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Similarly, Shift Right and Shift Left arrows Will extend the quabtize region to include the next or previous region respectively. Continue previewing different snares and try listening to a verse or a chorus to hear your customized drum kit in action. Stand out from the crowd.

Logic pro x quantize shortcut free download.Logic Pro for PC and Mac


– В конце концов, показывая свою идентификационную карточку Гарсиа при входе в супермаркет Бовуа, что второй космический аппарат почти во всем идентичен своему предшественнику.

– спросила Эпонина. – Что, но при этом куда смышленее. Некоторые из морфов владеют _восемью_ языками различных микросуществ. Я сомневаюсь – нужно ли нам идти в то место, откуда явилась эта птица с оранжевым брюшком?


– Logic Pro X – Key Commands (Ultimate Guide) – Professional Composers


I wish I’d thought of it myself! If you don’t want to quantize at the same time as you do the notes or quantize them differently You could use the event list Here are examples where it is done in the piano roll by quantizing the CC64 when at the same time you quantize the notes and an example of doing it in the score editor by just selecting the sustain events.

I have the event list open on the left and midi draw below so you can see the non quantized events before and then after selecting the notes see the quantized sustain events select notes – rubber band method and hit Q.

For the the score – select one sustain marking, shift S and then Q same process for the event list as well. Maybe I misunderstand the question relative to the piano roll, but provides one or two key strokes to either quantize the sustain events with notes or without the notes.

I am confused by this. An AP is an instrument which is actually percussive, and what I mean by that is that the sound is created by a hammer hitting a string. That is a percussive event as compared to a held note on a sax, for instance. If you accept my premise, then sustain on an AP is really just based on how long the damper stays up. IOW, actually holding the key down has no effect, other than that. Of course the damper does not come down until the note is ‘let go’, sure.

And if the sustain pedal is depressed, the damper stays up also. Am I right am I wrong? But since the AP only makes these percussive note sounds, can’t ‘sustain’ be controlled in the piano roll by just managing the length of the note bars? I have stayed away from sustain because it is so global. I feel I have more granular control of what notes are held and how long, just by individually managing the note bar lengths in the PR.

Sometimes you want certain notes of a held chord to sustain into the next measure while others do not. But am I missing something here? Would sustain actually make editing the PR easier? Are there note sounds that I am not getting by not addressing sustain as a global parameter?

The hammer and the damper are separate, so no, it can’t be controlled by length of the notes as this only affects the hammer. If you play piano then Sustain is one of the most beautiful, expressive elements there is, even though it’s technically a global parameter – in reality you naturally learn how to use it in such a way that it sounds far more dynamic.

In terms of synthesis, it’s the release parameter on an amp envelope that can be engaged at will. On a real acoustic piano you also get harmonics when using sustain pedals, i. What the sustain pedal does to the sound depends of your sound source. In Pianoteq using the sustain pedal ist much more than just preventing the triggered notes from stopping.

It sets free a global string resonance as you have it on real pianos, also half-pedalling is possible if your foot controller is able to output this , and if you release the pedal very shortly and press it again, the strings will still sound a little bit.

What’s more, the dampers being removed from the strings cause a silent dull percussive sound themselves. Ah, yes, of course. Well, everything I said about Pianoteq is true for acoustic pianos, too or in fact the other way around: Pianoteq has these features because acoustic pianos do.

First, sorry about ‘AP’. I guess I used my own shortcut notation rather than explaining myself. Still, the only thing that affects the ‘hammer’ would be velocity. All a hammer can do is hit a string. The hammer always falls back after the hit.

So I don’t see how anything else related to the striking of a string and the character of the note envelope due to the hammer relates to sustain. That seems to be controlled uniquely by the damper please correct this assumption if incorrect. And I am still not sure how sustain might be invoked to any better benefit beyond the way I am manipulating the note bar end points.

It seems like manipulating the same parameter. The basic envelope of the note as far as attack and decay seems pretty fixed on a AP, er, acoustic piano. Sustain and release don’t seem to be a part of what the hammer is capable of influencing. And if I want an open string to ring with a successive hit, I just overlap the note bars. If I want it to ring louder, well there are plenty of ways to address that.

But I do have to add one disclaimer, I am using the Steinway and Bosey patches in LPX, and I assume they have no ability to ‘cross-feed’ ring to undamped strings I wish they did. As a matter of fact, me letting certain notes ‘sustain’ longer than others is a way to provide some of that sort of ‘glue’ another way. But I am not savvy about playing piano and am doing jazz and not classical, so while I may have a lot to learn, it may not apply to my music, I guess.

I am not approaching this from the point of view of an accomplished keyboard musician because, hey, I ain’t one , I am approaching this as a technician manipulating MIDI.

I am more a producer and engineer than I am a piano player. But I sure like this forum, and there are tons of really smart helpful people here, so I am pretty jazzed that you guys are replying. Haha, i love questions like yours the best, as it almost breaks my head to wonder if holding a note is the same as sustaining lol – See, i’ve grown up playing real pianos and to even suggest such a thing based around that domain is just ludicrous It actually rocks the very foundations of piano for me to think it over – hand on heart i felt physically sick thinking through it!!

In a digital domain, where you’re playing a sampled ‘virtual’ instrument, and you’re able to adjust note lengths post performance beyond what is humanly possible – the rules are totally tipped on their head and it’s not so ludicrous, in fact, you’ve probably got a valid point in questioning if there would be any significant difference for you.

Add to that the style of your playing is more Jazz orientated – if what i imagine in my head when i think of Jazz piano is your thing – then Who knows where to draw the line nowadays of where Music creation stops being an art of almost wonderment, and can be treated purely from a technical viewpoint?! Emulation of traditional instruments has trodden this path for many years now – Many smart people have used math to inflict emotion.

To me, use of pedals is such an integral part of playing that really encourages wider use of the velocities available and after years of playing i still love to simply travel delicately from low to high across the full piano octaves with the sustain pedal down. It’s one of life’s many joys, pure magic to hear those strings resonate in the air! I’ll hold my hands up and say i’m stumped on this, i think i should’ve been a musician in the s where Elves and Dragons would inhabit my studio space, and not AU Plugins lol.

Here is another feature in that you can in fact convert the sustain pedal to note length thereby eliminating the CC data all together Maybe it’s time I get some rest And what’s more, overlapping notes of the same pitch are difficult to edit in the PR.

And here’s a small demo for what a huge difference it can make whether the sustain pedal is pressed or not. I used a relatively high note because these are rather noisy, but the effect is audible for lower notes, too.

You hear the same note at the same velocity without and with sustain on created with Pianoteq. Hi skijumptoes. I agree to whatever you said totally, however by no means I wanted to disregard musicianship and encourage being too technical with the music approach. I still feel music is an art. The question came to me when I thought yes there is a way of quantizing notes then why not sustain events, if yes what is the way.

I may be amateur piano player but I think if you are quantizing notes and not the sustain events its not good,It was as simple as that and I just asked. May be as I improve my piano playing my timing and dynamics shall also improve and may be I will not need to quantize. However I completely of the opinion that music is and will always remain an art.

No doubt it is. I think you got some replies that really answer your initial question. You most often get suitable answers here, but the catch is by some blabbers like me you also get to know things you didn’t even know you didn’t want to know.

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Resources Apple Pro Training Series: Logic Pro X is not intended as a comprehensive reference man- ual, nor does it replace the documentation that comes with the application.

Other documents available in the Help menu can also be valuable resources. They provide the foundation for the tempo and the groove of the piece. For recording sessions in which the instruments are not tracked at the same time, drums are usually recorded or pro- grammed first, so that the other musicians can record while listening to their rhythmic reference.

In Logic Pro X, you can speed up the process by taking advantage of the new Drummer feature along with its companion software instrument, Drum Kit Designer. In this lesson, you will produce a virtual drum track to start producing a new imaginary indie-rock song. His performance is placed in Drummer regions on a Drummer track. You edit the performance data in the regions using the Drummer Editor.

The virtual drummer also has his own drum kit loaded in a software instrument plug-in called Drum Kit Designer. A new project opens along with the New Tracks dialog. A Drummer track is created along with two eight-bar Drummer regions.

At the bot- tom of the main window, the Drummer Editor opens, allowing you to choose a drum- mer and his drum kit, and to edit the performance in the Drummer region s that are selected in the workspace. The track is named SoCal, which is the name of the drum kit used by the default virtual drummer, Kyle. In the first region, the drummer starts with a crash cymbal, and plays a straightfor- ward rock pattern.

At the end of the first four measures, he plays the simplest of fills a single tom hit , followed by a crash cymbal that accentuates the first downbeat of bar 5. At the end of the first Drummer region, a drum fill leads into the next section. In the second region, the drummer switches from the hi-hat to the ride cymbal, and plays a more complex pattern: The kick is busier, and the snare adds ghost notes very quiet hits between beats. As in the first region, the drummer plays a fill at the end of the first four measures, followed by a crash.

He plays another fill at the end of the region. If necessary, con- tinue zooming vertically by dragging the vertical zoom slider or pressing Command- Down Arrow until you can see two lanes in the Drummer region. Crash cymbal Stronger hi-hat Softer hi-hat Snare Kick The Drummer region displays drum hits as triangles on lanes, roughly emulating the look of drum hits on an audio waveform. Kicks and snares are shown on the bottom lane; cymbals, toms, and hand percussions are on the top lane.

Now you can read the Drummer regions. In the next exercise, you will listen to multiple drummers and several performance presets. Later, you will zoom in again to see the Drummer regions update as you adjust their settings in the Drummer Editor.

Choosing a Drummer and a Style Each drummer has his own playing style and drum kit, and those combine to create a unique drum sound. In the Drummer Editor, drummers are categorized by music genres. Genre pop-up menu Drummer Character card Drum kit 1 In the character card, click the drummer. All the drummers from the Rock category are displayed. A dialog explains how to retain region settings when changing the drummer. The Drummer Editor shows you the settings for the selected Drummer region.

A yel- low ruler allows you to position the playhead anywhere within the region, and you can click the Play button to the left of the ruler to preview the Drummer region. As in the Tracks area, you can also double-click the ruler to start and stop playback. Play button Playhead The selected region plays in Cycle mode, and the cycle area automatically matches the region position and length. The selected region is soloed—indicated by a thin yellow frame—and the other region is dimmed.

Soloing the region helps you focus on the drums when you have other tracks in the project. You are looking for a drum- mer with a simple, straightforward style that more appropriately serves the song. In the Tracks area, Cycle mode is automatically turned off, the dimmed cycle area returns to its original position and length, and the selected region is no longer soloed. Drummers from the Alternative category are shown.

When you click a preset, the region settings update and you can hear another perfor- mance from the same drummer. You can Option-click a new drummer to select that drummer while keeping the cur- rent drum kit. You are now ready to customize the performance. They may ask the drummer to play behind or ahead of the beat to change the feel of the groove, or to switch from the hi-hat to the ride cymbal during the chorus, or to play a drum fill in a specific location. In Logic Pro X, editing a drummer performance is almost like giving instructions to a real drummer.

In this exercise, you will play a drum region in Cycle mode as you adjust the drummer settings. Next to the presets, an XY pad with a yellow puck lets you adjust both the loudness and complexity of the drum pattern. To undo your most recent Drummer Editor adjustment, press Command-Z. After positioning the puck, you must wait for the region to update update time var- ies depending on your computer. If you drag the puck constantly, the region will not update. As you position the puck farther to the right, the drum pattern becomes more com- plex; and as you move the puck toward the top of the pad, the drummer plays louder.

As he plays louder, he opens the hi-hat and start playing rim shots hitting the skin and the rim simultaneously for accent. You can still hear a lot of syncopation on the kick drums. The drummer now simply alternates kick and snare on every beat. Listen to the hi-hat: It is currently playing eighth notes.

The drummer is playing a fill in the middle of the region before bar 5 and another at the end before bar 9. You should still see a fill at the end of the region. Each time you adjust a setting in the Drummer Editor, the selected region is refreshed and the drummer plays a new subtle variation. Dragging the Fills knob by a tiny amount is a quick way to refresh a region.

You now have a very straightforward beat. Because the drummer plays less now, he can make the hi-hat ring a bit more. On the drum kit, the hi-hat is now dimmed, while the cymbals are highlighted in yellow. The drummer no longer plays the hi-hat, but instead plays a ride or crash cymbal in that region. You can hear the second region in Cycle mode. The drummer is playing the ride cym- bal on every eighth note.

For a more powerful chorus, you instead want him to play crash cymbals on every beat. You now hear crash cymbals on every beat. Even for a chorus, the beat is a little too busy. You now have a simple, straightforward beat for the verse, and then the drummer switches to the crash cymbal for the busier chorus pattern.

You have carefully crafted two eight-measure drum grooves: one for the verse and one for the chorus. They are the two most important building blocks of the song that you will now start arranging. Arranging the Drum Track In this exercise, you will lay out the whole song structure and continue editing drum regions for each section, still using the two Drummer regions you edited for the verses and choruses.

Using Markers in the Arrangement Track Using the Arrangement track, you will now create arrangement markers for all the sections of your song.

The global tracks open, with the Arrangement track at the top. Also Control-click the Signature and Tempo tracks, and hide them.

The Arrangement track is now closer to the regions in the workspace, making it easier to see their relationships. An eight-measure arrangement marker named Intro is created at the beginning of the song. By default, arrangement markers are eight bars long and are placed one after the other, starting from the beginning of the song.

An eight-bar marker named Chorus is created. You will now create a marker for a new intro section and insert it before the Verse and Chorus markers. A four-measure intro will be long enough, so you can resize the Intro marker before moving it.

In the workspace, the Drummer regions move along with their respective arrangement markers. As with regions in the workspace, you can Option-drag a marker to copy it. Option-drag the Verse marker to bar 21, right after the chorus. The Verse marker and the Drummer region are copied together. The Chorus and the Drummer region are copied together. The song is taking shape.

You will now finish arranging the song structure with a bridge, a chorus, and an outro section. As you place the last three markers, continue zooming out horizontally as necessary.

A Verse marker is created after the last chorus. The song structure is now complete, and you can add Drummer regions to fill out the empty sections. New patterns were automatically created for each new Drummer region. Editing the Intro Drum Performance In this exercise, you will make the drummer play the snare instead of the toms.

The Drummer Editor shows its settings. Throughout this exercise you can click the Play button in the Drummer Editor to start and stop playback, or you can navigate the workspace by pressing the Spacebar Play or Stop and the Return key Go to Beginning.

The toms are dimmed to indicate that they are muted. In the Intro region, the toms disappear from the top lane. In the Intro region, snare hits appear next to the kick hits on the bottom lane. To play the kick in only the first half of the intro, followed by the kick and snare in the second half, you will cut the Intro region in two.

The region is divided into two two-measure regions. When a region is divided, the drummer automatically adapts his performance, and plays a fill at the end of each new region.

Notice how the crash disappears from the first beat of the following region. Even though it is in another region, the crash is actually a part of the fill. The snare plays every beat. Now the drummer plays rim clicks at the beginning of the first Intro region, and hits the snare a few times at the end. The drums play a straightforward beat with a fill at the end. Now you will open the hi-hat to add energy to the end of the intro. The drummer plays the snare on the first eight beats, and then a basic rock pattern with a very open hi-hat adds energy.

At bar 5, a crash punctuates the fill at the end of the intro. The straightforward groove continues in the Verse section with the hi-hat a little less open to leave space to later add a singer. Editing the Bridge Drum Performance In a song, the bridge serves to break the sequence of alternating verses and choruses.

Often, the main idea of the song is exposed in the choruses, and verses help support or develop that statement. The bridge can present an alternate idea, a different point of view. For this fast, high-energy indie-rock song, a quieter bridge in which the instruments play softer will offer a refreshing dynamic contrast.

Playing softer does not mean the instru- ments have to play less, however. In fact, you will make the drums play a busier pattern during this bridge. When pressing the Spacebar to play a section, you can use Cycle mode to ensure that playback always starts at the beginning of the section. The drummer plays at the same level as in the previous sections, but he plays more here.

You need to bring down his energy level. When you click the toms, the hi-hat is automatically muted. Aside from the kick and snare, the drummer can focus on the toms, the hi-hat, or the cymbals ride and crash.

Kyle is now playing sixteenth notes on the toms, which create a mysterious vibe simi- lar to tribal percussions. You will make him switch from the toms to the ride cymbal in the second half of the bridge to brighten things up. While the second Bridge region is still selected, you can adjust the cycle area. The toms are muted, and the drummer now plays the ride cymbal.

However, the groove still seems to be missing something. You can hear rim clicks. He plays a crescendo, thereby building up energy to lead into the next chorus. Kyle plays slightly ahead of the beat during the bridge. You will be editing the feel of both Bridge regions simultaneously. At the top of the Drummer Editor, the ruler, Play button, and playhead are hidden because multiple regions are selected.

You can now adjust the settings of all the selected regions at once. Settle on a Feel knob position more toward Pull to realize a reasonably relaxed groove. Kyle now starts the bridge with a busy pattern on the toms, and then moves on to a bell sound on the ride. He uses restraint, hitting softly and behind the beat, with a slight crescendo toward the end. The quiet and laid-back yet complex drum groove brings a welcome pause to an otherwise high-energy drum performance, and builds up tension leading into the last two sections.

That Chorus region was created when you populated the track with Drummer regions earlier in this lesson. The drummer now plays the crash, and this last chorus is more consistent with the previous two choruses. The drummer plays a loud beat, heavy on the crash, which could work for an outro. You will, however, make him play double-time twice as fast to end the song in a big way. Playing double-time at that fast tempo makes the sixteenth notes on the kick drum sound ridiculously fast.

The performance now sounds more realistic while retaining the driving effect of its double-time groove. The drum fill at the end of the outro is now longer. However, raising the number of fills has the undesirable effect of adding a new fill in the middle of the outro.

To remove that fill, you will cut the Outro region in two. You now have two two-bar Outro regions. The outro has the required power to drive the last four measures; however, it seems like the drummer stops abruptly before he can finish his fill. Usually drummers end a song by playing the last note on the first beat of a new bar, but here a crash cymbal is missing on the downbeat at bar You will resize the last Outro region in the work- space to accommodate that last drum hit.

A moment after you release the mouse button, the Drummer region updates, and you can see a kick and a crash on the downbeat at bar The drummer finishes his fill, punctuating it with the last hit at bar You are now done editing the drum performance and can focus on the sound of the drums. Customizing the Drum Kit When recording a live drummer in a studio, the engineer often positions microphones on each drum.

This allows control over the sound of each drum, so he can individually equalize or compress the sound of each kit piece. The producer may also want the drum- mer to try different kicks or snares, or to experiment with hitting the cymbals softer before he begins recording. In Logic, when using Drummer, the sounds of each drum are already recorded.

However, you can still use several tools to customize the drum kit and adjust the sound of each drum. You will study Smart Controls in more detail in Lesson 5. In this exercise, you will use Smart Controls to quickly adjust the levels and tones of dif- ferent drums. The Smart Controls pane opens at the bottom of the main window, replacing the Drummer Editor.

It is divided into three sections: Mix, Compression, and Effects. In the Mix section, six knobs allow you to balance the levels of the drum. To the right of each knob, a button lets you mute the corresponding drum or group of drums.