In this e-book I will be showing you how to successfully create or re-create a track using sequencing software whilst adopting

the principals of physics and the theories of sound. Sound Sound is an energy that travels through a medium. When a sound is made the ripples it makes in air are similar to the waves created when water is disturbed, and so the term sound wave is used. Sound is omnidirectional, this means it releases/receives energy in all directions, you get microphones that can pick up sounds from every direction called omnidirectional microphones. Mac Mini Specs

eight! ".# cm $%.& inches' Width! %(.) cm $).) inches' *epth! %(.) cm $).) inches' Weight! %.++ kg $+.) pounds'

Processor: cache

as a +.,- . dual-core Intel /ore i, $0urbo 1oost up to ".%- .' with "21 3"

Storage: 4p to a 01 of storage Graphics: Intel * graphics &555 RAM: &-1 672 configurable to 8-1 or %#-1 Video Support: 0hunderbolt digital video output 9ative 2ini *isplay:ort output *;I output using 2ini *isplay:ort to *;I 7dapter ;-7 output using 2ini *isplay:ort to ;-7 7dapter *ual-link *;I output using 2ini *isplay:ort to *ual-3ink *;I 7dapter Audio: 7udio line in mini-<ack $digital/analog' 7udio line out / headphone mini-<ack $digital/analog' *2I port supports multichannel audio output Support for 7pple i:hone headset with microphone

1uilt-in speaker

Connections and Expansions

0hunderbolt port $up to %5 -bps' =ireWire 855 port $up to 855 2bps' =our 4S1 " ports $up to , -bps' *2I port S*>/ card slot -igabit ?thernet port 7udio in/out I6 receiver

Electrical and Operating Requirements: 3ine voltage! %55-+&5; 7/ =requency! ,5 . to #5 ., single phase 2a@imum continuous power! 8,W Aperating temperature! %5B to ",B / $,5B to (,B =' Storage temperature! -&5B to &)B / $-&5B to %%#B =' 6elative humidity! ,C to (,C non-condensing 2a@imum altitude! ",555 metres $%5,555 feet' 0ypical acoustic performance, sound pressure level $operator position'!& *ual-core model! %+ d17 when idleDuad-core model! %, d17 when idle

7bove are all the specs from the mac mini device we will be running 3ogic on. 0hese specs will be used later to see if 3ogic will run on the mac mini.

MI I Room

7bove is a similar layout to the midi room I used to create my track. 0his layout is effective due to the access to all the different features involved. 0he image shows the sound proof acoustic walls, these are incredibly effective due to the ability to stop a sound wave. Why this happens will be covered later on in the ?-1ook. 0he speakers on the right and the left so sound will travel from both sides to your ears giving the surround sound effect with the mac running with a 2I*I keyboard attached. So !hat is MI I and a MI I "e#$oard% 7 2I*I $2usical Instrument *igital Interface' Eeyboard has many parts and functions with different inputs and outputs available. 7 2I*I keyboard is usually a piano style user interface used to send 2I*I signals or commands through a 4S1 or 2I*I cable to other devices that are running on the same 2I*I interface. 0his could also be a personal computer, running software like a *igital 7udio Workstation $*7W' these listen to and send 2I*I information to other 2I*I devices connected through cable or running to the personal computer system. 7 basic 2I*I keyboard will not produce sound, however it will send 2I*I information to a electronic module that is capable of reproducing a wide range of digital sounds or samples that resemble the sounds of analogue musical instruments. 0hese samples/waveforms can also be referred to as voices or timbres. 2I*I keyboards arenFt <ust based on the piano style user interface. 2any 2I*I keyboard controllers consist of pads or buttons that send 2I*I signals. 2ost pads have a velocity sensing capability, this allows varying volumes of sound to be played. 7nother similar device is the /ontinuum =ingerboard, this is based on a GfretlessF keyboard interface, this all enables a portamento style to the note changes whenever the user feels like during play. 0here is 2I*I protocol used in each of the different types of midi controllers, they use an encoding scheme to map a score for each instrument sample. It also picks up othe parameters such as the notes velocity, aftertouch, modulation and pitch bend. 0he keyboard is only a controller of the different sound modules and other 2I*I devices with in the *7W

software. 6ecording studios often include 2I*I keyboards and any *7W setup will near enough always include them. 2ost will include the ability to set different octaves and have a transpose function which will allow you to move a collection of notes up or down in pitch. 2any 2I*I keyboards have modulation and pitch bend wheels. Aften you will find some with e@tra assignable rotary knobs or buttons for sending messages to the synthesisers or *7W software. Some devices include many features such as a rhythm input, instrument selection and transport control, these can also be known as keyboard controllers &o! to connect midi and audio de'ices Hou will need to connect your e@ternal audio and 2I*I devices to your computer to allow communication between 3ogic ?@press and the devices. Computer Expansions *epending on your 2ac system, some/all of the following e@pansion capabilities are available, which can be used for audio and 2I*I interfaces! =ireWire $I??? %"(&' 4S1 :/I ?@press ?@press/ard/"& (ire)ire *IEEE +,-./ =ireWire is a professional and consumer standard that can be used for both audio and 2I*I devices. It combines fast data transfer rates, high storage capacities, and plug-and-play connection. 7ll current 2ac computers offer a number of =ireWire audio and 2I*I interfaces. (ire)ire .00 =ireWire &55, also called I??? %"(&a or i.3I9E, is the consumer and professional standard for formats such as *;, *;/72, *;/:6A, *;/:6A ,5, *;/:6A *, and *;. =ireWire is an ine@pensive and easy way to capture and output high-quality digital video using a variety of camcorders and decks and is capable of data rates as high as &55 2bps. 0here are two kinds of =ireWire connectors! a &-pin connector $typically found on video equipment such as camcorders or decks' and a #-pin connector $used for computer equipment'. owever, some newer video equipment uses the #-pin connector, and some video interfaces use the &-pin connector.

(ire)ire 100 =ireWire 855, also called I??? %"(&b, is the ne@t generation of =ireWire after I??? %"(&a, a higher-bandwidth version capable of data transfer speeds of up to 855 2bps. =ireWire 855 is also capable of supporting cable distances of up to %55 meters.

In addition to the standard (-pin-to-(-pin =ireWire 855 cables, (-pin-to-&-pin and (-pin-to-#pin =ireWire &55 to =ireWire 855 cables are also available to connect older devices to a =ireWire 855 interface.

2S3 *2ni'ersal Serial 3us/ 4S1 is a consumer standard used for computer peripherals and other devices. 4S1 %.% offers a much lower data transfer rate than =ireWire $%% 2bps'. 4S1 +.5, however, transfers data at &85 2bps. It supports plug-and-play operation and the ability to connect several devices in sequence. Some 4S1 devices draw their power over the 4S1 cable, while others require a separate power connection. 4S1 +.5 ports are included on all current 2ac computers. 0here are two kinds of 4S1 connectors, 7 connector, typically used to connect a device to a 4S1 hub and a 1 connector, typically used to connect devices together, and also to connect a device to a computer.

PCI Express :/Ie $:eripheral /omponent Interconnect ?@press' interfaces, unlike =ireWire and 4S1 interfaces, require that you install a dedicated card in your computer. :/Ie provides e@tremely high bandwidth and fast data transfer rates, allowing you to record and play back large numbers of files at the highest possible sample rates and bit depths. ExpressCard4,. 0he ?@press/ard/"& slot supports both :/Ie and 4S1 +.5 connectivity. ?@press/ards available include audio interfaces, hard disk controller $eS707' cards, networking, wireless adapters, and more. Audio Ca$ling 0he following types of audio cables and connectors are usually used on professional and consumer audio equipment! >36 %/&-inch $#.", mm' audio %/8-inch $"., mm' miniplug 6/7 $/inch' S/:*I= 7?S/?14 0AS3I9E Aptical and 7*70 3ightpipe 56R >36 cables and connectors are used on professional-quality microphones, monitors, and other musical equipment. 0hey provide a high-quality, balanced signal at I& d1 level.

+4.7inch *89,: mm/ Audio %/&-inch $#.", mm' connectors are used on a wide variety of professional and consumer musical equipment, including musical instruments and amplifiers, speakers, and e@ternal effects devices. 0hey can be either balanced or unbalanced. Some devices require 0ip-6ingSleeve $06S' connectors. 0hese three-contact connectors are used for balanced mono signals and unbalanced stereo signals.

+417inch *,9: mm/ Miniplug 2iniplug connectors are used for audio input and output to computers, and on some consumer electronic devices, particularly portable ones.

RCA *Cinch/ 6/7 connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders.

S4P I( Sony/:hilips *igital Interface =ormat is a consumer-level variation of the 7?S/?14 digital audio protocol. S/:*I= audio data can be transmitted several ways, including!

;ia coa@ial cables with an 6/7 connector ;ia optical 0AS3I9E

/onnectors for S/:*I= signals are found on most consumer digital equipment, such as *70 $digital audio tape' recorders, /* players, *;* players, 2ini*isc equipment, and some audio interfaces.

AES4E32 0he 7?S/?14 $7udio ?ngineering Society/?uropean 1roadcasting 4nion' standard for transferring digital audio typically uses >36 connectors in professional studio environments. 0he data protocol is essentially identical to S/:*I=.

;OS6I<" Optical and A A; 6ightpipe 0AS3I9E is a connector for optical digital signals. 0AS3I9E is used for several digital signal formats, although most devices support only one of these formats! S/:*I= $stereo digital' 7/-" and *0S $,.%-channel surround' 7*70 3ightpipe $an 8-channel digital signal'

7*70 3ightpipe is an eight-channel digital audio format developed by 7lesis. 0his signal format uses 0AS3I9E optical connectors. ?ight channels are supported at sample rates of &&.% and &8 k . using +& bits per sample. Connecting =our Audio Inter>ace 3ogic ?@press supports plug-and-play for audio interfaces, making it possible to connect and turn on a new audio interface while 3ogic ?@press is open. 7n alert appears when you connect a new device, and prompts you to select and confirm the audio interface and driver that you want to use. 7ll digital audio interfaces can be susceptible to latencyJa noticeable delay between the time the audio signal is produced, and when you hear it. Hou should always attach your audio interface directly to the computer, rather than through a hub, or daisy-chaining it through another device. *oing so can cause an unacceptable amount of latency, particularly with slower 4S1 %.% devices. MI I Ca$ling 2I*I is an abbreviation for 2usical Instrument *igital InterfaceJa universal ,-pin connection standard and computer languageJthat allows communication between 2I*I devices.

Connecting =our MI I "e#$oard and Modules If using a simple 2I*I master keyboard without internal tone generation facilities, you only need to connect the 2I*I Aut port of the keyboard to a 2I*I In port on your 2I*I interface, using a 2I*I cable.

If the keyboard can generate its own sounds, you should also connect the 2I*I Aut port of the 2I*I interface to the keyboard 2I*I In port. If your 2I*I interface offers more than one 2I*I output, connect any other tone generators $or other 2I*I devices, such as control surfaces that require bidirectional 2I*I communication' to these.

If the 2I*I interface connected to your computer only offers one 2I*I output, you need to connect the 2I*I In of the second tone generator to the keyboard 2I*I 0hru port. 7 third device can be connected to the 2I*I 0hru of the second unit, and so on.

Information from www.apple.com

0he 2I*I 0hru port replicates the signals coming into the 2I*I In port of the device. It is preferable to use a direct connection from the computer 2I*I Aut to a device, rather than chaining too many units, one after the other. *oing so can cause timing problems in the chain, if numerous 2I*I commands are sent quickly. 0his is due to the slight delays introduced by each 2I*I In to 2I*I 0hru transaction. 7s such, a multi input/output 2I*I interface is recommended in studios with several 2I*I tone generators and controllers. 2sing Multi7Channel MI I e'ices

2ost modern 2I*I tone generators can simultaneously receive 2I*I data on multiple 2I*I channels $multi-timbral 2I*I devices'. ?ach 2I*I channel can be assigned a tone or sound, such as piano, strings, bass, and so on. 0o take full advantage of the capabilities of each connected multi-timbral device, you need to use separate 2I*I Aut ports $from the computer 2I*I interface to the 2I*I In ports' for each device. 0o e@plain further, imagine a scenario where!

0here are four 2I*I tone generators that are capable of receiving data on multiple channels. 7ll devices can receive on all %# 2I*I channels. 0here is only one 2I*I Aut from the computer, and all devices are daisy-chained via 2I*I 0hru to 2I*I In connections. 3ogic ?@press is capable of channeli.ing 2I*I data $routing it to 2I*I channels % to %#' and is also capable of sending this channeli.ed data to specific 2I*I Aut ports. 4nfortunately, in the scenario above, there is only one 2I*I Aut port available. 7s such, all data sent on 2I*I channel % will be sent to all four of the 2I*I tone generators. ?ach 2I*I tone generator will play the incoming data with the sound assigned to channel %, which may be! 1agpipes on module % 7 drumkit on module + 7 helicopter effect on module " and so on 2I*I, as you can see from the e@ample, can be separated onto %# different channels, but it canFt be separated between devices, unless a multi-output 2I*I interface is used. 4sing the scenario above, but substituting a single output 2I*I interface with a four-output 2I*I interfaceJconnected from 2I*I Aut ports 7, 1, /, and *Jto the respective 2I*I In ports of each device. 0here are no 2I*I 0hru connections, which allows 3ogic ?@press to assign and send! 7 recording/performance on 2I*I channel % to port 7/module % 7 separate recording/performanceJalso on 2I*I channel %Jto port 1/module + 7 further recording/performance on 2I*I channel % to port //module ", and so on with subsequent channels and modules In effect, having a multi-output 2I*I interface is something like having more 2I*I channels. In this scenario, it would be like having #& independent 2I*I channelsJwith %# channels per port $7, 1, /, and *'. 9ot only does this allow you to play up to #& different sounds simultaneously through your tone generators, it also allows full 2I*I control for each channel of each device. 0his becomes increasingly important when arranging and orchestrating such a large number of instrument parts. If your computer offers several 2I*I inputs, you can connect the 2I*I outputs of other 2I*I e@panders and controllers to it. 2sing 2S3 MI I "e#$oards If using a 2I*I keyboard fitted with a 4S1 connector, you donFt require a separate 2I*I interface, as it is already built into the keyboard. Kust be sure to install the driver, if needed, and connect the keyboard to your computer with a 4S1 cable. Some modern 4S1 keyboards and controllers are automatically recogni.ed by 2ac AS >. Getting Started So once you have wired up your midi keyboard and the mac is on, hover your mouse at the bottom of the screen, a bar should appear, and on this bar you should see the logo for logic. /lick on this logo and logic will open, when it loads up a bo@ will appear in this bo@ it has " options, audio file, software instrument file and GF, for now click on audio file as this is where your 85Fs original track will go to. 0hen on logic, go to the top left of the screen and click on

logic pro or logic e@press, then a drop down column will appear, on that click on Gsave asF and follow through to your documents to find your selected folder, then save as a name such as G85Fs remakeF. Ar to find your folder in the top right type the folder name in, e.g. G2y =olderF. 9ow you have saved your track go onto the G3ogic proF or L3ogic e@pressL drop down icon at the top of the window and click on import audio track, you will only be able to do this if you have an audio track open and selected. So now you will have a folder on your screen, once again either find the folder with the track you wish to import in or select the search bar and type in the song name e.g. G0ainted 3oveF and once you have found it select it by double clicking on the song, this will import it into your logic track. So now you have an audio track, on the left where the name of the track is there are four buttons you can click on, these buttons areM I6- 6ecord/6eadN, this makes the track read what you are playing/recording in. 2- 2ute, this makes this track play without sound. S- Solo, this makes the track play alone or with other soloed tracks. 0hese will be used later on within the remake, so now it is time to record some of your track in, or <ust have a practice at recording, at the bottom of the screen you will find the transport bar, this is used to transport through your track and show how long your track is. Oinsert labelled transport bar hereP 9ow we are going to add another layer/track in, the way we do this is by going to the plus sign on the left hand side OInsert image of I signP 0hen where previously we selected L7udio =ileL we are now going to select LSoftware InstrumentL this will then add a new track/layer to the 3ogic track, to make this an instrument/sound for your midi keyboard to play what you will need to do is go onto the top right and select the 2edia button OInsert image of media button/folder selectionP 9ow that this is open what you will need to do is go through the different types of instrument available, they are all categorised into the correct place to find them, once you have selected one play around till you find the correct notes to the song if you do not have the score to work from. If you find a sound that you think sounds similar but is not quite right, go to the left hand side of the screen and select the Le@s+&L Oinsert image of e@s+&P An this you can edit your selected sound. O3abelled image of e@s+& optionsP

Sound )a'es OInsert audio wavform imageP Waves are made up of what is known ascompressions and rarefactions. /ompression happens when molecules are forced together. 6arefaction is the opposite to that, it happens when molecules are given e@tra space so they are allowed to e@pand. Sound is a type of kinetic energy so as the molecules are pressed together, they pass the energy on through

eachother. Sound energy travels outward from the source. 0hese molecules are part of a medium, which is anything that carries sound. Sound travels through air, water, or even a block of steel, all are mediums for sound. Without a medium there are no molecules to carry the sound waves. In places like space, there is no sound. Stereo speakers produce sound,they have a thin surfaced cone, called a diaphragm, this vibrates back and forth to create energy. When the diaphragm moves to the right, the energy pushes the air molecules to the right together, opening up space for the molecules on the left to move into. 0he molecules on the right are known as compressed and the molecules on the left rarefied. When the diaphragm moves to the left you get an opposite reaction. 0he molecules to the left become compressed and the molecules to the right are rarefied. 7lternating compressions and rarefactions produce a wave. Ane compression and one rarefaction is called a wavelength. *ifferent sounds have different wavelengths. ;he Re!or? So your rework has all the layers you wish to use, now to record into logic you can have multiple ways to input sound onto logic, there is, microphone input, midi input and using the pen tool to draw in the notes you wish to play, so if you wish to use a microphone to record in a track you first have to click the L6L on the layer to allow it to read the microphone, then you click record to begin, and then when you have finished your recording click the LstopL button. So now you have your recorded layer on the track, if you wish to cut this down click LescL $escape' then , for the scissor tool and trim the recorded track down to the section you would like to use. =or the midi input, makesure you have clicked LrL on the selected layer and then hit record, play in your track on the midi device then stop recording. If you wish to draw in your track then load up the piano roll, once on the piano roll you can select the pencil tool by clicking LescL and LL , now you have the pencil tool, click on the selected note you wish to play and drag along ne@t to it to select how long the note plays for. *o this until you have created what you wish to have done then simply click off the piano roll to close it. 3oops can save a lot of time when making a track or a remake, if you wish to make a piece of your track loop then you select the track and click L3L this will loop the track till the end of your song. 0here is also quanti.ing, 0his is the process of turning a performed musical pieces notes, which may have been imprecise due to human error in the performance into a representation that removes this error. 0he process results in notes being left in the e@act time of the beats. 0he way you quanti.e is by loading up the piano roll and selecting the notes you have recorded in via a midi input or drawn in, then you select the dropdown menu ne@t to the q and select a time signature, and then click the D, listen to it back until it sounds correct. When creating my track I searched for sounds that I thought I could hear first, things like synthesisers are good to go through and you can often pick up a rough sound to work on. 7lot of my sounds I found in the e@s+&, I done this by loading the e@s+& then going onto the dropdown menu and selecting the sound, once selected I would try different things to work out the correct note/sound, I started with would change little things each time to create different sounds till I was happy.