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Digital Subscriptions > MusicTech > Jul-18 > TRACK ALTERNATIVES IN LOGIC PRO X


Logic Pro X’s Track Alternatives are a great tool for experimentation, but also a superior way of working with multi-track recordings, says Mark Cousins…


Logic Pro X is undoubtedly one of the most complete music production applications going, but every now and again you glance across at a rival DAW and see a feature that wish you could use as part of your production workflow. Take Pro Tools’ Playlist feature, for example: a tool that might not jump to the top of most producer’s ‘most desirable’ features, but if you’ve worked with Pro Tools you’ll soon find it to be an indispensable part of your workflow, especially when it comes to working with multiple takes. For years I’ve waited for Logic Pro to implement this kind of functionality, so the introduction of Track Alternatives – a feature clearly inspired by Pro Tools’ Playlists – is an exciting development.

As the name suggest, Track Alternatives let you create one or more alternatives to tracks that reside in your Logic Project. In a simplistic way, Track Alternatives can be a useful way of experimenting with an alternative edit of your existing material – either audio or MIDI – duplicating your original track and then editing it, safe in the knowledge that you can return to its original form at any point. While it’s always been possible to duplicate regions onto parallel track lanes, or simply copy them elsewhere in your project, Track Alternatives are a much more elegant way of negotiating the same task.

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About MusicTech

He’s the man who revolutionised modern film scores with a creative approach to music-making, sonic experimentation and sound utilisation that helps some of the biggest directors to tell their stories. This month we’re overwhelmingly honoured to speak to one of the greatest composers on the planet: Hans Zimmer. In our ten-page interview we talk to Hans about his recent work with Spitfire Audio – co-creating a remarkable assortment of production and studio tools – as well as his incredible career in soundtracking. Elsewhere this issue, Dave Gale takes us through the legacy of the vocoder, we report on this year’s Superbooth show in Berlin and speak to its progenitor Andreas Schneider about his views on modular synthesis and its integral place in the music technology world. We’ve also got our usual tutorials, tips and reviews. Enjoy the issue!