“The world’s most creative people use Final Cut Pro, Logic Pro, and the Mac to make the memorable movies, TV shows, online videos, songs, and soundtracks that we all enjoy,” said Bob Borchers, Apple’s vice president of Worldwide Product Marketing. Final Cut Pro and Logic Pro are Universal apps that build upon the breakthrough performance and pro capabilities of macOS® Monterey, and both are available today on the Mac App Store®. And musicians can use up to 3x as many plug-ins for recording on the all-new MacBook Pro with M1 Max. Logic Pro, Apple’s pro music creation software, now comes with a complete set of tools for authoring spatial audio music - allowing anyone to mix and export their songs in Dolby Atmos for Apple Music®. Final Cut Pro also introduces a new Object Tracker that uses machine learning to automatically detect faces and objects, and match their movement to create beautiful, cinema-quality titles and effects on any Mac. Professional video editors using Final Cut Pro on the new MacBook Pro can perform tasks never before possible on a Mac®, like the ability to play seven streams of 8K ProRes™ or color grade 8K HDR video with the new Liquid Retina XDR™ display - a first for any notebook. In Pic 2, notice that I have instantiated a Gain plug-in on each of my auxes for sub-mixes and adjusted them.CUPERTINO, Calif.–(BUSINESS WIRE)–Apple® today updated Final Cut Pro® and Logic Pro® with powerful new features for creative professionals, and optimizations that take full advantage of the power and performance of the M1 Pro and M1 Max chips in the all-new MacBook Pro®. Trust me, all this automating is a lot of work!Īnd yet, sometimes, indeed often, with scoring to picture projects I still may not have all the levels right or I may wish to create alternate mixes depending on picture considerations, like dialogue or producer/director critiques. In most of the libraries I use, Expression controls not only volume but timbre as well.Īs you can also see for further sub-mixing, I have created auxes that all the voices, strings, brass and percussion are outputted to and I have used Logic Pro's track based automation to automate those auxes volume without affecting timbre. Since these are orchestral library samples I am composing with, I have performed with MIDI draw, Logic Pro's region based automation, lots and lots of CC 11 (Expression) moves to control the volume in a (I hope) musical fashion. You see only ten tracks, but if you look at the numbers in the Track Headers, you can see that the first four are Folder Stacks, a great new feature in Logic Pro X, so that in reality they represent about thirty tracks. In Pic 1, you see the Main window (formerly the Arrange window in earlier Logic Pro versions) of one of my Logic Pro X projects. It does lots of useful things, like phase inversion, balancing incoming signal between the left and right channels, swaps the left and right output channels and even gives you summed mono when you need it.īut most of the time we use it to perform one very simple but helpful task, which is to either amplify or reduce the signal for level adjustments by a specific decibel amount. Now the Gain plug-in is not just a one trick pony. And yet, buried in the Utility plug-ins folder is a little CPU efficient gem called the Gain plug-in that solves so many mix problems as to be almost indispensible for users like me. In each subsequent version of Logic Pro there are always new and exciting bells and whistles that Apple touts that has new users buzzing and in the case of plug-ins like Amp Designer, Pedalboard, and Drummer, it is quite understandable, as they are terrific sounding and very sexy.
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