![]() ![]() Recording is improved as well as editing, thanks to enhanced takes and comps. Advanced MIDI quantize options are available in the Channel Strip or via a floating window rather than being buried elsewhere, and audio options are available via a streamlined contextual menu. All of this functionality is easy to get at, too. (This effect is destructive, but it’s also easy to bounce to a new track from the same feature.) You can also instantly slice an audio track for use as an EXS24 sampler instrument. An expanded Bounce in Place feature not only records audio, but takes into account the tail of effects like reverbs and maintains routings to sends. #Logic pro 9 additional content s full#You can replace transients on a track with MIDI to make instant drum tracks, taking full advantage of Logic’s built-in arsenal of synths and sounds. You can extract an audio feel from one track, and apply it to other audio or to MIDI materials, quantizing portions or all of a track to one another without having to apply a mechanical grid. You can quantize audio and snap sliced audio on one track to a transient on another, which makes Flex Time even more powerful. Streamlined audio productionįlex Time combines elegantly with a complete set of features that transform the experience of editing audio in Logic. Engineers may not want to let musicians know they can change recordings this radically, lest Flex Time become to timing what pitch correction has become to tune. For recording and production workflows, Logic has made this kind of work uniquely accessible, and it can make the edits almost stunningly transparent. Logic is arguably better for subtler adjustments than Live, as Live’s warping is geared for regrooving large blocks of loops and combining them in non-linear ways. Live focuses on mapping the entire tempo of a loop, whereas Logic leaves audio untouched by default. It’s perhaps closest in spirit toĪbleton Live ( ), though with important differences. ![]() Logic’s implementation takes a little bit of the best of all of these features. But there are certain advantages to being last. Rival technologies from Steinberg, Digidesign, Cakewalk, MOTU, and others have all sought to make molding sound around beats easier. This kind of functionality may be familiar to experienced users of digital audio workstations. (This version also adds Speed Fades, which can simulate the braking of a turntable.) Apple says all of these modes are based on new audio algorithms developed in-house, and the results sound terrific. The Speed mode changes the pitch along with the time, as would changing the playback speed of traditional analog tape. Different modes allow you to ensure the results fit the source material: Slicing and Rhythmic modes preserve the attacks of percussive material, whereas Monophonic and Polyphonic modes stretch the sound. You can change as few or as many points inside a waveform as you wish, whether re-grooving an entire recording or fixing one errant high hat. The effect is addictive and instantaneous the interface never feels like it’s in your way, because you can drag on the waveform directly to warp it. Drag the marker left and right, and the waveform squishes or stretches like Play-Doh. Click a waveform, and you can add a Flex Marker-a pointer to a position in the recorded waveform-which you can move forward or backward in time. Switch to the Flex Time view in the Arrange pane, and blocks of audio become stretchable. Logic Studio’s new Flex Time tool collection combines a new interface designed for making these changes with an under-the-hood engine that can warp sound more convincingly. For sound designers, producers, and remix artists, there are creative reasons to want to re-groove recorded audio, as well. That can limit some creative possibilities: even when working with talented musicians, part of a take might be slightly out of time–especially when adding up a day’s worth of different takes. Once recorded, sound traditionally ceases to be entirely malleable: you can slice and reorder sound, but changing its internal timing is more difficult. But those highlights aside, smaller fit-and-finish enhancements are often of equal importance in real-world production. MainStage has grown from a clever way to host instruments and effects to a more mature host, adding integration with other software, as well as playback, looping, and recording capabilities. New models of amps and effect pedalboards emulate traditional guitar gear and open up new performance possibilities. There’s an entirely new audio manipulation engine, allowing recorded sound to be reshaped in time. Overall, Apple’s Logic Studio 9 introduces some significant headline features. ![]()
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