Chapter 1, Beginning with Logic Pro 10.6, provides an overview of all the ways Logic Pro can help you create music. It will give you an important understanding of what audio and MIDI actually are, what audio interfaces are and do, and which settings are global versus project-specific, with recommended settings.
Chapter 2, Getting to Know the Logic Pro Interface, shows how easy it is to understand the interface, navigate it, and understand the basic terminology, meaning that, rather than being intimidated, new users will be confident that they can successfully learn how to use Logic Pro.
Chapter 3, Recording Audio, introduces the good news that Logic Pro gives you many ways to record and edit audio and MIDI. The bad news is that Logic Pro gives you many ways to record and edit audio and MIDI. This chapter will guide you through the pros and cons of each so you can find your perfect workflow.
Chapter 4, Editing Audio, shows how to edit and use existing material to replace sections with the Marquee tool, how to choose the right Snap settings, and when audio editing is destructive versus non-destructive.
Chapter 5, Recording MIDI, demonstrates that creating music with Logic’s vast array of virtual instruments is powerful and fun, once you understand how to use MIDI to make them shine. You will learn how to play in MIDI parts from a keyboard controller or the Musical Typing keyboard with software instruments and the different workflow options.
Chapter 6, Step Entering and Editing MIDI, shows how to step enter MIDI in the Piano Roll Editor to create parts. You will also learn how to refine the performance’s timing, velocity, and other aspects of the MIDI performance.
Chapter 7, Logic Pro’s Drummer, shows that creating drum parts that sound like a real drummer or a drum machine for all genres is easy. Can’t afford a real drummer or a bunch of vintage drum machines? No problem!
Chapter 8, Logic Pro's Step Sequencer, introduces step sequencers – a feature of classic drum machines and modular synths and a long-requested feature for Logic Pro. And now we have a great one!
Chapter 9, Working with Sampler, Quick Sampler, and Auto Sampler, explores how Logic Pro’s venerable EXS24 has received a major makeover and a Quick Sampler to boot, which is a gamechanger. Autosampler, previously only available in MainStage, is now also available in Logic Pro.
Chapter 10, Working with Live Loops, discusses a concept made famous in Ableton Live that has also been incorporated into GarageBand for iOS. Now it is also incorporated into Logic Pro.
Chapter 11, Working with Audio Files, Tempo, and Pitch, introduces Smart Tempo for ad-lib recording, Flex Time for fixing timing, and Flex Pitch for tuning your vocals – all exciting features in Logic Pro. You will want to spend a lot of time with these.
Chapter 12, Getting the Arrangement Right, tackles the fact that if the arrangement isn’t right, the end result will not have the impact you are seeking. This chapter will show you the author’s favorite ways to get it right.
Chapter 13, Organizing for the Mix, addresses the fact that organization is essential – because an ounce of preparation is worth a pound of cure. Folder stacks, screensets, mixer naming, and its different views, as well as employing key commands and global tracks are all essential techniques for an efficient workflow that you will learn about.
Chapter 14, Mixing Your Project in Logic Pro, covers how mixing is not about making everything sound great; it’s about making it all work together. In this chapter, the author shares what he has learned on his own musical journey.
Chapter 15, Automating Your Mix, discusses the importance of giving your mix a sense of liveliness and breathing with automation. Offline or online? The author uses both at different times and explains the why and the how in this chapter. Virtually anything can be automated in Logic’s plugins, as well as volume, panning, and muting. You will discover the difference it makes from just employing “set and forget.”
Chapter 16, Delivering Your Music for Distribution, covers key aspects of distribution. Ever notice that commercial recordings sound pretty different from people’s computer-based songs? Mastering is a big part of it. Do you need a mastering engineer? How do you send your mixes to another engineer or mastering engineer and finally out into the world? You will be led through all that in this final chapter.
