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Logic pro x recommended hardware free
Of course, if you've got enough separate outputs on your instruments and inputs on your interface you can leave your external MIDI as 'live' sources right through to your final mix. Otherwise, at some point you'll probably want to record the synth parts as audio so that you can apply individual effects and EQ to the different parts of a multitimbral source.
Despite numerous suggestions to our Apple contacts, Logic's bounce-in-place doesn't work for external MIDI, but it is easy enough to create a new audio track with the input set to the interface inputs where your synth is connected, then record that — though you must first mute the MIDI instrument track so you only monitor the sound from the new audio track.
The External MIDI instrument will still play and its audio will still be routed to the audio interface: the track mute button affects only the audio you would have heard from the External MIDI Instrument track. To stop other MIDI channels from playing while you record individual parts as audio, use the Mute tool to mute all the MIDI regions in the tracks you are not recording in that pass. Individual effects and processing plug-ins can then be added to your new audio tracks after recording in the usual way.
That's all easy enough, but some years ago, back when Logic users had to make frequent visits to the Environment pages just to make things work, I set up all my external MIDI instruments as multitimbral Environment objects. This allowed me to enter patch names and bank-change protocols so that I could call up patches and banks directly from within Logic's Main page Inspector window. I could also use MIDI mixer controls to adjust the level and pan of each part of my multitimbral instruments, with the audio from the synth conveniently coming back into Logic via a Live Input Track.
This way of working was so intuitive and efficient that I decided to see how close to that setup I could get starting from scratch In Logic Pro X. Of course, if, like me, you created a setup like this in an earlier version of Logic, it will still open and be converted to Logic X format.
Having done all the hard work, make sure you save your setup as part of a new Template so that you don't have to keep reinventing the wheel, so to speak. In fact that is exactly what I've done for my own sessions, but in the interests of science, here's one way to set up a similar system from scratch.
I'm not claiming it is the only way to do it, or even the officially approved way, but it works for me. Here you just need to set the output to and the input to the interface inputs to which your synths are connected , in this case.
Set the Track Input to also. This is the track where your synth sounds will come back and also where you can record them as audio. Once recorded, I just drag them across to a fresh audio track. If you need to deactivate a channel in a multitimbral Environment instrument, just select the relevant block in the graphic and then untick the 'Assignable' box in the Environment Inspector. By default, all 16 parts are switched off, denoted by a diagonal line through each numbered block.
My main computer is a MacbookBook Pro Retina, 2. Jan 2, PM in response to kerochan In response to kerochan. Yes, that's correct. Virtual instruments will definitely be the exception. I'll try things as is for awhile. Honestly at this point the bottle neck will be my lack of experience using computer based recording. Jan 2, PM. Community Get Support. Sign in Sign in Sign in corporate. Browse Search. Ask a question. User profile for user: mikefrombrantford mikefrombrantford. Thanks in advance for any advice or guidance.
More Less. Reply I have this question too 24 I have this question too Me too 24 Me too. Question marked as Solved User profile for user: kerochan kerochan. View answer in context. Helpful answers Drop Down menu. Jan 2, AM in response to mikefrombrantford In response to mikefrombrantford Hi mikefrombrantford wrote: Requires 64 bit Audio Units plug ins. Yes, but you might want to get more RAM, depending on your intended use. Loading page content. Reply Helpful 1 Thread reply - more options Link to this Post.
Reply Helpful Thread reply - more options Link to this Post. Which variant you buy and how you use it will vary a lot. A lot of producers I know use the 8 fader variant as a makeshift mixer. Others use the key variant as a highly portable keyboard.
Given the price, you can even buy all three and change them around based on what you need at the moment. There some obvious flaws on the Nanokey. The silicone buttons tend to get stuck.
And the faders are plasticky. But it will complement one nicely. But it if you want something highly portable, or if you already have a full-sized keyboard and want something to complement it. Namely, have good and the right number of keys, have plenty of controls, and integrate well with Logic Pro. Keyboard controllers are great for composition. You get full-sized piano keys that makes it easy to play chords and melodies.
Pad controllers are great for launching clips and creating spontaneous compositions. If you want to hammer out a few drum patterns or take control of your music on the fly, you should choose this option. There is no sessions view like in Ableton, which limits what you can do with pad controllers. Hybrid controllers offer the best compromise between controls and composition. A good hybrid controller would give you between pads as well as full-sized keyboards. This way, you can launch clips, hammer out drum patterns, and compose entire tracks — all from the same controller.
Unless you have extensive piano playing experience, I would recommend that you stick to hybrid controllers. Another option — which a lot of pro producers follow — is to get a regular keyboard controller and pair it up with a dedicated pad controller.
Think of a setup like this:. This would give you the best of both worlds — a full-sized keyboard for composition, and a pad controller for controlling your DAW. Your best option is to spring for semi-weighted keys. These tend to be on the expensive side but offer better playability and comfort.
If your goal is to just enter MIDI notes and play out a few chords or melodies, synth-action keyboards will work perfectly fine. MIDI keyboards come in a range of key sizes, going all the way from 25 keys to full-sized key keyboards. Anything beyond 32 keys makes it difficult to keep the keyboard size and weight low enough for lugging around.
But portability comes with its own compromise — smaller keys. Most portable keyboards reduce the width and length of keys to fit them into a small form factor. This greatly impacts their playability, especially if you have fat fingers as I do. I usually recommend people to get a regular 49 or key keyboard for their main studio use, and buy an additional mini keyboard for carrying around. If you have a smaller desk, it could completely ruin your setup. So before you spring for a larger keyboard, measure out your desk.
You should at least have 3 feet of extra space before you even think of getting anything beyond 49 keys. As much as the idea of a full-size key keyboard is appealing, it is just plain overkill for most musicians.
Nor will the EDM or hip-hop pieces they produce ever involve complex melodies that require simultaneous bass and tenor keys. Plus, larger keyboards are plain intimidating. On the flip side, anything below keys also impacts playability. For most people, keys represents the ideal size. It gives you access to four octaves of range. If you plan on playing slightly more complex pieces, you can upgrade to a key keyboard.
But otherwise, 49 keys is more than enough. In my case, I rely minimally on keyboard controls. I use my desktop keyboard shortcuts for most things. The keyboard is used mostly for entering notes, practicing melodies, and playing chords. A MIDI controller with more than a handful of control options is just overkill for my taste. Great for people who like a more intuitive approach to their music production.
But production styles evolve. You might think that your style requires minimal use of controls, but that might change a year down the line. If it has DAW control options built in, even better. This will give you enough room to adapt new playing styles.
As a general rule, your budget will impact your choices as follows with respect to 49 key controllers :. Go for this range only if you want a secondary controller that emphasizes portability. Look for semi-weighted keys since this will improve the playing experience substantially.
That said, there are some controllers that are designed for specific DAWs such as Ableton Push — designed for Ableton. Just keep this in mind when you make a purchase. If the controller specifically says that it supports a specific DAW, it might be a good idea to pick something else.
I can understand the confusion — MIDI isn't a specification you're likely to encounter if you're new to music. I'll answer some brief questions about MIDI controllers and keyboards below to help you figure out this product category better.
The early s was exciting time for electronic music. The big names you know and recognize today — Roland, Akai, etc. The major synths and devices that shaped music in the 80s and 90s were invented around this time, including the Roland TR drum machine, the Juno synth, etc. Think of the way Apple creates its proprietory connections and imagine an industry filled with dozens of such companies.
The founder of Roland, Ikutaro Kakehashi, knew that for electronic music to advance, there was a need for devices to talk to each other. So working with other manfuacturers, including Yamaha, Korg, etc.
MIDI 2. For instance, you might have a MOOG synth. If you want to play music using this synth, you need to connect it to a keyboard. MIDI makes it possible for the two devices to talk to each other. MIDI controllers can be in any shape or form.
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