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Arrange window logic pro x free.Audio Editing In Logic's Arrange Window
Audio Editing In Logic's Arrange Window
By kerochan , 1 hour ago in Logic Pro. Start new topic. Recommended Posts. Posted June 12, Thank You for your help on that point. Link to comment Share on other sites More sharing options Hi Amadeo and welcome here.
I think I'll just call you Amadeo David Nahmani Posted June 12, Posted June 13, Et ton Anglais est excellent!! And Logic sessions are much more portable to Protools system. I need this cause i use PT work! Once you've done so, you can resume editing with a pool of strong available performances in the form of regions, knowing that additional options are only a Toggle Hide button-press away.
The Toggle Hide Edit button is situated at the top left-hand corner of the Arrange window and is indicated by the letter 'H'. A major part of building any arrangement consists of copying such regions, and there are different methods for doing so. The most common one is to Option-drag a region to a new location, which complies with Apple's convention; dragging alone simply moves an object to a new location, while Option-dragging copies it there. Alternatively, you can copy a region to the clipboard by pressing Apple-C or selecting Copy from the Arrange window's local Edit menu.
But first, make sure you select the destination track in the Track list and position the SPL accurately, as pasting doesn't conform to any rounding or time-grid placement by default. An additional method for copying parts, which doesn't depend on pre-divided regions, employs the Marquee tool dragged over a region part to determine a selection that can then be option-dragged to create a copy. Again, the help tags provide invaluable assistance to accurate selection and positioning, while there is a further auditioning benefit to using this kind of selection, in that the song will always play from its beginning when the normal Play command is used regardless of current song position or specified cycle.
But what happens to an existing region in the new location if the copied region or selection is placed over it? That will be determined by our intentions and judicious use of the Arrange window Drag Modes. Available from the top right-hand corner Drag menu, these provide useful options affecting the behaviour of region placement.
Choosing No Overlap will mean that the copied region automatically cuts and trims the underlying one, which is particularly handy in avoiding any confusion with playback priority of overlaps.
The default drag mode is Overlap, which explains why such confusion may arise in the first place, but even in this case overlaps can be eliminated by choosing Remove Overlaps from the Arrange window's local Region menu. Finally, you can make multiple copies of a region by using the Repeat Regions function, also available from the local Region menu. This method allows for a specific number of copies to be created and provides further control over the timing of the copies' placement with regard to Logic's timeline.
Being able to efficiently navigate through an arrangement is a necessary prerequisite for effective audio editing, so having specialised playback commands at hand speeds up the editing process. Two of the most useful ones are 'Play from Selection' and 'Play from left window corner', but they're both only available as key commands. They use the furthest point to the left of a region and the furthest visible point to the left of the Arrange window to initiate playback.
Note how key-command-only functions are designated by a black dot in front of their description. On the other hand, if you prefer using markers for navigation, you can repeat the search, this time entering 'marker' in the search field. The Go to Previous Marker and Go to Next Marker functions allow you to move the SPL from marker to marker sequentially, so it's worth assigning them to memorable key combinations.
Alternatively, you can hold down the Command key and single-click at the bottom half of the bar ruler near a marker to move the SPL to its beginning, or hold down Command and double-click to move the SPL to its beginning and initiate playback. Bear in mind that this technique only applies to the bar ruler, and not to the Marker track itself.
After exhausting all the navigational, viewing, cutting, copying and pasting possibilities, it's easy to see how putting together a meaningful musical passage out of a number of takes — or regions, in our case — should be a rather intuitive affair in Logic's Arrange window. In fact, this very process of creating a composite part out of a number of performances is what is referred to as 'comping'.
The local Arrange window functionality speeds up the process considerably. The Zoom magnifying glass tool is assigned to the Control key by default in Logic, so there is no need to select it from the Arrange window toolbox prior to zooming.
Control-clicking will therefore employ the Zoom tool for magnification, while Control-click-dragging will specify an area for magnification contained by the dragging action. The local Arrange window functionality speeds up the process considerably. The Zoom magnifying glass tool is assigned to the Control key by default in Logic, so there is no need to select it from the Arrange window toolbox prior to zooming.
Control-clicking will therefore employ the Zoom tool for magnification, while Control-click-dragging will specify an area for magnification contained by the dragging action. Control-clicking on empty Arrange window space recalls the previous levels of zooming, in reverse order.
Let's take the common example of a vocal verse recorded several times using cycle record as our example. The resulting regions will take up consecutive Arrange window tracks corresponding to the same channel, with all but the latest region muted.
It's worth keeping these regions on one channel, as they can all be auditioned through the same inserts and sends, providing an objective platform for comparison.
This also means that you can leave Logic in cycle mode while you solo, mute and unmute consecutive regions or tracks, taking advantage of the respective key commands: typically 'S' for solo mode, 'M' for region muting and 'X' for track muting. Being able to have multiple tracks corresponding to one channel is also why track muting in the Arrange window doesn't reflect on track muting in the Track Mixer or Environment.
In any case, you should avoid leaving more than one region or track playing back at any one time, as it will be hard to distinguish between them during monitoring. Now, chances are that the consecutive regions will feature some moments of brilliance, while other sections will be average or poor. Any time a good passage is identified, it's important to isolate it by slicing the region and naming it.
Region division doesn't have to be overly accurate at this stage, as regions can be trimmed to perfection later on. Muting the average sections and clearing the poor ones is also a good idea, as long as there are no gaps left for any part of the arrangement section you're working on. At the end of the monitoring, naming and muting exercise, you should have a jigsaw of regions that are not muted, at which point you can also make a decision on passages with more than one alternative.
In turn, you can play through the whole section to ensure that the verse sounds consistent, but do switch between available options if necessary, without being alarmed by clicks at the edit points; these will be dealt with at the following crossfading phase.
Prior to that, it's necessary to move all chosen regions to a single track, so create a new track corresponding to the same channel, leave it selected, then select all the relevant regions and choose Move Selected Regions to Current track from the local Region menu.
This will make up the whole verse part out of the selected regions, leaving only the crossfades to do. To create crossfades automatically for all edit points, select all the regions comprising the verse section, then click-hold the entry next to Fade in the Region Parameter box and select 'X' for the crossfade option. Next, you have to determine the exact length of the crossfade by double-clicking the numerical entry to the right of the Fade parameter and entering a number in milliseconds.
This procedure will create non-destructive crossfades at all edit points for the specified duration, and should result hopefully in nice slick edits.
However, if some of the edit points are noticeable, or you find that you can hear clicks at specific edit points, it's best to employ an alternative, and more precise crossfade technique. Select X-Fade from the Arrange window Drag menu and resize the regions at the problematic edit points.
Bear in mind that the crossfade duration will still default to the previous numerical entry set in the Region Parameter box; it won't correspond to the length of the resizing overlap. Logic displays audio files located on hard drives as Regions in the Arrange window and unless otherwise prompted, deleting regions here will not erase the source files from the drives.
In fact, the corresponding regions will also remain available in the Audio window, so you can edit away selectively and non-destructively knowing that your original files and regions are safe and within reach. For added peace of mind, it's good practice to save consecutive versions of the Logic song you're working on, so that the initial arrangement is retained, preserving the locations of all audio regions as they were first recorded. This way, you can always come back to retrace missing content, exactly as it was on the timeline.
Restore formatting. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. By GeneralDisarray , 13 hours ago in Logic Pro. By kerochan , 1 hour ago in Logic Pro. Share More sharing options Followers 1. Integrated Dolby Atmos tools for mixing and exporting songs as spatial audio. A massive collection of plug-ins and sounds to fuel creativity.
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