Apple Logic Express 9 - Manual (Page 239)

Identifying Muted and Unmuted Regions on Muted Tracks
The following will help you to distinguish between muted and unmuted regions on muted
tracks:
• Muted regions are indicated by a dot that precedes the region name; the audio or MIDI
data section is displayed in gray.
• Unmuted regions are indicated by a gray surrounding frame (no dot precedes the
region name).
Soloing Tracks in the Arrange Area
Both MIDI and audio tracks (and folders) offer Track Solo buttons. Soloing a track isolates
it while playing, and mutes all other tracks. Use the Track Header Configuration dialog
to show or hide the track Solo Buttons.
In a practical, musical situation, it can be useful to hear several tracks in isolation (bass
and drum parts, for example) to make it easier to fit other musical parts.
Connecting the Track Solo and Channel Strip Solo Buttons
Solo states can be independent for tracks and channel strips, through use of the respective
S buttons in the track header, or corresponding channel strip (Arrange or Mixer).
The behavior depends on the Track Mute/Solo setting chosen in the Logic Express >
Preferences > Audio > General pane:
• Fast (Remote Channel Strips): Clicking a channel strip’s Solo button switches the state
of the associated track button, and vice versa.
• CPU-saving (Slow Response): Choose this option to save processing resources, and to
make the Track Solo buttons independent of the corresponding channel strips.
Note: The solo states of multiple tracks that are routed to the same channel strip are
linked: soloing the channel strip soloes all associated tracks.
Soloing Tracks in CPU-Saving Mode
If the Track Mute/Solo preference is set to CPU-saving (Slow Response), activating any
Track Solo button enables Solo Lock mode, and adds all regions on that track to the Solo
Lock group. Solo Lock mode locks the solo status of all selected regions. For full details,
see
Soloing Regions . The Transport Solo button turns yellow and displays a padlock icon
to indicate Solo Lock mode.
239 Chapter 9 Working with Tracks