. Getting started with Logic Audio

  1. First things first: using MIDI, part 1
  2. Beyond the basics: using MIDI, part 2
  3. Getting started with audio
  4. Object based automation (OBA)
  5. VST effects and Virtual Instruments

Most of what follows is from a message Sascha Frank sent to the Logic Users Group quite some time ago. Some of it was slightly changed or updated to reflect things that have changed in Logic since Sascha's original posting. Also, in a sense, this is not a true "FAQ" in the sense that it doesn't attempt to answer specific questions -- the scope is much broader, trying to get a Logic-novice on his way with the program as quickly as possible. The obvious value of this article however fully warrants its inclusion in this FAQ.

.1 First things first: using MIDI, part 1

When I first installed Logic I was like "Uhh, this is/looks complicated". I did close it and never opened it again for almost half a year or so. How dumb! The reason I found it complicated was that a lot of things were organized more or less different than in Cubase (which I'd previously been using) and I tried to do it "the Cubase way, just using Logic". Of course this is impossible. Later I decided to take a more intense look at Logic, took the manual with me everywhere I went and tried to get some things done again, this time doing it the "plain Logic way". That was the point where things started.

A couple of points, just halfway chronologically organized the way I found it to be easiest for myself...

  1. When you start using Logic, do yourself a favour and just use a pretty basic MIDI setup. A GM/GS/XG compatible module or soundcard certainly would do the best job for this: that way you could simply use the multi instrument of the default song. If you don't have such a module, create some plain instruments that you set to your MIDI out port directly. Don't use any special objects for now.
    If you don't know how to create a new instrument: from the Windows menu, open an Environment window. On the left side of the window there's a box with a name in it such as "Audio" or "Clicks and Ports" or "MIDI Instruments" or something. If you click-hold in this box, a popup will appear allowing you to navigate to different layers of the environment. For now, pick the "MIDI instruments" layer if it exists; otherwise pick the "Clicks and Ports" layer. Then from the window's New menu, pick either Instrument or Multi-Instrument: the former is for simple single-channel instruments while the latter is for multi-timbral instruments (i.e. instruments that can respond to MIDI data on various channels simultaneously). If you created a Multi-Instrument, you have to click all the crossed-out little numbers on the instrument to enable all the channels. Now select the Instrument (if it isn't already). On the left-hand side of the window you see the Instrument's parameter pane, containing a.o. a "Port" setting. Set this to match the physical MIDI port your real instrument is attached to. If you've created a plain (single channel) Instrument, set its channel as well. Finally give the instrument a sensible name (also in the parameter pane).
    Without any GM/GS/XG module I would further recommend to stick to a limited number of instruments, for my own tests a drumset, a bass and a piano just fitted fine (remember, this is not exactly about making music but more about learning things). Further: The tutorial song that comes with Logic explains quite some things combined with the introduction section of the manual. It's dealing with GM sounds though.
     
  2. Setup a MIDI click. In the Logic v4.0 manual, look up pages 2-15, 5-59 and 17-4.
     
  3. I would recommend NOT doing any audio in the beginning, especially if you're not used to recording and organizing audio on computers. I for myself made the mistake that I started using audio only, not even using any click to record it. That makes it harder to understand Logic's general part handling.
     
  4. Get used to the things the Arrange window offers while at the same time limiting yourself to one or two available functions. I would recommend recording some basic MIDI sequences and then try to fool around with them doing several of the "classical" arranging operations. These especially are copying, cutting, dragging and maybe merging parts, which leads to the next point...
     
  5. While you're at it, get used to Logic's incredible zoom and part handling features. This might involve e.g. cutting parts on other than full bar values (very nice for pickups) but copying them bar-wise without switching any setting. Also fool around with the grid value and see what it does in different zoom settings. Zoom by clicking the 'telescope' icons with and without the Option [Alt] key as a modifier. For me personally this opened up a whole new world of working with only parts.
     
  6. Learn how to set a cycle range. A small but very important point.
     
  7. Get used to the various tools. Use the ESC key to change between them easily. On Logic/PC get used to having two different tools on both mouse buttons. My favourite combination for "normal work" is the plain pointer on the left, a scissor on the right button. On Mac, realise that you can switch between 2 different tools by using the Command key (pick a tool from the toolbox while holding down Command to determine which tool will be used with Command).
     
  8. Get used to the most basic key commands. These, IMO are all transport functions like play, stop, pause, record, click on/off, cycle on/off and some further ones such as "set locators rounded by objects" (default key: B) which makes working on different parts of the song a lot easier. Don't modify them yet, you might want to do that later on, but personally I found a lot of them to be organized well enough by default.
     
  9. Get used to muting and soloing sequences. Use the appropriate key commands for that.
     
  10. Get used to both the track and the sequence parameter boxes. The track parameter box should be pretty easy to understand; don't use too much of the "special" parameters such as the limiting (velocity and range) options (for now). They're not needed for any basic operation I'd say. The sequence parameter box however offers a lot of possibilities to tweak MIDI events without ever opening an editor. Fool around with them a lot! There are amazing options -- for example: use the loop parameter and change the length of the looped sequence. Then open the extended sequence parameter box (default key: P) and see what it could do for your quantizations.
     
  11. Have a look into Logic's various recording options for MIDI sequences, such as "auto create tracks on cycle record" and such. Try to find out which options fit your way of working.
     
  12. Get used to the Matrix editor. The Matrix editor usually is the editor that many people use the most for tweaking individual notes. I'd recommend to open it on the same screenset as the arrangement and check out the context catch function (the chain icon). Tile the windows such that they don't overlap and fool around with things using the arrangement to select parts which then will immediately be displayed in your Matrix window. Check out the different things that you can do in the Matrix editor and realize how note handling relates to part handling in the arrangement (it's almost 100% identical).
     
  13. Now I'd say it's time to get in touch with screensets. For a good start just copy the Arrange/Matrix screenset to #2 or so. Setup an "overview" arrangement on #1 while at the same time having a more detailed arrangement on #2 with the Matrix still following. Or setup another screenset with just a Matrix editor. Just try out various settings.
     
  14. Especially if you're into drum programming it's now time to have a look at Hyperedit. Again a GM compatible drumset would do the best job for a start. Switch Hyperedit to GM drum mode. Check out building velocity ramps for individual instruments. Also check out how to copy things and such.
    Now create a screenset using combinations of the above mentioned windows. My personal favourite one (especially for MIDI drum editing): A small Arrange window to select parts, a medium sized context linked Hyperedit and a relatively large sized context linked Matrix.
     
  15. Finally, after you found out which organisation/sizing/whatever fits your everyday working needs the best, save those settings in your autoload song.

With all the above, you should by now be able to record/build up relatively complex MIDI arrangements using one basic sound module. Roughly estimated time for all that: One (long?) afternoon or so, depends on how much you get into the details of each point.

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.2 Beyond the basics: using MIDI, part 2

  1. If you are using more than a single soundmodule, you should have a more or less "brief" look into the Environment. Most likely you will end up building yourself one layer for each module that is in use. However, when you're just getting started, it's fine to have all Instruments in one Environment layer. Especially if you are using Multi-Instruments you might want to alter some patch names and/or use a MIDI mixer. For speed reasons, don't forget to setup a dedicated environment screenset.
     
  2. Get used a bit to colouring both objects and sequences. As every recorded sequence will automatically get the same colour as the object (Instrument or Audio Object) to which the track is assigned, you might want to setup colours for the various objects that please your eyes while at the same time delivering enough contrast to others. Personally I found the default yellow for the drums on Ch.10 of a multi instrument to be way too bright so I changed it to some more pleasant orange-ish looking color. This could make a lot of difference (at least for me it does). Using colours as an organisational tool can result in higher working speeds.
     
  3. Don't forget to save all those changes in your autoload!
     
  4. Time for some MIDI mixing now. If you'd like to start the easy way I'd recommend having a look at the adaptive track mixer. Again this one works best with a GM/GS/XG module. Setup a mix in there. Nothing special though, so you might want to have a brief look into automation. Just press record while being in the track mixer (again a dedicated screenset, maybe tiled with a small arrangement, would be a good idea) and record some changes. This leads to the next point.
    Most likely not all of your automation is just cool the way you did it at first. Take a look into the different settings (merge, replace and update).
     
  5. A better way to tweak your recorded automation might be using Hyperdraw. Hyperdraw actually is one of Logic's features that really makes it outstanding, at least if you are into automated things at all. I recommend looking at it more intensively, it's really worth every minute. This means having a look about how to switch it on/off and switch between the different parameters (default key: F3) and then about how to tweak the parameter curves. It's not always that easy as the different handles sometimes react a bit strange... Also try to setup a specialized automating track, using the same object but a dedicated sequence for automation only. You can then copy, drag, cut, mute this sequence without affecting any note data [Note: the use of sequences for automation is currently referred to as "Object Based Automation" (OBA), as opposed to "Track Based Automation" (TBA). It was not until Logic 5.0 that TBA was introduced. The article you're currently reading was written in pre-v5 days, when OBA was all there was]. Further try to automate parameters just using Hyperdraw. Personally I almost never record mixer changes but just use Hyperdraw. As said, if you are into any kind of automation, do yourself a favour and explore this awesome feature a lot, bear in mind that everything you do with this more or less also applies to automating audio tracks or virtual instruments.
     
    Tip: For automating MIDI volume fades I highly recommend using controller #11 (expression) instead of the "plain" #7, as long as your modules support that. The advance of this: You will just do relative volume changes while still being able to adjust the tracks overall volume.
     
  6. If you are into MIDI a lot you might now want to explore some of Logic's special features. The very first thing that comes to my mind is using the Transform window and/or environment transformers. They are highly useful for many many tasks. I'd recommend to check out the Transform window first to explore the full featureset of this mighty tool. For example, try to transpose individual notes of a drum track, just to see how this thing works. Actually after a while it becomes pretty much intuitive but you definitely have to fool around with it. A note to former Cubase users: A transformer is pretty much the same as Cubase's logical edit. I would then try to check out the "realtime" transformers. In some Environment layer, create a new transformer (from the window's New menu), set up a simple instrument and cable it to the transformer which in turn is cabled to an outport. See what it could do. I recommend fooling around with velocities. Or simply have a look at the default transformers that come with Emagic's default song (one octavizer and one velocity add thing on the Click and Ports layer). While you're at it, have a look how they are cabled (they actually are BEFORE the sequencer input). This might also take you a bit closer to understanding how the environment works.

After doing all this you should eventually be able to even do more complex songs with some automation happening, maybe using even more than just one (Multi-) Instrument and maybe even doing some more or less complex operations (depends on your needs) using various transformers. Roughly estimated time for all that: another afternoon. However, you might want to spend quite a bit more time on using automation (also depends on your synths/modules), especially utilizing Hyperdraw. You might also want to explore some environment things a bit more in depth.

Other MIDI things to do

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.3 Getting started with audio

Okay, lets now have a look at the audio portion of Logic.

  1. Make sure your system is set up properly. I know that this is kind of obvious, but I've seen too often that people haven't even opened the Device Setup thing. They do complain about lack of performance though... Set up "Audio Preferences" and "Audio Hardware & Drivers" (both in the Audio menu).
     
  2. PC only: If necessary, tweak your Windows a bit. Make sure you have at least 128MB of RAM. Also make sure that active desktop is disabled. Perhaps setup a fixed swapfile. Stuff like that. There are some websites which could get you started (Dave Bellingham's for instance: http://www.ozemail.com.au/~oscwilde/).
     
  3. To get started I'd recommend importing a perfectly cut loop for now; later you might want to do the necessary cutting-operations in Logic as well. Use the "adjust tempo using object lengths and locators" feature (default key: T) to make Logic follow the loop's tempo. Tip: use the pencil tool on an audio track to directly import that loop into your arrangement.
     
  4. Fool around with the plain loop playing. Try out the part operations that you already know for MIDI parts. Check out what is possible and what isn't. For me personally it was quite an "Aha!" experience when I found out that you can treat looped audio parts just like MIDI sequences (especially shortening the loop while it's still looped might result in wicked rhythmical super impositions). Further actions: cut the loop in equal-sized segments -- if the loop starts at the beginning of bar 1, cut the loop e.g. at the second beat of bar 1 (Mac: Option + scissors tool; PC: Ctrl + scissors; both with an appropriate grid value set). Shorten all of them (nice chopping effect). Apply fades to all of them (for some kind of in time tremolo). Just experiment. A thing that might get more and more important at this point is Logic's ability to zoom in on audio Regions pretty much directly in the arrangement.
     
  5. Now open the Audio Mixer. Personally I almost never use the Track Mixer but prefer using Logic's dedicated Audio Mixer. It's easier to adjust to my personal needs. Don't forget to setup a dedicated screenset for that. Open some plugins to see what they do (oh yeah. obvious tip...). Check out the different routing options. You might want to use groups later on. Check the bus routing option for that.
     
  6. With some insert effects activated, open the Audio Configuration window (from the Audio menu) and change their order. This is a very nice feature in Logic, I use it very often to copy settings from one track to another or to change the order of effects. Note: copying effects from one channel strip in the Audio Mixer to another, or changing the order of the inserts, can only be done in the Audio Configuration window and nowhere else, so you definitely want to get familiar with this one.
     
  7. Now record some tracks (uhh, obvious again...). At this point I STRONGLY recommend doing the following: Save your song in a special directory before you do any audio recordings. As soon as you've done that Logic will automatically point you to that directory as soon as you record enable any audio track. This a) reduces the directory scrolling time and b) ensures you that ALL data for that particular song is in just one directory. Very important for backing up stuff!
     
    Tip: If that loop you imported is not located in your song's directory, but resides in some other (random) location on your harddisk, you might want to choose the "convert regions into individual audio files" command. Of course this doubles the loop on your harddisk, but at the same time it makes sure that you can do destructive modifications to it while not affecting the original loop that you might have used in another song. Again it also makes sense for proper backups. Also remove the original loop from Logic's audio window. You don't need it any longer.
    Tip 2: Before you start recording, give the Track Object (= channel strip in the Audio Mixer) you use for recording an appropriate name instead of just "Audio 1-X". Then enter the "Set Audio Record Path" dialog (Audio menu, default key: A) and check "use audio object name for filename". This makes organizing things way easier. Okay, now you're finally ready to record something...
     
  8. Check out how Logic handles audio cycle recordings. Actually it's easy to understand but needs to be explored though, not for complexity reasons but for things that are possible.
     
    Tip: after cycle-recording a few takes, I usually reserve one empty audio track, and have it assigned to the same Audio Object as was used for the cycle-recording. Then I check all my recordings one by one, cut out the best parts, copy them to that empty track, apply some crossfades if necessary, then merge the parts. After that I delete the source files (as long as the recordings were done during this session and you haven't reopened the song, this will even delete the source files from your harddisk). Make sure that you haven't done any volume modifications in your Audio Mixer for that particular track. If you have, set them to 90 (for objects with a 0-127 range) or 0dB (for objects viewed in dB, with a -infinity/+6 range) before applying the merging operation as Logic will calculate the volume settings which are made. You could even use a dedicated track for merging only which you always keep at 0dB. On stereo files make sure that no panning is set.
     
  9. When you're done with your recordings, get informed about the various options the audio window offers, especially for things such as file optimization. If you have tons of HD space you might eventually not want to optimize all files, so just keep an eye on the ones that might contain usable information that is not used in the arrangement (yet).
     
    Tip: I always have my settings for optimization (Logic will ask you before you apply it) at "0ms". This makes sure that the files are exactly as long as you see them in your arrangement. Makes it easier to reuse them in other songs or in other programs as well. You might also use the "trim" function in the sample editor for that, but the audio window does it for all files in one step.
     
  10. Now go for the mixing. You will perhaps (hopefully) know what you're doing.
     
  11. As for MIDI you might want to do some automation for audio as well. See the next section.

Other audio things to do

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.4 Object based automation (OBA)

Read the introduction to Object Based Automation in the OBA chapter of this FAQ.

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.5 VST effects and Virtual Instruments

VST effects

Logic comes equipped with a host of built-in plugins. Still at times these won't do what you need. Fortunately it's very easy to add extra effects to Logic. If you have any so-called VST-plugins, just go to the Logic application folder, locate the folder called "VstPlugIns" (exact spelling! without quotes), and put your VST plugins in that folder, or in any sub-folder inside the VstPlugIns folder.

Now in Logic open the Audio Mixer. Click-hold on an Insert slot, and if all is well you'll now see 2 submenu's: 1) Logic, listing all Logic's native plugins, and 2) VST, listing the plugins you put in your VstPlugIns folder. Simply pick one, and use it as you would a native Logic effect. W.r.t. automation: see the previous section, and note that with OBA the same "16 parameters" limitations apply.

Note: there are quite some (often very good) free VST effects available. Surf to http://www.kvr-vst.com/ for a very complete listing of effect plugins and virtual instruments, both commercial and free. Mac-users might also want to check out http://www.omega-art/link/lmusic.html for a variety of links.

Virtual Instruments

Instead of using a hardware synth as your sound source, you can also use a virtual synth (VSTi for short). This is nothing but a dedicated sound-generating program, running inside Logic. Since v5, Logic itself comes equipped with 3 free virtual synths (the ES M, ES P and ES E). Both Emagic and other companies produce lots of other virtual synths, ranging from retro analog monophonic synths, to full blown polyphonic modular systems or extremely flexible samplers. Some VSTi's are free and can be downloaded from the web, while others will seriously tax your creditcard. Surf to http://www.kvr-vst.com/ for a very complete listing of effect plugins and virtual instruments, both commercial and free.

As for using VSTi's in Logic: nothing could be easier. If you have a 3rd party VSTi copy it in the VstPlugIns folder inside your Logic application folder (see above). In Logic, open the Audio Mixer, and locate an Instrument Object (usually called something like "AudioInstr 1"). In versions of Logic before 5.2, click-hold on the topmost insert slot. In Logic 5.2 and up, the instrument slot is the second one above the volume fader (i.e. right above the output slot). The menu that pops up has 2 submenus, Mono and Stereo, which in turn each have another 2 submenus, Logic and VST. The Logic submenus contain the built-in Logic instruments, whereas the VST menus contain any VSTi's you have copied in your VstPlugIns folder. Select one of your VSTi's (or a Logic instrument). Make sure the Object's output popup is set properly (you want to hear the instrument, don't you?)

Lets suppose the channel strip you inserted the instrument in is called "AudioInstr 1". In the Arrange window, assign a track to this "AudioInstr 1", and select the track. If you now play your master keyboard, you should hear the instrument play. The track can be used like any normal MIDI track: hit record, play a bit, and you'll see a MIDI sequence being recorded. As for automation: once more see the previous section. Actually, that's one of the cool things about VSTi's: they're a breeze to automate, which offers some extremely powerful possibilities.

VSTi's vs. regular MIDI tracks

So an Audio Instrument track is just like a regular MIDI track (i.e. a track assigned to some hardware synth). But (there's always one "but", right?) there is one (annoying) difference. If you edit a sequence on a "regular" MIDI track in e.g. the Matrix Editor, then if you click a note, the note will be played on your hardware synth, no matter if the track is selected in the Arrange window or not. Not so for Audio Instruments: the track has to be selected or else "clicking in an editor" will not produce any sound. This is indeed annoying, and potentially confusing. Lets just hope that this gets fixed some day.

Well, that's all that comes to my mind right now, time to make some music I guess. As I said in the beginning, this is just a loose order of how I learned things and how I handle some stuff. Hope it's useful for somebody. After all I just can say that I don't find Logic too hard to use at all -- not even for beginners.

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