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Published October By Mark Wherry Apple have made over improvements to their flagship music production bundle. Logic 9 comes with three new demo Projects from well-known artists. Here you can see ‘Spaceman’ by the Killers making use of the Arrange window’s new Notes area. Notice also the subtle improvements in the clarity of the EQ graphs and the bolder line around the area of the Arrange window that has focus. It’s the little things that count. A new release of Logic is always cause for excitement.
For myself, part of this reaction can perhaps be attributed to nostalgia: I’ve been using the application since version 1. Since then it’s undergone many changes, not least the buyout of parent company Emagic by Apple; and like its version 8 predecessor, Logic Pro 9 ships as part of a bundle with Main Stage, the application designed to facilitate the use of Logic’s instruments and effects in a live rig, and Soundtrack Pro, a separate program designed for those working with audio for media post-production.
This review will, for the most part, concentrate on Logic Pro 9, and we’ll look at the remaining parts of the bundle in a future issue. The Paperless Studio The first change in the new Logic Studio bundle will strike you the moment you see the packaging. The box is significantly smaller than before, which raises the question: According to Apple, most customers use only the electronic documentation which makes one wonder why there is such a healthy market for third-party books that explain Logic!
One is an installation guide, while the other two are so-called ‘exploration’ guides for Logic Pro 9 and Main Stage 2. Thankfully, these were also made available as PDF files a month or so after the initial Logic 9 launch. For existing users, it’s quite handy to read about the new features, especially when investigating smaller changes such as new key commands, and I really hope Apple fill this void at some point.
Logic Studio is still supplied on an almost overwhelming number of DVDs — nine in total, one more than before — and accompanying the applications themselves is an abounding quantity of content, including a complete set of Apple’s JamPack sound libraries. In addition to the original five JamPacks, you now also get the latest Voices JamPack as well, and in fact it would cost more to purchase these JamPacks separately than to buy Logic Studio itself!
You’ll need to put aside an hour if you choose to install everything, depending on the speed of your optical drive, and I find it handy to create disk images of Logic Studio’s media with Disk Utility. While this is also a laborious endeavour, every subsequent installation of Logic is significantly faster, as you can simply mount all of the images, run the installer, and come back in less than 15 minutes with the procedure complete.
Perhaps the most significant new feature in Logic Pro 9 is Flex Time. If you’re familiar with Cubase’s Audio Warp feature, or Elastic Audio in Pro Tools, this is essentially Apple’s take on such methods of non-destructive, tempo-oriented audio manipulation. Rather than simply time-stretching an audio region, Flex Time analyses audio regions and creates a series of markers at transients that identify musical beats in the audio. In order to work with Flex Time, you first need to enable Flex View by clicking the new Flex icon on the toolbar.
The Flex Mode button will then appear in the track headers of your audio tracks. As with Elastic Audio in Pro Tools, Flex Time is enabled on a track-by-track basis, though it’s possible to set individual audio regions on a track to opt out. Grouping gracks enables you to set a Flex Mode for all tracks in a group. Once Flex Mode is enabled on a track, Flex Time will automatically — if necessary — conform any audio regions on that track to the current tempo.
And with Flex View active, the display of audio regions will change slightly to indicate the effects of Flex Time. Flex Markers are initially shown as light-grey lines behind a waveform, with a green outline where beats have been identified. When editing with Flex Time, Logic colour-codes the waveform to indicate where time has been compressed or expanded, making it keep track of your edits.
Notice also that audio regions processed with Flex Time gain certain parameters normally associated with MIDI regions, such as Quantise.
As you drag a Flex Marker, Logic will shade the backgrounds of the adjacent audio sections orange or green, depending on whether the sections get expanded or compressed. And, after an edit, the waveform outline colour will be coloured orange where an expansion occurred, which makes it easy to see what type of changes have been made.
A particularly neat trick when dragging a Flex Marker is that if you hover the mouse cursor over another audio region as you’re dragging, the Flex Marker on the region you’re editing will snap to the transients in the region you’re hovering over. There are also some less typical options, like Tempophone, which emulates the effect of the old tape-based time-stretching machine of the same name, and Speed, where the playback rate of the audio is adjusted, just like a sampler, so the pitch of the audio is also affected.
These latter options are great for creating more interesting time-based effects, where you don’t want the pristine, utility approach of the other algorithms. The real ace-in-the-hole Flex Mode, though, is Slice.
When this mode is selected, rather than using time-stretching, Flex Time simply moves the positions of the audio slices specified by the Flex Markers, much as a REX ReCycle loop would be handled. This is absolutely brilliant if you’re working with drum and percussion parts and maybe even simple bass lines , because you don’t have to apply any processing to the sound that might affect the quality, even subtly. But the reason why I like this mode so much is that this surely has to be the simplest implementation yet for slicing up audio to correct timing.
A particularly nice touch is that when Flex Mode is enabled, audio regions gain the same quantise parameters usually only available to MIDI regions. This means that you can now apply that good old 16C swing groove to any rhythmic audio material you like. What’s more, this sharing of MIDI functionality to audio works both ways: And although Logic is playing catch-up with these features, I think most Logic users will be glad to have them without the need to resort to murkier areas of the Sample Editor.
But musically speaking, the integration of EXS24 hasn’t previously made any tasks much easier to perform than they would be with another sampler hosted by Logic, such as Native Instruments’ Kontakt. The Flex Time feature offers one new method for manipulating loops, but what if you prefer to work with them in a sampler, or want to add a little extra something to that weak snare-drum sound?
In Logic 9 you can do just that, thanks to two new features that allow you to perform certain tasks with audio regions more easily than you could ever have imagined. Here you can see the audio region on the upper track has been converted so that it can be triggered by the MIDI region on the lower track. First, you can create an EXS24 instrument that maps an audio region so that it can be triggered from one MIDI note, making it easy to recreate ’80s-style st-st-stuttering effects.
Or — very neatly — you can ask Logic to create a new EXS24 instrument based on the transients detected in the audio region. You can specify the range of notes that will be used, which is handy if you want to turn a drum loop into a playable kit on your MIDI keyboard, for example. Perhaps the best thing about the Convert Regions command is the seamlessness of the process. There are, of course, many tools that turn loops into slices that can be triggered by MIDI, but this is probably the simplest, most immediate approach I’ve seen, and is a great way of creating new EXS24 content.
Before we discuss the second new EXSrelated feature, I should mention another great addition to Logic 9 which in some ways does the opposite of the Convert Regions function. Bounce Regions In Place enables you to quickly bounce one or more regions into a new audio file. This means that if you have a MIDI region on a Software Instrument track, for example, and you want to turn it into an audio file for audio-based manipulation, you no longer have to perform this bounce manually.
The resulting audio region can be added to a new audio track, or, alternatively, if you have an audio track selected in the Arrange window along with the region to be bounced, you can ask Logic to add the new region to the selected track instead. It goes without saying that the new region will be added in precisely the same location as the source region.
Very convenient indeed. Should you want to bounce an entire track, a separate Bounce Track In Place command is provided; the bounced content is either added to a new track or replaces the track being bounced. And if you want to bounce and replace all suitable tracks in one go, Logic’s developers have even added a command for this: Full marks must go to Logic’s developers for an exceptionally thorough implementation of this functionality.
As the name of the command suggests, you can either use the resulting track and region to replace the original drum recording, or complement it by playing both tracks together. Here you can see the Drum Replacement feature in action.
The lower MIDI region has been created by Logic, and you can see how the transients identified by a yellow line in the audio region have been converted into MIDI events. The velocity of the trigger notes is derived from the level of the detected transients, which is rather handy, and a Timing Offset is also available, should you want to adjust exactly where the trigger notes are played in relation to the original audio. I still hold out hope that one day it might be possible to have more than 64 voices per instance, for example, which would be useful for instruments that use crossfading velocity layers.
There is one EXS24 improvement in Logic 9 that’s worth mentioning, though: Previously you could assign a multi-channel file, but you wouldn’t hear the output in 5. Head To The Bar Although the headline Logic 9 features are mostly aimed at producers rather than composers, Apple haven’t completely forgotten about Logic’s more traditional sequencing features, and the Score editor has received some welcome attention. Logic’s Score editor can now display duration bars for notes, enabling you to see and edit precise note lengths.
However, notice that the Duration Bars don’t seem to quite understand the point of a bar line. Although musical notation describes approximate note lengths, symbolic representation was never designed to be accurate to parts per quarter note.
To overcome this limitation, GarageBand 2 introduced an innovative Score editor feature where a Duration Bar would be plotted for selected notes, enabling you to easily see and edit the precise length of a note. Logic 9’s implementation of Duration Bars takes this concept one step further, and you can specify whether you see Duration Bars for only selected notes, all notes, or not at all.
But this does mean that notes no longer blink when selected in the Score editor; instead, score objects now turn light green when selected unless you choose a different colour in the Score section of the Preferences window. Selected Duration Bars are displayed with the selection colour, but if you’re displaying Duration Bars for all notes, they appear in a faint shade of grey when not selected. It would be better still if the intensity of unselected Duration Bars could also be adjusted as a Preference.
Once a note is selected, you can hover the mouse over the Duration Bar so that the mouse pointer changes to indicate resizing, and then simply drag the bar to change the length of the selected note or notes. This is a real bonus, and may save some users who prefer looking at notation from ever having to use the Piano Roll editor again.
In making Logic Pro more appealing to guitarists, Apple didn’t just include new amplifier and pedal effects plug-ins see Paul White’s box on the next page: Along with a selection of new symbols for techniques such as hammer-ons and bends, you can also now add chord grid symbols to the score.
The new Chord Grid Library lets you browse and edit the chord grids supplied with Logic. There are also a number of smaller improvements in the Score editor, such as the new Guides feature that makes it easier to position symbols on appropriate beats.
When enabled in a given group, this setting is supposed to automatically adjust the size of the relevant objects, such as bar numbers, when the size of the associated staff is changed. Logical Conclusion A first impression of Logic 9 suggests that this update might not be as significant as the changes made between previous releases, but the more time you spend with this new version, the more you appreciate just how many aspects have changed or been improved.
This is obviously a better approach than having twice as many key new features that end up being half-finished. But the down side, of course, is that certain users will be disappointed with the choice of features nominated for attention. It seems increasingly clear that Apple are positioning the application as a serious alternative to Pro Tools.
In the past, one might have seen Logic as a writing tool and Pro Tools as a production tool, but Apple are obviously hoping that a MacBook Pro, a copy of Logic and an Apogee interface will be all a band need to record their next album.
In a sense, while Digidesign want to make Pro Tools more like Logic for sequencing, Apple are trying to make Logic more like Pro Tools for recording and editing — Logic 9 even includes a new Key Commands preset to mimic Pro Tools’ keyboard shortcuts.
This direction isn’t necessarily a bad thing: However, that’s not to say that Logic 9 has nothing to offer hardcore users, because the Bounce-In-Place commands, the new Track Import functionality, the Score editor improvements, and so on, make Logic 9 a must-have upgrade for any serious Logic user. So while it could be argued that Logic 9 doesn’t have any radical new features — or at least radical new features we haven’t already seen in other software — what it does have is a great deal of refinement.
The only issue to bear in mind if you do attempt to run Logic 9 on a Power PC-based Mac is that you’ll get no support if you run into problems. Wonderful Varispeed The new Varispeed feature is accessed via the transport bar. The Varispeed display and button, along with the tempo, are indicated in orange when the feature is active.
Another new Flex Time-related feature in Logic 9 is Varispeed.
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