You probably already know that synth meetups are a great way to meet and learn from other people that are into synths. This video, from Pacific Northwest Synth  2009, documents five more reasons to go to a synth meetup.

5 Reasons To Go To A Synth Meetup

1. They are the synth geek equivalent of a trip to the Playboy Mansion – everywhere you look, you see something gorgeous.
2. Everybody there thinks that guys rocking out with keytars are cool.
3. Where else are you going to see a giant Mini Modular?
4. Analog IS better than digital. Especially when it’s digitally-controlled analog.
5. Three words: MIDI-controlled skulls

If you made it to Pacific Northwest Synth 2009, leave a comment with your experiences or links to videos and photos from the event!

via redmartian:

Here is a live performance of the MMM demo number four featuring the stack of MMMs behind, the Syntar (the father of the MMM) and the new AcidLab MIAMI in MIDI mode.

The bass line, arpeggio and drums were sequenced in Logic.

The Skulls were triggered via Logic (the percussion tracks) using Division-6’s MIDIFY.

Bedtime Stories is am improvisation on custom made Monome 40h running Press Cafe sending MIDI to Logic Pro 8.

via rishabhrajan

This update improves overall stability and provides numerous fixes and enhancements. Issues addressed include:

• Flex Markers can align & snap to MIDI notes
• Performing a punch-in recording with Replace Mode now behaves correctly
• The I/O plug-in adds an option for latency measurement
• TDM plug-ins now behave as expected. (Only affects users with Pro Tools HD audio hardware.)

The update is recommended for all users of Logic Pro 9.

Sonic State takes a look at Apple’s Logic Pro 9. In the review, SS’s Nick Batt focuses on new features, like Flex Time, Edit Groups, Convert to Sample Track, Bounce in Place and Quick Swipe Comping and Import.

He summarizes his thoughts on the upgrade at the Sonic State site.

Are you using Logic Pro 9? If so, leave a comment with your thoughts on it.

Apple

This update improves overall stability and provides numerous fixes and enhancements.

Issues addressed include:

• Flex Markers can align & snap to MIDI notes
• Performing a punch-in recording with Replace Mode now behaves correctly
• The I/O plug-in adds an option for latency compensation

The update is recommended for all users of Logic Pro 9.

For detailed information on this update, see Logic Pro Release Notes.

This video looks at how to use the Drum Replacement tool in Logic Pro 9 to replace or augment a drum kit piece.

via digitalmusicdoctor:

How to use the Drum Replacement tool in Logic Pro 9 to replace or augment a drum kit piece. This is a reformatted excerpt from the video training course Logic Pro 9 – Know It All! by Digital Music Doctor.

This is a video unboxing and preview of the new Logic Pro 9.

Click here to view the embedded video.

Part 2 covers an install on PPC G5 2.0ghz machine.

via dancetech

Apple today introduced the next version of Logic Studio, with major upgrades to Logic Pro and MainStage and more than 200 new features.

Here’s what’s new:

• Logic Pro 9 features new Amp Designer and Pedalboard plug-ins that provide realistic virtual guitar amps and stompbox effects.
• A new set of Flex Time tools allow Logic users to easily manipulate the timing and tempo of audio.
• MainStage 2, Apple’s live performance application, includes the new Playback and Loopback plug-ins to provide backing tracks and creative, real-time loop recording for performing on stage.
• Logic Studio also includes the new Soundtrack Pro 3, with new multitrack audio tools for video production, and Compressor 3.5 for encoding in a variety of formats.

This looks like a great update to Logic Studio and Logic Studio’s $499 will continue to put pressure on other DAW developers to add features and keep prices down.

Apple has published a set of video demos on Logic Pro 9, the new guitar plugins and Mainstage 2. The new Amp Designer and Pedalboard plug-ins give guitar players new recording and sound design capabilities.

Amp Designer recreates 25 legendary vintage and modern amp heads in beautiful detail with matching controls and 25 paired speaker cabinets that emulate the sound and feel of a guitar running through a real tube amplifier. Guitar players can create their own custom rig by mixing and matching amps, cabinets, reverbs and EQs, and can choose from three different microphone types that can be positioned in 3D space to capture the ideal guitar tone.

Pedalboard adds an assortment of 30 guitar stompbox pedals that can be arranged in any order to produce a wide variety of lush, creative effects including overdrive, distortion, fuzz, delay, chorus, flange, phaser, tremolo, treble boost, wah and more.

Flex Time is a new collection of tools that allow musicians to quickly manipulate the timing and tempo of recorded audio, including vocals and instruments, to create tighter performances. Using the Flex Tool, individual beats in a waveform can be moved effortlessly with a mouse click, without the need for tedious slicing and editing. Audio Quantize can instantly fix or adjust the timing of an entire performance by aligning notes and beats to a musical grid with a single menu selection. Varispeed provides the ability to slow down and then speed up an entire multi-track production to help record challenging parts. Flex Time also enables recorded tracks to be moved between different Logic projects and matched together, even if they were performed at different tempos. All Flex Time edits are performed non destructively and in real time, even when using the highest quality settings.

MainStage 2 lets musicians use all the instruments and effects from Logic Studio to turn their Mac® into the ultimate live performance rig. The new Playback plug-in provides musicians with a backing band, allowing them to perform with pre-recorded audio, like drums, sound effects and other accompaniments that can be triggered to play while they are performing live. The new Loopback plug-in allows musicians to record, layer and jam along with their own performance so a single musician can lay down a rhythm and then play a lead over it.

Soundtrack Pro 3 adds powerful new audio editing tools including Voice Level Match which extracts volume information from the vocal content of one clip and applies it to another without altering any other audio content, so editors can easily correct mismatched voice levels. An enhanced File Editor includes new tools to make sophisticated edits and fine tune volume adjustments by targeting specific frequencies such as the rustle of a paper or the bump of a desk without affecting dialogue. The new Advanced Time Stretch feature stretches and compresses audio with incredible precision using three Apple-designed algorithms or other algorithms available as third party plug-ins. Soundtrack Pro and Compressor are also available as part of the new Final Cut Studio®, allowing Final Cut® and Logic users to collaborate and share files.

Pricing & Availability

Logic Studio is now available through the Apple Store, Apple’s retail stores and Apple Authorized Resellers for a suggested retail price of $499 (US). Existing users of Logic Studio and Logic Pro can upgrade for a suggested retail price of $199 (US). Logic Express will ship in August for a suggested retail price of $199 (US) and will be available through the Apple Store (www.apple.com), Apple’s retail stores and Apple Authorized Resellers.

The Yamaha FS1R was a synthesizer manufactured by the Yamaha Corporation from 1998 to 2000, based on Formant synthesis. The FS1R also had FM synthesis capabilities similar to the DX range.

The editing capabilities were phenomenally powerful, offering 2,000+ parameters to control in any one ‘performance’ (made up of up to 4 parts or voices), which detracted from the programmability of the unit, often leaving users bewildered and overwhelmed.

This video, via Phil Anderson, is a demo of the Yamaha FS1r:

This is one of the coolest synthesizers ever made, and it’s a shame it seems to be not on the radar.

The FS1r was basically the ultimate FM synthesizer from Yamaha, makers of the original DX7, but it will do much more than that, much, much more. It has an incredible array of algorithms, 8 operators, a very impressive filter, and formant sequencing. Plus it works in performances, with the ability to stack four of these together to create some awesome sounds. The internal DP effects are also very nice and smooth.

In a 1998 review, SOS had this to say about the Yamaha FS1R:

The FS1R isn’t completely revolutionary — it features a development of 15-year-old technology, after all — but it does manage to offer a sound and method quite unlike any other synth on the market. Even for those who don’t want to do in-depth programming the FS1R has lots to offer; there are tons of quality presets, which can be easily layered into new Performances and then tweaked with the front-panel knobs, all with no real knowledge of FM needed. And though programming enthusiasts will probably find that the FS1R requires a bit of effort to come to grips with, the results should more than repay their time and trouble. Formant Shaping, in particular, is a serious, exciting achievement on the part of this synth’s designers and a breakthrough at any price, let alone at £699.

If you’ve used the FS1R synth, leave a comment with your thoughts!

Yamaha FS1R Specifications:

Synthesizer Section

• Tone Generator : Formant Shaping / FM Synthesis, LFO1/LFO2/Dynamic Filter/Pitch EG/Filter EG
• Maximum Polyphony : 32 (without Filter) / 16 (with Filter)
• Number of Multitimbral Parts : 4 parts (16 MIDI channels)
• Operators : 8 Voiced Operator + 8 Unvoiced Operator per Voice
• Algorithm : 88
• Effects : 15 (Reverb), 28 (Variation), 40 (Insertion)
• Performances : 384 (Preset 256/User 128) to be made up of up to 4 part of Voice programs as layer/split
• Voice number : 1536 (Preset 128 x 11 bank + User 128)

Others

• Display : LCD Custom (Character&Graphic) w/backlit LED 8
• Compatibility : Receive DX7 MIDI Bulk dump (1 voice format only)
• Connectors : Headphones, Stereo Output (L/ Mono, R), Individual Output (L/R), MIDI In/Out/Thru
• Controllers : Control Knob 4 Assignable / Fixed (Attack/Release/Formant/FM), Volume Knob
• Dimensions : 480(W) x 235(D) x 44(H) mm
• Weight : 2.6 kg

Yamaha FS1R Resources:

• Wikipedia entry
• SOS review
• Planet-Groove article

This is a nice screencast by Audiotuts+ that demonstrates how to create gated sequence effects with Ultrabeat.

Explains author Toby Pitman:

I’ve only just scratched the surface of what Ultrabeat is capable of in this tutorial. When it comes to drum sounds Ultrabeat rivals any software on the market. Its ability to combine analogue with sample synthesis allows for literally any percussive sound to be produced and we’ve seen it’s not just for drums. You could do a month’s worth of tutorials and still have more left over before you covered it all. This is testament to Logic’s feature set which is really deep once you delve into it. Next time you reach for Stylus RMX give Ultrabeat a thought. It might just become your favorite drum plug-in.

More info at the Audiotuts+ site.

The bundle includes:

• Transformation Universal, an advanced universal midi controller;
• Filter, a midi filter;
• Thru, a midi thru;
• Random on Note on & off, a randomizer triggered by a note on and note off message;
• Notes Fixer, fix your lo and hi note values;
• AutoMove, automatically move faders (time based);
• Step Increase or Decrease, increase or decrease midi messages; and
• Randomize 8 times, a randomizer for sound creation.

System Requirements: Any system with a working Logic Pro 8 or higher installed.

If you’ve used AppKats’ Free Bundle, leave a comment and let us know what you think!

Green Apple Loops are the kind that include audio and midi data. Starting with Logic 7.1 (Express or Pro), you can make them in addition to the regular, audio-only blue kind. This video shows you how to do it.

via Home Audio Journal

This collection of tutorials for Logic Pro 8, hosted by Joe Godfrey, covers the essential of working with Apple’s Logic Pro.

This nicely shot demo video combines KORG nanoPAD, DS-10 and Logic Pro 8 Effects.

Watch for the dancing hands effect!

Description:

KORG nanoPad controls Logic Pro 8 Effects.
Pad control X position synchronize EQ on Logic as Hipass filter.
Pad control Y position synchronize Echo wet on Logic.
It is mimicry of KORG KaossPAD KP3:-) 

Logic recorded sounds are played by DS-10 on Nintendo DSi.

Just blaze shows a fast easy way to chop and assign samples in Logic via the EXS24.

via Mike Chav

Awesome Synthopia reader Anya Graham translated a recent Jean-Michel Jarre interview for us, and I thought it would be great to share. Thanks Anya!

The intervew has a strong Apple focus, but is still interesting for its insight into how this synth music pioneer uses current technolog:

You’ve used Apple products for a long time, which models do you use?

I’ve been a big fan of Apple since they began! I have a Mac Pro and a Power Mac G5 in my recording studio, a Mac Pro at home and I’m inseperable from my 15” MacBook. On top of that, I have two iPhones and several iPods, I like to keep hold of the older models. At the moment, I’m very tempted by the MacBook Air. I tell you, it’s a passion…

How do you use them in everyday life?

Macs are an integral part of my life. In the studio, I use the Mac Pro for recording. My MacBook Pro comes everywhere with me. I use it to compose and produce bits here and there, on the plane between Paris and Beijing, notably for my album “Aero”. I love the iPhone, it’s a great handheld computer. I use it for reading emails, watching video, listenin to audio, as a telephone of course and I’m waiting impatiently for the next developments.

As a musician, do you use Logic Pro and GarageBand?

I use Logic Pro a lot. Everything is integrated, there’s no external interface, it’s fantastic. I use it as a large sequencer, it’s like the nerve centre of the recording process. I also have it installed on my MacBook Pro. I’ll be going on tour soon and I’ll be able to continue working on my next album. I use GarageBand too, particularly as a notepad to write down all my musical ideas.

What attracts you most about Apple that you can’t find elsewhere?

I find that there’s a unity between the programs. The way of working is the same in all domains: images, word processing, audio, putting things together… becoming familiar with another Apple program is therefore made easy. The whole iLife suite applies this idea of simplification. It’s an important specification of Apple. I’m also sensitive to the aesthetic approach and the link between the the looks and how this relates to what’s actually going on. As a musician, I develop an affectionate rapport with my instrument. And I find that Apple reflects this with all its software, and offers its users the possibility to react in a more emotional manner. There is a trend to replace the keyboard and mouse with the real sense of touch that came with analogue equipment. I found this idea reoccurring in the iPhone which is for me a true revolution.

How do you use Apple’s hardware in you recordings?

The Mac has a privileged function at the heart of all my projects, audio or visual. The Power Mac G5 serves specifically for studio work at all stages of the recording: mixing, production to the final mastering. One can compare it to an airport: it’s the place where everything’s comes and everything leaves again.

What is your method of working in the studio?

Obviously, I have my work habits. I love the trackpad, I’m left-handed and I find that it’s more practical than a mouse. I like having two screens, even at home, and network all my machines, it makes it easier to work more on the same project. I really appreciate Apple’s mindset and I hope they’ll continue to do their thing.

Here’s a short excerpt, through Google automatic translation:

Jean-Michel Jarre says his passion for the Mac

You are using Apple products for a long time. De quels matériels disposez-vous ? What materials do you have?

I am a big fan of Apple since the very beginning! I have a Mac Pro and Power Mac G5 in my recording studio, a Mac Pro to my home and I’m separated from my MacBook Pro 15 “. In addition, I have two iPhone and several iPod, I even kept the older models. At the moment, the MacBook Air tent me a lot. When I tell you that it is a passion…

What do you do in everyday?

Macs are an integral part of my life. In the studio, the Mac Pro I use for records. My MacBook Pro with me everywhere. Even more so, I came to compose and produce songs on it, on a plane between Paris and Beijing, especially for my album “Aero”. I love iPhone is a true handheld. I use to read my mail, video, audio, call for course and I look forward to future developments.

As a musician, how you run Pro Logic and GarageBand?

I use a lot Logic Pro. Everything is integrated, there is no external interface is fantastic. I operates as a wholesale sequencer is the brain of registration. It is also installed on my MacBook Pro. I will soon go on tour and I’ll be able to continue to work on my next album. I also GarageBand, especially as a notepad to mark all my musical ideas.

What attracts you most about Apple solutions and you can not find elsewhere?

I think that there is unity in access to software. This consistency is the same in all areas: image, word processing, audio, editing… The familiarization with a new Apple software is so easily. Any iLife apply this idea of simplification. This is an important specificity of Apple. I am also very sensitive to the aesthetic approach and consistency between the content and container. As a musician, I developed a rapport with my emotional instrument. And I think that Apple leads this reflection for all of its solutions and offers its users the opportunity to respond so emotional. There is a trend away from the keyboard and mouse to find the sense of touch that existed in the analogue technology. I find this idea in the iPhone which is for me a real revolution.

How do you use Apple hardware at your recordings?

The Mac has a function within the heart of all my projects, audio or visual. The Power Mac G5 serves me specifically for the studio work at all stages of registration: mixing, mastering production to final… You can compare it to an airport is the place where everything converges and ” where everything starts

What is your way of working in the studio?

First, I have my work habits. I love the trackpad, I am left handed and I think that is more convenient than the mouse. I have two screens, even at home, and put all my machines network, it is possible to work together more on the same project. I really appreciate the mindset Apple and I hope they continue to do what they are…

The automated translation is bad – so if you know of a better translation or if you translate this yourself and post it, let us know in the comments!

Here’s the original French:

Jean-Michel Jarre raconte sa passion pour le Mac

Vous êtes utilisateur des produits Apple depuis longtemps. De quels matériels disposez-vous ?

Je suis un grand fan d’Apple depuis le tout début ! J’ai un Mac Pro et un Power Mac G5 dans mon studio d’enregistrement, un Mac Pro à mon domicile et je suis inséparable de mon MacBook Pro 15”. Par ailleurs, j’ai deux iPhone et plusieurs iPod, j’ai même gardé les modèles les plus anciens. En ce moment, le MacBook Air me tente beaucoup. Quand je vous dis que c’est une passion…

Quelle utilisation en faites-vous au quotidien ?

Les Mac font partie intégrante de ma vie. Au studio, le Mac Pro me sert pour les enregistrements. Mon MacBook Pro m’accompagne partout. Il m’est même arrivé de composer et de produire des morceaux sur celui-ci, dans un avion entre Paris et Pékin, notamment pour mon album « Aero ». J’adore iPhone, c’est un véritable ordinateur de poche. Je m’en sers pour lire mes mails, pour la vidéo, l’audio, pour téléphoner bien sûr et j’attends avec impatience ses prochains développements.

En tant que musicien, comment exploitez-vous Logic Pro et GarageBand ?

J’utilise beaucoup Logic Pro. Tout est intégré, il n’y a pas d’interface externe, c’est fantastique. Je l’exploite comme un gros séquenceur, c’est le cerveau de l’enregistrement. Il est également installé sur mon MacBook Pro. Je vais bientôt partir en tournée et je vais pouvoir ainsi continuer à travailler sur mon prochain album. J’utilise aussi GarageBand, en particulier comme bloc-notes pour marquer toutes mes idées musicales.

Qu’est-ce qui vous séduit le plus dans les solutions Apple et que vous ne retrouvez pas ailleurs?

Je trouve qu’il y a une unité dans l’accès aux logiciels. Cette cohérence est la même dans tous les domaines : image, traitement de texte, audio, montage… La familiarisation avec un nouveau logiciel Apple se fait ainsi facilement. Toute la suite iLife applique cette idée de simplification. C’est une spécificité importante d’Apple. Je suis aussi très sensible à l’approche esthétique et à la cohérence entre le contenu et le contenant. En tant que musicien, je développe un rapport affectif avec mon instrument. Et je trouve qu’Apple mène cette réflexion pour toutes ses solutions et qu’il offre à ses utilisateurs la possibilité de réagir de manière émotionnelle. Il y a une tendance à s’éloigner du clavier et de la souris pour retrouver le sens du tactile qui existait dans la technologie analogique. Je retrouve cette idée dans le iPhone qui est pour moi une vraie révolution.

Comment utilisez-vous le matériel Apple lors de vos enregistrements ?

Le Mac a une fonction privilégiée au cœur de tous mes projets, audio ou visuels. Le Power Mac G5 me sert spécifiquement pour le travail en studio à toutes les étapes de l’enregistrement : mixage, production jusqu’au mastering final… On peut le comparer à un aéroport : c’est l’endroit où tout converge et d’où tout repart…

Quelle est votre façon de travailler en studio ?

D’abord, j’ai mes habitudes de travail. J’adore le trackpad, je suis gaucher et je trouve que c’est plus pratique que la souris. J’aime avoir deux écrans, même chez moi, et mettre toutes mes machines en réseau, il est possible ainsi de travailler à plusieurs sur le même projet. J’apprécie vraiment l’état d’esprit Apple et j’espère qu’ils continueront à faire ce qu’il font…

via MacWorld UK

Here’s what’s been fixed in the update:

Arrange window

• Copy and paste operations on audio regions create independent regions instead of clones.
• Channel strips of frozen tracks can now be copied.
• The Select All Following command no longer selects regions on protected tracks.
• You are no longer asked to unfreeze the selected track when performing tasks that do not require an unfrozen track (such as muting tracks).
• When deleting a track with Auto Zoom enabled, the next selected track is now automatically zoomed.
• If the track header is configured to display two track names and you have chosen “Auto name” for the right-hand column, double-clicking the right-hand column now activates the text input field for naming.
• Cutting looped regions with the Marquee tool now behaves as expected.
• Using the Marquee tool to perform region copy and paste operations now behaves as expected.
• In projects that don’t start on a whole bar position, the Marquee tool now works as expected when the Snap menu is set to Bar.
• The Tab key now steps correctly through tracks when renaming tracks in the track header.
• Arbitrary crossfades no longer occur when you choose an X-Fade setting in the Drag menu.
• Deleting unused tracks (Track > Delete Unused) from the Arrange area now works as expected.
• The Delay parameter now works on folders that contain audio regions.
• The content overview (MIDI data events) of MIDI regions now updates while time stretching.
• The Unpack Folder (Use Existing Tracks) command now works as expected.
• The zoom out range is optimized.
• The MIDI Recording project setting “Create tracks in cycle record” now works as expected.
• Differing region parameter values across a multiple-region selection are now correctly indicated by an asterisk (*).
• Region aliases are now converted to real copies when cut.
• Cutting looped MIDI regions now works as expected.
• Cutting looped regions at certain tempos now works as expected.
• It is now possible to import DNA groove templates without issue.

Audio Miscellaneous

• Synchronization between Ultrabeat and Logic is improved.
• When working with a combination of Apple Loops, REX2 files, and folders, Apple Loops now adapt correctly to the project key.
• Time stretching audio regions in the Arrange area now works as expected.
• Bouncing a project that contains regions that follow the project tempo (Follow Tempo function) now also works in projects with tempo changes.
• With UTM off, changing a mono bus-fed aux channel strip to a mono bus channel strip no longer breaks the routing.
• There is no longer an issue of some projects not playing the first note.
• You can now add all WAV (.wav) files to the Arrange area via drag and drop.
• Entering a value outside of the range in the Apogee Ensemble and Duet control panels no longer produces a recurrent error message.

Audio Units

• When you move plug-in windows that are larger than the screen, the plug-in header no longer disappears.
• When you open projects containing Audio Unit plug-ins that are available as both an effect and instrument, the correct plug-in version is loaded.

Automation

• In Touch automation mode with Ramp Time set to 0 milliseconds, the parameter now returns to its previously recorded setting immediately after releasing the automation controller.
• When you edit region positions in the Event List, any automation will also follow the change of position.
• Shift-Option-Control-dragging over a grouped track now works as expected, creating four nodes on all tracks of that group.
• Multi output instrument automation is now recorded on the selected track.

Bouncing and Burning

• Bouncing 5.1 projects as split stereo files now works as expected.

Editors

• Changing the left corner of an event in the Piano Roll Editor no longer results in an arbitrary change of the region’s start position.
• The Auto Define feature in Hyper Editor now works as expected.
• Double-clicking an event in the Piano Roll Editor now opens the Event List and scrolls to the selected event.
• You can now edit a selection of events from different regions in the Piano Roll Editor.
• Selecting a region no longer changes the Piano Roll Editor view to the region start position.
• When changing the project tempo, the Hyper Draw display in the Piano Roll Editor now updates correctly for SMPTE-locked regions.
• When resizing a region, the region length no longer resets when the right border crosses the left border.
• Changing the ticks of an event length in the Event List now works as expected.
• The Event List now shows the correct selection after copying regions.
• Using the plus sign (+) and minus sign (–) keys in the Event List now behaves as expected.

General

• You can now change the Cycle Pre-Processing preference even if no project is open.
• When reopening projects, the Transform window status is now recalled correctly in screensets.
• Changing the SMPTE Position value in the Transport bar now works as expected.
• The Templates dialog now recalls the last chosen template collection.
• Opening Logic under Mac OS X v10.5 Leopard is now much faster.
• For improved reliability, the Undo History is now limited to 200 steps.
• You can no longer move Events inside a SMPTE-locked region.

Global Tracks

• In projects with time signature changes, the Repeat Regions/Events command now takes the current signature value into account.
• Under Mac OS X v10.5, the last transposition event is now displayed correctly.
• You can now move Markers while Logic is playing.
• The Beats from Region function now is optimized for audio regions.
• Beat mapping now works with audio files that originate from CDs.
• You can now Shift-Control-double-click a marker in the Marker track to rename that marker as expected.

Instruments

• Ultrabeat loads the correct samples with the project.
• Importing Ultrabeat sounds works as expected.
• The first and second notes of the ES1 now play as expected when the Analog value is greater than 0%.
• Ultrabeat now triggers the correct pattern.
• Xfeed modes in Sculpture work as expected.

Media Area

• You can now resize the Loop Browser window (from the lower right edge) without unexpected issues.
• Renaming an audio file group in the Audio Bin now works as expected.
• Creating audio file groups in the Audio Bin can now be undone.
• Deleting files and regions from the Audio Bin can now be undone.
• The level of the Prelisten Volume slider now remains consistent across the relevant Media area tabs.
• You can now stop previewing audio files in the Add Audio File dialog after adding the audio file.
• Dragging a file onto the File Browser switches the Browser to the file’s parent directory.

MIDI

• Selecting an external MIDI track no longer sends its settings.
• The All Notes Off command now applies to software instruments.

Mixer

• Hidden Arrange area tracks are now also hidden in the Mixer.
• Clicking a channel strip’s Level fader no longer selects the channel strip.
• Redraw for the Mixer is optimized when stepping through Arrange area tracks.
• The Create/Select Arrange Track shortcut menu command now works correctly when multiple channel strips are selected.
• Input slot naming for aux channel strips (multiple outputs) is improved.
• Using numerical input to edit the Pan value of a MIDI track now works the same way as for audio tracks; a value of 0 corresponds to the center position.
• The Scroll To function in the Mixer View menu now works as expected.
• When you drag a plug-in beyond the border of the Mixer area, the Mixer area now scrolls with the mouse pointer.
• Changing the automation mode of the master channel strip no longer alters the automation mode of MIDI channel strips.
• Changing the Group setting when multiple channel strips are selected now works as expected.

Sample Editor

• Normalization now executes correctly after adjusting any settings.
• Selecting part of an audio region and changing the color no longer selects the entire region.

Score

• You can change user rests to channel 1.
• You can now use the “Underlined” style in the Font window.
• You can export some objects (such as the 8va symbol) using the Camera tool.
• Redraw for lyric input is optimized.
• The “Select All Following of Same Pitch” command now works as expected.
• Dividing brackets and bar lines beyond 25 staffs in instrument sets is improved.

Sync

• The start position of a movie is now determined by the first tempo event, with any changes to the tempo event also changing the movie start position.
• Logic now sends 29.97 drop fps as expected.

Key Commands

• The “Split Regions/Events by Playhead Position” and “Split Regions/Events by rounded Playhead Position” key commands are now as follows:
  • If used when Logic is stopped, a dialog asks if you want to keep, shorten, or split overlapping notes.
  • If used when Logic is playing, overlapping notes are automatically split.
• The key command “Set … Tool” (for example Set Pointer Tool) no longer switches between that tool and the previously set tool.
• To address an overlap with some Mac OS X v10.5 keyboard shortcuts, the default zoom key commands (such as Zoom Horizontal Out) are now Command-Arrow instead of Control-Arrow.
• The Cycle Through Windows command now works for plug-in windows.

Interface

• Plug-in window size changes are now saved with screensets.
• There is no longer an issue with the display when using Pro Tools 7.4 Digidesign TDM plug-ins.
• You can now set the background color in the Marker Text area/window.
• Switching screensets is much faster.
• Markers in the Marker List and Marker Text window are no longer automatically selected during playback.
• Screensets are now optimized in the event that the screen resolution or menu bar position have been changed.

Projects

• There is improved stability when opening large projects.
• The “Project Clean up” command no longer suggests to delete all Ultrabeat samples in the project folder.

Video

• When you open a movie, the Video track now displays automatically.
• When extracting audio from a movie, the extracted audio now consistently matches the sample rate of the project.
• The status of the Movie window (whether open or closed) now saves with screensets.

Control Surfaces

• The controller assignment for the master channel strip now works as expected.
• The display of assignment parameters in the Controller Assignments window is improved.
• The support for various control surfaces is optimized, in particular for the Roland SI-24 and the Euphonix devices.

Miscellaneous

• After loading a project, Delay Designer’s feedback tap now loads correctly.
• You can now enter note events in the Transformer window via the keyboard without unexpected issues.
• You can now preview REX2 and MP3 files in the Audio Bin file selector box while Logic is playing.
• There are various take management and workflow improvements.
• You can now undo various Mixer and channel strip tasks such as loading next/previous channel strip, inserting and removing plug-ins.