InspectorLogic Pro – The 8 Best Logic Pro X Alternatives

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Want to jump straight to the answer? Before choosing an alternative, there are some comparable features you would want to look for that Logic offers.

Logic has a myriad of reliably built plugins that it comes with, including their vocal compressor , and their amp designer is capable of endless guitar altering configurations. You may need to bring in 3rd party plugins at some point, but Logic starts you off on the right track. Finding a comparable product you will want to look for similar plugin features, built right into your DAW. Users are willing to pay a premium for Mac products largely due to their product design. Logic Pro, being a Mac-based software follows suit with quality aesthetics and is intuitively easy to use.

A good alternative to Logic should share that aspect. A strong community to learn how to utilize certain aspects is almost as important as the software itself.

Choosing a DAW comparable to Logic should have a strong community to tap into or a library of online tutorials. We took a look at alternatives that are just as affordable from a price point, including the value you can get out of it. Here are the top Logic Pro X alternatives with details on pricing, platform support, features, and more. We looked for support on Windows machines as a necessary component as Logic is only available on Mac.

Soundtrap is a completely online DAW acquired by Spotify in Above all, the learning curve to accomplish recording a song is made easy with Soundtrap. You do not need to worry about compatibility with your computer, as it runs in the browser independently, while still operating as professionally built DAW. One of the more exciting features of Soundtrap is its online collaboration tools. You can easily sync up and work with your producer of band members, as well as find new talent easily by searching.

Reason is a DAW that many others have used as a basis for new ideas and creativity. With their unique rack and patching system, you are able to work with synths and other outboard style gear virtually like it was the real thing! Take the way you like to approach effects routing to Pro Tools or Logic with ease!

Hey producers! Looking for fresh new sounds? There are countless ways to learn how Pro Tools works and is a great option for a home studio or professional studio. You can learn about these here! PreSonus is another brilliantly designed platform that reduces the learning curve when new to music production or starting with a new DAW. Additionally, the community you can tap into for inspiration, collaboration, and general support is now extensive.

User reviews have reported transition from Logic to Studio One as an alternative easier than you might expect. Another great feature with Studio One is the 40GBs of samples , loops, and one-shots that it comes with by default. Many other DAWs require annual upgrade purchases. They have a very active community on their forum, and FL studio has some of the most tutorials and courses online. Sound Forge is focused on the mastering aspects of the production process.

With Sound Forge, you should be able to achieve commercial standard volume in your mastering process, while also reducing noise. Outside of being a free DAW desktop platform, their community is essentially a social network for musicians, producers, and music fans that help you collaborate and make money off of your music.

In addition to Cakewalk, Bandlab has an online mix editor to start making beats, recording audio, and much more. Read our review of Cakewalk here. You would need run a virtual machine with macOS, or try a Hackintosh. Even then, you for the purposes of having a quality DAW, you are more likely to be satisfied with a quality alternative to Logic, like Soundtrap. Yes there are some free DAWs available. Typically they come with a beginner version of the software.

Soundtrap by Spotify, is hands down the best online daw with built in autotune. Sign up for free, and make music faster. Soundtrap is available as a completely online DAW powerful enough to produce music at a professional level. The Studio makes projects are available as collaborative efforts for band members or producers.

An affordable option, that comes with a day free trial. Built-In Plugins Logic has a myriad of reliably built plugins that it comes with, including their vocal compressor , and their amp designer is capable of endless guitar altering configurations. Search Users by Talent Category or Genre. Try Soundtrap. Try Reason. Try Pro Tools. Try PreSonus Studio One. Try FL Studio Try Sound Forge Pro.

Try Cakewalk. Sign Up Free. Start Free Trial. Pro Tools. FL Studio

 
 

Logic pro x inspector window free

 
Understanding Common Elements of Logic Pro Windows integrated audio and MIDI configuration tool of Mac OS X. You can find the AMS utility. One of the marquee features in Logic Pro X is Flex Pitch. The inspector is more discerning than the Main Window, but for detailed work. A. Import an audio file into Logic’s sampler by dragging into the grey space below the tracks in the main window (make sure you drag all the way.

 

Logic Pros (): Getting started with Logic Pro X – The interface – 9to5Mac

 

To delete steps, just click on the step again. You can change the Step Rate how long the beats play for , set a swing value, change the overall direction of sequence travel Playback Mode , adjust the Pattern Length and apply a scale quantise, which makes sure anything you play stays in the key of the song. These are called Pages, and you click on them to edit that extended part of the sequence.

The Row section of the Inspector allows you to change the step rate for individual rows, adjust playback directions for that row only, and define where the loop for that row starts and stops, as well as setting the automation mode for that row. Velocity values of individual steps can be adjusted here by dragging the little line that appears up and down, as can their note values and therefore which sound they play back.

What this all boils down to is that we have terrific control over the horizontal and vertical of every step — something Vince Clark would have killed for in the s. Click on either edge of a step when Tie is selected, and it connects it to the adjacent step. You can visually adjust loop start and ends for the individual rows from here as well, as in Screen 3.

Screen 3: Adjusting loop lengths in the Step Sequencer. Hardware sequencers are, of course, used for more than just creating and processing MIDI note data, and the same is true for the Step Sequencer. It can also be used to automate the parameters of Instruments and effects on a track.

To open the Audio Track Editor, simply double-click at the top of an audio region that is to be flexed. The Audio Track Editor has an inspector on the left side, and the notes show in a grid on the right.

The inspector is used for changing the pitch and time of several notes at once, and the grid to the right of it is where notes are meticulously edited individually. To use the inspector, simply select whatever notes you wish to edit, then choose one of the following actions:.

The Inspector provides useful controls to manipulate the pitch of your audio files. In the region area to the right of the inspector, we have notes.

These notes have six hot zones on them. They are on the left and right upper and lower corners, and they are also found midway across on the top and bottom of the note.

Hot Zones provide convenient and quick access to essential functions when using Flex Pitch. So we know the basic anatomy of Flex Pitch.

Creatively, what can we do besides tuning vocals? Flex Pitch is not just a tool for out of tune singers. It can be used to greatly change the timbre and emotional feel of not only a vocal, but any other instrument that is put under its influence. Copying and pasting several regions of Flex Pitch data will help create iterations of melodies and motifs that quickly spin into insanely creative territory.

The fact that all of these techniques are extremely intuitive gives users a big leg up over programs like Melodyne and Auto-Tune. In these programs, you had to first write the audio in real time into the plug-in, where the content stayed, even when a region in the Main Window was deleted. I don’t know how many times I ended up with a vocal on my percussion stems because of this. More articles by this author. David writes music for all media including advertising, branding, movies, television, and games.

He also teaches at an Apple Certified training facility in San Francisco called Pyramind and has long bee Read More. Create an account or login to get started! Audio is your ultimate daily resource covering the latest news, reviews, tutorials and interviews for digital music makers, by digital music makers. Log In Create Account. A NonLinear Educating Company. David Earl aka. 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.

 
 

Logic pro x show local inspector replace.me Logic Pro free for 90 days..InspectorLogic Inspection Software – Inspector Outlet

 
 

The most important element of the track header is the record enable button. Quick Help: See that little question mark icon in the top left of the Control Bar? Engaging this feature will bring up a small contextual helper window in the Inspector. This little square offers up very helpful tips and definitions for whatever section of the UI you are currently waving your mouse over. Leaving this little feature engaged for your first few weeks months with Logic can be an invaluable tool to becoming familiar with its mysteries.

For example, simply click on the BPM display in order to change the tempo of your project, and so on with the other options. Much like many elements in Logic Pro X, the entire Control Bar area can be customized by the user to show various quick functions and data streams.

The Inspector will automatically show the controls for whatever track or region of a track you have selected. Or to access the UI of the virtual instrument you may be using, for example. But this switching can also be applied on a track-by-track basis.

From a live perspective, this allows you to have some tracks, such as the vocals, running from the linear timeline, while others run from the loops grid, with components able to be dropped in and out of both. This may not be something you do on stage but it illustrates how Live Loops can make your approach to arrangement in Logic Pro X more performative — in effect, your studio becomes the stage.

That way, you can always return to the original version of the song should anything go wrong. Live Loops blurs the lines between the studio and stage, Master its machinations and you might find that Logic Pro X is the perfect tool for your modern production and performance needs.

Our starting point is basic arrangement in the Tracks area. To prepare the project, edit the audio regions so that they all fit within the structure of the song as defined by the markers Intro, Verse, etc. The screen is now divided into two zones, one for the Live Loops grid, the other for the Tracks Area.

Click the top of the divider to ensure that the Live Loops grid is active. Move the first three audio regions on the next track to the Live Loops grid. Above the note are three hotspots for dealing with pitch: pitch drift in, if you want to bend into a note; fine pitch, to adjust the note pitch with more granularity than semitones; and pitch drift out, to bend out of the note. What’s nice about the handles is that they update the display in the editor as you drag, making it easy to see what you’re doing.

Below the note are three additional handles for controlling the gain, the amount of vibrato, and the formant shift of the note. Of course, Flex Time isn’t necessarily about pitch correction. When this is enabled, playing a note on your MIDI keyboard will transpose the note under the playhead to the note that you played and then advance the playhead to the next note.

This generally works well, although sometimes I found that the initial note’s timing was off just enough for it not to fall under the playhead. Generally speaking, the quality of the results was really good, although I found that sometimes notes were detected in the wrong octave, especially high bass notes.

Significantly, the Staff Settings window has been redesigned and, in addition to making the settings much clearer to see and work with, there’s a handy preview display of how the currently selected Staff Style will appear. Also, in addition to Linear View where the score appears in continuous horizontal staves and Page View, there’s a new Wrapped View that’s something of a cross between the two, wrapping the score to fill all the available editing area in the score editor.

Looped Regions are now visible in the score, with notes that are part of the loop appearing in a fainter grey colour on the stave. Logic Pro’s instrument and effects plug-ins have always been affectionately regarded, even though the cobwebs from the Emagic days have become more apparent in the last few versions. In Logic Pro X, Apple have taken the opportunity to update some of these plug-ins, as well as adding a few new ones including Drum Kit Designer, which is mentioned in the main text.

Sadly, the plug-ins designated for a spring clean might not necessarily be the ones you might hope for: EXS24, for example, seems untouched, at least as far as I could tell. The EVB3 organ emulation has been renamed Vintage B3 and given a brand-new user interface, which is a massive improvement in terms of aesthetics and usability — well, come on, who doesn’t like Hammond-inspired skeuomorphism?!

The Leslie emulation has also been improved, and, as always, can be used as a stand-alone effect by using the Rotor Cabinet plug-in. Logic Pro X also includes a new synth plug-in: Retro Synth is a voice synthesizer offering four different oscillator types: analogue, sync, wavetable and FM.

But the straightforward structure of the synth remains the same, regardless of the oscillator, making it easy to tweak and program sounds, though I found the analogue and sync oscillators most rewarding. Turning to effects plug-ins, Pedalboard includes seven new stomp boxes — complete with garish designs — like the wonderful Tie Dye Delay a reverse delay and Flange Factory, with its Miami Vice-inspired appearance that even includes a pink flamingo.

Sound-wise, I quite liked the simpler, warm and dirty Grit distortion pedal. With a choice of three amps, six cabinets plus two direct outs and three mic models, Bass Amp Designer sounds pretty decent, and Apple have also added inline compression and parametric EQ to help you craft the right bass sound.

One feature that will appeal to users who like creative sequencing is the ability to add MIDI plug-ins to Software Instrument tracks. In the early days of Logic, this was the kind of functionality that was handled by the Environment, which included all manner of interesting objects to do arpeggiation, chord memorisation, delays and so on.

But while the Environment still works, it hasn’t really been a promoted part of Logic for some time, so there was definitely a need for a more modern approach to handling MIDI effects. This confused me initially, since I thought it meant you could only have one MIDI plug-in, but it’s actually possible to have eight — you just need to click when a green line appears on the bottom of a slot.

The factor they all share in common is surprisingly large user interfaces; in theory, you can scale these down within the plug-in editor, but because the text is significantly smaller than the controls, it can become hard to read the labels and displays.

This plug-in makes it possible to roll your own MIDI processors in JavaScript, so you’ll need to have a little programming experience to be able do this, but there are plenty of examples included that you can enjoy without having to get your hands dirty with code. Some interesting examples include Harpeggiator, which is a fun way to program somewhat realistic harp glissandi, although it is possibly more run to use this on instruments like piano for that full-on Liberace effect.

Drum Probability Sequencer is a pretty neat drum machine where you specify the probability of a note playing on a given beat for four separate voices. Personally, I can’t wait to delve deeper into Scripter, and I’m sure we’ll see online communities popping up for people to demonstrate and share their ideas with others. Logic Pro X introduces a new Project file format, with the ‘. This means that while Logic Pro X can load songs from previous versions of Logic back to Logic Pro 5 and Logic Express 5, according to Apple’s web site, showing that not everyone has done their homework!

One of the benefits of the new file format is that more data can be saved within the project file bundle itself. For example, when you save a Project, the assets for that Project can now be saved within the project file bundle so that everything is contained in a single file.

You can also still save a Project as a folder, just like in previous versions. Additionally, Projects can now contain alternate versions. So if you’re the sort of person who saves successive Project files as v1, v2, v3 and so on, you could now save and recall these incremental versions as Project Alternatives within a single Project file. You can also later rename and remove older versions via the new Edit Alternative window.

Another improvement is that Logic Pro X now has a proper auto-save implementation that works in the background, so you don’t have to worry about losing information if something bad happens and you’ve forgetten to save.

I only had one crash after updating to Fortunately, auto-save seemed to have kicked in right before the crash, and nothing was lost. This is obviously a big improvement upon Logic Pro 9. Logic Pro X introduces a new interface and a large number of powerful, inventive, and musical features, but not all existing users will feel their needs have been met with this release.

Mixed Improvements The user interface changes in Logic Pro X see some attention paid to the mixer controls. Flexible Pitch Flex Pitch makes it possible to edit the pitch of notes in monophonic audio.

Notice the hotspots for making more detailed adjustments, the pitch-drift line, and also how pitched notes are ever-so-slightly highlighted, as in the case of the lowest note in the editor. Arpeggiator is a surprisingly capable MIDI plug-in, and probably my second favourite in those provided. What makes it really useful is that you can define your own patterns, and there are many good presets supplied to get you started. Used in conjunction with Logic’s synths, it’s a great deal of fun.

Chord Trigger allows you to trigger chords by playing a single note, just like the old Chord Memoriser Environment object. Modifier lets you use an incoming event to modify another type of MIDI message; for example, velocity to scale the mod wheel. Modulator is a modulation source for MIDI events featuring both LFO and envelope generators, although you don’t have to use both at the same time.

Note Repeater is a MIDI delay effect where you specify the number of repeated notes and the velocity curve they should follow. Randomizer randomises the specified type of incoming MIDI event and allows you to offset the output value. Transposer lets you transpose incoming notes and optionally make them conform to a user- or pre-defined scale.

Velocity Processor offers a way to adjust the velocities of incoming note events. You can compress or expand them, limit them, or scale and add or subtract a constant value from them. Best of all, it’s also possible to set an overall minimum and maximum velocity range for the processing.

Pros New user interface makes Logic easier to use than ever before. Inspector Logic makes what used to be a difficult, time consuming, and often painful part of your job – report writing – quick, easy, and painless! Its straightforward design and flow make it easy to learn and use. You can view and edit parameters for regions , tracks, and other items in the various inspectors. The parameters displayed depend on the type of item selected, and which working area has key focus.