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Apple MB792Z/A User Manual - Page 1182

About Tuning, About Alternate Tunings

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• Pop/Jazz (3/5/7-all): 5ths, 3rds, and 7ths are changed in this mode. It is great for Pop and Jazz styles, especially when using sustained chords. It is less suitable for polyphonic music, as the detuning of the natural 7th is significant. This mode should always be used with a Depth of 90% or 100%, as other values will render the natural 7th acoustically ineffective. • Baroque (3/5-adaptive): This mode tunes pure 5ths and 3rds (with changing characteristics). In tonal music, with a clear harmonic center, the middle chords are tuned very purely, whereas more distant chords are tuned with less purity. If the harmonic center becomes unclear, all chords are tuned with equal purity. As with the other mode parameters, a Depth value of 100% determines the highest purity, and a value of 10%, the lowest purity. • Hermode Tuning: Depth slider: Allows you to set degrees of effect between 0% and 100%. About Tuning The following sections provide some background information about tuning. About Alternate Tunings The 12 tone scale used in Western music is a development that took centuries. Hidden in between those 12 notes are a number of other microtones-different frequency intervals between tones. To explain, by looking at the harmonic series: Imagine that you have a starting (or fundamental) frequency of 100 Hz (100 vibrations per second). The first harmonic is double that, or 200 Hz. The second harmonic is found at 300 Hz, the third at 400 Hz, and so on. Musically speaking, when the frequency doubles, pitch increases by exactly one octave (in the 12 tone system). The second harmonic (300 Hz) is exactly one octave-and a pure fifth-higher than the fundamental frequency (100 Hz). From this, you could assume that tuning an instrument so that each fifth is pure would be the way to go. In doing so, you would expect a perfectly tuned scale, as you worked your way from C through to the C above or below. To simplify this example: Imagine that you are tuning an instrument, beginning with a note called C at a frequency of 100 Hz. (A real C would be closer to 130 Hz.) The first fifth would be tuned by adjusting the pitch until a completely clear tone was produced, with no beats. (Beats are cyclic modulations in the tone.) This would result in a G at exactly 150 Hz, and is derived from the following calculation: • The fundamental (100 Hz) x 3 (= 300 Hz for the second harmonic). • Divided by 2 (to drop it back into the same octave as your starting pitch). This frequency relationship is often expressed as a ratio of 3:2. 1182 Chapter 42 Project Settings in Logic Express

Section	Page
Logic Express 9 User Manual	1
Contents	3
Welcome to Logic Express	17
About Logic Express	17
About the Logic Express Documentation	18
Additional Resources	19
Introducing Logic Express	21
Creating Music in Logic Express	21
Understanding the Basics of Projects and Regions	23
Understanding the Basics of Projects	23
Understanding the Basics of Regions	24
Audio Regions and Audio Files	25
MIDI Regions and Events	26
Setting Up Your System	27
Designing Your Music Production System	27
Computer	28
How Fast Should Your Computer Be?	28
A Portable or Fixed Studio?	28
Hard Disk Drives and Storage Locations	28
Audio and MIDI Interfaces	29
Audio Interface	29
MIDI Interface	29
Types of MIDI Devices	30
MIDI Keyboard	30
Control Surfaces	30
Recording Light Plug-in	30
Synthesizers and MIDI-Controlled Effects	30
Ancillary Audio Devices	31
Audio Playback System	31
Headphones	32
Audio Mixing Consoles	32
Microphones	33
Connecting Your Audio and MIDI Devices	34
Computer Expansions	34
FireWire (IEEE 1394)	34
USB (Universal Serial Bus)	35
PCI Express	35
ExpressCard/34	36
Audio Cabling	36
XLR	36
1/4-inch (6.35 mm) Audio	36
1/8-inch (3.5 mm) Miniplug	37
RCA (Cinch)	37
S/PDIF	37
AES/EBU	37
TOSLINK Optical and ADAT Lightpipe	37
Connecting Your Audio Interface	38
MIDI Cabling	38
Connecting Your MIDI Keyboard and Modules	38
Using Multi-Channel MIDI Devices	40
Using USB MIDI Keyboards	41
Separating a MIDI Keyboard from Its Sound Generator	41
Using External MIDI Devices	42
Using External Audio Effects	42
Configuring Your Audio Hardware	42
Setting Up Core Audio Devices	44
Overview of the Logic Express Interface	45
Opening Logic Express	46
Introducing the Arrange Window	46
Working in the Arrange Area	48
Using the Toolbar	49
Using the Transport Bar	49
Using the Inspector	50
Working in the Media Area	52
Introducing the Audio Bin	52
Introducing the Loop Browser	55
Introducing the Library	57
Introducing the File Browser	58
Working in the Notes Area	60
Introducing Project Notes	61
Introducing Track Notes	61
Working in the Lists Area	62
Introducing the Event List	62
Introducing the Marker List	64
Introducing the Tempo List	65
Introducing the Signature List	65
Working in the Editing Area	66
Introducing the Mixer	67
Introducing the Sample Editor	68
Introducing the Piano Roll Editor	69
Introducing the Score Editor	69
Introducing the Hyper Editor	70
Understanding Common Elements of Logic Express Windows	70
Local Menu Bars	71
Tool Menus	71
Catch, Link, and Hierarchy Buttons	72
Scroll Bars	72
Zoom Sliders	72
Bar Ruler	72
Global Tracks	73
Understanding How Arrange Window Areas Interact	74
Using Logic Express Interface Elements	77
Checkboxes and Buttons	78
Pull-Down and Pop-Up Menus	78
Shortcut Menus	79
Using the Computer Keyboard	79
Customizing Your Window Setup	81
Understanding the Window Types	82
Working in Normal Windows	82
Working in Floating Windows	83
Handling Background Windows	84
Opening and Closing Windows	84
Moving and Resizing Windows	87
Working at Different Hierarchy Levels	91
Selecting the Working Area	92
Zooming the Working Area	94
Zooming with the Playhead	95
Zooming with the Scroll Bars	95
Zooming with the Trackpad	96
Zooming with the Waveform Zoom Button	96
Zooming In on One Section of the Screen	98
Storing and Recalling Zoom Settings	98
Reverting to the Previous Zoom Setting	98
Using Zoom Navigation Key Commands	98
Understanding Relationships Between Windows	99
Working in Catch Mode	100
Working in Link Mode	100
Working in Content Catch Mode	101
Hiding or Showing the Transport Bar	102
Customizing the Arrange Toolbar	102
Hiding or Revealing the Inspector	103
Adjusting the Bar Ruler Display	104
Displaying Global Tracks	105
Hiding or Showing Global Tracks	106
Resizing or Moving Global Tracks	107
Using Screensets	108
Creating, Recalling, and Switching Screensets	108
Protecting, Copying, Renaming, and Deleting Screensets	109
Importing Screensets from Another Project	111
Reverting to Saved Screensets	111
Navigating Your Project	113
Setting the Playhead Position	114
Setting the Playhead with the Position Display	115
Setting the Playhead at a Marker	116
Adjusting the Size of the Playhead	116
Using the Transport Buttons	117
Using Transport Key Commands	118
Using Transport Shortcut Menus	119
Using Apple Remote	120
Using Cycle Mode	121
Defining a Cycle in the Bar Ruler	122
Defining a Cycle with Locator Positions	123
Using the Shortcut Menu to Define a Cycle	124
Using the Transport Bar Mode Buttons to Define Locators	125
Defining a Cycle with Regions or Events	125
Defining a Cycle with Markers	126
Using Skip Cycle	126
Using the Chase Events Function	127
Customizing the Transport Bar	129
Showing and Hiding Transport Bar Functions	129
Getting to Know the Transport Bar Functions	130
Transport Buttons	131
Display Area	131
Modes and Functions	132
Using a Giant SMPTE or Bar Display	133
Using SMPTE View Offset	134
Customizing the Bar, SMPTE, and Tempo Display	135
Working with Markers	137
Opening Marker Areas and Windows	138
Creating Markers	140
Copying Markers	143
Selecting Markers	143
Deleting Markers	143
Naming Markers	144
Changing the Appearance of Marker Text	147
Editing Markers	148
Navigating with Markers	150
Switching Between Marker Alternatives	152
Customizing the Marker Display in the Marker List	152
Importing, Removing, and Exporting Marker Information	152
Working with Projects	153
Learning About Projects	153
Creating Projects	154
Opening Projects	157
Opening Projects Using Drag and Drop	159
Opening Projects from Earlier Logic Express Versions	159
Switching Between Multiple Projects	159
Opening and Creating Projects Automatically	160
Previewing Projects with Quick Look	160
Importing Data and Settings from Other Projects	161
Importing Data from Another Project	162
Importing Settings from Another Project	167
Checking and Repairing Projects	168
Setting Project Properties	169
Setting the Sample Rate	169
Setting the Project Tempo	171
Setting the Project Time Signature	172
Setting the Start and End Points of a Project	174
Setting the Basic Project Playback Volume	175
Adjusting Project Settings	176
Handling Project Assets	176
Managing Projects	177
Copying or Moving a Project Folder	177
Cleaning Up Projects	178
Consolidating Project Settings	178
ReCycle Import Handling in Projects	179
Saving Projects	180
Automatic Backup Files	180
Reverting to the Saved Version	181
Saving a Project as a Template	182
Closing and Quitting	183
Basic Operations	185
Using the Mouse	185
Entering Numerical Values	186
Entering Text	187
Working with Key Commands	188
Getting to Know the Key Commands Window	188
Understanding Key Command Groups and Hierarchies	190
Choosing Key Command Sets	190
Saving Key Command Sets	190
Browsing Key Commands	191
Finding Key Commands	192
Using Special Keys in Key Commands	192
Assigning Key Commands to Computer Keys	193
Assigning Key Commands to Control Surfaces	194
Initializing Key Command Assignments	195
Printing a Key Command List	196
Working with Tools	196
Assigning the Left-Click and Command-Click Tools	197
Assigning the Right Mouse Button	198
Setting the Pointer Tool Behavior	200
Using Key Commands to Select Tools	201
Learning About Common Tools	201
Pointer Tool	201
Pencil Tool	202
Eraser Tool	202
Text Tool	202
Scissors Tool	202
Glue Tool	202
Solo Tool	202
Mute Tool	202
Zoom Tool	202
Flex Tool	203
Working with Help Tags	203
Using the Shortcut Menu	204
Using Selection Techniques	205
Selecting Individual Elements	205
Selecting Multiple Elements	206
Making Horizontal Selections	206
Switching the Selection Status of Elements	207
Selecting Following Regions or Events	208
Selecting Regions or Events Within the Locators	208
Selecting Specific Regions and Events	208
Selecting Similar or Identical Objects, Regions, or Events	209
Selecting Events with the Same MIDI Channel	209
Selecting Regions or Events with an Equal Subposition	210
Accelerating Edit Operations with Selection Commands	210
Working with the Clipboard	210
Undoing and Redoing Edit Operations	211
Working with Tracks	215
Understanding Tracks and Channel Strips	216
Configuring the Track Header	218
Reclaiming Workspace Used by the Track Header	220
Creating Tracks and Channel Strips	221
Using the New Tracks Dialog	223
Transferring a Channel Strip Setting to a New Track	225
Creating Tracks by Adding Apple Loops	225
Creating Tracks by Adding Audio Files	226
Creating Tracks Only	226
Creating a Track with the Same Channel Strip Assignment	226
Creating a Track with the Next Channel Assignment	227
Creating a Track with the Next Channel Strip/MIDI Channel	227
Copying Tracks and Moving Regions	227
Creating Tracks for Overlapping Regions	228
Creating Tracks for Selected Regions	228
Deleting Tracks in the Arrange Area	228
Selecting Tracks in the Arrange Area	229
Rearranging Tracks in the Arrange Area	229
Naming Tracks in the Arrange Area	230
Assigning Tracks in the Arrange Area	233
Assigning Tracks to Environment Objects	234
Assigning Tracks to Special Destinations	234
Zooming Tracks in the Arrange Area	235
Zooming the Selected Track Automatically	235
Zooming Tracks with Key Commands	235
Assigning Track Icons in the Track Parameter Box	236
Muting Tracks in the Arrange Area	237
Muting Tracks When the Mute Buttons Are Hidden	237
Muting Multiple Tracks in the Arrange Area	238
Muting Multiple Tracks with the Same Channel Strip Destination	238
Identifying Muted and Unmuted Regions on Muted Tracks	239
Soloing Tracks in the Arrange Area	239
Connecting the Track Solo and Channel Strip Solo Buttons	239
Soloing Tracks in CPU-Saving Mode	239
Soloing When the Track Solo Buttons Are Hidden	240
Soloing Multiple Tracks in the Arrange Area	240
Record-Enabling Tracks in the Arrange Area	240
Freezing Tracks in the Arrange Area	240
Understanding the Freeze Function	240
Knowing When to Freeze a Track	241
Freezing a Track	242
Understanding the Freeze Process	243
Working with Frozen Tracks	243
Working with Freeze Files	244
Refreshing Freeze Files	244
Hiding Tracks in the Arrange Area	244
Protecting Tracks in the Arrange Area	245
Using Track Button Slide Activation	246
Drum Replacement or Doubling in the Arrange Area	246
Bouncing Regions and Tracks in Place	249
Bouncing Regions in Place	250
Bouncing Tracks in Place	252
Bounce-Replacing All Tracks	254
Working with Instruments and Effects	257
Getting to Know the Arrange Channel Strips	257
Setting Channel Strip Input Format	260
Setting Channel Strip Volume Level and Pan/Balance Position	261
How Mono and Stereo Effects Are Handled	262
Working with Plug-ins	262
Inserting, Removing, and Replacing Plug-ins	263
Moving Plug-ins	265
Knowing Where Different Plug-in Types Can Be Used	266
Using the Channel EQ	266
Working with Channel Strip Configurations	267
Loading or Removing Entire Channel Strip Configurations	268
Copying, Pasting, and Saving Channel Strip Configurations	270
Opening, Closing, and Resizing Plug-in Windows	272
Adjusting Plug-in Parameters	274
Using Common Plug-in Window Functions	276
Linking Plug-ins	276
Bypassing Plug-ins	277
Getting to Know the Settings Area	277
Using the Settings Functions	278
Replacing Setting-Compatible Plug-ins	281
Switching the Contents of the Plug-in Window	281
Switching the Plug-in Window View Mode	281
Side Chaining Plug-ins	282
Hiding and Showing Extended Parameters	283
Using the Library to Choose Plug-in Settings	284
Understanding the Library Folder and Menu Structure	285
Learning About Effect Routings	285
Using Insert Effects	286
Using Send Effects	286
Using Pre Fader, Post Fader, and Post Pan Sends	289
Making Sends Low Latency Safe	290
Working with Instruments	291
Setting Up External MIDI Instruments	292
Setting Parameters for Instrument Channel Strips	297
Common Instrument Parameters	298
Setting Software Instrument Channel Strip Parameters	299
Setting External MIDI Channel Strip Parameters	299
Inserting Program Change, Volume, and Pan as MIDI Events	301
Processing External MIDI Instruments with Effects	301
Playing Software Instruments	302
Understanding Live Mode	302
Switching Instruments to Software Instrument Live Mode	303
Saving Software Instrument Processing Resources	303
Tuning Software Instruments	304
Working with ReWire Applications	305
Working with External Audio Effects	307
Using Plug-ins from Other Manufacturers	308
Loading Presets	309
Working with the Audio Units Manager	309
Manually Enabling Plug-ins	310
Disabling Plug-ins	312
Adding Prerecorded Media	313
Learning About File Formats Supported by Logic Express	313
Accessing Media Files in the Browser	315
Navigating in the Browser	316
Searching for Files in the Browser	317
Refining Your Searches Using Conditions	321
Finding Apple Loops in the Loop Browser	322
Understanding Green and Blue Apple Loops	323
Setting Limitations Before Browsing for Apple Loops	324
Browsing for Apple Loops	325
Auditioning Apple Loops	329
Sorting Apple Loops	330
Creating a Collection of Your Favorite Apple Loops	331
Searching for Apple Loops	331
Adding and Removing Audio Files	332
Adding Audio Files to Your Arrangement	332
Adding and Removing Project Audio Files	334
Importing Compressed Audio Files	336
Overview Calculation	337
Adding ReCycle Files to Your Project	338
Moving Audio Between Logic Express and ReCycle	340
Adding MIDI and Project Files	340
Getting to Know Regions	341
What Are Regions?	341
Audio Regions and Audio Files	342
MIDI Regions and Events	343
Folder Regions	343
Alias and Cloned Regions	344
MIDI and Audio Regions Compared	344
Handling Regions in the Audio Bin and Sample Editor	346
Managing Regions in the Audio Bin	347
Creating and Removing Regions	350
Auditioning Regions in the Audio Bin	351
Resizing a Region	352
Snapping Edits to Zero Crossings	353
Moving a Region Within an Audio File	353
Editing the Audio Region Anchor	353
Protecting the Anchor Point When Moving the End Position	354
Updating the Audio Region Arrangement Position	355
Protecting Audio Regions	355
Creating Your Arrangement	357
Getting to Know the Arrange Area	358
Snapping Region Edits to Time Positions	360
Overriding the Snap Grid	362
Understanding the Link Between Zoom Level and Snap Value	362
Using Drag Modes	363
Scrubbing Your Arrangement	365
Scrubbing Particular Regions	365
MIDI-Controlled Scrubbing	365
Using Shortcut Menus	366
Muting Regions	366
Soloing Regions	367
Naming Regions	368
Assigning Colors to Regions	371
Selecting Regions	372
Selecting Parts of a Region	373
Playback with an Active Marquee Selection	375
Recording with an Active Marquee Selection	375
Using the Marquee Selection to Create Track Automation Nodes	376
Adding, Recording, and Removing Regions	376
Restoring Removed Regions	377
Moving Regions	378
Limiting Region Movements	378
Changing the Playback Position of Regions Numerically	379
Moving Regions to the Current Playhead Position	380
Moving Audio Regions Back to Their Original Record Positions	380
Nudging Regions with Key Commands	381
Shifting the Playback Position of Regions	382
Moving Regions to a Track	383
Moving Regions Between Projects	383
Resizing Regions	383
Adjusting the Start Point of Audio Regions	384
Adjusting the Start or End Point of MIDI Regions	386
Making Multiple Regions the Same Length	386
Setting Region Start and End Points to the Playhead Position	386
Adjusting Region Lengths to Fit Other Regions	386
Time Stretching the Contents of a Region When Changing Length	388
Time Stretching Multiple Regions	389
MIDI Region-Specific Length Change Operations	389
Cutting, Copying, and Pasting Regions	389
Adding or Removing Arrangement Passages	390
Creating Region Aliases	394
Understanding the Parent-Alias Region Relationship	395
Creating MIDI Region Aliases	395
Reassigning MIDI Region Aliases	396
Searching for Original or Alias Regions	396
Selecting and Deleting Orphan Aliases	396
Converting an Alias into a Real Region	397
Creating Region Clones	397
Converting Regions to a New Sampler Track	398
Creating Multiple Copies of Regions	400
Creating Region Loops	400
Dividing Regions	404
Handling Overlapping Notes in Divided MIDI Regions	406
Dividing Audio Regions with Strip Silence	406
Demixing MIDI Regions	407
Merging Regions (General Tools and Commands)	408
Merging MIDI Regions	409
Merging Audio Regions	409
Working with Folders	411
Packing and Unpacking Folders	412
Entering and Exiting Folders	413
Adding and Removing Regions from Folders	414
Creating an Alias Folder	415
Creating Crossfades and Fades on Audio Regions	415
Creating Fades	416
Editing and Deleting Fades	417
Changing an Existing Fade	417
Changing the Fade Curve Shape	418
Changing the Fade Type	419
Changing the Fade Playback Speed	419
Deleting a Fade	420
Deleting Fade Files	420
Fading Apple Loops	420
Setting Region Parameters	420
Common Audio and MIDI Region Parameters	420
MIDI Thru: MIDI Region Defaults	421
Editing Several Regions Simultaneously	422
Audio Region Parameters	422
MIDI Region Parameters	422
Fixing MIDI Region Parameters	424
Normalize and MIDI Channels	424
Recording in Logic Express	427
Checking Hardware Connections and Settings for Recording	428
Setting the Project Sample Rate	428
Setting the Project Bit Depth	429
Setting Up the Metronome for Recording	431
Enabling Software Monitoring for Recording	433
Using Auto Input Monitoring for Recording	434
Using the Input Monitoring Buttons Before Recording	434
Avoiding Latency Issues with Input Monitoring	435
Setting the Monitoring Level for Recording	435
Defining the Recording Folder	435
Naming Audio Recordings	436
Choosing the Recording File Type	436
Setting the Recording Format	438
Record-Enabling Tracks	439
Record-Enabling Audio Tracks	439
Record-Enabling MIDI Tracks	440
Record-Enabling Audio and MIDI Tracks Simultaneously	440
Getting to Know Audio Recording	440
Audio Take Recording	441
Recording a Single Audio Take	441
Recording Multiple Audio Takes	442
Recording Additional Audio Takes	445

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Match case Limit results 1 per page

•

Pop/Jazz (3/5/7-all):

5ths, 3rds, and 7ths are changed in this mode. It is great for Pop

and Jazz styles, especially when using sustained chords. It is less suitable for

polyphonic music, as the detuning of the natural 7th is significant. This mode should

always be used with a Depth of 90% or 100%, as other values will render the natural

7th acoustically ineffective.

•

Baroque (3/5-adaptive):

This mode tunes pure 5ths and 3rds (with changing

characteristics). In tonal music, with a clear harmonic center, the middle chords are

tuned very purely, whereas more distant chords are tuned with less purity. If the

harmonic center becomes unclear, all chords are tuned with equal purity. As with

the other mode parameters, a Depth value of 100% determines the highest purity,

and a value of 10%, the lowest purity.

•

Hermode Tuning:

Depth slider:

Allows you to set degrees of effect between 0% and

100%.

About Tuning

The following sections provide some background information about tuning.

About Alternate Tunings

The 12 tone scale used in Western music is a development that took centuries. Hidden

in between those 12 notes are a number of other microtones—different frequency

intervals between tones.

To explain, by looking at the harmonic series:

Imagine that you have a starting (or

fundamental) frequency of 100 Hz (100 vibrations per second). The first harmonic is double

that, or 200 Hz. The second harmonic is found at 300 Hz, the third at 400 Hz, and so on.

Musically speaking, when the frequency doubles, pitch increases by exactly one octave

(in the 12 tone system). The second harmonic (300 Hz) is exactly one octave—and a pure

fifth—higher than the fundamental frequency (100 Hz).

From this, you could assume that tuning an instrument so that each fifth is pure would

be the way to go. In doing so, you would expect a perfectly tuned scale, as you worked

your way from C through to the C above or below.

To simplify this example:

Imagine that you are tuning an instrument, beginning with a

note called

at a frequency of 100 Hz. (A real C would be closer to 130 Hz.) The first fifth

would be tuned by adjusting the pitch until a completely clear tone was produced, with

no beats. (Beats are cyclic modulations in the tone.) This would result in a G at exactly

150 Hz, and is derived from the following calculation:

•

The fundamental (100 Hz) x 3 (= 300 Hz for the second harmonic).

• Divided by 2 (to drop it back into the same octave as your starting pitch).

This frequency relationship is often expressed as a ratio of 3:2.

1182

Chapter 42

Project Settings in Logic Express