Jumpstart Logic Pro 10.6

Create professional music with Apple's flagship digital audio workstation app

Jay Asher

• Éditeur: Packt Publishing
• Année: 2020
• ISBN:
  9781800561458
• Édition: 1
• Sujet: Ciencia de la computación
• Sous-sujet: Medios digitales

A practical guide that takes you from understanding the fundamentals of Logic Pro to discovering professional music creation techniques with an easy-to-follow approach

Key Features

• Explore the world of music production by getting up to speed with Logic Pro
• Understand the fundamentals of music production such as recording, editing, and adding effects to music
• Learn to produce virtual sounds and music effects to enhance your music and create a final master from a raw music file

Book Description

Logic Pro is Apple's flagship application for music creation, found in many professional music studios across the globe. It is a powerful digital audio workstation that comes with all the software tools that you need to create music that sounds great. In the previous version, Logic Pro 10.5, Apple had added impressive features to what was already a full package of tools, loops, FX plug-ins, and software instruments.

Providing a comprehensive introduction if you're new to Mac computer music creation, this practical guide will show you how to use Logic Pro and have you up to speed in no time.

You'll not only understand what Apple's Logic Pro software can do but also get hands-on with using it to accomplish various musical tasks. The book starts by getting you up and running with the basic terminologies. As you progress, you'll explore how to create audio and MIDI musical parts. To build on your knowledge further, the book will guide you through developing an automated mix. In addition to this, you'll learn how to bounce mixes and audio files for distribution.

By the end of this book, you'll be well-versed with Logic Pro and have the skills you need to create professional-quality music.

What you will learn

• Get to grips with Audio and MIDI and how they are different, along with covering Apple Loops
• Record and edit audio, such as your voice or guitar
• Create and edit MIDI parts, using Logic Pro's software instruments
• Develop realistic drums and electronic drums with Logic Pro 10.5's amazing Drummer
• Explore the new Step Sequencer, Live Loops, and Quick Sampler that were included with version 10.5
• Edit your arrangement and prepare the parts for mixing
• Discover the principles of good mixing, including automation, pre-mastering, and final bouncing

Who this book is for

This book is for musicians, songwriters, and music producers who want to learn Logic Pro from scratch with the help of expert guidance. A basic understanding of music theories such as chords and notes is highly recommended before you get started. This Logic Pro book also assumes that you'll be working on a Mac.

Chapter 1: Beginning with Logic Pro 10.6

If you have purchased this book, then you probably already know that Logic Pro is Apple's flagship application for music creation. I like to say that if you can conceive it, you can create it with Logic Pro 10.6. It comes with everything you really need, and more, at a bargain price.

10.6 has added some very impressive features to what was already a full package of tools, loops, FX plug-ins, and software instruments. In addition to Logic Pro revolutionary Drummer, Drum Machine Designer has had a significant upgrade and works with Live Loops in an exciting way that Ableton Live and GarageBand iOS users will be familiar with. Quick Sampler, along with the new updated Sampler, is a game changer for me. Auto Sampler, previously only available in Main Stage, is now part of Logic Pro. Recording your vocals and guitars is now a snap.

Specifically, this chapter covers the following topics:

• Important information for beginning with Logic Pro 10.6
• Audio versus MIDI
• What hardware besides my Mac will I need?
• Preferences versus Project Settings

Important information for beginning with Logic Pro

You know the old saying "an ounce of prevention is worth a pound of cure"? In this chapter, you will learn all you need to begin your Logic Pro journey.

What are Audio and MIDI?

In this section, we will look at the differences between Audio and MIDI.

When you record yourself singing or playing a real instrument in Logic Pro, the truth is you are actually recording an audio waveform to a drive with Logic Pro as a conduit. If you delete Logic Pro from your computer, your recording will still be there, unless you delete it.

I like to compare it to a house: somebody drew up a blueprint, ordered the supplies, and built the house.

Musical Instrument Digital Interface (MIDI) is just a set of instructions that is interpreted by a software instrument, synthesizer, or other hardware keyboard that is capable of understanding it. For example, when you press a key on a keyboard controller, Logic sees "sound this note that we agree is middle C, play it this loud, hold it for this length of time."

If you load a flute sound in a software instrument, you hear what sounds like a flute. If you load a piano sound, it sounds like a piano. If you record a part and then delete it, it's gone and if you don't save the project, it's gone when you quit Logic. Unlike an audio file, which is a waveform recorded on a hard drive, a MIDI region is just a set of instructions that are saved in the Logic project.

So, it's more like the blueprint for the house than the constructed house.

Selecting essential hardware for Logic Pro 10.6

As well as a Mac, you may need some additional hardware to effectively use Logic Pro. Let's explore what we can add to our setup.

An audio interface

While most Mac computers have a built-in microphone audio playback capability, and a speaker, they are not really adequate for creating good-sounding music, just for perhaps getting ideas down.

When you want to use a microphone to record your voice singing or speaking, your computer needs something to record it. Firstly, the microphone won't be loud enough, so you need a microphone pre-amp (mic pre). An audio interface will have one or more of these.

Also, microphones are analog devices and computers don't understand analog information unless it is translated to digital information. So, you need an analog-to-digital converter. Then, for the sound to go back out to speakers, which 99% of the time are analog, you need a digital-to-analog converter. An audio interface will have these.

You need one or more inputs to plug your microphones or instrument cables into, and outputs to a set of speakers or a console. You will often see the inputs and outputs referred to as I/O. You'll also require a headphone jack to listen through headphones.

I now have some good news for you. It used to be that to buy an audio interface that had one or more good mic pres and good converters, you had to spend a fair amount of money. Now it is hard to buy one that doesn't have those. Mostly, the more expensive ones will have more ins and outs, which you might need to record a whole band or mic a drum set with multiple mics. For most of you, however, one or two mic pres and ins with a stereo output will be just fine. There are even USB microphones that include an audio interface that podcasters frequently turn to.

Speaking of microphones, if you are singer or want to record a saxophone or other instrument that does not plug in to the audio interface directly with a cable, you will need a microphone or two. Again, they range from the inexpensive but decent to the incredibly expensive. There are essentially three kinds of microphones: condenser, dynamic, and ribbon mics:

• Condenser mics are commonly used to record vocals and acoustic instruments. They feature an extended and flat frequency range and come with either large or small capsules. They are less commonly used on live stages because they pick up more off-axis sounds, may not handle really loud signals coming into them as well as dynamic mics do, and they are less durable. Also, they require phantom power, which is built into most mixers and mic pres. The Neumann U47 and U87 are two famous examples. The price ranges from very inexpensive to really expensive.
• Dynamic mics, like the famous Shure SM57 and 58 that you see, are widely used on stage because they do reject off-axis sound, can handle really loud signals, and if you drop them, they probably will not break. Also, they are generally pretty inexpensive. They also are widely used in studios, even though they have a less extended frequency range, color the sound, and are less detailed. But for miking guitar amps and rap and screaming rock vocals, they may still be your choice.
• Ribbon mics were probably the most common mics in recording studios from the 1930s until the 1970s but fell out of favor when high-quality condenser mics became more prevalent. In recent years, they have become more popular again. They are usually fairly expensive, although less expensive ones have appeared in the marketplace. The classic diamond-shaped ribbon mic is associated with Frank Sinatra. Modern-day offerings from companies like RØDE and Royer Labs have now become popular.

I will only say that the microphone type and costliness don't always determine how well it pairs with your voice. I recorded all the vocals on my album Honestly (I know, shameless self-promotion) with a $400 dynamic mic.

You can, of course, delay any decision and use the built-in capabilities of your Mac until you get your feet wet, if you wish.

A MIDI controller

These can consist of a wide combination of keys, knobs, faders, and drum pads. If you are a real pianist, you might want one with 88 full-size weighted keys. If you aren't, 37 unweighted small keys may be fine. If you are not going to play much in real time but just program the information in, then Logic's...

Table des matières

• Create professional music with Apple's flagship digital audio workstation app
• Chapter 1: Beginning with Logic Pro 10.6
• Chapter 2: Getting to Know the Logic Pro Interface
• Chapter 3: Recording Audio
• Chapter 4: Editing Audio
• Chapter 5: Recording MIDI
• Chapter 6: Step Entering and Editing MIDI
• Chapter 7: Logic Pro's Drummer
• Chapter 8: Logic Pro's Step Sequencer
• Chapter 9: Working with Sampler, Quick Sampler, and Auto Sampler
• Chapter 10: Working with Live Loops
• Chapter 11: Working with Audio Files, Tempo, and Pitch
• Chapter 12: Getting the Arrangement Right
• Chapter 13: Organizing for the Mix
• Chapter 14: Mixing Your Project in Logic Pro
• Chapter 15: Automating Your Mix
• Chapter 16: Delivering Your Music for Distribution