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Better yet, you can get regions to be white or black according to your preferences. The application interface is pretty simple : Select a theme from the theme list and hit the Colorizer button.

The new interface colors will immediately be merged to Logic. You can of course edit those themes at will, or create your new designs from scratch. Launch, look for the graphic element of your choice from the left column, click the color thumbnail on the right and give it a new color using the color palette. Once you are done close the app and get back to your music. Have fun customizing your interface! Sky is the limit to your creativity. For more details, watch our video tutorials.

Much like underlining key words on a cheat sheet, assign colors to the interface graphic elements. Color reference has been proven to increase focus and memory. Modify themes with different shades, swap over them to mitigate eye fatigue caused by long exposure to your monitor. Fast identification.

Velocity colors help you guess values at a glance right? The same logic can apply to UI elements you want to recognize quickly, like rhythm values for instance. Add credentials to your themes. Music made in Logic gets shared amongst Logic Pro users!

The LPX Colorizer is addicting, intuitive, and so much fun to use! The pre-built themes are incredible. Most importantly, there is absolutely zero decrease in performance — the only thing that changes are the colors! Now my Logic Pro X can look more professional and I love it! LPXColorizer V. Work smarter not harder, use Voice Commander.

Currently on your mobile? What You Can Do. Make Targeted Adjustments. Apply Ready-made Themes. Logic Pro X Dark Mode. The only slight omission is that it’s no longer possible to have the toolbar buttons displayed as ‘Text Only’, which is a shame, considering the far-from-humble size of the icons!

A number of subtle visual cues have been added to make the current state of Logic a little clearer. As with some hardware mixing consoles, the colour used to display text in the LCD now reflects certain transport states: blue, by default; red when recording, and yellow when a Track is soloed or Solo Mode is enabled. In fact, solo and mute states in general have been made slightly clearer, as Logic now greys out any Regions not eligible to play, and blinks the Mute button on all tracks not previously muted when one or more tracks are soloed.

Should you need help about any aspect of the interface, a new Quick Help feature provides a brief snippet of information about whatever part of the user interface the mouse is hovering over. I did encounter a small anomaly, though: when you have another Logic window open on top of the main window, Quick Help still tracks the main window rather than the window that has focus.

Even stranger, if you open an Environment window yes, it’s still there, although looking a little lost between the past and the present , the Quick Help Inspector section moves to the Environment window, but still shows help for the controls on the main window behind.

In use, I was initially unsure whether I liked the redesign; but after the first day or so I realised it wasn’t as radically different as it had first appeared. It’s a bit like revisiting a house you lived in as a child that’s been modernised and changed by the new owners: it’s still basically the same house and you know where all the rooms are, but it’s been redecorated and the kitchen has been made more accessible.

My biggest complaint about the interface is that many elements have swollen in size to take up more screen real estate than seems necessary, leaving less room in which to work. The Control Bar icons are pretty substantial, and although you can opt to hide the Control bar completely, you’ll probably need to learn a few key commands to navigate the program without it. The Inspector, which is slightly resizable, takes up more space than in Logic 9, as do the List editors, which are only resizable in the wrong direction.

I used to really like having the Event List open on the side when I was working, but it now feels slightly indulgent on anything less than a inch display! The most common resolution for MacBooks is x unless you scale up to non-Retina resolutions on a MacBook Pro with a Retina display , and Logic Pro X feels distinctly cramped in these dimensions, compared to previous versions.

Making the user interface elements larger was apparently a deliberate move by Apple, partly to take advantage of newer display technologies, but also because some Logic 9 users found the interface elements too small. I suppose I should be grateful my eyesight isn’t such that the tumescent new interface makes me happy, and, if nothing else, it certainly shows that you can’t please all Logic users all the time.

The Track List has also received a great deal of attention in Logic Pro X, and, before we go any further: yes, it’s finally possible to select more than one track at a time. Selecting multiple tracks works much like selecting multiple items in the Finder: you can Command-click to individually select and deselect tracks, as well as selecting a track and then Shift-clicking another to select all those in between. The Track Header’s controls are laid out slightly differently from before.

Controls such as mute, solo and freeze are now displayed to the left of the header, and, if the header has sufficient height, the track name will be displayed above the controls. The track name itself is now set in a much larger font, which is definitely clearer than before, although, while it’s still possible to reduce the track height to a fairly small dimension, track headers can’t be made as small as in Logic 9. This may or may not be an issue, depending on the size of your typical Track List.

A few pixels make all the difference. The colour bars are now an optional background behind the track number on the left-side of the header, and, perhaps most controversially, Logic’s Track Level Meters have been replaced with GarageBand’s integrated volume and level meter track control, which now appears on the right.

In theory, the idea of having a combined volume and level meter control on a track isn’t a completely terrible proposition. In practice, however, it is. The Track Header has to be quite a reasonable size both in width and height for the volume control to even be visible, making it useful for either very small projects, or very big Track Headers. Below a certain size, Logic will substitute the volume control with a small, circular, LED-like indicator that illuminates when signal is present.

Logic’s old level meters weren’t particularly informative, but they were more informative than a blinking light.

There must be a better alternative. Alongside the volume control is a pan knob, though again, this knob only appears if the Track Header is a fairly healthy size. A nice touch is that you can set it to control one of the eight available sends if you’d rather, though it would be nice if the number of the send appeared inside the knob, or something. As it is, you can only see to what send a knob is assigned by clicking on it.

I thought at first that the Hide Tracks functionality had disappeared, but it turns out that the Hide button only appears above the Track List after you hide your first track using a key or menu command. Would it really have hurt just to leave the Hide button there to begin with? A common request among Logic users over the years has been for Cubase-style Folder tracks. Of course, Logic has had its own Folder tracks from the very first version, but these were intended for horizontal musical arrangements rather than vertical track organisation.

In Logic Pro X, Apple have indeed added such a feature, in the form of Track Stacks, which allows you to place one or more sub-tracks inside a main track. Here you can see a Track Stack open top and closed. Notice how overlapping Regions become Stacked Regions. Two types are available: Folder and Summing.

Folder Stacks are useful for purely organisational purposes, when you want to be able to group a number of tracks together and expand and collapse them as a ‘folder’ within the Track List. A Folder Stack’s main track has mute and solo buttons, and, as you would expect, if you mute or solo a Folder Stack’s main track, all the tracks within the stack are muted and soloed as well.

The main track also has a volume control which trims the overall level of the sub-tracks, but does so without adjusting their volume settings. So if you have a sub-track playing at 0dB and you bring the main track down by -6dB, the sub-track’s fader will show 0dB, but the audio will be heard at -6dB. This is useful for retaining relative mix levels within Stacks.

The way in which Regions are handled for Track Stacks is actually quite interesting and pretty smart. When a Stack is collapsed, so long as there are no overlapping Regions, the individual Regions within the Stack can be edited as normal.

However, when there are overlapping Regions, Logic will show Stack Regions that represent these overlapping Regions. These Stack Regions can be moved around, which causes the Regions within the sub-tracks to be moved accordingly, and, although you can’t resize a Stack Region per se, you can stretch it out to loop the corresponding Regions.

A nice visual cue with Track Stacks is that Logic adds a colour hint to the background of the main and sub-tracks in the Tracks area, making it easy to see where Track Stacks begin and end. The background colour used will be the colour assigned to the main track, although I did notice a small visual glitch. When you change the colour of the Track Stack track, the background in the Tracks area changes for all but the last track in the Stack. However, if you move the scroll bar, collapse and expand the Stack, or do anything that forces a redraw, the colour is changed to the correct one.

Summing Stacks behave very similarly to Folder Stacks, but differ in one important way. With a Summing Stack, the main track behaves like an Aux Input track, and Logic automatically uses a new bus to route the output of the sub-tracks to the input of the main tracks. This opens up some interesting possibilities, because if the tracks within a Summing Stack are Instrument tracks, then, unlike with Folder Stacks, you can select the main track and treat it as if it was a stand-alone Instrument track triggering all the sub-tracks within.

The only thing to watch out for is that if you create or record Regions on the main track of a Summing Stack, Logic will only show those Regions when you collapse the Stack, regardless of whether there are any Regions on the sub-tracks. Say you have no taste and you create a Summing Stack containing an Instrument track for piano and another for strings. You can now choose either the piano or the strings sub-track and record onto them individually as normal, or you could record a Region onto the main track that triggers both piano and strings together.

If you look through the Library of new patches that come with Logic Pro X, you’ll notice quite a few that adopt this technique. It’s also not possible to have sub-Stacks, meaning that you can have Stacks within Stacks. This makes sense with Summing Stacks, but is a slight organisational limitation with Folder Stacks. One of the biggest new features in Logic Pro X is a virtual drummer, who will accompany your music based on various parameters that you can specify and won’t charge you union rates.

The basic operation of Drummer is incredibly simple. Once you add the Drummer track to your Project — there can only be one — Logic will automatically create two Drummer regions for you on that track. These regions look like Audio Regions, but they act a little differently. By creating Regions on the Drummer track, you tell your virtual drummer when to play — and, of course, when not to. But the neat thing is that each Region can have a different set of performance parameters, specified in the Drummer Editor that appears in the lower part of the main window.

The Drummer editor in the lower part of the main window lets you adjust settings for the currently selected Drummer Region in the Tracks area. There’s a nifty vector control to adjust complexity along the Y-axis against loudness along the X-axis, and also an area where you can select what drums in the kit play the main pattern. There are three main instrument elements that can contribute to the pattern: kick and snare, which can be muted and unmuted independently; toms, cymbals or hi-hat; and a percussion element where you can choose between a tambourine, a shaker or a handclap.

Alternative patterns are available within each element, and the kick-and-snare element also offers half- and double-time options, as well as a mode that asks the drummer to try to Follow a designated track in your project. You can have any combination of these elements active, though it’s important to note that choosing, say, toms as the second element doesn’t mean that you won’t hear the hi-hat or cymbal; it just means you’ll mostly hear them for fills and other embellishments.

Speaking of fills, there’s a Fill knob that you can use to suggest to the drummer how frequently he might like to perform a fill, and a Swing knob is also provided. If you click the Details button, three further controls become visible to allow you to adjust the feel of the performance ie. As you make adjustments in the Drummer Editor, Logic re-renders the drum performance and updates the audio in the Drummer Region.

This means that there’s a slight lag in hearing the result as you adjust parameters, but it also means that you get the same playback every time. If you want to fine-tune the performance even further, you can convert a Drummer Region to a MIDI Region, making it easy to use Drummer-generated content with any other virtual drum instrument you may have.

To the left of the Drummer Editor is an area where you can specify the drummer personality that’s selected to perform. Each drummer gets a caricature and an often, presumably unintentional, amusing description, such as: “Inspired by hard rock bands and funk pioneers, Jesse plays in-your-face beats on a tight-sounding kit.

The sounds performed by Jesse and the other virtual drummers are powered by a new virtual instrument called Drum Kit Designer, which makes it easy to change the drums, or kit, your drummer is playing. The plug-in’s user interface is frankly leviathan and shows a picture of the currently selected drum kit on the kind of dodgy red rug one expects to see in a studio.

Clicking on a drum selects it for further sonic tweaking, and on the right are three edit controls where you can adjust the tuning, damping and volume of the drum. You can either adjust the left and right cymbals together or individually.

Drum Kit Designer provides 15 drum kits, and when you’re tweaking the bass and snare drums you’ll also get a choice of alternative drums on the left-hand side. Clicking a handy info button opens a pop-up that gives you the specification of the drum, so you can confirm that the drum you’re seeing on screen really does have a Black and Gold Duco finish.

Some advanced controls are also available if you click the disclosure triangle at the bottom of the window. Here, you can adjust the volume of the percussion elements in the kit as well as the sticks, presumably for rim clicks and also set the input mapping, since it’s possible to play Drum Kit Designer as you would any other virtual instrument.

The default is GM General MIDI , but you can also choose a similar GM mode that allows the modulation wheel to control how open the hi-hat is, and a V-Drum mode that enables you to trigger the instrument from one of Roland’s electric kits. This latter mode will certainly be welcomed by anyone who’s ever had to mess around with V-Drum mapping.

By default, Drum Kit Designer routes the audio from the drum kit to a single stereo output, which is only so useful when mixing more serious productions. So, for those who really want to have full control over the drum sound, Apple have also included so-called Producer Kit versions, where each drum in the kit has its own dedicated output. Switching between standard and Producer kits is easy: open the Library with the Drummer track selected and, in the Drum Kit category, you’ll notice a folder at the bottom labelled Producer Kits.

Now simply select the appropriate kit notice that the names are prefixed with the plus sign and you’re ready to go. What’s really great about the multi-channel kits is that they make use of the Track Stacks feature. And what’s useful about this is that the Producer Kits come pre-loaded with the tracks for all the necessary splits, meaning that you don’t have to worry about setting this up yourself.

Simply open the Stack and you’ll see Channel Strips for all the drums with the current mix, where an engineer has already set up initial levels, pans and various EQs and compressors for you. If you open Drum Kit Designer with a Producer Kit loaded, you’ll notice there are more alternate drums to choose from, and four additional settings that can be configured for each drum. Leak sets whether the sound of that drum is heard in the mics for other drums in the kit, Overheads sets whether the drum is heard in the overhead microphone, and Room lets you toggle the room emulations, as well as choosing between one of two rooms.

It’s clear that Apple have put a tremendous amount of effort into Drummer and Drum Kit Designer, and in terms of integration, ease of use, and the quality of the results, it’s quite possibly the best virtual drummer yet.

Smart Controls enable you to create a simple interface to control any parameter for any plug-in on a given Channel Strip. Here, I’ve edited one of the presets by making one of the knobs a Note Length Smart Control that adjusts both the Note Length parameter in the Arpeggiator MIDI plug-in and the cutoff frequency in the ES2 synth, the latter inverted so that the filter opens up as the notes get shorter.

One of the things I’ve always liked about Logic is the way in which Logic’s instrument plug-ins tended not to have built-in effects. It made sense to me to have a fairly dry instrument plug-in to generate sounds, and then to use the available insert plug-ins to add the requisite effects. However, this meant that every time you wanted to recall a certain sound, you needed to manually load up all the plug-ins and choose the requisite presets.

This problem was solved in Logic Pro 7 by Channel Strip presets, but a second disadvantage remained: you had to open and interrogate multiple plug-in windows to adjust what was, in essence, a single sound. Logic Pro X aims to solve this latter problem with a new feature called Smart Controls, which allow miniature user interfaces to be created that can control any parameter used in any plug-in on a given Channel Strip.

This means if you had a Channel Strip featuring, say, a synth sound in EXS24 and a Tape Delay plug-in, you could create a Smart Controls layout that had a knob to control the cutoff frequency in EXS24, and another to adjust the Wet level of the delay. Now, instead of opening two plug-in windows to adjust these parameters, you can do it from a single Smart Controls layout. Every patch in Logic Pro X’s Library includes pre-configured Smart Control setups, which you can see by opening the Smart Controls area in the main window or in a dedicated Smart Controls window, and it’s easy to adjust these or create your own.

You can change the parameter to which the Smart Control is mapped by clicking the mapping entry and selecting another parameter from a hierarchical pop-up menu that shows all plug-ins and parameters available. Alternatively, you can enable the Learn button, open the plug-in, click the parameter you want to control, and then disable the Learn button. A particularly nice touch is that you can set minimum and maximum values for mapping, so the Smart Control doesn’t have to control the full range of the parameter, and it’s also possible to invert the value, as well as scale it using parameter mapping graphs.

Another nice touch is that it’s possible for a Smart Control to be mapped to multiple parameters from different plug-ins. Simply click the first mapping entry and choose Add Mapping from the pop-up menu, and another mapping will be added, compete with its own independent settings.

This makes for some interesting possibilities, since, in the previous example, you could have a single Smart Control that adjusts EXS24’s cutoff frequency and the delay’s wetness simultaneously. Once clicked, the Arpeggiator is added and enabled, and a pop-up menu appears next to the button, enabling you to change both Arpeggiator settings and presets from the Smart Controls area.

Smart Controls can also be useful when used in conjunction with Summing Stacks, because while each sub-track can have its own Smart Controls layout, so can the main track, with the ability to access all the parameters of all the sub-tracks.

Overall, Smart Controls are a great way to add a front end to patches you create in Logic, and possibly the only aspect that I found slightly limiting was being restricted to only work with the layouts provided by the program. For example, some layouts contain switches and some don’t, and some layouts contain more controls than you might need, and some too few. Having more user control over the appearance and controls used in a layout would be really helpful.

Setting it up is easy: simply make sure both the iPad and Mac are connected to the same network, run Logic, and then run Logic Remote. A list of available Macs running Logic will appear in Logic Remote, and, when you select one, Logic will ask you to confirm the connection. After that, both Logic and Logic Remote will remember this marriage, and re-establish it automatically whenever both sides are available.

Logic Remote consists of a number of views that allow you to interact with Logic in different ways, drawing heavily on Apple’s experience in designing GarageBand for iOS. Always visible at the top of the screen is a miniature Control bar where you’ll find various global controls.

There’s a button that lets you select different views, as well as transport controls, an LCD that shows the current time in beats and the currently selected Track, Cycle and Metronome buttons, and a Settings button. The LCD also has left and right buttons on either side for selecting next and previous tracks in the Track List, and tapping it toggles the display of a ruler.

You can use the ruler to scrub time, and if Cycle Mode is active, you can even adjust the Cycle Region. Logic Remote lets you control Logic’s mixer from your iPad, and even includes a meter bridge. The Mixer view works pretty much as you might expect.

In the upper part of each Channel Strip, there are four buttons for setting the automation mode, record enable if available for that track , and mute and solo. Below these buttons, there’s a choice of what to see: volume and pan controls which is the default , just the first four send knobs, or simply a volume fader if you want to have a longer fader throw.

The Settings button on the Control bar provides access to some useful commands, such as undo and redo, as well as commands for creating new tracks. Once you’ve done that, the new track gets selected and you can tap the Control bar’s Library button to access the library of available instrument patches and pick one to assign to that track. Next, you can switch to the Smart Controls view, which shows the same Smart Controls editor as you would see in Logic, as well as a controller to actually play the sound.

By default, Logic Remote selects the most appropriate controller for the instrument, so you’ll see a keyboard for a piano patch, guitar strings for a guitar patch, and drum pads for a drum patch, although you can override this selection in the Views pop-up if you wish. A related view is the Chord Strips view, which allows you to play the current instrument via the Chord Strips you may know and love from GarageBand.

If you have a drum instrument selected, the Drum Pads view will be available instead, showing more pads than are available on the Smart Controls view. Logic Remote makes it easier to set up and access key commands Logic Remote’s Key Commands view makes it possible to trigger key commands from your iPad.

Here you can see the configuration pop-out that makes it possible to assign your own key commands and colours. Tapping in an empty key command opens a pop-up that lets you select a key command from all of those available in Logic. The list is organised into categories in exactly the same way as Logic’s Key Commands window, and can also find the key command with a handy search field at the top of the pop-up. To reconfigure an existing key command, change its colour, or remove it, tap with two fingers on the key command to reopen the pop-up.

The Key Commands view is great, although it would be even greater if you could see more key commands on a single page.

 
 

 

Logic Pro X new Skins interface | Jonatan Rosales

 

Logic Pro features an extensive Sound Library of Apple Loops, patchesdrum kits, and other content that you can use in your projects. When you install Logic Pro, essential sounds and instruments are included as part of the installation.

Additional content is logic pro x interface mods free download to download after the installation is complete. You can view available content and select content to download in the Sound Library Manager. Some items in the Sound Library Manager have a disclosure arrow, which you can click to show and select individual content types to download. You can also download updated sounds and reinstall the complete Sound Library using the Sound Library Manager. Some additional content can also be downloaded directly in the Library and the Loop Browser.

Additional content is required to use some sounds and other features. When you select an item that requires additional content, a dialog appears, asking if you want to download the content.

In the Library review 2018 download free suite coreldraw graphics the Loop Browser, items with content not yet installed include a Download button that allows you to download the content directly. Plug-in settings. Patches are stored inside Logic Pro. They may be added, updated, or removed when a new version is installed. You can relocate the Sound Library to another compatible volume or partition, provided enough free space exists for the Sound Library.

When you relocate the Sound Library, Sound Library content except for Apple Loops, Impulse Responses, patches, software instrument presets, and those plug-in settings stored in the app bundle is moved to the new location. User-created content is not affected. Relocating the Sound Library to an external drive can free up a large amount of disk space on your system drive. If you change your mind or decide you no longer want to keep the content in another location, you can relocate the Sound Library back to its original location.

When you install additional content after relocation, it is installed in the new location. For detailed information on relocating content and possible issues, see the Support article Move Logic Pro and MainStage content on the support. When you relocate the Sound Library, it is also relocated for these apps if they are installed on your computer.

You can reinstall the Sound Library. This can be useful to make sure you have the latest version of all available content, and also in case the drive containing the Sound Library is источник longer available. If the Sound Library is available in its current logic pro x interface mods free download when you reinstall it, it is больше на странице in the same location.

If the Sound Logic pro x interface mods free download is not available for example, if it is installed on an external drive that is lost or not connected to your computerit is reinstalled in the default location on your system logic pro x interface mods free download. You can view and delete Logic Pro content by choosing About This Mac from the Apple menu, clicking Storage, then clicking the Manage button for your system storage drive.

Ссылка на страницу can view the capacity of the Instrument Library and Apple Loops library and delete each of these items. If you delete Logic Pro content that is required for a patch or software instrument, Logic Pro prompts you to re-download that content the next time you try to use the patch or instrument.

While additional content is downloading, a progress bar appears in the lower part of the LCD. You can view more detailed information about the progress of the download by clicking the progress bar. Items in the Library and the Loop Browser that require additional content are indicated by a Download button. In Logic Pro, click the Download button next to the office professional plus 2016 terminal server name.

The Relocate Sound Library window opens, showing available drives and the free space available on logic pro x interface mods free download. Unsuitable drives are dimmed, with the reason for their unsuitability shown in the Comments column.

The Sound Library is relocated to the selected location. If other music creation apps such as GarageBand or MainStage are open, you are asked to close them before relocation can proceed.

Content types The Sound Library includes the following types logic pro x interface mods free download content: Apple Loops Drum kits Patches Plug-in settings Quick Sampler samples Sampler instruments and their associated samples Impulse responses Legacy and compatibility content, including Jam Packs, sounds, and instruments. Relocating the Sound Library You can relocate the Sound Library to another compatible volume or partition, provided enough free space exists for the Sound Library.

Download additional content In Logic Pro, do one of the following: In the Sound Library Manager, select the checkbox for each content package you want to download. To download all uninstalled content, click the Select All Uninstalled button. Click Install. Download additional content in the Library or the Loop Browser Items in the Library and the Loop Browser that require additional content are indicated by a Download button.

Select the new Sound Library location, then click Relocate. When relocation is complete, the Relocate Sound Library window closes.