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Logic Pro Cheat Sheet

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367 views15 pages

Logic Pro Cheat Sheet

Uploaded by

ma88448844
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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LOGIC PRO SHORTCUTS

Global Commands

● Logic Key Commands: ⌥+K


● Record: R
● Toggle Click Track: K
● Play/Stop: Space
● Trim at Playhead: ⌘+T
● Hide Track: H
● Open/Close Mixer Window: X
● Open/Close Piano Roll: P
● Open/Close Audio File Editor: F
● Mute: M
● Mute Specific Region: ⌃+M
● Solo: S
● Cycle Mode: C
● Bounce Session: ⌘+B

Main Window

● Set Locators By Region or Marker: ⌘+U


● Delete Track: ⌘+⌫
● Automation View: A
● Global Track Lanes: G and ⌥+G
● Zoom with the Magnifying Tool: ⌥+ Click & Drag
● Copy & Paste: ⌥+Click & Drag
● Open Color Palette: ⌥+C
● Bounce In Place: ⌃+B

Tracks

● Create New Tracks: ⌘+⌥+N


● New Audio Track: ⌘+⌥+A
● New Software Instrument Track: ⌘+⌥+S
● New External Midi Track: ⌘+⌥+X
● Create Track with Duplicate Settings: ⌘+D
● Create a Track Stack: ⌘+⇧+D

Piano Roll

● Quantize: Q
● Force MIDI notes to stretch to following notes: ⇧+\
● Remove overlapping MIDI notes: \
● Move selected MIDI notes up or down 1 semitone: ⌥+up/down
● Move selected MIDI notes up or down 1 octave: ⌥+⇧+ up/down

Logic Pro Advanced Shortcuts and Key Commands

● Move Region to Playhead: [Semicolon]


● Time Stretch to the Nearest Bar: ⌘+⌥+B
● Time Stretch to Locator: ⌘+⌥+L
● Add New Marker: ⌥+[Apostrophe]
● Jump Forward and Backward by 1 Bar: < or >
● Expand and Reduce Waveform View: ⌘+ [Plus] and [Minus]
● Export Tracks: ⌘+E
● Show or Hide Flex Time: ⌘+F
● Enable and Disable Groups: ⇧+G
● Capture Recording: ⇧+R
LOGIC PRO PLUGINS
ChromaGlow

Brand new with Logic Pro 11, ChromaGlow is a highly flexible saturation plugin. At
this point, Logic Pro comes with every plugin you could need to make pro mixes.

With this plugin, you could add warmth and excitement to your mixes. Try dialling
in a small amount of drive on vocals to make them more interesting — or a whole
lot of drive on bass to add some distortion and top end.

You don’t need to play around with the settings too much. Just load up the plugin
and tweak the Drive knob to achieve your desired level of saturation.

For subtle tone enhancement, bring up the drive until you notice it, then abc it off a
touch. This will add a richness to the audio without adding noticeable distortion.
Channel EQ

Even with the new vintage equalizers, this will still be your workhorse EQ.

Fully parametric EQ’s like this are great for subtractive EQ in any case, like the
narrow notch cut you see in the image above.

Plus, this is the only EQ with a spectrum analyzer, which can be incredibly helpful!

But, when you want to apply heavy boosts, this EQ can start to sound a little sterile
and odd. That’s when you should reach for one of the vintage EQs.
Linear Phase EQ

This EQ functions in the same was as the channel EQ but is more transparent.

This type of EQ can be helpful on your mix buss, or when mastering, if you want to
solve a problem without changing the tone of the mix.
Vintage Console EQ

This is the easiest vintage EQ to use.

You don’t have any control over the high end boost, which is a real shame. But the
two mid knobs are parametric, and you can set the center frequency.

Unfortunately, you can’t adjust the bandwidth of those middle bands either. But
this makes the EQ very easy to use - there are only a few controls to think about.

The upside to using this style of EQ is that there is no frequency spectrum in front
of you to influence your decisions. You are forced to mix with your ears!
Vintage Tube EQ

This EQ replicates an old Pultec equalizer. This style of EQ can take some getting
used to, as the controls are a little different.

You have both a boost AND attenuate for most frequencies, which seems odd at
first.

This EQ is more difficult to use, but is much more versatile. After you’re
comfortable with the console EQ, give this a go.
Digital Compressor

This is the default compressor type. It will do everything you need! If you’re not
100% confident with compression yet, ignore the other models for now.

I recommend that you find the right settings with this window, then just flick
through the other windows to see which is your favorite for that exact
circumstance.

You might need to tweak the settings a little once you find a favorite for that
particular channel.

Then, once you feel good with the digital compressor, you can jump straight to the
other circuits when the situation calls for it…
Studio VCA

VCA style compressors are known for their transparency. When you need to do
some heavy lifting, but don’t want the source to sound obviously compressed, give
this a go.

I tend to use VCA on the mix buss, guitars, keys, bass - anything except vocals or
drums.
Studio FET

FET compressors are fast and punchy. Try this on drums. On the snare, on the kick,
or even the drum bass. It was made for it!
Classic VCA

This has a different tone to the Studio VCA. Flick between the different VCA models
when you want a VCA style compressor, and see which one suits the track.
Vintage VCA

Same as above! Just a different tone to the other VCA circuits.


Vintage FET

Here we have another FET, great on drums. This has a slightly different tone to the
Studio FET.
Vintage Opto

Opto compressors are more musical, and work great on vocals. With this circuit,
you can heavily compress the vocals without making them sound
over-compressed.

Just make sure you keep the attack time above 5ms if you want to avoid making
the vocal sound too thick.
Check out our free resource library to reach
industry-quality mixes & masters.

Then when you’re ready… hit the button below to apply for our
year-long program and get personally mentored by us.

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