Logic pro 9 vs logic pro x sound quality free download.Apple Logic Pro X

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In , Apple unveiled the latest iteration of its professional recording software, Logic Pro X. Who is it for? What are the best ways to use it? And what are the pros and cons? Although all DAWs share some common principles, i. Pro Tools is arguably the most commonly used DAW in professional recording studios. Cubase, on the other hand, is more geared towards PC music production and is predominantly used in schools and home studios. This should is evidence enough to show that the software has scope to produce truly professional, creative results quickly!

The beginner software typically comes installed as standard in all Macs and includes GarageBand. Is Logic Pro X for dummies? Having said this, users have the option of getting the pro software if they want it! Downloadable via the App Store, anyone from more advanced beginners looking to move beyond GarageBand, to professional studio producers can make use of Logic Pro X. Logic Pro X includes a massive collection of stock plug-ins and plenty of tools for professional songwriting! Unfortunately, for Windows users, Logic Pro X is not an option.

If you search long enough, you can probably find a way around this issue. Yet in all honesty, the main reason for using Apple Mac OS is the seamless integration with the hardware. When one company is in charge of making both the machine and the software, the result is a smooth and efficient process something of a prerequisite when you are trying to be creative! Like all things computers, this largely depends on your use-case.

The kitchen is a good metaphor for understanding how these fit together…. This is where stuff on your computer software, files, everything lives permanently. Audio files are quite big so high RAM capacity is essential if you plan on working on audio projects with lots of large files. The sharper the knife the better the processor the quicker it can chop the ingredients.

So, for audio work and to deliver more power, a good amount of RAM is helpful as it allows you to work with more files 8GB is good, 16GB is better, but the more RAM you have the bigger you can go with your projects. The better your processor, the more flexibility you have on the software and plug-Ins you may want to use, especially if you are layering multiple effects. If you want to store projects on your hard drive, a large capacity will be useful but you can always archive these onto external hard drives.

So this is perhaps a little less important overall. For really large-scale, high-performance projects, a Mac Pro with a high-quality Thunderbolt Interface would be best. Thunderbolt allows for a much faster data transfer than USB 3, meaning you can edit imported audio with ease, and use lots of plugins without overloading your CPU.

Personally, my recording process tends to be relatively simple. I have a high spec iMac with a Focusrite Scarlett 18i20 interface running audio and midi. The MacBook Pro is certainly capable of producing professional music. It is substantially equipped for recording, songwriting, editing and mixing, and mastering processes!

However, I personally prefer to use the iMac as my main workhorse, due to its larger screen. This is a hugely significant change, not only because the old CDs had to be ordered or purchased from an Apple Store and manually installed a much slower procedure , but because the App Store allows customers to easily and remotely update apps across multiple devices.

Logic Pro X updates frequently include new loops, plug-ins, features and performance improvements. And the cost of these updates is… nothing. Zilch, zip, diddly squat!

The slick modern aesthetic of Logic Pro X is a far cry from its predecessors. Featuring a single customizable window view if you have multiple screens, you can also have separate windows for the Mixer, Audio Editor, etc. Navigation is efficient and satisfying, and fairly reminiscent of Final Cut Pro. Included in the new software was also a completely rebuilt sound and loop library for creators to flesh out their recordings with breakbeats, samples, riffs and more.

The Drummer tool is really interesting. It is essentially a modern automatic drum machine, which allows you to select the style, number of fills, the amount of swing and beat complexity to create what feels like a real drummer. The Smart Tempo feature enables the drummer track to automatically pick up the tempo of another track and play along in time!

Songwriters can use this tool to flesh out their demos. This is useful as a temporary solution before the real drums are added. In terms of the MIDI sound library, Logic Pro X has an enormous array of keyboards and synths and more patches than you could use in a lifetime! I think the most exciting feature is the Logic Remote app, free for iPad and iPhone.

The app connects your iOS device to your computer and allows you to control the software. You can pause, stop and record, obviously. But you can also edit effects and panning, so this is an amazing tool if you like a fader-style mixing approach without actually having the faders, of course. This can also save you a lot of time if you are recording a live instrument, but are too far from your Mac to control it! The app can also be used to manually tap the project tempo, or play in keyboard and drum instruments.

A key concept to understand with Logic Pro X and how it compares to Pro Tools is the approach to plugins. Pro Tools is arguably the most used DAW in the world. It is a very good piece of software and comes with a number of great plugins. Despite this, in my experience of recording in other studios, a real part of working with Pro Tools is choosing specific 3rd party plugins to really define the kinds of sounds that come out of your studio.

And because Pro Tools is the number one DAW in the world, most 3rd party plugins are designed primarily to work with it. The Plug-ins are pretty comprehensive and following the Logic Pro X This means they are very detailed, powerful and sound incredible.

And of course, in classic Apple style, they look great and are super easy to use! In particular, the ChromaVerb reverb allows you to choose your room, set your parameters on decay and even choose how your reverb responds over the frequency spectrum, but also has tons of presets if you need a framework to get you started. The quality of plug-ins, however, can vary quite a lot. Both of these sound great and are hugely versatile but I have found the Waves plug-ins to be a little less stable than the Vox.

Additionally, the visual representation on the Waves is a little less pretty; it feels very much as though perhaps writing the software for Logic Pro X was an afterthought to coding for Pro-Tools. So my advice would be to get suggestions from other producers or read up on the reviews if you are looking to delve outside of the stock Logic Pro X plugins.

Sometimes, a musician in the studio may want to have a few runs at different elements of a song to get the perfect take for each section. In a lot of DAWs, this means recording multiple takes over multiple tracks. With Logic Pro X, however, you can create multiple versions within one track and choose the best bits. From here you can crossfade together the perfect take all on one track with one set of plugins and one clean track, which makes mixing significantly easier!

As with most recording software, you often rely on using buses to process effects to minimize CPU drain on the machine, to ensure everything runs quickly and smoothly.

Applying the same reverb effect to every single guitar, bass and drum track on a song is tedious! A nice touch in Logic Pro X is that when you choose to send a track to a Bus, the Auxiliary channel is automatically created in the Mix window. This allows you to add any effects you want to it, and name it without having to first create the Bus channel. Then you can assign it and add the effects. I tend to add some effects to the individual tracks — usually EQ and often compression and other specific effects.

If you are using MIDI instruments, I would recommend going into the details if you want it to sound as real as possible. Take some time to adjust the velocity and playing style of each note.

This nifty feature allows you to change note velocity and slightly shift the timing. This can make all of the difference with a drum beat or melodic pattern, making it sound less robotic. If you have a passion for unique and vintage instruments like me, this often crosses over and becomes an obsession! This can involve spending a bit of time traveling around to record specific instruments I recently had the opportunity to record a s T Hammond organ that my dad had stowed away in his garage.

Logic provides an amazing solution for situations like this. I was able to simply share the Logic Pro X Project file to my laptop via AirDrop and record the instrument on location! One piece of advice I would offer here would be to share the whole project back to your main working Mac, once you have your new piece of audio in your project. Bear in mind, this can sometimes lead to the machine getting confused and unable to locate it.

The best thing to do is solo the track and bounce the raw file of the recorded audio. You can then drop that into the existing project on your main computer. Generally, most producers record all the audio necessary for a project before they begin adding huge amounts of audio processing.

As an artist that self-produces, I often fall into the trap of building up the sonics of a track during the recording process. Fortunately, the creators of Logic Pro X have got this covered! This effectively by-passes the plugins during recording to stop latency without you having to manually turn each plugin off.

Logic can also be installed on all the machines you own, and the Logic Remote is free. Make sure to leave the software open well in advance of the session! The reason for this is as follows. When you first open Logic Pro X after purchasing it, you must first download all the necessary sound assets. This will take up a big chunk of your storage! My tip would be to never head straight into a session after downloading Logic Pro X to a new machine.

Make sure you update the software first.



Logic Proの使い方 上級者編 – Discussion


Apple have made Logic easier to use. But have they compromised the powerful features that professional users depend on? Logic Pro X was released on July 16th, almost four years to the day after Logic Pro 9 — the longest that users have had to wait for a major new version in the product’s year history. Apple switched Logic Pro from boxed product to download nearly two years ago, so it’s no surprise that Pro X is available only through the App Store.

Moving Logic to the App Store has one big implication for existing users, which is more a limitation or policy of the App Store than a decision Apple have made for Logic Pro specifically: there is no upgrade pricing.

If you previously bought Logic Pro 9, you’ll pay the same price as those coming to Logic for the first time, although this isn’t, perhaps, as unreasonable as you might first think.

After this, you’re free to use Logic, although there’s nearly 35GB of further content waiting for you in the cloud if you desire. As the basic content downloads, two links to Logics Pro’s Help system are displayed: one for newcomers, and one for existing users.

There is no longer an Arrange window — it’s now called the Logic Pro main window — and the Arrange area itself is now the Tracks area. Apple have also given Logic a dose of Ritalin, removing any occurrences of the prefix ‘hyper’ from the program. Another change worth noting is that Logic Pro X, like Pro Tools 11, is a bit-only application, and Apple have removed the bit Audio Unit Bridge that allowed bit plug-ins to run. This will obviously be something of a pain for those who have bit plug-ins they still want to use, although I can see why Apple wanted to force everyone into the bit realm: running bit plug-ins via the Bridge never felt completely reliable.

Using a host like Vienna Ensemble Pro alongside Logic might help mitigate some of the frustration. A comparison between the interfaces of Logic Pro 9 and X. If you’re used to previous versions of Logic, I think it’s fair to say that you might be in for a bit of a shock the first time you see Logic Pro X’s new user interface.

The result is incredibly dark, even compared with other music software, and a part of me misses the appearance of Logic 9, where function areas were light and contrasted well with the darker editing areas. Along with the palette change, Apple have also introduced arguably the most significant user-interface overhaul that the program has yet seen. Logic’s previously sparse menu structure has been fleshed out to provide easier access to the program’s many commands, and that’s probably a good thing.

The Track menu from the old Arrange window has been promoted to the main menu bar, and is joined by other menus, such as Navigate, Record, Mix and View. I was fairly well acquainted with Logic’s earlier menu structures, but this is definitely an improvement.

Before going any further, I should note that when you open Logic Pro X for the first time, you might not see all the commands you’re expecting in the program. In what could be considered a slightly dubious move to make the program seem less overwhelming to newcomers, Apple have added an Advanced Tools mode that needs to be enabled to show features like the Event, Marker, Tempo and Signature Lists, or MIDI Draw and step input recording. There are also additional ‘advanced’ options for audio, surround, MIDI, control surfaces, score and advanced editing functionality.

So the first thing you should do after loading Logic Pro X is to open the Advanced Preferences panel and make sure all of these options are enabled. The redesign sees the Transport bar relocated from the bottom of what was the Arrange window, and incorporated into a new Control bar at the top. The main element of the Control bar is the LCD previously known as the Transport bar Display , which displays the current position in beats, along with the tempo and the key and time signatures.

To seasoned Logic users, this may appear worryingly basic. The Control bar also includes a few of the icons previously found on Logic 9’s toolbar: specifically, those for toggling the Inspector’s visibility, and opening the various list editors and browsers that appear on the right-hand side of the main window.

Although it’s possible to configure what controls appear on the Control bar and LCD by right-clicking in an empty spot and clicking ‘Customise Control Bar and Display…’ , you’ll notice that it’s not possible to include any editing commands that could previously be attached to the toolbar.

This is because the Control bar is not, in fact, meant to replace the toolbar, and Logic Pro X provides a separate toolbar that is summoned by toggling the Toolbar button on the Control bar. You can, again, customise the toolbar as before, and this process has been made easier: you simply toggle the commands you want, rather than having to drag and drop icons.

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.


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