Chapter 10

Beyond the Basics

…What to Explore to Become a Power User…

In this chapter, we take a brief look at various advanced features in Logic Pro X. We begin with a quick overview of using Flex Time and Pitch to manipulate the rhythmic and melodic attributes of audio regions. Then we explore some fundamental MIDI editing techniques that can be used to create and modify MIDI data. Next we discuss how you can simplify project management with submixing. The chapter concludes with a sample of some keyboard shortcuts that you can use to dramatically accelerate your editing workflow.

frn_fig_010Learning Targets for This Chapter

frn_fig_009 Key topics from this chapter are illustrated in the Logic Audio Production Basics Study Guide module available through the Elements|ED online learning platform. Sign up at ElementsED.com.

For those who are new to the world of DAWs, or simply new to Logic Pro X, the information required to produce a finished project can seem a bit overwhelming. Learning the fundamentals should obviously be the first goal, so that you’ll have a strong foundation. But it’s also helpful to learn some advanced features so you’ll be able to work quickly and effectively.

The goal of this chapter is to present some key features in Logic Pro X that you can get started using right away. Many of the topics we touch on here are easily deep enough to warrant an entire chapter in an advanced course. However, here we address just the primary functionality so that you’ll be able to put these features to use quickly. Once you’ve gained a bit of experience with Logic Pro X, you can come back to these topics at a later date and learn them comprehensively.

Flex Time and Pitch

Flex Time is the name of the Logic Pro X feature that allows you to manipulate the timing of notes, beats, and other events in audio regions. A related feature, Flex Pitch, allows you to manipulate the pitch of audio material. Flex operations are not enabled in Logic Pro X by default. You can enable or change the Flex processing on individual tracks in your project at any time.

frn_fig_003 Flex Time operations in Logic Pro X are similar to Elastic Audio or Time Warping operations in other DAWs.

With Flex enabled, you have a number of options available to alter the timing and pitch of your regions.

Enabling Flex

Flex Time and Pitch can be accessed in the Tracks area of the Main window and in the Track Editor. You can use one of several methods to activate Flex.

To enable Flex in the Main window, do the following:

  1. 1.To show Flex parameters, do one of the following:
    • •Choose EDIT > SHOW FLEX PITCH/TIME from the Tracks area menu bar.
    • •Click the SHOW/HIDE FLEX button in the Tracks area menu bar.
    • •Press COMMAND+F.

    chpt_fig_225

    Figure 10.1 The Edit menu and Show/Hide Flex Pitch/Time button in the Tracks area menu bar

    A Track Flex button and Flex pop-up menu will appear in the track header for each audio track.

  2. 2.On the target track, click the TRACK FLEX button in the track header to enable Flex for the track. Alternatively, you can select multiple tracks and click one of the TRACK FLEX buttons to enable Flex for all selected tracks.

To enable Flex in the Track Editor, do the following:

  1. 1.Select the desired track.
  2. 2.Click the Editors button (or press the E key) to open the Track Editor.
  3. 3.In the Track Editor, click the SHOW/HIDE FLEX button (or press COMMAND+F). A dialog box will display prompting you to turn on Flex for the selected track.

    chpt_fig_226

    Figure 10.2 The Show/Hide Flex button enabled

  4. 4.Select Turn on Flex to enable Flex on the track.

Flex Time

Once you’ve enabled Flex parameters on a track, you can begin to manipulate the timing of the audio on that track. Regions or portions of a region can be expanded or compressed to fit your editing needs. Logic Pro X provides a number of options for editing the timing in audio regions.

The available Flex algorithms include the following:

frn_fig_005 When Flex is initially enabled on a track, Flex Time – Automatic is selected by default. In this mode, Logic Pro X analyzes the audio and chooses a suitable algorithm based on the track content.

Flex Time Quantization

The fastest way to tighten the rhythm of an audio performance is to use standard Logic Pro X quantize features. This uses the same settings found in the Region Inspector that are commonly used to alter MIDI performances. The Quantize settings can be used to edit audio data as long as the desired track or regions are selected.

What Is Quantization?

Quantization is the process of aligning musical events to an underlying rhythmic pattern. This process is commonly used to improve the timing of MIDI performances by moving individual MIDI notes closer to the selected grid resolution. This results in more precise timing and a tighter rhythmic feel.

Extreme quantization can make a performance sound “mechanical,” which can be desirable for certain genres of music such as EDM. For a more “human” feel, you can apply a subtler amount of quantization and include a degree of strength, randomization, swing, or other characteristics.

To quantize audio using the Quantize dialog box:

  1. 1.Verify that Flex Time is enabled on the target track.
  2. 2.Select the audio region or regions that you would like to quantize.
  3. 3.From the Quantize pop-up menu of the Region Inspector, select a quantization value. Once a value is selected, quantization will be applied to the selection. (See Figure 10.4.)

    chpt_fig_228

    Figure 10.4 Quantize value set to a quarter note in the Region Inspector

frn_fig_005 You can change the quantization settings anytime by selecting another time value. You can also disable quantization by selecting “off.”

Manually Edit Flex Markers

If you need to change the timing of your tracks without quantizing to a grid, you have the option of manually editing flex markers. When you show Flex, audio waveforms will show transient markers, and the pointer will turn into a Flex tool. With the pointer, you can turn transient markers into flex markers or add flex markers anywhere within the region. Once placed, these markers can be adjusted by dragging with the pointer. Flex markers can be adjusted or deleted at any time.

Additionally, clicking with the pointer in a region will result in two different behaviors, depending on where the pointer is positioned. Clicking with the pointer in the upper half of a region will place just one flex marker. Clicking with the pointer in the lower half of a region will add a flex marker at that position as well as at the transient markers on either side of the marker.

To add flex markers to change the timing of audio:

  1. 1.Verify that the Flex Time is enabled for the target track.

    chpt_fig_229

    Figure 10.5 A region with Flex enabled showing transient markers

frn_fig_003 Logic Pro X’s Flex Time function adds transient markers automatically at all transient locations and other significant rhythmic events within a region.
  1. 2.If no flex marker exists at the location that you’d like to stretch, create one by placing the pointer over the lower half of the region. The pointer will change into a flex tool that shows three flex markers.

    chpt_fig_230

    Figure 10.6 The Flex tool showing three flex markers when positioned on the lower half of the region

frn_fig_003 Flex markers anchor the audio at a given point on the timeline. Flex markers are recognizable in Flex view by a blue pentagon at the top and a solid white line.
  1. 3.Click on the transient marker. Three flex markers will be added: one at the location, one at the transient before, and one at the transient after.
  2. 4.Use the pointer to reposition the flex marker in the center to adjust the timing of the underlying audio event relative to the events on either side.

    chpt_fig_231

    Figure 10.7 A region with flex marker before time stretching (left) and after (right)

frn_fig_003 When flex markers are adjusted to stretch time, the waveform color will change to reflect the adjustment. When audio is compressed, the waveform becomes white. When audio is expanded, the waveform becomes gray.

Flex Time and the Marquee Tool

Another option for editing time with Flex is to use the Marquee tool. You can reposition a selection rather than stretching the audio between markers. This helps to preserve the original audio while still making time corrections. Just like with the Slicing algorithm of Flex Time, audio that has clear separation between transients will produce the best results.

Similar to adding flex markers as described above, placing the pointer in the upper or lower portions of a region will produce different results. When clicking the upper half of a marquee selection, four flex markers are made: two markers outside the borders of the marquee selection and markers on transients before and after the selection. Clicking the lower half of the marquee selection adds three flex markers: two markers outside the borders of the marquee selection and one at the clicked position within the selection. The former allows you to move the selection like a slice, while the latter stretches the audio within the selection.

To move a marquee selection with Flex:

  1. 1.Verify that the Flex Time is enabled for the target track.
  2. 2.Make a selection with the Marquee tool.

    chpt_fig_232

    Figure 10.8 A marquee selection on a Flex-enabled region

  3. 3.Position the pointer over the upper half of the selection and click. (The pointer will turn into a hand.) Four flex markers will be created: two on the borders of the marquee selection and one marker on each transient to the left and right of the selection.
  4. 4.Grab the marquee selection with the hand and drag to the desired location.

    chpt_fig_233

    Figure 10.9 A marquee selection with flex markers before editing (left) and after (right)

Flex Pitch

Flex Pitch allows you to alter the melodic material of an audio file. Instead of displaying transient markers, audio content will have an overlay of MIDI notes. When Flex Pitch is enabled, you can adjust the individual notes on a piano roll, much like you would for a software instrument track. Notes can be moved vertically or horizontally, resized, split, and merged.

frn_fig_003 Flex Pitch works only for monophonic, or melodic, content. It cannot process individual notes in a chord or other complex sound.

Each displayed note also has six parameters that can be adjusted, independent of the other notes. When you select a note or move the pointer over it, the six parameters, or “hotspots,” will appear. From left to right, hotspots along the top are pitch drift at the note start, fine pitch, and pitch drift at the note end; the hotspots along the bottom are gain, vibrato, and formant shift (see Figure 10.10).

chpt_fig_234

Figure 10.10 Flex Pitch “hotspots” on a selected note in the Audio Track Editor

The fine pitch parameter allows you to fine tune notes. This is useful for when the notes of a performance are correct but are out of tune. Fine pitch makes subtle adjustments so that a performance will better harmonize with other parts. You can tell if a note is in tune visually by how solid the note is. When a note is right on the MIDI note position, it’s in perfect pitch. Notes that sit above or below are sharp or flat, respectively (see Figure 10.11).

chpt_fig_235

Figure 10.11 Flex Pitch shows whether notes are in perfect pitch (left), sharp (middle), or flat (right)

frn_fig_003 When editing notes in the Track Editor, you can easily access additional features like the pitch correction slider and scale quantize menu.

To change pitches of a melody with Flex Pitch:

  1. 1.Verify that the Flex Pitch is enabled for the target track.
  2. 2.Select or position the pointer over the note you want to change.
  3. 3.Drag notes vertically to the desired pitch. (See Figure 10.12.)

    chpt_fig_236

    Figure 10.12 Lowering the third note of the example in Figure 10.10 with Flex Pitch

  4. 4.Adjust notes that aren’t in perfect pitch using the fine pitch hotspot: select the note and drag the hotspot up or down until it resets to 0, or other value you choose.

    chpt_fig_237

    Figure 10.13 Using Fine Pitch parameter to adjust the sharp note (left) and make it perfect pitch (right)

MIDI Editing Techniques

MIDI editing is another topic worthy of its own chapter (or several chapters). But as with Flex, a little knowledge is all you need to get started. Understanding the fundamentals of MIDI editing is absolutely essential in the modern studio. Whether your goal is to add a few MIDI instruments to a song or to compose a virtual orchestral masterpiece, you’ll need to know how to edit MIDI data quickly and accurately.

Viewing MIDI Regions and Data

When working with MIDI-capable tracks, the two areas you’ll utilize are the Tracks area and Editors pane or window. The Tracks area of the Main window allows viewing and editing of MIDI regions only, making it useful for arranging a project. The Piano Roll Editor, on the other hand, allows you to view and edit regions but also provides full access to MIDI information contained within regions, making it a more versatile option. The Piano Roll can be opened in the Editor pane below the Tracks area or as a separate window. Both viewing options give you the same features.

chpt_fig_238

Figure 10.14 Piano Roll window

MIDI Regions in the Tracks Area

On MIDI-capable tracks, the Tracks area of the Main window is commonly used to edit and arrange MIDI regions. In this area, you can perform the same basic editing techniques that you use on audio regions:

chpt_fig_239

Figure 10.15 A Software Instrument MIDI region in the Tracks area

Repeat Commands

The two commands, Repeat and Repeat Multiple, provide ways to quickly create multiple instances of a region or selection. Repeat is the best option when you only need to make one or two sequential copies. If you need to make multiple copies, it can be faster to use the Repeat Multiple command instead.

To use the Repeat command, select a region or a portion of a region. Then choose EDIT > REPEAT or press COMMAND+R. To use the Repeat Multiple command instead, choose EDIT > REPEAT MULTIPLE and type in the number of copies to make.

MIDI Regions in the Piano Roll Editor

The Piano Roll Editor is where you’ll do most of your work on MIDI regions. You can perform a wide range of tasks using this window, including the following:

chpt_fig_240

Figure 10.16 Trimming a MIDI note in the Piano Roll Editor

Automation/MIDI Area

The Automation/MIDI area in the Piano Roll Editor can be used to edit the velocity and other controller data associated with individual MIDI notes. A note’s velocity is a measurement of how hard the note has been struck. This is one of the most common pieces of data you will edit along with MIDI notes. The velocity characteristic can substantially change the sound of a virtual instrument.

Automation and MIDI data is show in two ways: as an automation curve and as nodes with horizontal lines representing note lengths. Values can be adjusted in a number of ways, including:

Editing MIDI Data

Logic Pro X offers a powerful MIDI editing toolset that can be used to create and edit MIDI performances, regardless of whether or not you own a MIDI controller such as a keyboard.

Let’s take a closer look at some options for creating and working with MIDI data in Logic Pro X.

Creating MIDI Notes

Manually entering MIDI note data may seem like a slow method of creating a performance, compared to playing the performance on a MIDI controller. However, many music producers prefer to manually enter note data for certain types of tracks (such as drums, percussion, and bass). With a little practice, you can create and edit MIDI note data very quickly and accurately, using only the Pencil tool and the Pointer tool.

To manually create a MIDI note:

  1. 1.Select the Software Instrument track you wish to use.
  2. 2.If there is no MIDI region to edit, create one by CONTROL-CLICKING an empty area in the Tracks area or Piano Roll Editor. An empty one-bar region will be created.
  3. 3.In the Piano Roll Editor, hold COMMAND to change the pointer to the Pencil tool.
  4. 4.Click and hold with the Pencil at the location (in both pitch and time) where you would like to enter a note. You can adjust the note’s duration by dragging forward/backward; you can adjust the note’s pitch by dragging up or down.
frn_fig_003 If no MIDI region exists in the Piano Roll Editor, clicking anywhere in the grid with the Pencil tool will automatically create a new region along with a note at the clicked location.

chpt_fig_242

Figure 10.18 Manually entering a MIDI note with the Pencil tool

  1. 5.Release the mouse to complete the action and place the note at the selected location.
frn_fig_003 Newly created notes match the length, velocity, and channel of the previously edited or selected note. When opening a new project, the default values are: length equals 240 ticks (sixteenth note), velocity equals 80, and MIDI channel is 1.

Selecting MIDI Notes

Another essential part of working with MIDI data involves selecting notes. Understanding how to quickly select single notes and groups of notes is critical to the MIDI editing workflow. You can use the following techniques to select notes on a MIDI or Instrument track in the Piano Roll Editor.

To select an individual note, do one of the following:

To select groups of notes, do one of the following:

Editing MIDI Notes

With basic note creation and selection techniques in hand, a whole range of MIDI editing functions are available to you. Let’s look at some essential MIDI editing techniques that you can use.

Deleting MIDI Notes

To delete an individual note, do one of the following:

To delete a group of notes:

Moving MIDI Notes

To move a note to a new location, do one of the following:

frn_fig_003 Nudging is an editing technique that allows you to move a selected event or region forward or backward in time by small increments using key commands.
frn_fig_005 To change the nudge value, open the Toolbar by clicking the Toolbar button in the Control bar or by pressing Control+Option+Command+T. From the Nudge Value pop-up menu, select the desired increment.

To move a group of notes to a new location, do the following:

  1. 1.Select the target notes.
  2. 2.Use any of the methods listed above for moving a single note.
frn_fig_003 When working in Grid mode, hold Control to temporarily suspend the grid. For finer control, hold Control+Shift.

Transposing MIDI Notes

To change a note’s pitch, do one of the following:

frn_fig_005 To transpose an octave up or down, hold SHIFT +OPTION +UP ARROW or SHIFT +OPTION +DOWN ARROW, respectively..

To change the pitch of a group of notes, do the following:

  1. 1.Select the target notes.
  2. 2.Use any of the methods listed above for transposing a single note.
frn_fig_005 When moving or transposing notes with the pointer or Pencil tool, you can hold Option to copy the notes. This is a quick way to create harmonies or chords for melodic instruments.

Trimming MIDI Notes

To trim a note, do the following:

  1. 1.Using the pointer or the Pencil tool, position the cursor near the beginning or end of the note.
  2. 2.Click and drag left or right to trim the note start or end point.

To trim a group of notes, do the following:

  1. 1.Select the target notes.
  2. 2.Using the pointer or the Pencil tool, position the cursor near the beginning or end of any one of the selected notes.
  3. 3.Click and drag left or right to trim the start or end point of all of the selected notes.
frn_fig_004 When trimming multiple notes of different lengths, hold Shift+Option to make them the same length as the note being trimmed.

Working with Velocity

Most modern MIDI controllers are “velocity sensitive,” meaning that they automatically detect how hard a key or pad is struck. The velocity data is transmitted and recorded as a characteristic of the MIDI note. However, when notes are manually entered (with the Pencil tool, for example), they will all share a default velocity value. This can lead to very stiff, robotic–sounding performances. Modifying and manipulating velocity data is essential to creating natural-sounding MIDI parts.

We’ve already covered how to edit velocity in the Automation/MIDI area of the Piano Roll Editor. Two more options are available that are quick and easy alternatives. The first is to use the Velocity slider to the left of the Piano Roll and below the quantize settings. The second is to use the Velocity tool.

To edit velocity using the Velocity slider:

  1. 1.With the pointer or Pencil tool, select the desired note.
  2. 2.Move the Velocity slider to the preferred setting.

    chpt_fig_244

    Figure 10.20 Adjusting velocity of a note with the Velocity slider

To edit velocity using the Velocity tool:

  1. 1.Select the Velocity tool from the Left-click Tool menu.
  2. 2.Click and hold on a note and drag up or down to the preferred setting.

To edit MIDI velocity data for a group of notes:

  1. 1.Select the group of notes that you wish to affect.
  2. 2.Use either technique described above.
frn_fig_003 In addition to the Velocity slider and Automation/MIDI data area, Logic Pro X shows velocity visually on the notes in two ways. First, horizontal lines within the notes represent the note’s relative velocity. Second, the note color changes with velocity, ranging from violet (low velocity) to red (high velocity).

Software Instrument Region Inspector

During the music production process, you’ll frequently want to make adjustments to MIDI data. One available option is to manually transpose, set quantization, and otherwise fine-tune a MIDI performance with various tools.

However, when you’re in the middle of the creative flow and you want to perform a simple quantize operation, it’s not always convenient to stop and look at a complex dialog box or specific tool. In these instances, you can take advantage of the Region Inspector settings in Logic Pro X.

The Region Inspector controls can be used to quickly apply a number of settings, including the following modifications to the regions on a MIDI-capable track:

A powerful advantage of using the Region Inspector is that you can quickly toggle a number of the properties on and off at any time. And you can modify the settings at any time without having to undo a previous change.

To view the full list of Region Inspector settings:

  1. 1.With a software instrument track selected, click the INSPECTOR button or press I to open the Inspector.
  2. 2.Click to expand the MORE disclosure arrow. Once expanded, the full list of parameter controls for the region will appear. You can use these controls to quickly adjust the settings.

    chpt_fig_245

    Figure 10.21 The Region Inspector settings on a Software Instrument track

Quantization in the Piano Roll Editor

One of the most commonly used tools is quantization. Earlier in this chapter, we looked at the quantization features in the Region Inspector when editing and correcting audio with Flex Time algorithms. MIDI-capable tracks share many of the same quantization settings in the Region Inspector, but also have the most common options conveniently available within the Piano Roll Editor: Time Quantize and Scale Quantize.

An added benefit of using the Piano Roll Editor for quantization is that you can select specific notes rather than operating on all content within an entire region.

chpt_fig_246

Figure 10.22 The quantization settings in the Piano Roll Editor

The Time Quantize settings can be used to quickly apply the following:

The Scale Quantize settings can be used to quickly limit notes to a particular scale. This function uses the following parameters:

frn_fig_003 Quantization applies correction to selected events without permanently altering the content. You can always return the content to its original state at any time.

Submixing with Track Stacks

Submixing is a technique whereby multiple tracks are summed to a common destination (typically an aux channel) to simplify certain mixing tasks. While submixing is most useful in projects with a large number of tracks, there are advantages to using submixes in smaller projects as well.

Simplifying a Mix

Submixing is frequently used to help simplify the mixing process. By submixing a group of related tracks, you can more easily apply effects across the whole group. You can also automate the summed levels of the group using a single fader.

Submixing is an essential technique for managing drum recordings, which typically span across a number of tracks. By routing the drums to a common Aux Input, you can apply compression or limiting to the group (for example) using a single plug-in. Then, you can quickly set the level for the entire drum kit using a single fader, while maintaining the relative levels of the individual tracks, as set by their own faders.

But submixing isn’t just for drums. It can be a great way to manage any related group of tracks such as background vocals, guitars, and keyboards.

Using Track Stacks to Submix

Logic Pro X offers a quick and convenient way to submix, using a feature called Track Stacks. This feature groups numerous tracks together into a collapsible display within the Tracks area and Mixer window. The required submix signal routing is handled automatically.

Submix workflows utilize a type of Track Stack called a summing stack. Summing stacks combine the outputs from multiple tracks and route the summed output to a bus functioning as an audio subgroup. The subgroup is represented by a top-level track known as the main track. This track is assigned to an aux channel strip in the mixer.

frn_fig_003 Logic Pro X provides two types of Track Stacks: folder stacks and summing stacks. This discussion focuses on summing stacks.

By selecting the main track for a summing stack, you can mute, solo, and adjust volume and send levels for the stack. You can also add plug-ins to the main track, affecting the sound of all the subtracks in the summing stack.

Summing stacks are ideal, not only for adding processing to a group and controlling its overall level, but for simplifying the organization within your project.

To create a Track Stack for submixing, follow these steps:

  1. 1.Select the tracks you wish to submix.
  2. 2.Choose TRACK > CREATE TRACK STACK or press COMMAND+SHIFT+D to open the Track Stack dialog box.
frn_fig_004 Use the key command Command+Shift+G to create a summing stack directly, bypassing the dialog box.
  1. 3.In the dialog box, select the Summing Stack radio button and click CREATE. A Track Stack will be created, and the selected tracks will be moved under the stack’s main track.
  2. 4.Optionally, rename the main track with a descriptive name for your submix.

    chpt_fig_247

    Figure 10.23 A drum submix created using a Summing Stack

Once you’ve created a summing stack, you can collapse or expand the Track Stack at any time by clicking on the disclosure arrow to the left of the track icon on the main track.

You can easily insert plug-ins on the main track to have them apply to the submix. You can also adjust the volume and panning on the main track to modify the submix level and position in the larger mix.

Creating Stems

Another important use for submixes is to aid in the creation of stems. Stems are mixed-down versions of your submixes that can be useful when mixing or remixing a project in a different DAW. Stems can also be used to supplement a live performance.

Once you’ve routed all of your tracks to summing stacks, it is very easy to create stems in Logic Pro X.

To create stems from summing stacks, do the following:

  1. 1.Make a selection with Cycle that spans the section of the song that you would like to bounce as stems. This might be the entire song, or it might be one section of the song like a verse or chorus. If no selection is made, the bounce will extend from the beginning until the Project End marker.
  2. 2.Locate the first summing stack that you would like to bounce as a stem.
  3. 3.Select the main track for the stack.
  4. 4.Press S or click the SOLO button on the main track. This will solo all of the tracks in the stack.
  5. 5.Play the session for a bit to verify that no other tracks are currently audible.
frn_fig_003 If the tracks in the summing stack include sends to a reverb or delay, make sure that the reverb or delay aux channel strip is also soloed.
  1. 6.If you are using any plug-ins (such as a limiter) on the Stereo Out channel strip, consider bypassing or removing them.
frn_fig_003 Generally when using submix tracks in another DAW, you will want to apply master bus processing there for maximum control. However, you can also create stems with processing in place on the Stereo Out channel strip in Logic Pro X to help preserve the sound of your mix.
  1. 7.Choose FILE > BOUNCE > PROJECT OR SECTION or press COMMAND+B. The Bounce dialog box will appear.
  2. 8.Choose the desired settings from the Bounce dialog, and then click O K. The submix will be exported as an audio file.
frn_fig_003 Due to the nature of effects like reverb, the effect’s decay tails may extend beyond the end point of the selection. This can result in an abrupt sound cutoff at the end of the bounced audio file. As a safeguard, check the box to Include Audio Tail to ensure the audio file continues until volume reaches zero.
  1. 9.Repeat the process for each of the summing stacks in your project.

When you are finished, you will have an audio stem file for each of the submixes. These files can then be use in another Logic Pro X project, or in an entirely different DAW. Using these stems, you can recreate the original mix with no more than a few small tweaks.

frn_fig_003 If you have no signal processing on aux channel strips or the Stereo Out channel, or if you plan to reapply processing in another environment, you can use the Export function to export one or more selected main tracks as audio files. This can save time for larger projects. The resulting audio files will not contain signals from Sends, aux channels, or the Stereo Out channel.

Keyboard Shortcuts

In closing, we’ll cover some keyboard shortcuts that will dramatically accelerate your work in Logic Pro X. Learning even a handful of essential shortcuts can elevate your status from prospect to pro user in no time.

frn_fig_005 Logic Pro X allows users to edit key commands and create shortcuts for hundreds of commands that are unassigned by default. You can save your custom commands for use on another system or import custom sets. You can even import settings that match other DAWs like Pro Tools.
frn_fig_003 To open the Key Command window, choose Logic Pro X > Key Commands > Edit or press Option+K.

Working Areas in Main Window

Key Function
Y Show/Hide the Library
I Show/Hide the Inspector
B Show/Hide the Smart Controls
X Show/Hide the Mixer
E Show/Hide the Editor
O Show/Hide the Loops Browser
F Show/Hide the Browsers

Other Windows

Key Function
COMMAND+N Open New Project from Template
OPTION+COMMAND+W Close Project
COMMAND+2 Open Mixer Window
COMMAND+4 Open Piano Roll Window
COMMAND+K Show/Hide Musical Typing

Zoom Functions

Key Function
Z Toggle Zoom Fit Selection to Screen
COMMAND+LEFT ARROW Zoom Horizontal Out
COMMAND+RIGHT ARROW Zoom Horizontal In
COMMAND+UP ARROW Zoom Vertical Out
COMMAND+DOWN ARROW Zoom Vertical In

Navigation and Playback

Key Function
SPACEBAR Play/Stop
SHIFT+SPACEBAR Play from Selection
RETURN Return to Beginning
COMMA(,) Rewind One Bar
PERIOD(.) Skip Forward One Bar
C Toggle Cycle Mode On/Off
U Set Rounded Locators by Selection and Enable Cycle

Tracks

Key Function
OPTION+COMMAND+N New Tracks
COMMAND+D New Track With Duplicate Settings
S Solo the Track
M Mute the Track
A Show/Hide Automation
COMMAND+F Show/Hide Flex
G Show Global Tracks
COMMAND+SHIFT+D Create Track Stack

Edit Commands

Key Function
COMMAND+Z Undo
COMMAND+X Cut
COMMAND+C Copy
COMMAND+V Paste
COMMAND+A Select All
COMMAND+T Split at Playhead
COMMAND+J Join Regions
COMMAND+R Repeat
SEMICOLON(;) Move to Playhead

Bounce and Export

Key Function
COMMAND+B Bounce Project or Selection
CONTROL+B Bounce in Place
COMMAND+E Export Tracks as Audio Files
COMMAND+F Show/Hide Flex

Review/Discussion Questions

  1. 1.What windows or areas provide access to Flex functions in Logic Pro X? (See “Enabling Flex” beginning on page 244.)
  2. 2.Which Flex Time algorithm is best suited to monophonic material such as vocals or bass guitar? (See “Flex Time” beginning on page 245.)
  3. 3.Which algorithm is the best for drums and percussion? (See “Flex Time” beginning on page 245.)
  4. 4.Is it possible to use Flex Time to tighten the rhythm of an audio performance? What process would you use? (See “Flex Time Quantization” beginning on page 246.)
  5. 5.How can you quickly create three successive Flex markers on a Flex-enabled track, in order to reposition a spot in the center? (See “Manually Edit Flex Markers” beginning on page 247.)
  6. 6.What two areas are used to edit MIDI data? What editing operations can you perform in each? (See “Viewing MIDI Regions and Data” beginning on page 251.)
  7. 7.What two tools are commonly used for creating and editing MIDI data? (See “Creating MIDI Notes” beginning on page 254.)
  8. 8.How can new MIDI notes be manually created on the Piano Roll? (See “Creating MIDI Notes” beginning on page 254.)
  9. 9.What are some common techniques for editing MIDI notes? (See “Editing MIDI Notes” beginning on page 256.)
  10. 10.What is MIDI velocity? What are some ways that velocity data can be viewed and edited in Logic Pro X? (See “Working with Velocity” beginning on page 258.)
  11. 11.What are some Region Inspector controls that can be used to quickly apply changes to the regions on a MIDI-capable track? (See “Software Instrument Region Inspector” beginning on page 259.)
  12. 12.How is submixing useful in a project? What process can you use to quickly create a submix in Logic Pro X? (See “Submixing with Track Stacks” beginning on page 261.)
  13. 13.What type of Track Stack is used for a submixing workflow? (See “Using Track Stacks to Submix” beginning on page 261.)
  14. 14.Why is it helpful to create stems when exporting your Logic Pro X project to be imported into a different DAW? (See “Creating Stems” beginning on page 263.)
frn_fig_009 To review additional material from this chapter and prepare for certification, see the Logic Audio Production Basics Study Guide module available through the Elements|ED online learning platform at ElementsED.com.