Acid music studio 11 [November 2019] serial key or number

A screenshot of Logic Pro X
Developer(s)	Apple Inc.
Initial release	1993; 27 years ago (1993) (as Notator Logic)
Stable release	10.5.1 / May 12, 2020; 4 months ago (2020-05-12)[1]
Written in	C, C++, Objective-C, Swift
Operating system	macOS
Platform	x64 (as of Logic Pro 9.1)[2]
Size	1.5 GB (app) 95.5GB (with all of Apple’s synthesized instruments)
Available in	English, Chinese, Japanese, French, German, Spanish
Type	MIDIsequencer and Digital Audio Workstation
License	Proprietary
Website	Mac App Store

Logic Pro is a digital audio workstation (DAW) and MIDIsequencer software application for the macOS platform. It was originally created in the early 1990s as Notator Logic^[3], or Logic, by German software developer C-Lab which later went by Emagic. American technology company Apple acquired Emagic in 2002 and renamed Logic to Logic Pro. It is the second most popular DAW - after Ableton Live - according to a survey conducted in 2015.^[4]

A consumer-level version based on the same interface and audio engine but with reduced features, called Logic Express, was also available at a reduced cost. Apple's GarageBand comes free with all new Macintosh computers and iOS devices and is another application built on Logic’s audio engine. On December 8, 2011, the boxed version of Logic Pro was discontinued, along with Logic Express, and as with all other Apple software for Macs, Logic Pro is now only available through the Mac App Store.^[5]

Features[edit]

Logic Pro provides software instruments, audio effects and recording facilities for music synthesis. It also supports Apple Loops – royalty-free, professionally recorded instrument loops. Logic Pro and Express share many functions and the same interface. Logic Express is limited to two-channel stereo mixdown, while Logic Pro can handle multichannel surround sound. Logic Express can only handle up to 255 audio tracks, depending on system performance (CPU and hard diskthroughput and seek time), while, as of version 10.4.5, Logic Pro can handle up to 1000.^[6] Logic Pro can work with MIDI keyboards and control surfaces for input and processing, and for MIDI output. It features real-time scoring in musical notation, supporting guitartablature, chord abbreviations and drum notation. Advanced MIDI editing^[7] is possible though Logic Pro's MIDI Transform Window, where velocity, pitch, pitch-bends, note length, humanize and precise note positioning are effected.

Software instruments[edit]

The software instruments included in Logic Pro X include: Drum Kit Designer, Drum Machine Designer, ES, ES2, EFM1, ES E, ES M, ES P, EVOC 20 PolySynth, Sampler, Quick Sampler, Step Sequencer, Klopfgeist, Retro Synth, Sculpture, Ultrabeat, Vintage B3, Vintage Clav, Vintage Electric Piano. These instruments produce sound in various ways, through subtractive synthesis (ES, ES2, ES E, ES M, ES P, Retro Synth), frequency modulation synthesis (EFM1), wavetable synthesis (ES2, Retro Synth), vocoding (EVOC 20 PolySynth), sampling (Sampler, Quick Sampler, Drum Kit Designer), and component modeling techniques (Ultrabeat, Vintage B3, Vintage Clav, and Vintage Electric Piano, Sculpture). As of version 10.2, Logic Pro X also includes Alchemy, a sample-manipulation synthesizer that was previously developed by Camel Audio.^[8] The software instruments are activated by MIDI information that can be input via a MIDI instrument or drawn into the MIDI editor.

The Space Designer plugin attempts to emulate the characteristic echo and reverberation of a physical environment, using a method called convolution.

Audio effects[edit]

Audio effects include amp and guitar pedal emulators, delay effects, distortion effects, dynamics processors, equalization filters, filter effects, imaging processors, metering tools, modulation effects, pitch effects, and reverb effects. Among Logic's reverb plugins is Space Designer, which uses convolution reverb to simulate the acoustics of audio played in different environments, such as rooms of varying size, or emulate the echoes that might be heard on high mountains.

Distributed processing[edit]

The application features distributed processing abilities (in 32-bit mode), which can function across an EthernetLAN. One machine runs the Logic Pro app, while the other machines on the network run the Logic node app. Logic will then offload the effects and synth processing to the other machines on the network. If the network is fast enough (i.e. gigabit Ethernet) this can work in near real-time, depending on buffer settings and CPU loads. This allows users to combine the power of several Macintosh computers to process Logic Pro’s built-in software instruments and plug-ins, and 3rd party processing plug-ins. As of version 10.0.7, Logic can access 24 processing threads, which is inline with Apple's flagship 12-core Mac Pro.

History[edit]

Creator and Notator[edit]

In the mid-to-late 1980s, Gerhard Lengeling and Chris Adam developed a MIDIsequencer program for the Atari ST platform called Creator. When musical notation capabilities were added, this became Notator, and later Notator SL. For simplicity these three are collectively referred to as Notator.^[9]

Its main rivals at the time included Performer, Vision & Steinberg 16. Most MIDI sequencers presented a song as a linear set of tracks; however, Notator and Vision were pattern-based sequencers: songs were built by recording patterns (which might represent for example Intro, Verse, Chorus, Middle-8, Outro) with up to 16 tracks each, then assembling an Arrangement of these patterns, with up to 4 patterns playing simultaneously at any one time in the song.^[10] This more closely resembled working principles of hardware sequencers of the 1970s and 1980s.

In its time, Notator was widely regarded (by musicians and the musical press of the time e.g. International Musician) as one of the most powerful and intuitive sequencing and notation programs available on any platform, but afterward the popularity of Steinberg's Cubase increased and track-based sequencing prevailed over pattern-based, resulting in the eventual greater integration and hybridization of the two methods in later versions of both Cubase and Logic.^[11]

Logic[edit]

The C-Lab programmers left that company to form Emagic, and in 1993 released a new program, Notator Logic, which attempted to fuse both track- and pattern-based operation (but looked much more like track-based sequencers than Notator). While rich in features, early versions of Logic on the Atari lacked the intuitiveness and immediacy of either Cubase or Notator, and never achieved the same success. However, by this time the Atari was becoming obsolete, and part of the reason why Notator Logic had been written from scratch with an object oriented GUI (though it shared the same nomenclature as its predecessor) was to make it easier to port to other platforms. The Notator prefix was dropped from the product name and the software became known as simply Logic.

As later versions of the software became available for Mac OS and Windows platforms, and acquired ever more sophisticated functions (especially in audio processing) to take advantage of increased computing power, Logic, together with the rise of the PC, gained popularity again.

Apple acquired Emagic in July 2002.^[12] The announcement included the news that development of the Windows version would no longer continue. This announcement caused controversy in the recording industry with an estimated 70,000 users having invested in the Windows route not wishing to reinvest in a complete new system. Despite much speculation in various Pro Audio forums however, exactly how many users may have abandoned Logic upon its acquisition by Apple, or abandoned the Windows platform for the Mac version, remains unknown,^[13] but Apple Pro Apps revenue has steadily increased since Apple's acquisition of Emagic,^[14] (roughly $2 billion a year as of Q1 2014).

Versions[edit]

Early versions[edit]

Logic 5 featured significant improvements in user interface, and increased compatibility with more types of computers, operating systems, and a wide range of audio interfaces. Logic 5.5.1 was the last version to be released for Windows. From Logic 6 onwards, the software would only be available on Mac OS.

With Logic 6, Emagic added the availability of separately packaged software products that were closely integrated add-ons developed specifically for use with Logic, including software instruments, the EXS sampler and audio processing plug-ins. The Logic 6 package also included the stand-alone program Waveburner, for burning redbook audio CD standard-compliant CDR masters for replication, however, that application was considered a free bonus feature; it was not advertised as part of the package and did not include printed documentation. PDF documentation was included on the installer disc.

In March 2004 Apple released Logic Pro 6, which consolidated over 20 different Emagic products, including all instrument and effect plug-ins, Waveburner Pro (CD Authoring application), and Pro Tools TDM support, into a single product package. Apple also released a scaled down version of Logic called Logic Express, replacing two previous versions that filled that position called Logic Silver and Logic Gold. Apple began promoting Logic Pro as one of its flagship software ‘Pro’ applications for the Macintosh platform.

Logic Pro 7[edit]

Logic Pro 7 was released September 29, 2004. Most notably, Apple modified the interface of Logic 7 to look more like a product that was developed by Apple.

Additions to Logic Pro 7 included: the integration of Apple Loops, Distributed Audio Processing (a technology for combining the power of multiple computers on a network), 3 new instruments including Sculpture (a sound modeling synth) and Ultrabeat (a drum synth and sequencer), and 9 new effect plug-ins including Guitar Amp Pro (guitar amp simulator), and a linear phase corrected version of their 6 channel parametric equalizer. In total, Logic Pro 7 now included 70 effect plug-ins and 34 instrument plug-ins.

Pro-Tools TDM compatibility, which had been a feature of Logic since version 3.5, was not supported by Logic 7.2 on Intel-based Mac computers;^[15] TDM support returned with the release of Logic 8.

Logic Pro 8[edit]

On September 12, 2007, Apple released the Logic Studio suite that included Logic Pro 8. Logic Pro was no longer a separate product, although a limited version Logic Express 8 was released on the same day, and remained a separate product.

Significant changes were made for Logic 8. Logic Pro 8 was now mainly Cocoa code, but still included some Carbon Libraries.^{[clarification needed]} Alongside changes such as the new processing plug-in (Delay Designer), Apple included features such as Quick Swipe Comping, similar to Soundtrack Pro 2, and multi-take management.

Apple also made changes to ease of use. These include the discontinuation of the XSKey dongle, and a streamlined interface. Each plug-in used in the channel strip opens in a new window when double-clicked. Many of the features found in Logic 7 have been consolidated into one screen. Other additions to the new interface included consolidated arrange windows, dual channel strips, built in browsers (like that in GarageBand) and production templates.

Logic Pro 9[edit]

On July 23, 2009, Logic Pro 9 was announced. A major new feature included "Flex Time", Apple's take on "elastic" audio, which allows audio to be quantized.^[16] A version of the pedalboard from GarageBand was included, together with a new virtual guitar amplifier where the modeled components could be combined in different ways. There were also a number of improvements to audio editing, fulfilled user requests such as "bounce in place" and selective track and channel strip import, as well as an expanded content library including one more Jam Pack. Some of the bundled software, including MainStage 2 and Soundtrack Pro 3, was also improved. Logic Pro 9 is Universal Binary, although not officially supported for use on PowerPC computers.^[17] SoundDiver, which had been quietly bundled with previous versions, was dropped, eliminating support for arguably the world's most popular synthesizer editor/librarian. As Apple has bundled so many software instruments with Logic, it is not likely that we'll see the return of integration with external synthesizer hardware to the Logic platform.^{[citation needed]}

On January 12, 2010, Apple released Logic Pro 9.1, an Intel only release, thereby officially discontinuing Logic for the PowerPC platform. Logic Pro 9.1 had the option of running in 64-bit mode, which allowed the application to address more memory than in the past. Says Apple "With 64-bit mode, the application memory is not limited to 4GB as with 32-bit applications, so there is essentially no practical limit by today's standards." Third party plug-ins that are 32-bit were still compatible, but would run from a 'wrapper' inside Logic Pro itself.

On December 9, 2011, Apple announced that Logic Pro Studio 9 would no longer be available on DVD, and would only be sold via the Mac App Store. The price was reduced from $499 to $199.99 for the Logic Pro app, and $29.99 for MainStage. The download was just over 400MB, and 19GB of optional loops were available as in-app downloads.^[18]

This version of Logic Pro Studio 9 no longer allowed users to access any microtunings in Scala format other than those provided with the software by Apple.

Logic Pro X[edit]

Released as successor to Logic Pro 9 on July 16, 2013, Logic Pro X (10.0.0) included a new, single-window customizable interface, with a design in line with Final Cut Pro X, as well as new features. New tools in this release are Drummer, a virtual session player that automatically plays along with your song in a wide variety of drumming styles and techniques, and Flex Pitch, a Flex Time equivalent for pitch editing in audio recordings. Also, a new "Smart Controls" feature allows users to map parameters from an array of plugins to a single, convenient control interface. Redesigned keyboards and synths were included, together with new stomp boxes, bass amp and drum kit designers, and a chord arpeggiator. A completely rebuilt sound and loop library was introduced, along with a new Patch architecture. Logic Pro X also improved track organization by allowing users to group multiple tracks into 'folder' like categories (e.g., acoustics, synthesizers, vocals, percussion, etc.). In addition to this organization, Logic Pro X allowed individuals to trigger 'solo,' 'mute,' and 'volume' controls for each group.^[19] Further improvements were made to score editing, exporting (now compatible with MusicXML format), and this version introduced MIDI plug-in compatibility. Coinciding with the release of Logic Pro X was the release of a companion iPad app called Logic Remote, which allows wireless control of Logic Pro X, including Touch Instruments for playing and recording software instruments as well as tools for navigating, making basic edits and mixing.

Since this release, Logic Pro X runs in 64-bit mode only and no longer works with 32-bit plug-ins.^[20] Logic Pro X is capable of transferring most data from previous projects saved in Logic Pro 5 and later, though the transfer to 64-bit only means older 32-bit plugins will no longer work.^[19]

Logic 10.4 introduced a new reverb called Chromaverb, and new functionality like Smart Tempo, as well as the option to undo mixer actions. In addition, version 10.4 introduced support for version 2 of the ARA (Audio Random Access) standard.^[21]

10.5 was released in May 2020. It features Live Loops, the Sampler, Quick Sampler, Remix FX, new drag-and-drop workflows, Drum Machine Designer, Mapping Editor, and a Step Sequencer ^[22].

See also[edit]

References[edit]

External links[edit]

If Michelle Dockery’s latest role had been written in the last 12 months, the part might look like a lazily drawn cliche. She is about to appear at the National Theatre in a stage adaptation of the film Network, playing Diana, a savagely ambitious TV executive (played by Faye Dunaway in the original), whose editorial and commercial values would be indistinguishable from those found at Fox News today. Despite being written long before cable news was even invented, it eerily foretells reality TV, viral videos, ratings wars, YouTube terrorism clips, fake news and the triumph of sensation over truth.

Her co-star is Bryan Cranston, playing an ageing presenter with plummeting ratings, about to be fired by his failing TV station. With nothing to lose, the anchor goes rogue and lets rip, venting misanthropic fury instead of reading the news, and threatening to blast his brains out live on air. His rants send ratings through the roof, and Diana wild with excitement. Glimpsing the future, she grasps the lucrative potential for a channel willing to dispense with all journalistic integrity and broadcast partisan polemic instead.

“Well, it’s just so obvious how it’s relevant today,” Dockery marvels. “[The anchor] Howard Beale shouting, ‘I’m mad as hell and I’m not going to take it any more!’ feels very pertinent, in the world of fake news and people frustrated with the political situation. If you heard someone shouting that out of a window in New York today, you wouldn’t be surprised. I think to a lot of people it will feel like a play about Trump’s America.”

Downton Abbey, the period drama that made Dockery’s name, came to an end two years ago, and since leaving Lady Mary and Highclere Castle behind her, she has barely drawn breath. She has been holed up in North Carolina playing a lawless con artist trying to keep out of jail in US drama Good Behaviour; spent months on location in New Mexico filming Godless, Steven Soderbergh’s new western series, and appeared in the film adaptation of Julian Barnes’ The Sense Of An Ending. The contrast between the young widow Lady Mary and the roles she has chosen since makes me wonder if she has deliberately set out to thwart any risk of being typecast, but Dockery shakes her head.

“No, I’ve never been one to go, ‘Oh I need to do x now, to show I can do y.’ I felt I’d do a disservice to Mary by going, ‘Enough of that now, let’s move on to something else.’ Because I loved her, and I loved playing her. And I just loved Alice, too, and instantly connected with her.”

Alice is Dockery’s character in Godless, a Netflix original co-starring Jack O’Connell and Jeff Daniels, and set in a New Mexico town populated by women and children, the men having died in a mining accident. Dockery plays a gun-toting rancher, fearless but haunted by heartbreak, twice widowed by the age of 21 and so cursed with ill fortune as to be warily regarded within the community as a witch.

When John was sick, one of the difficult things was the parallel with Lady Mary's storyline. It was baffling

In person Dockery looks nothing like a witch. Nor does she sound anything like an English aristocrat, or an American, but speaks in a surprisingly strong Essex accent. What she does share with both Lady Mary and Alice, however, is heartbreaking loss, which manifests itself in every movement and expression. Although arrestingly beautiful, she is Hollywood thin, and the ethereal impression of fragility is heightened by a watchful demeanour, hesitant sentences and eyes that look pinched with fatigue. The actor chooses all her words with conspicuous care, but never more so than when talking about the death two years ago of her fiance.

She and John Dineen, an Irish public relations director, had been engaged for a year when he died of cancer, aged just 34. “I don’t have the vocabulary to describe what it felt like. And what it still feels like. It is…” She breaks off. “Sorry, give me a minute.” In the long silence she composes herself. “I’ve never been more committed to anything in my life than to him. So at the time everything just shut down. Work, everything. Work didn’t matter. You suddenly become an [oncological] expert. This stuff becomes your world, and that of course was my priority.”

Even when his prognosis became terminal, “I never lost hope. No. I’m not exaggerating when I say that John did not complain once, never, not once, and that gave us strength. It’s what keeps you going, that positivity – to never lose that hope for a miracle. I couldn’t have done it any other way.” Her other priority was keeping Dineen’s condition a secret.

“John was a very private person, and the hardest thing was keeping it out of the press when he was sick. It took a lot.” She issued no public explanation for pulling out of a London stage production of Les Liaisons Dangereuses (she was replaced by Elaine Cassidy), set her lawyer on to tabloid reporters doorstepping the couple, and just about managed to fulfil her commitments to the ITV period drama, even though “one of the difficult things at the time was the parallels with Mary. It was just baffling, and still is to me, that my character’s storyline was so similar.”

Lady Mary lost her husband shortly after the first world war, when to be a young widow was at least nothing out of the ordinary. When Dineen died, Dockery was only 33, and I wonder if the aberrant sense of isolation made her loss even harder to bear. Can anyone in her life fully understand? “I wouldn’t expect them to. I spent more time in hospitals that year than some people do in a lifetime. I wouldn’t wish it on anyone or expect them to know.” After losing Dineen, she adds quietly, “You see things differently.”

I ask if she describes herself as a widow. “Oh, I refer to myself as a widow, yes. We were engaged, and married at heart, and so I do consider myself a widow. It’s why I related to Alice so much.” She pauses, looking faintly surprised at herself. “That’s the first time I’ve said that, and it’s a bit of a relief to say so. But of course. She was a young widow, and I connected with her.”

Dockery had had to ride side-saddle on Downton, but before shooting began on Godless she was enrolled in “cowboy camp”, taught to ride western-style, leaving one hand free for her rifle. “I was a bit intimidated at first. My heart was racing before the first shot. I’d never shot a gun before – and they’re heavy! I found myself having to do little rip curls to build my arms up.” She laughs. “A western is a sandbox you don’t get to play in very often – it’s not something I ever imagined myself doing. But Godless felt like a story that hadn’t been told before. These towns solely made up of women and children were common in those times.”

Originally conceived as a feature film, the series has been “something like 10 or 15 years in the making” and has the slow, sumptuous look of a big-budget production. “I really encourage people to watch it on a big TV screen. The cinematography is like nothing I’ve ever seen, so it’s not something to watch on your iPad or phone.” Netflix will release all seven episodes at once, but Dockery hopes viewers will resist the temptation to binge.

“These days we’ve got everything at our fingertips, we can watch any show at any time, but Downton had that formulaic once-a-week thing. We all talked about it on a Monday, and I think for a lot of people that makes them very nostalgic. I loved The Crown so much that I didn’t want to binge on it, because I didn’t want it to end. So I would set myself a little 5pm routine on a Sunday when I was filming in North Carolina; I would watch each episode, and then wait for the next week.”

Dockery talks about acting with sincere vocational reverence bordering on that of a thespian luvvie. After six years away from the stage, she describes returning to the National as “coming home. As soon as I walked into the building, I felt it. Because it’s where it all started for me.” Where this actorly sensibility came from is a mystery to her, having enjoyed an unremarkable childhood in the small Essex town of Chadwell Heath with her two sisters; their father was a surveyor and their mother a council worker who made meals for the elderly.

“But I’ve just always loved playing characters. Even when I was a kid, I was always doing impersonations and putting on plays with my sisters – and for some kids that’s just a game. But for me it became everything.” She joined a drama school in a church hall at the end of her street, and fell in love with musical theatre, but still thought of it as a hobby until her “amazing” A-level drama teacher introduced her to more heavyweight scripts. “And then I got into Guildhall [school of acting], and that was it for me. Walking into a room with 20 other actors, I just knew: this is it.”

It has taken her until now, however, to feel confident enough in her creative judgments to assert herself on set or in rehearsals. “I’ve really learned, and would fight for on any job now, to have that time with the director to explore a role as much as possible. I guess I’m at that point in my career where I feel able to do that. In the past I’ve been afraid to speak up because I would have been afraid of coming across as ‘tricky’ or ‘difficult’ or ‘emotional’.”

The floodgates have opened and the casting-couch system – well, the couch should be burned

Where these inhibitions came from is another mystery to Dockery. “I come from a family of very strong, opinionated, tough women. Mum was always telling me to speak up for myself at school, so I just don’t know.” The connection to the asymmetry of power within her industry, however, is very obvious to Dockery. “Off-set harassment wouldn’t happen if there was equality on set, and if the power was balanced enough for women to feel they could speak.”

Since the first revelations about Harvey Weinstein surfaced weeks ago, sexual harassment and abuse has been “the only conversation in town. Oh yeah, everyone’s talking about it. And I have huge admiration for those women who have come forward.”

Was she surprised by anything they said? “No. I’d heard the rumours.”

She met Weinstein once, halfway through Downton, when Dockery’s star was sufficiently dazzling to attract the producer’s attention. “It was a very brief meeting. Nothing much happened. But I just remember,” and every syllable is enunciated with fastidious precision, like an unpleasant taste, “feel-ing un-com-fort-able. Mmmm.”

I ask if she sees any danger of the uproar exhausting itself before anything has really changed. Dockery looks appalled. “No, that cannot happen. We cannot let that happen. This is huge and it’s shone a light on Hollywood. It feels like the floodgates have opened, and I think that the casting-couch system – well, the couch should be burned. I just think something has to change. And this is the start of it.”

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