Editing Logic Pro (section)

==History==
===Creator and Notator===
In 1987, C-Lab released Gerhard Lengeling's MIDI sequencer program for the [[Atari ST]] platform called ''Creator''.<ref name="Sound On Sound Nov 1987">{{cite magazine|last=Russ|first=Martin|date=Nov 1987|title=C-Lab Creator|pages=57–61|url=https://www.muzines.co.uk/articles/c-lab-creator/2538|magazine=Sound On Sound|publisher=|location=United Kingdom|access-date=2021-02-22}}</ref><ref name="Music Technology Dec 1987">{{cite magazine|last=Trask|first=Simon|date=Dec 1987|title=C-Lab Creator|pages=72–74|url=https://www.muzines.co.uk/articles/c-lab-creator/2148|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-02-22}}</ref> From version 2.0 onwards, released in 1988, a version with added musical notation capabilities was also available, called ''Notator'', made with the help of Chris Adam.<ref name="Sound On Sound Sep 1988">{{cite magazine|last=Waugh|first=Ian|date=Sep 1988|title=C-Lab Notator|pages=22–26|url=https://www.muzines.co.uk/articles/c-lab-notator/3970|magazine=Sound On Sound|publisher=|location=United Kingdom|access-date=2021-02-22}}</ref>  A later bundled multitasking utility called Soft Link rebranded the packages as ''Creator SL'' and ''Notator SL''.<ref name="Music Technology Mar 1991">{{cite magazine|last=Waugh|first=Ian|date=Mar 1991|title=C-Lab Creator/Notator V3|pages=42–46|url=https://www.muzines.co.uk/articles/c-lab-creator-notator-v3/791|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-02-22}}</ref>

In the United States, its main rivals at the time included [[Digital Performer|Performer]] and [[Opcode Systems|Vision]], whereas in Europe its main rivals were [[Steinberg|Steinberg's]] Pro 24 and later [[Cubase]].  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.<ref>{{cite web|last1=Houghton|first1=Matt|title=Play Order Track|url=http://www.soundonsound.com/sos/mar07/articles/cubasetech_0307.htm|publisher=SoundOnSound|access-date=2 December 2014|quote=Like Notator, Vision, and several other of the early MIDI sequencers, it was pattern-based. There was no timeline, no timeline-based looping of selections, and no arrange page. This method was more like a relational database than a modern computer sequencer. Users programmed various parts, comprising rhythms, chords and melodies, then programmed the order and number of repetitions of each of these parts to form songs.}}</ref> This more closely resembled working principles of hardware sequencers of the 1970s and 1980s.

When it was released, Notator was widely regarded by both musicians and the music press as one of the most powerful and intuitive sequencing and notation programs available on any platform.  After the later introduction of competitor Steinberg's [[Cubase]], however, 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.<ref>{{cite web|title=The Audio Interface Choice|url=http://homestudio-recording.blogspot.com/|website=Home Studio|access-date=6 April 2015}}</ref>  As Phil Hartnoll of Orbital said about a later version of Creator, "Cubase is much better for arranging: you can get an overall picture so much easier. They tried, with C-LAB, with that block arrangement, but I do like to be able to see an overview."<ref name="mz5538-the-magic-circle">{{cite magazine|last=Ward|first=Phil|date=Jun 1993|title=The Magic Circle|pages=56–60|url=http://www.muzines.co.uk/articles/the-magic-circle/5538|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-07-06}}</ref>

Notable users of Creator included [[Coldcut]],<ref name="Music Technology Aug 1990">{{cite magazine|last=Goodyer|first=Tim|date=Aug 1990|title=What's That Noise?|pages=30–34|url=http://www.muzines.co.uk/articles/whats-that-noise/417|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-02-22}}</ref> [[Fatboy Slim]],<ref name="Sound On Sound Jan 2017">{{cite magazine|last=Doyle|first=Tom|date=Jan 2017|title=Classic Tracks: Fatboy Slim "Praise You"|url=https://www.soundonsound.com/techniques/classic-tracks-fatboy-slim-praise-you|magazine=Sound On Sound|location=United Kingdom|access-date=2021-02-22}}</ref> [[The Future Sound of London]],<ref name="Music Technology Jan 1994">{{cite magazine|last=Trask|first=Simon|date=Jan 1994|title=Future Talk|pages=16–18|url=http://www.muzines.co.uk/articles/future-talk/7686|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-02-22}}</ref> [[LFO (British band)|LFO]],<ref name="Music Technology Aug 1991">{{cite magazine|last=Trask|first=Simon|date=Aug 1991|title=Deep Vibrations|pages=60–65|url=http://www.muzines.co.uk/articles/deep-vibrations/854|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-03-02}}</ref> [[Clint Mansell]],<ref>{{cite tweet|user=iamclintmansell|number=1254094716817141760|title=Headache music..my rig was MC-303, with AKAI S1000, an Atari 1040 running Creator which would become Logic. As far gear went this was my set up, & a Roland JV 880. I’d had a Nord Lead too but it got burned out when lightning hit our building & I couldn’t afford to get it fixed.}}</ref> [[Nightmares on Wax]],<ref name="mz872-waxing-lyrical">{{cite magazine|last=Trask|first=Simon|date=Sep 1991|title=Waxing Lyrical|pages=36–39|url=https://www.muzines.co.uk/articles/waxing-lyrical/872|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-07-07}}</ref> [[The Orb]],<ref name="Music Technology Jun 1991">{{cite magazine|last=Goodyer|first=Tim|date=Jun 1991|title=Tune In, Turn On, Chill Out|pages=42–48|url=http://www.muzines.co.uk/articles/tune-in-turn-on-chill-out/825|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-03-07}}</ref> [[Orbital (band)|Orbital]],<ref name="Sound On Sound Apr 1994">{{cite magazine|last=Humberstone|first=Nigel|date=Apr 1994|title=Music of Spheres|url=http://www.soundonsound.com/sos/1994_articles/apr94/orbital.html|magazine=Sound On Sound|location=United Kingdom|archive-url=https://web.archive.org/web/20081121134724/http://www.soundonsound.com/sos/1994_articles/apr94/orbital.html|access-date=2021-02-22|archive-date=November 21, 2008}}</ref> and [[System 7 (band)|System 7]].<ref name="Music Technology Oct 1991">{{cite magazine|last=Trask|first=Simon|date=Oct 1991|title=All Systems Go|pages=36–42|url=http://www.muzines.co.uk/articles/all-systems-go/885|magazine=Music Technology|publisher=Music Maker Publications (UK), Future Publishing.|location=United Kingdom|access-date=2021-03-02}}</ref>

===Logic===
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 [[Microsoft Windows|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.<ref>{{cite web | url=https://www.apple.com/pr/library/2002/jul/01emagic.html | title=Apple Acquires Emagic | work=Apple, Inc. | access-date=February 13, 2007}}</ref>  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,<ref>{{cite web | url=https://www.theregister.co.uk/2002/07/01/apple_drops_emagic_bombshell/ | title=Apple Drops Emagic Bombshell | work=The Register | access-date=July 1, 2002}}</ref> but Apple Pro Apps revenue has steadily increased since Apple's acquisition of Emagic,<ref>{{cite web | url=http://alex4d.com/notes/item/pro-apps-2005-2014 | archive-url=https://web.archive.org/web/20141019053718/http://alex4d.com/notes/item/pro-apps-2005-2014 | url-status=dead | archive-date=October 19, 2014 | title=Apple Pro Apps Quarterly Revenue | work=Alex4D | access-date=July 28, 2014 }}</ref> (roughly $2 billion a year as of Q1 2014).