#Apple logic studio 9 manual
Flex Time has several modes some are like Elastic Time in Pro Tools, while one in particular, Slice, is like Beat Detective -minus all the manual labor. Moreover, if you move your mouse cursor from one track to another track while dragging a Flex Marker, the section you're editing from the first track will conform to the transients on the second track -a real timesaver for lining up two instruments. As you drag a Flex Marker, the affected sections change color (green or orange) to denote time-compression or expansion -extremely valuable visual feedback.
Flex Time analyzes audio regions, and grab-bars called Flex Markers appear on transients and where beats fall in those regions. Yes, other applications do this, but as with many things Apple, working with Flex Time is intuitive and frictionless. Let's start with Flex Time, which provides non-destructive time-stretching and slicing of audio to match not only tempo (available since Logic 7) but also beats -moments in time where events, like transients, might occur -whether on a grid or in an adjacent track.
#Apple logic studio 9 upgrade
Although the changes as a whole aren't as immediately striking as they were with version 8, the new features introduced in Logic Pro 9 are compelling enough for current Logic users to upgrade and competitive enough for users of other DAWs to consider a side-grade. With the recent release of Logic Pro 9, I'm again reminded of why so many working musicians are picking Logic. I myself sold my Pro Tools HD rig and replaced it with Logic and an Apogee Symphony system (Tape Op #59) before I ultimately settled on Steinberg Nuendo (#68), but I always kept an eye (and ear) on Pro Tools and Logic as an owner of multiple facilities, I can't deny Pro Tool's ubiquity, and Logic Studio fast became the DAW of choice for many of the composers at my music production company. Ultimately, the hard-to-beat price-point of $499 for a top-tier production suite, now called Logic Studio -with DVDs worth of plug-ins, virtual instruments, royalty-free sound libraries, utility applications, and live-performance tools -became the deciding factor for many recordists who chose Logic Pro over other DAWs. While long-time Logic users were suddenly faced with significant changes -and restrictions -to their workflow (even prompting reviewer Geoff Farina to deride version 8 as "iLogic"), Logic virgins were tempted by the sleek new user-interface. AH When Apple unveiled Logic Pro 8 (Tape Op #63), the high-performance audio engine that was the highlight of the previous version was still there, but the application bore the evidence of a major facelift, the first since Apple had purchased Logic developers Emagic in 2002. Dana Gumbiner and I both took on Logic Studio for this issue.
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