nydatingcoach com - Consolidating files logic 9

This can also be managed on the track level by making a note selection and navigating to the Attributes menu Interpretation and selecting Force from the sub-menu.You can also double click on a note to open up the Note Attributes window and go to Interpretation, selecting Force from the pop-up menu. For example say you play in a quarter note, but its actual duration is closer to three 16th notes long as you played it just a bit short.An example of when to use this would be playing in a swing feel.

Go to local menu Functions With Sustain Pedal preparation covered, let’s get back to the Display Quantize, Interpretation and Syncopation functions.

This information needs to be “normalized” (in Logic speak) before you export a MIDI file.

It defaults to 16,24 (16th and 16th note triplets will be the finest division of the beat, so notes are snapped to its grid). If the view doesn’t change much, it probably means you did the entry by hand (as opposed to performing the parts live) or you’ve already quantized the performance elsewhere (and this would affect playback).

Now move it to 4 – every note snaps to a quarter note (again, display only, playback is not changed).

You probably want this Interpretation quarter note look to be passed along in your exported SMF, see below.

This is toggled on/off in the same methods as Interpretation and is always found next to it in the above mentioned areas.

A typical situation might be if you played a chord for four beats for a string part, but the sustain pedal is held for two bars.

You need to transfer the sustain pedal note length information to the notes, so the notes are eight beats instead of four.

Selecting the tied notes and applying Syncopation creates the eighth-quarter-eighth look.

If you look in the Score Editor’s Inspector you’ll see an item called Quantize with a pop-up menu just to the right.

There are two menu items in the Score Editor’s local menu, found together following this local menu path: Functions Quantize.


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