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Logic Pro | Advanced MIDI Manipulation: Part 1 Apple Logic Pro X Tips & Techniques
We demonstrate how flexible Logic Pro’s MIDI processing tools can be.
In 1983, the second most successful computer networking protocol was born. Unlike those that underpin the Internet, the Musical Instrument Digital Interface (MIDI) was not created by an academic offshoot of the military wing of the United States, but by a consortium of synthesizer manufacturing companies led by Dave Smith of Sequential and Ikutaro Kakehashi of Roland. At first, this new protocol was mostly used to connect synthesizers and drum machines together, but the advent of powerful and affordable computers such as the Atari ST led to the development of the grandparents of the Digital Audio Workstations we use today.
Logic: Using Auto Sampler
Here s how to make the most of Logic’s Auto Sampler.
Logic’s Auto Sampler utilises the technology Apple acquired from Redmatica, a small company that produced some amazingly sophisticated tools for automatically creating and looping samples. Not all of the original Redmatica’s features have made it into Auto Sampler though; one memorable feature not included is the ability to hook up an external synth, then have Auto Sampler step through automatically to the next patch once a sample set has been created. Using that feature you could set the whole thing running to sample, for example, all 1000 patches from your old Oberheim Matrix 1000, then go to bed while the software does all the work.
Logic Pro & External Hardware
Screen 1: Setting up your ins and outs.
It’s not always obvious in Logic Pro X how to go about incorporating hardware into your workflow; we show you how.
Almost as soon as music began to be recorded digitally, engineers felt they were losing a certain ‘something’ from not driving the audio through tubes, transistors and transformers. As the emulation of analogue electronics has improved, many have moved completely ‘in the box’ for convenience and recall. It’s perfectly possible to create fine recordings using computer‑generated audio alone, as many a number‑one hit record will testify, but many of us still feel the loss of that ‘mojo’ that, we believe, analogue hardware can provide. The cost of adding this hardware to our studios has fallen dramatically in the last few years, with clones of classic gear and the 500‑series format providing entry‑level hardware that can be bought for very little. So, if you’ve ever wondered