writes technical manuals with a unique style, focusing on rich graphics and diagrams to explain concepts and functionality of software applications under his popular GEM series Graphically Enhanced Manuals.

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