last logic version to work on windows 3.1 (midi only)
LOGIC Audio 2.5 for Windows 95
Utilizing the most modern software technology available, LOGIC Audio seamlessly integrates Digital Audio, MIDI, and professional Scoring into a leading-edge music composition and production system. Due to its speed, precision and unchallenged realtime functionality, LOGIC Audio has established itself as the premier integrated music production system in the world.
User definable Key Commands
Finally, you decide how you want to work. With LOGIC's user definable key commands you have keystroke access to virtually every function within the program. Imagine having your own set of customized key strokes to navigate your song with lightening speed. No other program offers this level of user configuration.
90 User definable Screen sets
LOGIC multiplies the number of your monitors by 90! Even the largest computer screen isn't big enough for today's desktop recording needs. With a simple keystroke you can switch between 90 definable screens which you can design with a never ending multitude of editor combinations. With LOGIC, you're only limited by your imagination.
Interactive MIDI Editors.
LOGIC has five primary edit windows for viewing and fine tuning notes, velocities, note lengths, controller data, arrangements, SYSEX data, and much more. The Arrange window is for track/part arrangement and realtime manipulation of track/sequence performance. The Score window provides drag and drop editing of notation for professional quality scoring, either for a single part or an entire master score.
The Event List offers a highly detailed view of actual events from the highest level (e.g; a complete song) to the lowest (individual events). Add to these the Matrix Editor for the classic 'piano roll' view of notes, and the Hyper Editor for vertical representation of all data from notes to complex controller data. You can freely combine any or all of these editors and save each configuration as a recallable Screen Set. All windows are interactive, and you can access any part of your music for simultaneous manipulation in all editors. Any change in one window is immediately reflected in all other editors. In realtime!
Tightest Timing Engine Available
LOGIC Audio's MIDI sequencer offers an unsurpassed resolution of 960 ppq. All events playback exactly as you recorded them. With 100% non destructive quantize, and an option to create your own quantization grids, you have control over the slightest of rhythmic nuances. With an integrated MIDI and Audio program, internal synchronization issues are crucial; LOGIC Audio's timing accuracy of 1/10,000 of a bpm can mean the difference between a robotic beat and a pumping groove.
LOGIC's Environment represents an exponential leap forward in studio management. Fully integrated into the LOGIC system, the Environment allows you to represent all of your physical studio hardware in the form of virtual objects. Single Instruments represent single sounds from your varied MIDI devices. Multitimbral synthesizers are represented by Multi Instrument Objects, complete with 10 banks of patch names, all major and user definable bank select commands on all sixteen channels. All objects and devices can be controlled via virtual faders, buttons, switches or even SYSEX. Of course, everything can be fully automated. LOGIC's support files come with virtual mixers, patch lists of many popular synths, SYSEX editors, MMC templates for the Alesis Adat, Roland's VS880 and much more.
But the Environment doesn't stop there... you can freely configure the MIDI signal flow to include one or more of the Real Time Virtual Objects. For example; the Arpeggiator, MIDI Delay, Transformers that convert any MIDI event into any other MIDI event, Cable Switchers or the Chord Memorizer, that allows you to play complex chords by pressing a single key. These objects can be used as often as you want. There are no limitations: from an effect bypass switch, to a virtual analog sequencer. This variety and flexibility can only be found in LOGIC Audio.
LOGIC + Audio = LOGIC Audio
LOGIC is available as a standalone MIDI recording and Scoring package. It can be easily upgraded at any time to LOGIC Audio, which adds the seamless integration of digital audio recording along with a full suite of DSP functionality. LOGIC Audio's DSP functions set new standards in sound quality and calculation speed. Audio recordings appear just like MIDI recordings as horizontal beams in the Arrange window. Both audio and MIDI behave almost identically within LOGIC Audio. The tempo of the MIDI playback can be simply adapted to imported Audio Recordings. Audio Objects (Audio Regions) can be rearranged, cut, copied, shortened, stretched and much, much more. The Strip Silence function can divide longer Audio Objects automatically. All this, of course, non destructively and in realtime. For Multimedia productions you can playback AVI movies within a song. LOGIC Audio's professional functions turn film synchronization into an easy task. The Stereo Sample Editor ensures phase locked editing of both sides of a stereo signal. Besides the standard sample editing functions like Cut, Normalize, Change Gain, Silence, Fade In/Out, Invert, Reverse and Remove DC-Offset, the Digital Factory offers you many more features, going far beyond most stand alone sample editors available.
LOGIC Audio includes an incredible suite of DSP functions knows as the Digital Factory. These algorithms include:
Audio to MIDI Groove Templates, allowing you to apply the groove of Audio recordings i.e. drumloops, to your MIDI sequences.
The Quantize Engine, which enables you to quantize your Audio recordings directly, just like quantizing MIDI.
"Audio to Score" which turns monophonic Audio recordings into MIDI notes, and of course,editable notation.
Maximize the volume impact with the Audio Energizer so that even flat recordings will make an impression in the final mix.
The Groove Machine can add swing to your audio recordings; a.k.a. "Regroove Digital Audio"!
The Silencer eliminates annoying noise or unwanted clicks.
Time Machine The Time Machine allows you to make simultaneous yet independent alterations to the pitch and/or length of an audio recording with impressive speed and quality: the processing of a file with, for instance, a Pentium 100, may even take less time than the length of the file itself, depending on the material. Correct a singer's pitch, shorten a jingle, or create new sounds. Thanks to built in multitasking, manipulations can be carried out during playback.
The True Cross Platform Solution
Continue working without interruption, even when you change your audio hardware. Standard audio file formats are supported and the conversion of audio files is fully implemented between Windows and Mac OS systems.
LOGIC Audio is the embodiment of Technology with Soul. It will help you fully explore the whole range of creative options in the world of modern MIDI and Digital Audio Editing, and is your best choice both now and into the future.
EMAGIC LOGIC AUDIO v2.5.3
• FEATURES & COMPATIBILITY
Logic Audio v2.5.3 is a Windows 95 application, and will not run on Windows 3.1n. Logic Audio can be very, very fussy about Windows soundcards, so it's advisable to check with both Emagic and your soundcard importer to confirm compatibility. Certain mice, including those by Logitec, are incompatible when used in-line with the Logic copy protection dongle and should be moved to a free PC Comm port. I'm also informed that certain PC motherboards and/or chipsets may not be compatible with Logic Audio systems that rely on Digidesign's Audiomedia III card.
Logic Audio offers unlimited MIDI tracks, and eight or 16 audio tracks, depending on your recording hardware. Only a single sample rate can be used for each song, and stereo recordings occupy two tracks; stereo files imported from CD-ROM or hard drive are split and re-recorded to two discrete new soundfiles, which stay together automatically.
The Multisound Classic soundcard in the reference PC played and recorded eight audio tracks, and Logic Audio recognised the analogue and digital audio ports on the Pinnacle card. Both soundcards' MIDI ports and the MQX32-m MIDI interface used in the reference PC appeared automatically in the Logic ports list, and I experienced none of the problems mentioned by Paul White in his recent review (see SOS November 1996). The only major problem was that the pickup and release of audio tracks in the Arrange page was delayed, sometimes by up to four seconds! This was at its worst in cycle mode, and made accurate positioning of audio very difficult indeed; I think the cause must be a buffers problem. Emagic technical support was unable to help, but offered the consolation that no similar problems have been reported with Audiomedia III. Similarly, in Hyper Draw, there was a 2.4-second offset between audio volume controller entries and their implementation.
• EASE OF LEARNING
Newcomers may initially find Logic Audio rather daunting, but it is a wonderfully-equipped and very classy application with most of the commonly-used functions very close to hand. For example, transpose, quantise, looping, copying and moving can all be done in the Arrange page without having to sift through menus. The bulky ring-bound 600-page manual includes an audio section, and it is for the most part comprehensive, well indexed and clearly laid out, but the absence of Windows on-line Help, the bareness of the factory default setup, and the apparent complexity of Logic's Environment create a less than friendly welcome. If ever a program needed a CD-ROM multimedia demo, this is it!
• USER INTERFACE
Logic has a pleasant, slightly quirky feel to it, but is very stable, and inspires confidence because of its low crash rate. Screens are generally clear and well laid out, although more colour would be welcome, as would better fonts. Screen redraws are usually fast, but sometimes proved sluggish in the Sample editor.
Getting around Logic is quick and easy, with excellent markers that carry through to the editors (Cakewalk markers are only visible on the Arrange page, and Cubase, as we have seen, does not implement markers at all). To help you get up to speed, a huge range of user-definable keyboard and MIDI remotes are included. Logic Audio also wins plenty of brownie points for its innovative screensets, which allow you to store and recall up to 90 different screen layouts. This is essential if you have a small screen, and because Logic allows you to open the same window more than once, you could create a screenset showing the Arrange overview of the whole song, with another Arrange window zoomed-in on a 4-bar section. Clever linking means that open windows can all stay in sync with each other if required.
• GLOBAL CONTROL
Common activities, like saving to disk and editing, can be carried out in real time, with the MIDI Resolution fixed at 960ppqn. Logic Audio does not address the ports of your MIDI interface directly from the Arrange page, but does so through virtual instruments in the Environment. These act like junction boxes, and define the MIDI signal path between the MIDI Out data in track sequences and the PC's physical MIDI Out ports. Multi-instruments also store patch names which may be imported from text files, or typed in. Ready-made Multi-instruments, complete with patch names, are supplied on the support disk for the more common instruments.
Virtual Environment objects also include Logic's internal MIDI effects modules (such as delay lines, arpeggiators and chord memorisers). Virtual faders may be used to control individual devices, or can be grouped to form an automated virtual mixing console. The Environment also provides the only access to instrument patch names; you can't automatically load in patch names from your synths. Like many other users, I found Logic's Environment rather badly explained in the manual, and although the concept is simple, its apparent complexity could cause confusion for the novice.
Most activity in Logic is focused on the Arrange screen, where each track has its own MIDI activity meter. The Track List contains track names, MIDI activity indicators and user-selectable instrument icons. Instrument and patch names are available from the Arrange page, providing you have created the appropriate Multi-instruments in the Environment.
Song structure editing in Logic Audio is fast, and uses the Windows cut and paste conventions. Logic Audio also has superb tempo editing, including custom tempo curve template creation and tempo scaling.
• MIDI EDITING
MIDI handling in Logic Audio is good, and editing is fast and enjoyable -- if Logic's Edit windows seem sparsely featured, they still work well. Logic has a range of editors, offering a number of event perspectives similar to those in Cubase and Cakewalk.
Logic's graphical editors make very little use of colour, and it is sometimes difficult to read event status information, especially in the Hyper editor window. The Hyper editor displays multiple controller types simultaneously, and is preferable to the single-controller displays found in Cubase and Cakewalk.
Controller data can be drawn directly onto sequences, as a series of envelope points, in the Arrange window using the Hyper Draw function. Hyper Edit also acts as the main Logic Audio drum editor, which performs well enough, but does not possess the versatility of its Cubase counterpart. Notation editing and printing is also not quite as well-featured as Cubase Score, but has the edge on Cakewalk.
Audio data can easily be cut, pasted, copied, deleted and even mixed from Logic's Arrange page, and most of the MIDI editing tools also apply to audio. For example, a region may be divided using the Scissors tool. Audio regions may also be looped, and there's an automatic procedure for making the tempo of your MIDI data precisely match the length of an audio region. Volume and Pan information for each audio track may be recorded as a Hyper Draw sequence, though on an adjacent track rather than on the same one, but strangely, you can only switch the record status on and off by visiting the audio section in the Environment -- this is one function that really should be accessible from the Arrange page.
The Audio editor displays all the wave files used in the song, complete with constituent regions, length, anchor points and sample rate information. The Strip Silence function may be used to scan audio material, extract pauses and automatically create new regions, which is useful when separating different takes from a recording. Logic Audio also contains its own sample editor, where audio may be edited to single-sample accuracy. Unfortunately, it is not possible to scrub through digital audio material and locate exact cue points using a Windows soundcard -- if you require this, you must invest in a Digidesign Audiomedia III PCI card.
The Sample editor also contains the Factory, where a selection of very tasty DSP audio processing tools reside. The Audio Energiser uses a smart limiter algorithm to raise the perceived overall level of the audio without introducing distortion -- I used it on a complete mix and the results were excellent, with the processed audio sounding fuller and more punchy. The Silencer noise reduction module consists of two processors which may be used independently or together: Spike reduction reduces impulse disturbances such as clicks, while Noise reduction reduces hiss and other unwanted broad-bandwidth noise. Time-stretch and Pitch-shifting are processed by the Time Machine, and are capable of very good results if used with discretion. Other snazzy goodies include the Groove Machine, which lets you alter the swing or groove of the audio material, and the Audio-to-MIDI groove template function, which creates a MIDI groove template from rhythmic audio material. The Audio-to-Score Streamer will take a monophonic audio recording and derive a MIDI sequence from it, while the Quantise Engine allows you to apply a groove template to an audio sequence. This latter feature is very impressive, and isn't restricted to simple drum parts. -- http://www.soundonsound.com/sos/1997_articles/feb97/midiaudio.html
« Last Edit: September 18, 2015, 04:25:10 AM by chrisNova777 »