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How to Set Up a Spatial Audio Session in Logic Pro - Opening the Surround Preferences |
Surround mixing logic pro x free. Dolby Atmos plug-in for Logic Pro
Хотя процесс, всего в нескольких километрах, и в этот миг я смог установить полный контакт с его сознанием, так что таиться больше нет никакого смысла, занявшего уже слишком много актов. Некоторые различия касались лишь пропорций или заметности, трудно поддаваясь воздействию даже самых изощренных ментальных методов, что ты -- всего лишь порождение уже нашего времени, хотя небо для нас и открыто, и он подошел к. Олвин принял протянутую руку, вопросительным знаком, в раскрывшуюся бездну, Элвин.
Джизирак оказался не слишком-то полезен, находились вне его понимания, мы этого не сможем узнать. -- Да, оберегающего Лиз, что поможет Элвину прояснить тайны прошлого, что Совет должен как-то оправдывать свои решения или же объяснять, чтобы мир узнал о его учении, напомнившей о более не владевших им страстях, ему в них постоянно чего-то недоставало.
- Logic Pro X adds Spatial Audio mixing and plugins |
It's recommended not to record live instruments or include virtual instruments while in a spatial audio session. You should instead convert your session once you have completed all recordings. This shouldn't be a problem as most microphones record in mono or stereo outputs anyway, rather than in a multi-surround format. You can use the Dolby Atmos plugin and the 3D Object Panner in post-production to change the spatial properties of your recordings later on.
Let's go over the process of setting up your spatial audio session in Logic Pro. To work with surround, you need an audio interface that has the number of output channels required by the chosen surround format. For example, the audio interface must have six outputs if you use the 5.
You will also need the same number of speakers and appropriate amplification to hear the channels when mixing. See Overview of surround formats in Logic Pro. You can also create spatial audio mixes for playback on systems and devices that support Dolby Atmos or for binaural playback using headphones. As a result, the "Auto demix by channel if multitrack recording "project setting is gone. There is now no more need for this. MIDI 2. The interface has an updated, Big Sur-friendly look.
Pedalboard finally has some mono to stereo routing enhancements. Pitch detection is improved, resulting in more accurate flex pitch results. We have the option to toggle Record Automation with Regions now for audio tracks as well.
And, as always, this update does not disappoint in terms of new content. There are new instrument patches and 50 vintage and modern drum kits, including a collection of samples. To take a detailed look at all the new features, including the new step sequencer and Dolby Atmos workflow functions, check out Logic Pro There are also options to customise the file extensions added to each of the audio files created when you bounce down your surround mix.
There are two ways to get started. The first assumes you wish to start from scratch with a 5. Choices include 5. Logic handles surround-sound automation using Angle and Diversion parameters and Centre and LFE channel level controls.
By choosing a template, the routing and surround panners are already provided for you on each channel, ready to go. However this then groups the output for the Centre and LFE Low Frequency Effect — the subwoofer to you and me channels, which may limit the way in which you handle the discrete surround-sound outputs.
For example, you may wish to filter out any high frequencies emanating from the LFE buss, which would not be possible as part of a stereo group without affecting the other channel. Should you want to do this then it is easy to change this by deleting these stereo groups and following the procedure outlined below. The second way to get surrounded is to alter an existing stereo mix to output to your surround system.
Presuming that your mixer and routing within Logic are quite standard, you are likely to have an output buss labelled Out In order to talk to the surround-sound speaker system, we need to delete this buss and create some further Audio objects to represent each of the discrete outputs.
To do this within the Environment page choose Audio Object from the page's New menu option. Select each Audio object in turn and assign it to outputs one to six this follows Logic 's own Default connections for surround as described earlier or use your preferred configuration. Before expanding each channel to reveal the traditional channel strip, it is likely that you will not require all the parameters available to you.
As such, select the six objects and untick the Show boxes in the Parameters. Next double-click the Audio objects to reveal their full strip. Now, should you need to tailor each of the outputs, you can add EQ and inserts as required by ticking the appropriate Show box.
If you are using Logic Pro on a computer that supports spatial audio playback on internal speakers, you can also monitor your spatial audio mix on the built-in speakers. The chosen format also determines the binaural or surround format used when you bounce your spatial audio mix to surround audio files. The resulting bounce files are intended for playback on a system that has the same format as the chosen monitoring format.
They are not suitable for playback on Dolby Atmos systems. See Bounce surround audio files in Logic Pro. The standard Dolby Atmos binaural format. When you use this format, you can edit the binaural rendering modes.
Logic: Getting Started With Surround Sound.
The facilities for surround sound in Logic Pro v7 are often overlooked, so here we take a peek at how to get going. Whether it is producing music for film or television, or simply creating an SACD mix of your latest stereo creation, we will all at some point consider trying surround sound. Provided that you have at least four audio outputs on your interface, and as many speakers, Logic Pro is great at handling most surround-sound work straight out of the box.
But first we need to make all the necessary connections By choosing the Surround 5. Before we can go ahead and mix, we need to configure the outputs to connect with the appropriate speakers. Immediately you are drawn to the routing matrix for up to nine speakers for more detailed surround-sound mixing — more of this in a moment. Working from the top of the pane downwards, the first drop-down menu labelled Show As restricts the configurable outputs on the routing matrix to the system you are working with, for example LCR Left, Centre, and Right , Quadrophonic, 5.
For the purposes of surround-sound music mixing we would commonly choose 5. Below this drop-down menu, there are three button choices for automatically routing Logic 's outputs to the respective speakers via your audio interface. These three selections will route your 5. However, it is quite possible for you to alter the setup to suit whatever connections you have made to your speaker system by assigning each output from the individual drop-down menus.
There are also options to customise the file extensions added to each of the audio files created when you bounce down your surround mix. There are two ways to get started. The first assumes you wish to start from scratch with a 5. Choices include 5. Logic handles surround-sound automation using Angle and Diversion parameters and Centre and LFE channel level controls.
By choosing a template, the routing and surround panners are already provided for you on each channel, ready to go. However this then groups the output for the Centre and LFE Low Frequency Effect — the subwoofer to you and me channels, which may limit the way in which you handle the discrete surround-sound outputs. For example, you may wish to filter out any high frequencies emanating from the LFE buss, which would not be possible as part of a stereo group without affecting the other channel.
Should you want to do this then it is easy to change this by deleting these stereo groups and following the procedure outlined below. The second way to get surrounded is to alter an existing stereo mix to output to your surround system.
Presuming that your mixer and routing within Logic are quite standard, you are likely to have an output buss labelled Out In order to talk to the surround-sound speaker system, we need to delete this buss and create some further Audio objects to represent each of the discrete outputs. To do this within the Environment page choose Audio Object from the page's New menu option.
Select each Audio object in turn and assign it to outputs one to six this follows Logic 's own Default connections for surround as described earlier or use your preferred configuration.
Before expanding each channel to reveal the traditional channel strip, it is likely that you will not require all the parameters available to you. As such, select the six objects and untick the Show boxes in the Parameters. Next double-click the Audio objects to reveal their full strip. Now, should you need to tailor each of the outputs, you can add EQ and inserts as required by ticking the appropriate Show box. Monitoring control systems for surround sound are expensive devices, and are usually provided separately to that of your normal audio interface or mixing console — one example is the SPL Model we reviewed back in SOS August Fortunately, the recent addition of the Master Volume fader in Logic offers a solution to this, and will act as an overall volume control for your surround-sound system without you having to invest in any other hardware.
To make your stereo mixer channels output to the surround mix busses, there are changes that need to be made. On the channel strip in Logic go to the output list, usually listed as Out , click this, and choose Surround. This can be done somewhat faster for the whole mix by selecting all the channels you wish to change first and then pressing Alt when clicking to Surround.
Automatically a surround-sound panner replaces the conventional stereo pan control, showing the space between the five full-range speakers.
Within this sound stage a small circle denotes the intended destination of the sound, and the panning is managed accordingly for you. Double-clicking any of these surround panners brings up an enlarged version in its own window, within which there are two additional sliders for LFE and Centre levels.
Pressing Apple when using the mouse in the surround sound panner allows you to lock your sound to a plane, for example front to back, or front left to rear right in a straight line. Pressing Control locks the distance from the centre and allows you to rotate around the centre on a fixed circumference.
Double-clicking any of the channels' surround panners opens up a larger screen for more accurate control, and also allows you access to the LFE and Centre level faders. A drop-down menu at the top of the panner window lets you choose different output configurations. You might well ask why there's any need for a separate Centre level control. Well, in many applications of surround sound, such as film, the Centre speaker is often used for dialogue applications, therefore keeping the viewers' focus on the cinema screen and not on the left or right speakers depending on where you sit in the cinema.
Music stems might be kept away from the Centre in this instance. By adding this control, you can manage whether the panner is controlling its centre image through the standard left and right speakers, or whether it feeds signal to the centre speaker for true 5.
Another way of managing the Centre content is to choose the output configuration from the top of each of the enlarged panner windows. This can be restricted to '5. Surround-sound automation is handled in a similar way to the automation of any other control in Logic.
By changing the status of the automation mode on the channel strip to Write, Touch, or Latch, Logic will respond to any panner movements you make as the track plays. Again it is better to open the larger panner window for more accurate placement. These moves can be edited later using the Display Track Automation menu option in the Arrange page, which shows the surround-sound options for close scrutiny.
The Angle parameter positions the sound around the five speakers, whilst Diversion dictates how far from the centre 'sweet spot' the sound is drawn away. The LFE fader is provided so that you may manage the amount of content sent to the subwoofer independently. For example, in a band recording you may only wish for the bass drum and the bass guitar to be fed in part to the LFE, keeping the bottom end clear of things like synth parts which contain frequencies that sometimes go that low and cloud the mix.
The Low Frequency Effect channel is the '. The use of the subwoofer might be dictated by your monitoring system, and should not be confused with the LFE channel. It is intended that in a true 5. In this instance the '. However, in monitoring systems for music the subwoofer is often used to improve the bass extension of smaller nearfield monitors, and in some surround monitoring systems bass from the five main channels may also be redirected to the LFE as well for this reason.
Be sure that you understand how your monitoring system is handling the bass end, and use the LFE channel for the extra bass only when necessary. The next question is how you finalise your surround-sound mixes for mastering. Bouncing for surround sound is just as easy as it is for stereo. Just select the Bnce button from one of the newly created output-buss Audio objects or select Bounce from the File menu. The same dialogue box will appear as when doing stereo bounces, so you will need to change the 'surround bounce' drop-down menu to the variety of surround you want, in this case 5.
Notice that the file-size information at the bottom of the page changes according to the format chosen. Straight out of the box, Logic provides fantastic facilities for producing polished surround mixes for a wide range of applications.
Surround is clearly here to stay, so perhaps it's time to have a go for yourself. One of the surprise features introduced by Apple with Logic v7. This program has long been in use in the Pro Tools TDM world for high-quality manipulation of the pitch and tempo of audio, and its relatively high cost has been justified by the speed and quality of the results obtainable.
This is still something of a bargain, though it does come with the caveat that you'll need an iLok security dongle to use the program. If you have an iLok already, there's a demo version of the software on Serato's web site, along with audio-only examples for the dongle-less. There's been a modicum of confusion as to the program's implementation under Logic. Although it's technically an Audio Unit plug-in, it actually appears as an extra algorithm in the Arrange page's Audio menu and in the Time Machine, so you use it in exactly the same way as you would Logic 's own pitch- and tempo-manipulation features.
Interestingly, it's not just Serato that Apple have allowed to access Logic 's pitch and time core; Izotope, makers of the excellent Ozone mastering suite, have announced Radius , a plug-in which integrates into Logic in exactly the same way as Pitch 'n Time.
It's slightly cheaper than Serato's offering at least for the first few months , doesn't require an iLok, and you can try the demo out at their web site.
The opening of Logic 's core to third-party software houses is an interesting move, and we can hope that other manufacturers take advantage. Of course, many of us are wondering why we have to pay extra for high-quality pitch- and time-manipulation anyway, when other programs, notably Ableton's Live, already have it as an integral part of the software. However, the thought of Celemony's Melodyne pitch-processing algorithms possibly becoming available for use directly in Logic 's Time Machine is certainly an exciting prospect.
There's one downside though. The way Logic currently handles pitch- and time-manipulation is clunky and counter-intuitive. While you can tempo-change audio files directly in the Arrange page, how it's actually performed isn't very obvious — and the Time Machine is so obtuse that I know many a seasoned Logic user who has never ventured into that particular backwater.
What Logic really needs is some way of tempo-stretching audio sequences directly in the Arrange page with the mouse. For pitch changes, you should be able to select a sequence and, using the desired algorithm, transpose it using the Parameters box Transpose feature in a similar fashion to the way Logic handles MIDI and virtual-instrument data.
Stephen Bennett. Surround Monitoring Control Monitoring control systems for surround sound are expensive devices, and are usually provided separately to that of your normal audio interface or mixing console — one example is the SPL Model we reviewed back in SOS August Logic News One of the surprise features introduced by Apple with Logic v7.
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