Logic Pro 9: Audio and Music Production, a reference book by Mark Cousins (composer, programmer, engineer, etc.) and Russ Hepworth-Sawyer (engineer, producer, university lecturer) details how to use Digital Audio Workstation software program Apple Logic Pro 9. The publication, published in 2010 by Focal Press is incredibly well written and detailed and helps the "blind" amateur understand the `ins and outs' of Logic Pro. Included within this reference is a table of contents of all the chapters/sub-sections as well as a valuable subject index. While all recording grows complicated pretty quickly, Cousins and Hepworth-Sawyer do a good job of reigning in the the difficult aspects through this exceptionally penned reference.
Chapter 1, entitled "The Logic Concept" gives a brief history about Logic and details the softwares advantages over other Digital Audio Workstations (DAW's). Chapter 2, entitled "Logic's Interface" entails just that, with sub-sections included on the capabilities of the software, specific windows including `the arranger window,' `editor areas,' and `media and lists areas' among other topics. Chapter 2 provides an overview, in essence.
Chapter 3, entitled "Getting Connected" details how to connect other devices to the computer so that they work with the Logic software. This chapter discusses USB devices(audio interfaces, controller keyboards), firewire devices, and monitors among other things. Also discussed is audio preferences (i.e. each connected external audio device appears once Logic opens), hard drives, control surfaces, hardware integration (latency is discussed here), and midi. The chapter proves very informative and covers all bases on proper connection with external devices. Chapter 4, entitled "Starting a Project," deals with beginning a project on the software. "Assets" are defined in this chapter as `the collection of separate files and data that a song can be composed of'; a "Knowledgebase" section also details the role of `assets` in Logic. Other important sections of the chapter discuss working with tracks, the audio mixer, using transport (dealing with using the metronome, auto punch recording, etc.), overdubbing, audio importation, using Apple loops, mixing, and monitoring. This chapter details the `meat' of beginning a song and gives the basics of how to go about doing so.
Chapter 5, entitled "Audio Regions and Editing" deals with specific ways of editing recorded audio. The chapter spans an incredible fifty-nine pages offering valuable information on using `the inspector', the powerhouse of editing various parameters, etc. After an initial introduction to the `inspector', the authors branch off into the specific applications of `the Inspector' delving into numerous, specific topics including resizing/cutting audio clips, fading and crossfading, quantization, insertion and deletion of sections of songs, tempo, among a plethora of other helpful topics. Chapter 5 is quite the accurate and specific reference. Where Chapter 5 dealt with audio editing, Chapter 6, "MIDI Sequencing and Instrument Plug-Ins" deals with synthetic instruments and editing of those instruments. Another lengthy chapter (54 pages), numerous topics are covered here including basic MIDI concepts, creating instrument tracks, editing/arranging midi, quantization, the piano roll, sequencing (specifically `Step-Time Sequencing'), among other things. This chapter is a must read for all Logic users as MIDI is a huge part of recording with any DAW.
Chapter 7 seems to be one of the first chapters that extends beyond the basic ideas of Logic Pro 9. The chapter, entitled "Creative Sound Design," deals with `aspects of designing and modifying sound'. The focus here includes synthesizers (within the program, use of oscillation, modulators, and `Sculpture', a mathematically-driven modeling component of Logic. The chapter is complex but extremely informative. Chapter 8, "Mixing in Logic" deals with mixing and deals with the numerous things that can be done to make your Logic project captivating. This includes sub-sections detailing how to mix, send effects, automation/automation modes, compression, vocal processing, and delay among other things. Chapter 9, hence is unsurprisingly "Mastering in Logic," detailing the unique issues that always befall mastering (bouncing, exportation/burning, dithering, etc.). Interesting about chapter 9 is the fact that the authors explain the objectives of mastering, which is a superb touch.
Chapter 10, "Logic and Multimedia Production," deals with `multimedia' possibilities, namely movies, which addresses a whole new set of issues with scene changes, score editing, and surround sound, among other things. The final chapter, Chapter 11, "Optimizing Logic," deals with using Logic to its fullest to work best for its individual user. Dealt with here are templates, windows, key commands, input/output labels, and nodes and distributed audio processing among other things.
Essentially, Logic Pro 9: Audio and Music Production, offers a very concise, healthy reference filled with all one needs to understand and use Apple Logic successfully. Even for those who do not use Logic Pro per say, this reference offers nice helpful tips in recording, mixing, and mastering.