Aggregate I/O — Cue Mixes — Route That Audio

Control sends on faders in Logic Pro X — Apple Support

When you set the mixer to Sends on Faders, send level replaces channel volume on all instrument and audio channel strips with the same send. Sends on Faders can be a great way to quickly create a headphone mix.

I have been using an aggregate IO device on my Mac for years. I keep changing things around, and think I have a nice, workable solution.

I have my Behringer XR18 “first” for 18 outputs. That is followed by the USB outputs on my Behringer Monitor2USB (output 19-20). I can route a “cue” mix to that stereo pair and easily select it by changing the input button from source 1 to source 2. Great idea. I can also “demo” multiple mix buses if I want to.

I use Rogue Amoeba’s “Soundsource” to route application audio. I can direct output to a device, but I don’t have quite the control that I am looking for just yet. It’s probably time to break out Rogue Amoeba’s “Loopback” (think Soundflower or Dante VIA) to see if I can fine tune output targets to separate channels on the XR18 or Monitor2USB or internal speakers…lots of experiments to be had.

creating midi file from Logic’s metronome [SOLVED] — Logic Pro Help

creating midi file from Logic’s metronome [SOLVED] — Logic Pro Help

Here’s the idiot-proof version for those who have never worked in environment before. I like having a separate individually adjustable click track:

This is a very handy little trick — make a MIDI recording of the click track.

Here’s the idiot-proof version for those who have never worked in environment before. I like having a separate individually adjustable click track:

1) Make sure tempo is as you wish it to be. Create a MIDI instrument track and choose instrument Utility->Klofgeist. Leave that track selected

2) From the Logic Main window, Open Environment window. WINDOW->OPEN MIDI ENVIRONMENT

2) At Upper Left Corner of Environment window , Pull down menu “Layer” with default value “Mixer” to choice “Clicks and Ports” ( Layer->Clicks and Ports)

3) Click and hold on the little arrow in (MIDI Click icon) and drag to (Sequencer Input) icon there is some confirmation I forgot but I accepted. A line should stay when you release, something like appears below.

4) Close Environment window

5) Make sure the click track you created is in Record mode and start recording. Boxes should appear, sent from the metronome to the track. Those notes comprise your click track.

Recall Screenset 1x ⌃1 — Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Recall Screenset 1x    ⌃1

Recall screensets 10 through 19. I haven’t used more than 5 in any of my projects, but I can certainly see how it might come to that. I have yet to try the intriguing “switch to screenset ##” during playback. That could be a big time saver if there are some extra fiddly things that need to be looked at.

Create, recall, and switch screensets — Logic Pro X

You position windows in a layout that suits the way you work. This layout of various windows, including their display size, zoom levels, position, and other settings, is called a screenset. Once defined, you can save, and freely switch between different screensets, much as you might between different computer displays.


Open in Audio File Editor ⌃W — Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Open in Audio File Editor    ⌃W

Opens the currently selected note/sample in the Audio File Editor. Not to be confused with the global command ‘Open in External Sample Editor ⇧W’ (I have this currently set to RX7) which opens the audio in a separate application.

Audio File Editor overview — Logic Pro X

Most day-to-day audio editing tasks are performed in the main window and Audio Track Editor. The Audio File Editor is useful for removing pops and clicks in audio material, setting accurate crossover points for looped playback, correcting phase cancellation errors, and more.

You can use the Audio File Editor to work with transient markers that indicate significant points—or transients—in an audio file. The audio on a track is analyzed for transients the first time you enable that track for Flex Time editing. Any detected transients in the file are marked.

Important: Most edits and functions performed in the Audio File Editor are destructive. This means the actual data of audio files is changed. Although you can undo edits and processing commands, you should work with copies of your audio files, rather than the originals.


Shift selected Zone(s)/Group(s) Right ⌥→ — Logic Pro X keyboard command of the day

Logic Pro X keyboard command of the day. #LogicProX @StudioIntern1

  Shift selected Zone(s)/Group(s) Right    ⌥→

In the EXS24 Sampler. Shifts to the right. I am not much of a sampler user, more of a sample player. When I first was exposed to samplers (Fairlight) they were ludicrously expensive and severely limited in their capacity. I thought it much better to get people to play real instruments 😉 Silly me.

Graphically edit EXS24 mkII zones and groups — Logic Pro X

You are not limited to editing zones and groups in the Parameters area. You can also graphically edit a number of zone and group parameters in the Zones/Groups Display area above the keyboard. If you want to edit the audio file of a zone, see Edit samples in the Logic Pro X Audio File Editor.

From the November 2007! “Sound on Sound”

Expressive Sound Design With EXS24

EXS24 is a fully fledged virtual sampler that allows you to not only load and play extensive libraries of sounds, but to also edit them and use them as starting points for further sonic manipulation. All the controllers and modifiers you would expect to find on an advanced synthesizer are included here and they’re all available from the Editor view of the plug-in window, with the added benefit of a very flexible modulation matrix allowing for all sorts of control signal source routing to various parameters. A flexible Filter section with six switchable modes of operation (high-pass, band-pass and four types of low-pass) provides all the tone-shaping options desired, while the amplifier section is ‘hard-wired’ to velocity (although constant values are also possible via limitation of the range control). Three LFOs and two Envelopes can be freely assigned to any generator or modifier parameter — as well as to each other — using the available modulation matrix, while the Via field allows for assignment of a further modulation source (typically a MIDI controller number, although control signal sources are an option too). The routing possibilities are endless, as are the ways in which a static source sample can be modulated dynamically.

Below is the Groove3 course listing for learning to use the EXS24 (Emagic Xtreme Sampler 24 bit)

EXS24 In Action — Turbocharge Your EXS24 Skills

Get an overview of the main windows, where samples & sampler instruments are stored, and how the EXS 24 works.

EXS Overview (09:18) — Get an overview of the main windows, where samples & sampler instruments are stored, and how the EXS 24 works.

Browsing & Managing (09:12) — Learn the different ways of browsing, searching, organizing, and backing up sampler instruments, and sampler instrument settings.
Voice & Pitch Parameters (07:14) — Discover how to use Unison mode to thicken up a sound and create a fat chorused effect.
Glide & Pitcher Parameters (10:00) — Learn how to create subtle pitch envelopes with the glide and pitcher parameters to beef up both drum and bass parts.
The Filter section (09:11) — See how the different filter parameters work and how they can be used to create movement on static legato pad sounds as well as shape drum parts.
Volume & ADSR (10:06) — Explore the different areas on the front panel used to modulate velocity and volume, both statically and over time via the Env 2 ADSR parameters.
The LFO Section (07:52) — Learn about the different controls for shaping various waveform patterns over time that can be used as modulation sources in the Modulation Matrix.
Modulation Routing — Pt. 1 (13:53) — Discover how to set up fun and interesting musical modulation pathways using the EXS24’s modulation matrix.
Modulation Routing — Pt. 2 (05:33) — More wild and whacky modulation routings — learn to stretch your imagination!
Chorusing / Detuning Techniques (10:25) — Learn how to use the EXS24 transpose, tuning, and fine-tuning parameters to create interesting timber shifting and chorusing effects.
Creating an Instrument (11:32) — See how to create a simple single zone EXS24 instrument from scratch.
Using Velocity Layers (10:50) — Discover how to add more zones to the simple single zone instrument, assign them to a group, and set up a velocity layer.
Creating Multi-Zone Instruments (09:53) — Explore the different ways of loading in, creating, and working with multiple zoned instruments.
Using Rex Files (09:26) — Learn the different ways of loading and using REX files directly from within the EXS24.
Creative Rex File Techniques (13:39) — Explore different ways of varying and randomizing the triggering of REX file zones for more expressive results.
Using Multiple Outputs (12:51) — See how to assign zones and groups to separate virtual outputs by means of the routing parameter, so that they can be sent to separate mixer strips for unique processing.
Sample Loop & Glitch (15:23) — Discover how to use the looping function in the Instrument Editor to create smooth transitions, as well as rapid glitch like loop effects.
Drum Tips & Tricks — Pt. 1 (08:33) — Get a potpourri of various drum programming tips and tricks using the EXS24 front panel features as well as Instrument Editor offsets and groups.
Drum Tips & Tricks — Pt. 2 (08:53) — Learn how to duplicate zones for easier MIDI input, set up monophonic groups for hi hats, and listen to the effect of velocity to attack offsets on various drum parts.
Crossfading & Key Switching (16:58) — See how to set up key switching.