Apple Concurrency Programming Guide
Apple sur FNAC.COM
- Pour voir la liste complète des manuels APPLE, cliquez ici
TELECHARGER LE PDF :
http://developer.apple.com/library/mac/documentation/General/Conceptual/ConcurrencyProgrammingGuide/ConcurrencyProgrammingGuide.pdf
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Concurrency
Programming GuideContents
Introduction 7
Organization of This Document 7
A Note About Terminology 8
See Also 8
Concurrency and Application Design 9
The Move Away from Threads 10
Dispatch Queues 10
Dispatch Sources 11
Operation Queues 12
Asynchronous Design Techniques 12
Define Your Application’s Expected Behavior 13
Factor Out Executable Units of Work 13
Identify the Queues You Need 14
Tips for Improving Efficiency 14
Performance Implications 15
Concurrency and Other Technologies 15
OpenCL and Concurrency 15
When to Use Threads 16
Operation Queues 17
About Operation Objects 17
Concurrent Versus Non-concurrent Operations 18
Creating an NSInvocationOperation Object 19
Creating an NSBlockOperation Object 20
Defining a Custom Operation Object 21
Performing the Main Task 21
Responding to Cancellation Events 22
Configuring Operations for Concurrent Execution 24
Maintaining KVO Compliance 27
Customizing the Execution Behavior of an Operation Object 28
Configuring Interoperation Dependencies 29
Changing an Operation’s Execution Priority 29
Changing the Underlying Thread Priority 30
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
2Setting Up a Completion Block 30
Tips for Implementing Operation Objects 31
Managing Memory in Operation Objects 31
Handling Errors and Exceptions 32
Determining an Appropriate Scope for Operation Objects 32
Executing Operations 33
Adding Operations to an Operation Queue 33
Executing Operations Manually 34
Canceling Operations 36
Waiting for Operations to Finish 36
Suspending and Resuming Queues 37
Dispatch Queues 38
About Dispatch Queues 38
Queue-Related Technologies 41
Implementing Tasks Using Blocks 41
Creating and Managing Dispatch Queues 43
Getting the Global Concurrent Dispatch Queues 43
Creating Serial Dispatch Queues 44
Getting Common Queues at Runtime 45
Memory Management for Dispatch Queues 45
Storing Custom Context Information with a Queue 46
Providing a Clean Up Function For a Queue 46
Adding Tasks to a Queue 47
Adding a Single Task to a Queue 48
Performing a Completion Block When a Task Is Done 49
Performing Loop Iterations Concurrently 50
Performing Tasks on the Main Thread 51
Using Objective-C Objects in Your Tasks 51
Suspending and Resuming Queues 52
Using Dispatch Semaphores to Regulate the Use of Finite Resources 52
Waiting on Groups of Queued Tasks 53
Dispatch Queues and Thread Safety 54
Dispatch Sources 56
About Dispatch Sources 56
Creating Dispatch Sources 57
Writing and Installing an Event Handler 58
Installing a Cancellation Handler 60
Changing the Target Queue 61
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
3
ContentsAssociating Custom Data with a Dispatch Source 61
Memory Management for Dispatch Sources 62
Dispatch Source Examples 62
Creating a Timer 62
Reading Data from a Descriptor 64
Writing Data to a Descriptor 66
Monitoring a File-System Object 68
Monitoring Signals 70
Monitoring a Process 71
Canceling a Dispatch Source 72
Suspending and Resuming Dispatch Sources 73
Migrating Away from Threads 74
Replacing Threads with Dispatch Queues 74
Eliminating Lock-Based Code 76
Implementing an Asynchronous Lock 76
Executing Critical Sections Synchronously 77
Improving on Loop Code 77
Replacing Thread Joins 79
Changing Producer-Consumer Implementations 80
Replacing Semaphore Code 81
Replacing Run-Loop Code 81
Compatibility with POSIX Threads 82
Glossary 84
Document Revision History 87
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4
ContentsTables and Listings
Operation Queues 17
Table 2-1 Operation classes of the Foundation framework 17
Table 2-2 Methods to override for concurrent operations 24
Listing 2-1 Creating an NSInvocationOperation object 19
Listing 2-2 Creating an NSBlockOperation object 20
Listing 2-3 Defining a simple operation object 22
Listing 2-4 Responding to a cancellation request 23
Listing 2-5 Defining a concurrent operation 25
Listing 2-6 The start method 26
Listing 2-7 Updating an operation at completion time 27
Listing 2-8 Executing an operation object manually 35
Dispatch Queues 38
Table 3-1 Types of dispatch queues 39
Table 3-2 Technologies that use dispatch queues 41
Listing 3-1 A simple block example 42
Listing 3-2 Creating a new serial queue 45
Listing 3-3 Installing a queue clean up function 46
Listing 3-4 Executing a completion callback after a task 49
Listing 3-5 Performing the iterations of a for loop concurrently 51
Listing 3-6 Waiting on asynchronous tasks 54
Dispatch Sources 56
Table 4-1 Getting data from a dispatch source 59
Listing 4-1 Creating a timer dispatch source 63
Listing 4-2 Reading data from a file 65
Listing 4-3 Writing data to a file 67
Listing 4-4 Watching for filename changes 68
Listing 4-5 Installing a block to monitor signals 70
Listing 4-6 Monitoring the death of a parent process 71
Migrating Away from Threads 74
Listing 5-1 Modifying protected resources asynchronously 77
Listing 5-2 Running critical sections synchronously 77
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5Listing 5-3 Replacing a for loop without striding 78
Listing 5-4 Adding a stride to a dispatched for loop 78
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6
Tables and ListingsConcurrency is the notion of multiple things happening at the same time. With the proliferation of multicore
CPUs and the realization that the number of cores in each processor will only increase, software developers
need new ways to take advantage of them. Although operating systems like OS X and iOS are capable of
running multiple programs in parallel, most of those programs run in the background and perform tasks that
require little continuous processor time. It is the current foreground application that both captures the user’s
attention and keeps the computer busy. If an application has a lot of work to do but keeps only a fraction of
the available cores occupied, those extra processing resources are wasted.
In the past, introducing concurrency to an application required the creation of one or more additional threads.
Unfortunately, writing threaded code is challenging. Threads are a low-level tool that must be managed
manually. Given that the optimal number of threads for an application can change dynamically based on the
currentsystem load and the underlying hardware, implementing a correct threading solution becomes extremely
difficult, if not impossible to achieve. In addition, the synchronization mechanisms typically used with threads
add complexity and risk to software designs without any guarantees of improved performance.
Both OS X and iOS adopt a more asynchronous approach to the execution of concurrent tasksthan istraditionally
found in thread-based systems and applications. Rather than creating threads directly, applications need only
define specific tasks and then let the system perform them. By letting the system manage the threads,
applications gain a level ofscalability not possible with raw threads. Application developers also gain a simpler
and more efficient programming model.
This document describes the technique and technologies you should be using to implement concurrency in
your applications. The technologies described in this document are available in both OS X and iOS.
Organization of This Document
This document contains the following chapters:
●
“Concurrency and Application Design” (page 9) introduces the basics of asynchronous application design
and the technologies for performing your custom tasks asynchronously.
●
“Operation Queues” (page 17)shows you how to encapsulate and perform tasks using Objective-C objects.
●
“Dispatch Queues” (page 38) shows you how to execute tasks concurrently in C-based applications.
●
“Dispatch Sources” (page 56) shows you how to handle system events asynchronously.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
7
Introduction●
“Migrating Away from Threads” (page 74) provides tips and techniques for migrating your existing
thread-based code over to use newer technologies.
This document also includes a glossary that defines relevant terms.
A Note About Terminology
Before entering into a discussion about concurrency, it is necessary to define some relevant terminology to
prevent confusion. Developers who are more familiar with UNIX systems or older OS X technologies may find
the terms “task”, “process”, and “thread” used somewhat differently in this document. This document uses
these terms in the following way:
● The term thread is used to refer to a separate path of execution for code. The underlying implementation
for threads in OS X is based on the POSIX threads API.
● The term process is used to refer to a running executable, which can encompass multiple threads.
● The term task is used to refer to the abstract concept of work that needs to be performed.
For complete definitions of these and other key terms used by this document, see “Glossary” (page 84).
See Also
This document focuses on the preferred technologies for implementing concurrency in your applications and
does not cover the use of threads. If you need information about using threads and other thread-related
technologies, see Threading Programming Guide .
Introduction
A Note About Terminology
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
8In the early days of computing, the maximum amount of work per unit of time that a computer could perform
was determined by the clock speed of the CPU. But as technology advanced and processor designs became
more compact, heat and other physical constraints started to limit the maximum clock speeds of processors.
And so, chip manufacturerslooked for other waysto increase the total performance of their chips. The solution
they settled on was increasing the number of processor cores on each chip. By increasing the number of cores,
a single chip could execute more instructions per second without increasing the CPU speed or changing the
chip size or thermal characteristics. The only problem was how to take advantage of the extra cores.
In order to take advantage of multiple cores, a computer needs software that can do multiple things
simultaneously. For a modern, multitasking operating system like OS X or iOS, there can be a hundred or more
programs running at any given time, so scheduling each program on a different core should be possible.
However, most of these programs are either system daemons or background applications that consume very
little real processing time. Instead, what is really needed is a way for individual applications to make use of the
extra cores more effectively.
The traditional way for an application to use multiple cores is to create multiple threads. However, as the
number of cores increases, there are problems with threaded solutions. The biggest problem is that threaded
code does not scale very well to arbitrary numbers of cores. You cannot create as many threads as there are
cores and expect a program to run well. What you would need to know is the number of cores that can be
used efficiently, which is a challenging thing for an application to compute on its own. Even if you manage to
get the numbers correct, there is still the challenge of programming for so many threads, of making them run
efficiently, and of keeping them from interfering with one another.
So, to summarize the problem, there needsto be a way for applicationsto take advantage of a variable number
of computer cores. The amount of work performed by a single application also needs to be able to scale
dynamically to accommodate changing system conditions. And the solution has to be simple enough so as to
not increase the amount of work needed to take advantage of those cores. The good news is that Apple’s
operating systems provide the solution to all of these problems, and this chapter takes a look at the technologies
that comprise this solution and the design tweaks you can make to your code to take advantage of them.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
9
Concurrency and Application DesignThe Move Away from Threads
Although threads have been around for many years and continue to have their uses, they do not solve the
general problem of executing multiple tasks in a scalable way. With threads, the burden of creating a scalable
solution rests squarely on the shoulders of you, the developer. You have to decide how many threads to create
and adjust that number dynamically as system conditions change. Another problem is that your application
assumes most of the costs associated with creating and maintaining any threads it uses.
Instead of relying on threads, OS X and iOS take an asynchronous design approach to solving the concurrency
problem. Asynchronous functions have been present in operating systems for many years and are often used
to initiate tasks that might take a long time, such as reading data from the disk. When called, an asynchronous
function does some work behind the scenes to start a task running but returns before that task might actually
be complete. Typically, this work involves acquiring a background thread, starting the desired task on that
thread, and then sending a notification to the caller (usually through a callback function) when the task is
done. In the past, if an asynchronous function did not exist for what you want to do, you would have to write
your own asynchronous function and create your own threads. But now, OS X and iOS provide technologies
to allow you to perform any task asynchronously without having to manage the threads yourself.
One of the technologies for starting tasks asynchronously is Grand Central Dispatch (GCD). This technology
takes the thread management code you would normally write in your own applications and moves that code
down to the system level. All you have to do is define the tasks you want to execute and add them to an
appropriate dispatch queue. GCD takes care of creating the needed threads and of scheduling your tasks to
run on those threads. Because the thread management is now part of the system, GCD provides a holistic
approach to task management and execution, providing better efficiency than traditional threads.
Operation queues are Objective-C objects that act very much like dispatch queues. You define the tasks you
want to execute and then add them to an operation queue, which handles the scheduling and execution of
those tasks. Like GCD, operation queues handle all of the thread management for you, ensuring that tasks are
executed as quickly and as efficiently as possible on the system.
The following sections provide more information about dispatch queues, operation queues, and some other
related asynchronous technologies you can use in your applications.
Dispatch Queues
Dispatch queues are a C-based mechanism for executing custom tasks. A dispatch queue executestasks either
serially or concurrently but alwaysin a first-in, first-out order. (In other words, a dispatch queue always dequeues
and starts tasks in the same order in which they were added to the queue.) A serial dispatch queue runs only
one task at a time, waiting until that task is complete before dequeuing and starting a new one. By contrast,
a concurrent dispatch queue starts as many tasks as it can without waiting for already started tasks to finish.
Dispatch queues have other benefits:
Concurrency and Application Design
The Move Away from Threads
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
10● They provide a straightforward and simple programming interface.
● They offer automatic and holistic thread pool management.
● They provide the speed of tuned assembly.
● They are much more memory efficient (because thread stacks do not linger in application memory).
● They do not trap to the kernel under load.
● The asynchronous dispatching of tasks to a dispatch queue cannot deadlock the queue.
● They scale gracefully under contention.
● Serial dispatch queues offer a more efficient alternative to locks and other synchronization primitives.
The tasks you submit to a dispatch queue must be encapsulated inside either a function or a block object. Block
objects are a C language feature introduced in OS X v10.6 and iOS 4.0 that are similar to function pointers
conceptually, but have some additional benefits. Instead of defining blocks in their own lexical scope, you
typically define blocks inside another function or method so that they can access other variables from that
function or method. Blocks can also be moved out of their original scope and copied onto the heap, which is
what happens when you submit them to a dispatch queue. All of these semantics make it possible to implement
very dynamic tasks with relatively little code.
Dispatch queues are part of the Grand Central Dispatch technology and are part of the C runtime. For more
information about using dispatch queues in your applications, see “Dispatch Queues” (page 38). For more
information about blocks and their benefits, see Blocks Programming Topics.
Dispatch Sources
Dispatch sources are a C-based mechanism for processing specific types of system events asynchronously. A
dispatch source encapsulates information about a particular type of system event and submits a specific block
object or function to a dispatch queue whenever that event occurs. You can use dispatch sources to monitor
the following types of system events:
● Timers
● Signal handlers
● Descriptor-related events
● Process-related events
● Mach port events
● Custom events that you trigger
Dispatch sources are part of the Grand Central Dispatch technology. For information about using dispatch
sources to receive events in your application, see “Dispatch Sources” (page 56).
Concurrency and Application Design
The Move Away from Threads
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
11Operation Queues
An operation queue is the Cocoa equivalent of a concurrent dispatch queue and is implemented by the
NSOperationQueue class. Whereas dispatch queues always execute tasks in first-in, first-out order, operation
queues take other factors into account when determining the execution order of tasks. Primary among these
factors is whether a given task depends on the completion of other tasks. You configure dependencies when
defining your tasks and can use them to create complex execution-order graphs for your tasks.
The tasks you submit to an operation queue must be instances of the NSOperation class. An operation object
is an Objective-C object that encapsulates the work you want to perform and any data needed to perform it.
Because the NSOperation class is essentially an abstract base class, you typically define custom subclasses
to perform your tasks. However, the Foundation framework does include some concrete subclasses that you
can create and use as is to perform tasks.
Operation objects generate key-value observing (KVO) notifications, which can be a useful way of monitoring
the progress of your task. Although operation queues always execute operations concurrently, you can use
dependencies to ensure they are executed serially when needed.
For more information about how to use operation queues, and how to define custom operation objects, see
“Operation Queues” (page 17).
Asynchronous Design Techniques
Before you even consider redesigning your code to support concurrency, you should ask yourself whether
doing so is necessary. Concurrency can improve the responsiveness of your code by ensuring that your main
thread is free to respond to user events. It can even improve the efficiency of your code by leveraging more
cores to do more work in the same amount of time. However, it also adds overhead and increases the overall
complexity of your code, making it harder to write and debug your code.
Because it adds complexity, concurrency is not a feature that you can graft onto an application at the end of
your product cycle. Doing it right requires careful consideration of the tasks your application performs and the
data structures used to perform those tasks. Done incorrectly, you might find your code runsslower than before
and is less responsive to the user. Therefore, it is worthwhile to take some time at the beginning of your design
cycle to set some goals and to think about the approach you need to take.
Every application has different requirements and a different set of tasks that it performs. It is impossible for a
document to tell you exactly how to design your application and its associated tasks. However, the following
sections try to provide some guidance to help you make good choices during the design process.
Concurrency and Application Design
Asynchronous Design Techniques
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
12Define Your Application’s Expected Behavior
Before you even think about adding concurrency to your application, you should alwaysstart by defining what
you deem to be the correct behavior of your application. Understanding your application’s expected behavior
gives you a way to validate your design later. It should also give you some idea of the expected performance
benefits you might receive by introducing concurrency.
The first thing you should do is enumerate the tasks your application performs and the objects or data structures
associated with each task. Initially, you might want to start with tasks that are performed when the user selects
a menu item or clicks a button. These tasks offer discrete behavior and have a well defined start and end point.
You should also enumerate other types of tasks your application may perform without user interaction, such
as timer-based tasks.
After you have your list of high-level tasks,start breaking each task down further into the set ofstepsthat must
be taken to complete the task successfully. At thislevel, you should be primarily concerned with the modifications
you need to make to any data structures and objects and how those modifications affect your application’s
overallstate. You should also note any dependencies between objects and data structures as well. For example,
if a task involves making the same change to an array of objects, it is worth noting whether the changes to
one object affect any other objects. If the objects can be modified independently of each other, that might be
a place where you could make those modifications concurrently.
Factor Out Executable Units of Work
From your understanding of your application’s tasks, you should already be able to identify places where your
code might benefit from concurrency. If changing the order of one or more steps in a task changes the results,
you probably need to continue performing those steps serially. If changing the order has no effect on the
output, though, you should consider performing those steps concurrently. In both cases, you define the
executable unit of work that represents the step or steps to be performed. This unit of work then becomes
what you encapsulate using either a block or an operation object and dispatch to the appropriate queue.
For each executable unit of work you identify, do not worry too much about the amount of work being
performed, at least initially. Although there is always a cost to spinning up a thread, one of the advantages of
dispatch queues and operation queues is that in many cases those costs are much smaller than they are for
traditional threads. Thus, it is possible for you to execute smaller units of work more efficiently using queues
than you could using threads. Of course, you should always measure your actual performance and adjust the
size of your tasks as needed, but initially, no task should be considered too small.
Concurrency and Application Design
Asynchronous Design Techniques
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
13Identify the Queues You Need
Now that your tasks are broken up into distinct units of work and encapsulated using block objects or operation
objects, you need to define the queues you are going to use to execute that code. For a given task, examine
the blocks or operation objects you created and the order in which they must be executed to perform the task
correctly.
If you implemented your tasks using blocks, you can add your blocks to either a serial or concurrent dispatch
queue. If a specific order is required, you would always add your blocks to a serial dispatch queue. If a specific
order is not required, you can add the blocks to a concurrent dispatch queue or add them to several different
dispatch queues, depending on your needs.
If you implemented your tasks using operation objects, the choice of queue is often less interesting than the
configuration of your objects. To perform operation objectsserially, you must configure dependencies between
the related objects. Dependencies prevent one operation from executing until the objects on which it depends
have finished their work.
Tips for Improving Efficiency
In addition to simply factoring your code into smaller tasks and adding them to a queue, there are other ways
to improve the overall efficiency of your code using queues:
● Consider computing values directly within your task if memory usage is a factor. If your application is
already memory bound, computing values directly now may be faster than loading cached values from
main memory. Computing values directly uses the registers and caches of the given processor core, which
are much faster than main memory. Of course, you should only do this if testing indicates this is a
performance win.
●
Identify serial tasks early and do what you can to make them more concurrent. If a task must be
executed serially because it relies on some shared resource, consider changing your architecture to remove
that shared resource. You might consider making copies of the resource for each client that needs one or
eliminate the resource altogether.
● Avoid using locks. The support provided by dispatch queues and operation queuesmakeslocks unnecessary
in most situations. Instead of using locks to protect some shared resource, designate a serial queue (or
use operation object dependencies) to execute tasks in the correct order.
● Rely on the system frameworks whenever possible. The best way to achieve concurrency is to take
advantage of the built-in concurrency provided by the system frameworks. Many frameworks use threads
and other technologies internally to implement concurrent behaviors. When defining your tasks, look to
see if an existing framework defines a function or method that does exactly what you want and does so
concurrently. Using that API may save you effort and is more likely to give you the maximum concurrency
possible.
Concurrency and Application Design
Asynchronous Design Techniques
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
14Performance Implications
Operation queues, dispatch queues, and dispatch sources are provided to make it easier for you to execute
more code concurrently. However, these technologies do not guarantee improvements to the efficiency or
responsiveness in your application. It is still your responsibility to use queues in a manner that is both effective
for your needs and does not impose an undue burden on your application’s other resources. For example,
although you could create 10,000 operation objects and submit them to an operation queue, doing so would
cause your application to allocate a potentially nontrivial amount of memory, which could lead to paging and
decreased performance.
Before introducing any amount of concurrency to your code—whether using queues or threads—you should
always gather a set of baseline metrics that reflect your application’s current performance. After introducing
your changes, you should then gather additional metrics and compare them to your baseline to see if your
application’s overall efficiency has improved. If the introduction of concurrency makes your application less
efficient or responsive, you should use the available performance tools to check for the potential causes.
For an introduction to performance and the available performance tools, and for links to more advanced
performance-related topics, see Performance Overview.
Concurrency and Other Technologies
Factoring your code into modular tasks is the best way to try and improve the amount of concurrency in your
application. However, this design approach may not satisfy the needs of every application in every case.
Depending on your tasks, there might be other options that can offer additional improvements in your
application’s overall concurrency. This section outlines some of the other technologies to consider using as
part of your design.
OpenCL and Concurrency
In OS X, the Open Computing Language (OpenCL) is a standards-based technology for performing
general-purpose computations on a computer’s graphics processor. OpenCL is a good technology to use if
you have a well-defined set of computations that you want to apply to large data sets. For example, you might
use OpenCL to perform filter computations on the pixels of an image or use it to perform complex math
calculations on several values at once. In other words, OpenCL is geared more toward problem sets whose
data can be operated on in parallel.
Although OpenCL is good for performing massively data-parallel operations, it is not suitable for more
general-purpose calculations. There is a nontrivial amount of effort required to prepare and transfer both the
data and the required work kernel to a graphics card so that it can be operated on by a GPU. Similarly, there
is a nontrivial amount of effort required to retrieve any results generated by OpenCL. As a result, any tasks that
interact with the system are generally not recommended for use with OpenCL. For example, you would not
Concurrency and Application Design
Performance Implications
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
15use OpenCL to process data from files or network streams. Instead, the work you perform using OpenCL must
be much more self-contained so that it can be transferred to the graphics processor and computed
independently.
For more information about OpenCL and how you use it, see OpenCL Programming Guide for Mac .
When to Use Threads
Although operation queues and dispatch queues are the preferred way to perform tasks concurrently, they
are not a panacea. Depending on your application, there may still be times when you need to create custom
threads. If you do create custom threads, you should strive to create as few threads as possible yourself and
you should use those threads only for specific tasks that cannot be implemented any other way.
Threads are still a good way to implement code that must run in real time. Dispatch queues make every attempt
to run their tasks as fast as possible but they do not address real time constraints. If you need more predictable
behavior from code running in the background, threads may still offer a better alternative.
As with any threaded programming, you should always use threads judiciously and only when absolutely
necessary. For more information about thread packages and how you use them, see Threading Programming
Guide .
Concurrency and Application Design
Concurrency and Other Technologies
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
16Cocoa operations are an object-oriented way to encapsulate work that you want to perform asynchronously.
Operations are designed to be used either in conjunction with an operation queue or by themselves. Because
they are Objective-C based, operations are most commonly used in Cocoa-based applications in OS X and iOS.
This chapter shows you how to define and use operations.
About Operation Objects
An operation object is an instance of the NSOperation class (in the Foundation framework) that you use to
encapsulate work you want your application to perform. The NSOperation classitself is an abstract base class
that must be subclassed in order to do any useful work. Despite being abstract, this class does provide a
significant amount of infrastructure to minimize the amount of work you have to do in your own subclasses.
In addition, the Foundation framework provides two concrete subclasses that you can use as-is with your
existing code. Table 2-1 lists these classes, along with a summary of how you use each one.
Table 2-1 Operation classes of the Foundation framework
Class Description
A class you use as-is to create an operation object based on an object and
selector from your application. You can use this class in cases where you have
an existing method that already performs the needed task. Because it does
not require subclassing, you can also use this classto create operation objects
in a more dynamic fashion.
For information about how to use this class, see “Creating an
NSInvocationOperation Object” (page 19).
NSInvocationOperation
A class you use as-isto execute one or more block objects concurrently. Because
it can execute more than one block, a block operation object operates using
a group semantic; only when all of the associated blocks have finished
executing is the operation itself considered finished.
For information about how to use this class,see “Creating an NSBlockOperation
Object” (page 20). This class is available in OS X v10.6 and later. For more
information about blocks, see Blocks Programming Topics.
NSBlockOperation
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
17
Operation QueuesClass Description
The base class for defining custom operation objects. Subclassing
NSOperation gives you complete control over the implementation of your
own operations, including the ability to alter the default way in which your
operation executes and reports its status.
For information about how to define custom operation objects, see “Defining
a Custom Operation Object” (page 21).
NSOperation
All operation objects support the following key features:
● Support for the establishment of graph-based dependencies between operation objects. These
dependencies prevent a given operation from running until all of the operations on which it depends
have finished running. For information about how to configure dependencies, see “Configuring
Interoperation Dependencies” (page 29).
● Support for an optional completion block, which is executed after the operation’s main task finishes. (OS
X v10.6 and later only.) For information about how to set a completion block,see “Setting Up a Completion
Block” (page 30).
● Support for monitoring changes to the execution state of your operations using KVO notifications. For
information about how to observe KVO notifications, see Key-Value Observing Programming Guide .
● Support for prioritizing operations and thereby affecting their relative execution order. For more information,
see “Changing an Operation’s Execution Priority” (page 29).
● Support for canceling semantics that allow you to halt an operation while it is executing. For information
about how to cancel operations, see “Canceling Operations” (page 36). For information about how to
support cancellation in your own operations, see “Responding to Cancellation Events” (page 22).
Operations are designed to help you improve the level of concurrency in your application. Operations are also
a good way to organize and encapsulate your application’s behavior into simple discrete chunks. Instead of
running some bit of code on your application’s main thread, you can submit one or more operation objects
to a queue and let the corresponding work be performed asynchronously on one or more separate threads.
Concurrent Versus Non-concurrent Operations
Although you typically execute operations by adding them to an operation queue, doing so is not required.
It is also possible to execute an operation object manually by calling its start method, but doing so does not
guarantee that the operation runs concurrently with the rest of your code. The isConcurrent method of the
Operation Queues
Concurrent Versus Non-concurrent Operations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
18NSOperation class tells you whether an operation runs synchronously or asynchronously with respect to the
thread in which its start method was called. By default, this method returns NO, which means the operation
runs synchronously in the calling thread.
If you want to implement a concurrent operation—that is, one that runs asynchronously with respect to the
calling thread—you must write additional code to start the operation asynchronously. For example, you might
spawn a separate thread, call an asynchronous system function, or do anything else to ensure that the start
method starts the task and returns immediately and, in all likelihood, before the task is finished.
Most developers should never need to implement concurrent operation objects. If you always add your
operations to an operation queue, you do not need to implement concurrent operations. When you submit a
nonconcurrent operation to an operation queue, the queue itself creates a thread on which to run your
operation. Thus, adding a nonconcurrent operation to an operation queue still results in the asynchronous
execution of your operation object code. The ability to define concurrent operations is only necessary in cases
where you need to execute the operation asynchronously without adding it to an operation queue.
For information about how to create a concurrent operation, see “Configuring Operations for Concurrent
Execution” (page 24) and NSOperation Class Reference .
Creating an NSInvocationOperation Object
The NSInvocationOperation class is a concrete subclass of NSOperation that, when run, invokes the
selector you specify on the object you specify. Use this classto avoid defining large numbers of custom operation
objects for each task in your application; especially if you are modifying an existing application and already
have the objects and methods needed to perform the necessary tasks. You can also use it when the method
you want to call can change depending on the circumstances. For example, you could use an invocation
operation to perform a selector that is chosen dynamically based on user input.
The process for creating an invocation operation is straightforward. You create and initialize a new instance of
the class, passing the desired object and selector to execute to the initialization method. Listing 2-1 shows
two methodsfrom a custom classthat demonstrate the creation process. The taskWithData: method creates
a new invocation object and supplies it with the name of another method, which contains the task
implementation.
Listing 2-1 Creating an NSInvocationOperation object
@implementation MyCustomClass
- (NSOperation*)taskWithData:(id)data {
NSInvocationOperation* theOp = [[NSInvocationOperation alloc] initWithTarget:self
selector:@selector(myTaskMethod:) object:data];
Operation Queues
Creating an NSInvocationOperation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
19return theOp;
}
// This is the method that does the actual work of the task.
- (void)myTaskMethod:(id)data {
// Perform the task.
}
@end
Creating an NSBlockOperation Object
The NSBlockOperation class is a concrete subclass of NSOperation that acts as a wrapper for one or more
block objects. This class provides an object-oriented wrapper for applications that are already using operation
queues and do not want to create dispatch queues as well. You can also use block operationsto take advantage
of operation dependencies, KVO notifications, and other features that might not be available with dispatch
queues.
When you create a block operation, you typically add at least one block at initialization time; you can add more
blocks as needed later. When it comes time to execute an NSBlockOperation object, the object submits all
of its blocks to the default-priority, concurrent dispatch queue. The object then waits until all of the blocks
finish executing. When the last block finishes executing, the operation object marks itself as finished. Thus,
you can use a block operation to track a group of executing blocks, much like you would use a thread join to
merge the results from multiple threads. The difference is that because the block operation itself runs on a
separate thread, your application’s other threads can continue doing work while waiting for the block operation
to complete.
Listing 2-2 shows a simple example of how to create an NSBlockOperation object. The block itself has no
parameters and no significant return result.
Listing 2-2 Creating an NSBlockOperation object
NSBlockOperation* theOp = [NSBlockOperation blockOperationWithBlock: ^{
NSLog(@"Beginning operation.\n");
// Do some work.
}];
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Creating an NSBlockOperation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
20After creating a block operation object, you can add more blocks to it using the addExecutionBlock:
method. If you need to execute blocks serially, you must submit them directly to the desired dispatch queue.
Defining a Custom Operation Object
If the block operation and invocation operation objects do not quite meet the needs of your application, you
can subclass NSOperation directly and add whatever behavior you need. The NSOperation class provides
a generalsubclassing point for all operation objects. The class also provides a significant amount of infrastructure
to handle most of the work needed for dependencies and KVO notifications. However, there may still be times
when you need to supplement the existing infrastructure to ensure that your operations behave correctly. The
amount of extra work you have to do depends on whether you are implementing a nonconcurrent or a
concurrent operation.
Defining a nonconcurrent operation is much simpler than defining a concurrent operation. For a nonconcurrent
operation, all you have to do is perform your main task and respond appropriately to cancellation events; the
existing class infrastructure does all of the other work for you. For a concurrent operation, you must replace
some of the existing infrastructure with your custom code. The following sectionsshow you how to implement
both types of object.
Performing the Main Task
At a minimum, every operation object should implement at least the following methods:
● A custom initialization method
● main
You need a custom initialization method to put your operation object into a known state and a custom main
method to perform your task. You can implement additional methods as needed, of course, such as the
following:
● Custom methods that you plan to call from the implementation of your main method
● Accessor methods for setting data values and accessing the results of the operation
● Methods of the NSCoding protocol to allow you to archive and unarchive the operation object
Listing 2-3 shows a starting template for a custom NSOperation subclass. (This listing does not show how to
handle cancellation but does show the methods you would typically have. For information about handling
cancellation, see “Responding to Cancellation Events” (page 22).) The initialization method for this class takes
a single object as a data parameter and stores a reference to it inside the operation object. The main method
would ostensibly work on that data object before returning the results back to your application.
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Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
21Listing 2-3 Defining a simple operation object
@interface MyNonConcurrentOperation : NSOperation
@property id (strong) myData;
-(id)initWithData:(id)data;
@end
@implementation MyNonConcurrentOperation
- (id)initWithData:(id)data {
if (self = [super init])
myData = data;
return self;
}
-(void)main {
@try {
// Do some work on myData and report the results.
}
@catch(...) {
// Do not rethrow exceptions.
}
}
@end
For a detailed example of how to implement an NSOperation subclass, see NSOperationSample .
Responding to Cancellation Events
After an operation begins executing, it continues performing its task until it is finished or until your code
explicitly cancelsthe operation. Cancellation can occur at any time, even before an operation begins executing.
Although the NSOperation class provides a way for clientsto cancel an operation, recognizing the cancellation
event is voluntary by necessity. If an operation were terminated outright, there might not be a way to reclaim
resources that had been allocated. As a result, operation objects are expected to check for cancellation events
and to exit gracefully when they occur in the middle of the operation.
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Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
22To support cancellation in an operation object, all you have to do is call the object’s isCancelled method
periodically from your custom code and return immediately if it ever returns YES. Supporting cancellation is
important regardless of the duration of your operation or whether you subclass NSOperation directly or use
one of its concrete subclasses. The isCancelled method itself is very lightweight and can be called frequently
without any significant performance penalty. When designing your operation objects, you should consider
calling the isCancelled method at the following places in your code:
●
Immediately before you perform any actual work
● At least once during each iteration of a loop, or more frequently if each iteration is relatively long
● At any points in your code where it would be relatively easy to abort the operation
Listing 2-4 provides a very simple example of how to respond to cancellation events in the main method of
an operation object. In this case, the isCancelled method is called each time through a while loop, allowing
for a quick exit before work begins and again at regular intervals.
Listing 2-4 Responding to a cancellation request
- (void)main {
@try {
BOOL isDone = NO;
while (![self isCancelled] && !isDone) {
// Do some work and set isDone to YES when finished
}
}
@catch(...) {
// Do not rethrow exceptions.
}
}
Although the preceding example contains no cleanup code, your own code should be sure to free up any
resources that were allocated by your custom code.
Operation Queues
Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
23Configuring Operations for Concurrent Execution
Operation objects execute in a synchronous manner by default—that is, they perform their task in the thread
that calls their start method. Because operation queues provide threads for nonconcurrent operations,
though, most operations still run asynchronously. However, if you plan to execute operations manually and
still want them to run asynchronously, you must take the appropriate actions to ensure that they do. You do
this by defining your operation object as a concurrent operation.
Table 2-2 lists the methods you typically override to implement a concurrent operation.
Table 2-2 Methods to override for concurrent operations
Method Description
(Required) All concurrent operations must override this method and replace the
default behavior with their own custom implementation. To execute an operation
manually, you call its start method. Therefore, your implementation of this method
is the starting point for your operation and is where you set up the thread or other
execution environment in which to execute your task. Your implementation must
not call super at any time.
start
(Optional) This method is typically used to implement the task associated with the
operation object. Although you could perform the task in the start method,
implementing the task using this method can result in a cleaner separation of your
setup and task code.
main
(Required) Concurrent operations are responsible for setting up their execution
environment and reporting the status of that environment to outside clients.
Therefore, a concurrent operation must maintain some state information to know
when it is executing its task and when it has finished that task. It must then report
that state using these methods.
Your implementations of these methods must be safe to call from other threads
simultaneously. You must also generate the appropriate KVO notifications for the
expected key paths when changing the values reported by these methods.
isExecuting
isFinished
(Required) To identify an operation as a concurrent operation, override this method
and return YES.
isConcurrent
The rest of this section shows a sample implementation of the MyOperation class, which demonstrates the
fundamental code needed to implement a concurrent operation. The MyOperation class simply executes its
own main method on a separate thread that it creates. The actual work that the main method performs is
irrelevant. The point of the sample is to demonstrate the infrastructure you need to provide when defining a
concurrent operation.
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Defining a Custom Operation Object
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24Listing 2-5 showsthe interface and part of the implementation of the MyOperation class. The implementations
of the isConcurrent, isExecuting, and isFinished methods for the MyOperation class are relatively
straightforward. The isConcurrent method should simply return YES to indicate that this is a concurrent
operation. The isExecuting and isFinished methods simply return values stored in instance variables of
the class itself.
Listing 2-5 Defining a concurrent operation
@interface MyOperation : NSOperation {
BOOL executing;
BOOL finished;
}
- (void)completeOperation;
@end
@implementation MyOperation
- (id)init {
self = [super init];
if (self) {
executing = NO;
finished = NO;
}
return self;
}
- (BOOL)isConcurrent {
return YES;
}
- (BOOL)isExecuting {
return executing;
}
- (BOOL)isFinished {
return finished;
}
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Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
25@end
Listing 2-6 shows the start method of MyOperation. The implementation of this method is minimal so as
to demonstrate the tasks you absolutely must perform. In this case, the method simply starts up a new thread
and configures it to call the main method. The method also updates the executing member variable and
generates KVO notifications for the isExecuting key path to reflect the change in that value. With its work
done, this method then simply returns, leaving the newly detached thread to perform the actual task.
Listing 2-6 The start method
- (void)start {
// Always check for cancellation before launching the task.
if ([self isCancelled])
{
// Must move the operation to the finished state if it is canceled.
[self willChangeValueForKey:@"isFinished"];
finished = YES;
[self didChangeValueForKey:@"isFinished"];
return;
}
// If the operation is not canceled, begin executing the task.
[self willChangeValueForKey:@"isExecuting"];
[NSThread detachNewThreadSelector:@selector(main) toTarget:self withObject:nil];
executing = YES;
[self didChangeValueForKey:@"isExecuting"];
}
Listing 2-7 shows the remaining implementation for the MyOperation class. As was seen in Listing 2-6 (page
26), the main method is the entry point for a new thread. It performs the work associated with the operation
object and calls the custom completeOperation method when that work is finally done. The
completeOperation method then generates the needed KVO notifications for both the isExecuting and
isFinished key paths to reflect the change in state of the operation.
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Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
26Listing 2-7 Updating an operation at completion time
- (void)main {
@try {
// Do the main work of the operation here.
[self completeOperation];
}
@catch(...) {
// Do not rethrow exceptions.
}
}
- (void)completeOperation {
[self willChangeValueForKey:@"isFinished"];
[self willChangeValueForKey:@"isExecuting"];
executing = NO;
finished = YES;
[self didChangeValueForKey:@"isExecuting"];
[self didChangeValueForKey:@"isFinished"];
}
Even if an operation is canceled, you should always notify KVO observers that your operation is now finished
with its work. When an operation object is dependent on the completion of other operation objects, it monitors
the isFinished key path for those objects. Only when all objects report that they are finished does the
dependent operation signal that it isready to run. Failing to generate a finish notification can therefore prevent
the execution of other operations in your application.
Maintaining KVO Compliance
The NSOperation class is key-value observing (KVO) compliant for the following key paths:
● isCancelled
● isConcurrent
● isExecuting
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Defining a Custom Operation Object
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
27● isFinished
● isReady
● dependencies
● queuePriority
● completionBlock
If you override the start method or do any significant customization of an NSOperation object other than
override main, you must ensure that your custom object remains KVO compliant for these key paths. When
overriding the start method, the key paths you should be most concerned with are isExecuting and
isFinished. These are the key paths most commonly affected by reimplementing that method.
If you want to implement support for dependencies on something besides other operation objects, you can
also override the isReady method and force it to return NO until your custom dependencies were satisfied.
(If you implement custom dependencies, be sure to call super from your isReady method if you still support
the default dependency managementsystem provided by the NSOperation class.) When the readinessstatus
of your operation object changes, generate KVO notificationsfor the isReady key path to report those changes.
Unless you override the addDependency: or removeDependency: methods, you should not need to worry
about generating KVO notifications for the dependencies key path.
Although you could generate KVO notifications for other key paths of NSOperation, it is unlikely you would
ever need to do so. If you need to cancel an operation, you can simply call the existing cancel method to do
so. Similarly, there should be little need for you to modify the queue priority information in an operation object.
Finally, unless your operation is capable of changing its concurrency status dynamically, you do not need to
provide KVO notifications for the isConcurrent key path.
For more information on key-value observing and how to support it in your custom objects, see Key-Value
Observing Programming Guide .
Customizing the Execution Behavior of an Operation Object
The configuration of operation objects occurs after you have created them but before you add them to a
queue. The types of configurations described in this section can be applied to all operation objects, regardless
of whether you subclassed NSOperation yourself or used an existing subclass.
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Customizing the Execution Behavior of an Operation Object
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28Configuring Interoperation Dependencies
Dependencies are a way for you to serialize the execution of distinct operation objects. An operation that is
dependent on other operations cannot begin executing until all of the operations on which it depends have
finished executing. Thus, you can use dependencies to create simple one-to-one dependencies between two
operation objects or to build complex object dependency graphs.
To establish dependencies between two operation objects, you use the addDependency: method of
NSOperation. This method creates a one-way dependency from the current operation object to the target
operation you specify as a parameter. This dependency means that the current object cannot begin executing
until the target object finishes executing. Dependencies are also not limited to operations in the same queue.
Operation objects manage their own dependencies and so it is perfectly acceptable to create dependencies
between operations and add them all to different queues. One thing that is not acceptable, however, is to
create circular dependencies between operations. Doing so is a programmer error that will prevent the affected
operations from ever running.
When all of an operation’s dependencies have themselves finished executing, an operation object normally
becomes ready to execute. (If you customize the behavior of the isReady method, the readiness of the
operation is determined by the criteria you set.) If the operation object is in a queue, the queue may start
executing that operation at any time. If you plan to execute the operation manually, it is up to you to call the
operation’s start method.
Important: You should always configure dependencies before running your operations or adding them
to an operation queue. Dependencies added afterward may not prevent a given operation object from
running.
Dependencies rely on each operation object sending out appropriate KVO notifications whenever the status
of the object changes. If you customize the behavior of your operation objects, you may need to generate
appropriate KVO notifications from your custom code in order to avoid causing issues with dependencies. For
more information on KVO notifications and operation objects, see “Maintaining KVO Compliance” (page 27).
For additional information on configuring dependencies, see NSOperation Class Reference .
Changing an Operation’s Execution Priority
For operations added to a queue, execution order is determined first by the readiness of the queued operations
and then by their relative priority. Readinessis determined by an operation’s dependencies on other operations,
but the priority level is an attribute of the operation object itself. By default, all new operation objects have a
“normal” priority, but you can increase or decrease that priority as needed by calling the object’s
setQueuePriority: method.
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Customizing the Execution Behavior of an Operation Object
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29Priority levels apply only to operations in the same operation queue. If your application has multiple operation
queues, each prioritizes its own operations independently of any other queues. Thus, it is still possible for
low-priority operations to execute before high-priority operations in a different queue.
Priority levels are not a substitute for dependencies. Priorities determine the order in which an operation queue
starts executing only those operations that are currently ready. For example, if a queue contains both a
high-priority and low-priority operation and both operations are ready, the queue executes the high-priority
operation first. However, if the high-priority operation is not ready but the low-priority operation is, the queue
executes the low-priority operation first. If you want to prevent one operation from starting until another
operation has finished, you must use dependencies (as described in “Configuring Interoperation
Dependencies” (page 29)) instead.
Changing the Underlying Thread Priority
In OS X v10.6 and later, it is possible to configure the execution priority of an operation’s underlying thread.
Thread policies in the system are themselves managed by the kernel, but in general higher-priority threads
are given more opportunities to run than lower-priority threads. In an operation object, you specify the thread
priority as a floating-point value in the range 0.0 to 1.0, with 0.0 being the lowest priority and 1.0 being the
highest priority. If you do not specify an explicit thread priority, the operation runs with the default thread
priority of 0.5.
To set an operation’s thread priority, you must call the setThreadPriority: method of your operation
object before adding it to a queue (or executing it manually). When it comes time to execute the operation,
the default start method uses the value you specified to modify the priority of the current thread. This new
priority remains in effect for the duration of your operation’s main method only. All other code (including your
operation’s completion block) is run with the default thread priority. If you create a concurrent operation, and
therefore override the start method, you must configure the thread priority yourself.
Setting Up a Completion Block
In OS X v10.6 and later, an operation can execute a completion block when its main task finishes executing.
You can use a completion block to perform any work that you do not consider part of the main task. For
example, you might use this block to notify interested clients that the operation itself has completed. A
concurrent operation object might use this block to generate its final KVO notifications.
To set a completion block, use the setCompletionBlock: method of NSOperation. The block you pass to
this method should have no arguments and no return value.
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30Tips for Implementing Operation Objects
Although operation objects are fairly easy to implement, there are several things you should be aware of as
you are writing your code. The following sections describe factors that you should take into account when
writing the code for your operation objects.
Managing Memory in Operation Objects
The following sections describe key elements of good memory management in an operation object. For general
information about memory management in Objective-C programs, see Advanced Memory Management
Programming Guide .
Avoid Per-Thread Storage
Although most operations execute on a thread, in the case of nonconcurrent operations, that thread is usually
provided by an operation queue. If an operation queue provides a thread for you, you should consider that
thread to be owned by the queue and not to be touched by your operation. Specifically, you should never
associate any data with a thread that you do not create yourself or manage. The threads managed by an
operation queue come and go depending on the needs of the system and your application. Therefore, passing
data between operations using per-thread storage is unreliable and likely to fail.
In the case of operation objects, there should be no reason for you to use per-thread storage in any case. When
you initialize an operation object, you should provide the object with everything it needsto do itsjob. Therefore,
the operation object itself provides the contextual storage you need. All incoming and outgoing data should
be stored there until it can be integrated back into your application or is no longer required.
Keep References to Your Operation Object As Needed
Just because operation objects run asynchronously, you should not assume that you can create them and
forget about them. They are still just objects and it is up to you to manage any references to them that your
code needs. This is especially important if you need to retrieve result data from an operation after it is finished.
The reason you should always keep your own references to operations is that you may not get the chance to
ask a queue for the object later. Queues make every effort to dispatch and execute operations as quickly as
possible. In many cases, queues start executing operations almost immediately after they are added. By the
time your own code goes back to the queue to get a reference to the operation, that operation could already
be finished and removed from the queue.
Operation Queues
Tips for Implementing Operation Objects
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
31Handling Errors and Exceptions
Because operations are essentially discrete entities inside your application, they are responsible for handling
any errors or exceptions that arise. In OS X v10.6 and later, the default start method provided by the
NSOperation class does not catch exceptions. (In OS X v10.5, the start method does catch and suppress
exceptions.) Your own code should always catch and suppress exceptions directly. It should also check error
codes and notify the appropriate parts of your application as needed. And if you replace the start method,
you must similarly catch any exceptions in your custom implementation to prevent them from leaving the
scope of the underlying thread.
Among the types of error situations you should be prepared to handle are the following:
● Check and handle UNIX errno-style error codes.
● Check explicit error codes returned by methods and functions.
● Catch exceptions thrown by your own code or by other system frameworks.
● Catch exceptions thrown by the NSOperation class itself, which throws exceptions in the following
situations:
● When the operation is not ready to execute but its start method is called
● When the operation is executing or finished (possibly because it was canceled) and its start method
is called again
● When you try to add a completion block to an operation that is already executing or finished
● When you try to retrieve the result of an NSInvocationOperation object that was canceled
If your custom code does encounter an exception or error, you should take whatever steps are needed to
propagate that error to the rest of your application. The NSOperation class does not provide explicit methods
for passing along error result codes or exceptionsto other parts of your application. Therefore, ifsuch information
is important to your application, you must provide the necessary code.
Determining an Appropriate Scope for Operation Objects
Although it is possible to add an arbitrarily large number of operations to an operation queue, doing so is
often impractical. Like any object, instances of the NSOperation class consume memory and have real costs
associated with their execution. If each of your operation objects does only a small amount of work, and you
create tens of thousands of them, you may find that you are spending more time dispatching operations than
doing real work. And if your application is already memory-constrained, you might find that just having tens
of thousands of operation objects in memory might degrade performance even further.
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Determining an Appropriate Scope for Operation Objects
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
32The key to using operations efficiently isto find an appropriate balance between the amount of work you need
to do and to keep the computer busy. Try to make sure that your operations do a reasonable amount of work.
For example, if your application creates 100 operation objectsto perform the same task on 100 different values,
consider creating 10 operation objects to process 10 values each instead.
You should also avoid adding large numbers of operationsto a queue all at once, or avoid continuously adding
operation objects to a queue faster than they can be processed. Rather than flood a queue with operation
objects, create those objects in batches. As one batch finishes executing, use a completion block to tell your
application to create a new batch. When you have a lot of work to do, you want to keep the queues filled with
enough operations so that the computer stays busy, but you do not want to create so many operations at
once that your application runs out of memory.
Of course, the number of operation objects you create, and the amount of work you perform in each, is variable
and entirely dependent on your application. You should always use tools such as Instruments and Shark to
help you find an appropriate balance between efficiency and speed. For an overview of Instruments, Shark,
and the other performance tools you can use to gather metrics for your code, see Performance Overview.
Executing Operations
Ultimately, your application needs to execute operations in order to do the associated work. In this section,
you learn several waysto execute operations as well as how you can manipulate the execution of your operations
at runtime.
Adding Operations to an Operation Queue
By far, the easiest way to execute operations is to use an operation queue, which is an instance of the
NSOperationQueue class. Your application is responsible for creating and maintaining any operation queues
it intends to use. An application can have any number of queues, but there are practical limits to how many
operations may be executing at a given point in time. Operation queues work with the system to restrict the
number of concurrent operationsto a value that is appropriate for the available cores and system load. Therefore,
creating additional queues does not mean that you can execute additional operations.
To create a queue, you allocate it in your application as you would any other object:
NSOperationQueue* aQueue = [[NSOperationQueue alloc] init];
To add operations to a queue, you use the addOperation: method. In OS X v10.6 and later, you can add
groups of operations using the addOperations:waitUntilFinished: method, or you can add block objects
directly to a queue (without a corresponding operation object) using the addOperationWithBlock: method.
Each of these methods queues up an operation (or operations) and notifies the queue that it should begin
Operation Queues
Executing Operations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
33processing them. In most cases, operations are executed shortly after being added to a queue, but the operation
queue may delay execution of queued operations for any of several reasons. Specifically, execution may be
delayed if queued operations are dependent on other operations that have not yet completed. Execution may
also be delayed if the operation queue itself is suspended or is already executing its maximum number of
concurrent operations. The following examples show the basic syntax for adding operations to a queue.
[aQueue addOperation:anOp]; // Add a single operation
[aQueue addOperations:anArrayOfOps waitUntilFinished:NO]; // Add multiple operations
[aQueue addOperationWithBlock:^{
/* Do something. */
}];
Important: Never modify an operation object after it has been added to a queue. While waiting in a queue,
the operation could start executing at any time, so changing its dependencies or the data it contains could
have adverse effects. If you want to know the status of an operation, you can use the methods of the
NSOperation class to determine if the operation is running, waiting to run, or already finished.
Although the NSOperationQueue class is designed for the concurrent execution of operations, it is possible
to force a single queue to run only one operation at a time. The setMaxConcurrentOperationCount:
method lets you configure the maximum number of concurrent operations for an operation queue object.
Passing a value of 1 to this method causes the queue to execute only one operation at a time. Although only
one operation at a time may execute, the order of execution isstill based on other factors,such asthe readiness
of each operation and its assigned priority. Thus, a serialized operation queue does not offer quite the same
behavior as a serial dispatch queue in Grand Central Dispatch does. If the execution order of your operation
objectsisimportant to you, you should use dependenciesto establish that order before adding your operations
to a queue. For information about configuring dependencies, see “Configuring Interoperation
Dependencies” (page 29).
For information about using operation queues, see NSOperationQueue Class Reference . For more information
about serial dispatch queues, see “Creating Serial Dispatch Queues” (page 44).
Executing Operations Manually
Although operation queues are the most convenient way to run operation objects, it is also possible to execute
operations without a queue. If you choose to execute operations manually, however, there are some precautions
you should take in your code. In particular, the operation must be ready to run and you must always start it
using its start method.
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Executing Operations
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34An operation is not considered able to run until its isReady method returns YES. The isReady method is
integrated into the dependency management system of the NSOperation class to provide the status of the
operation’s dependencies. Only when its dependencies are cleared is an operation free to begin executing.
When executing an operation manually, you should always use the start method to begin execution. You
use this method, instead of main or some other method, because the start method performs several safety
checks before it actually runs your custom code. In particular, the default start method generates the KVO
notificationsthat operationsrequire to processtheir dependencies correctly. This method also correctly avoids
executing your operation if it has already been canceled and throws an exception if your operation is not actually
ready to run.
If your application defines concurrent operation objects, you should also consider calling the isConcurrent
method of operations prior to launching them. In cases where this method returns NO, your local code can
decide whether to execute the operation synchronously in the current thread or create a separate thread first.
However, implementing this kind of checking is entirely up to you.
Listing 2-8 shows a simple example of the kind of checks you should perform before executing operations
manually. If the method returns NO, you could schedule a timer and call the method again later. You would
then keep rescheduling the timer until the method returns YES, which could occur because the operation was
canceled.
Listing 2-8 Executing an operation object manually
- (BOOL)performOperation:(NSOperation*)anOp
{
BOOL ranIt = NO;
if ([anOp isReady] && ![anOp isCancelled])
{
if (![anOp isConcurrent])
[anOp start];
else
[NSThread detachNewThreadSelector:@selector(start)
toTarget:anOp withObject:nil];
ranIt = YES;
}
else if ([anOp isCancelled])
{
// If it was canceled before it was started,
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Executing Operations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
35// move the operation to the finished state.
[self willChangeValueForKey:@"isFinished"];
[self willChangeValueForKey:@"isExecuting"];
executing = NO;
finished = YES;
[self didChangeValueForKey:@"isExecuting"];
[self didChangeValueForKey:@"isFinished"];
// Set ranIt to YES to prevent the operation from
// being passed to this method again in the future.
ranIt = YES;
}
return ranIt;
}
Canceling Operations
Once added to an operation queue, an operation object is effectively owned by the queue and cannot be
removed. The only way to dequeue an operation is to cancel it. You can cancel a single individual operation
object by calling its cancel method or you can cancel all of the operation objects in a queue by calling the
cancelAllOperations method of the queue object.
You should cancel operations only when you are sure you no longer need them. Issuing a cancel command
puts the operation object into the “canceled” state, which prevents it from ever being run. Because a canceled
operation is still considered to be “finished”, objects that are dependent on it receive the appropriate KVO
notifications to clear that dependency. Thus, it is more common to cancel all queued operations in response
to some significant event, like the application quitting or the user specifically requesting the cancellation,
rather than cancel operations selectively.
Waiting for Operations to Finish
For the best performance, you should design your operations to be as asynchronous as possible, leaving your
application free to do additional work while the operation executes. If the code that creates an operation also
processes the results of that operation, you can use the waitUntilFinished method of NSOperation to
block that code until the operation finishes. In general, though, it is best to avoid calling this method if you
can help it. Blocking the current thread may be a convenient solution, but it does introduce more serialization
into your code and limits the overall amount of concurrency.
Operation Queues
Executing Operations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
36Important: You should never wait for an operation from your application’s main thread. You should only
do so from a secondary thread or from another operation. Blocking your main thread prevents your
application from responding to user events and could make your application appear unresponsive.
In addition to waiting for a single operation to finish, you can also wait on all of the operations in a queue by
calling the waitUntilAllOperationsAreFinished method of NSOperationQueue. When waiting for an
entire queue to finish, be aware that your application’s other threads can still add operations to the queue,
thus prolonging the wait.
Suspending and Resuming Queues
If you want to issue a temporary halt to the execution of operations, you can suspend the corresponding
operation queue using the setSuspended: method. Suspending a queue does not cause already executing
operations to pause in the middle of their tasks. It simply prevents new operations from being scheduled for
execution. You might suspend a queue in response to a user request to pause any ongoing work, because the
expectation is that the user might eventually want to resume that work.
Operation Queues
Executing Operations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
37Grand Central Dispatch (GCD) dispatch queues are a powerful tool for performing tasks. Dispatch queues let
you execute arbitrary blocks of code either asynchronously or synchronously with respect to the caller. You
can use dispatch queues to perform nearly all of the tasks that you used to perform on separate threads. The
advantage of dispatch queues is that they are simpler to use and much more efficient at executing those tasks
than the corresponding threaded code.
This chapter provides an introduction to dispatch queues, along with information about how to use them to
execute general tasks in your application. If you want to replace existing threaded code with dispatch queues,
you can find some additional tips for how to do that in “Migrating Away from Threads” (page 74).
About Dispatch Queues
Dispatch queues are an easy way to perform tasks asynchronously and concurrently in your application. A task
is simply some work that your application needs to perform. For example, you could define a task to perform
some calculations, create or modify a data structure, process some data read from a file, or any number of
things. You define tasks by placing the corresponding code inside either a function or a block object and adding
it to a dispatch queue.
A dispatch queue is an object-like structure that manages the tasks you submit to it. All dispatch queues are
first-in, first-out data structures. Thus, the tasks you add to a queue are always started in the same order that
they were added. GCD provides some dispatch queues for you automatically, but others you can create for
specific purposes. Table 3-1 lists the types of dispatch queues available to your application and how you use
them.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
38
Dispatch QueuesTable 3-1 Types of dispatch queues
Type Description
Serial queues (also known as private dispatch queues) execute one task at a time in
the order in which they are added to the queue. The currently executing task runs on
a distinct thread (which can vary from task to task) that is managed by the dispatch
queue. Serial queues are often used to synchronize access to a specific resource.
You can create as many serial queues as you need, and each queue operates concurrently
with respect to all other queues. In other words, if you create four serial queues, each
queue executes only one task at a time but up to four tasks could still execute
concurrently, one from each queue. For information on how to create serial queues, see
“Creating Serial Dispatch Queues” (page 44).
Serial
Concurrent queues (also known as a type of global dispatch queue) execute one or
more tasks concurrently, but tasks are stillstarted in the order in which they were added
to the queue. The currently executing tasks run on distinct threads that are managed
by the dispatch queue. The exact number of tasks executing at any given point is variable
and depends on system conditions.
You cannot create concurrent dispatch queues yourself. Instead, there are three global
concurrent queues for your application to use. For more information on how to get the
global concurrent queues, see “Getting the Global Concurrent Dispatch Queues” (page
43).
Concurrent
The main dispatch queue is a globally available serial queue that executes tasks on the
application’s main thread. This queue works with the application’s run loop (if one is
present) to interleave the execution of queued tasks with the execution of other event
sources attached to the run loop. Because it runs on your application’s main thread, the
main queue is often used as a key synchronization point for an application.
Although you do not need to create the main dispatch queue, you do need to make
sure your application drains it appropriately. For more information on how this queue
is managed, see “Performing Tasks on the Main Thread” (page 51).
Main
dispatch
queue
When it comes to adding concurrency to an application, dispatch queues provide several advantages over
threads. The most direct advantage is the simplicity of the work-queue programming model. With threads,
you have to write code both for the work you want to perform and for the creation and management of the
threads themselves. Dispatch queues let you focus on the work you actually want to perform without having
to worry about the thread creation and management. Instead, the system handles all of the thread creation
and management for you. The advantage is that the system is able to manage threads much more efficiently
than any single application ever could. The system can scale the number of threads dynamically based on the
available resources and current system conditions. In addition, the system is usually able to start running your
task more quickly than you could if you created the thread yourself.
Dispatch Queues
About Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
39Although you might think rewriting your code for dispatch queues would be difficult, it is often easier to write
code for dispatch queues than it is to write code for threads. The key to writing your code is to design tasks
that are self-contained and able to run asynchronously. (This is actually true for both threads and dispatch
queues.) However, where dispatch queues have an advantage is in predictability. If you have two tasks that
access the same shared resource but run on different threads, either thread could modify the resource first
and you would need to use a lock to ensure that both tasks did not modify that resource at the same time.
With dispatch queues, you could add both tasksto a serial dispatch queue to ensure that only one task modified
the resource at any given time. This type of queue-based synchronization is more efficient than locks because
locks alwaysrequire an expensive kernel trap in both the contested and uncontested cases, whereas a dispatch
queue works primarily in your application’s process space and only calls down to the kernel when absolutely
necessary.
Although you would be right to point out that two tasks running in a serial queue do not run concurrently,
you have to remember that if two threads take a lock at the same time, any concurrency offered by the threads
is lost or significantly reduced. More importantly, the threaded model requires the creation of two threads,
which take up both kernel and user-space memory. Dispatch queues do not pay the same memory penalty
for their threads, and the threads they do use are kept busy and not blocked.
Some other key points to remember about dispatch queues include the following:
● Dispatch queues execute their tasks concurrently with respect to other dispatch queues. The serialization
of tasks is limited to the tasks in a single dispatch queue.
● The system determines the total number of tasks executing at any one time. Thus, an application with 100
tasks in 100 different queues may not execute all of those tasks concurrently (unless it has 100 or more
effective cores).
● The system takes queue priority levelsinto account when choosing which new tasksto start. For information
about how to set the priority of a serial queue, see “Providing a Clean Up Function For a Queue” (page
46).
● Tasks in a queue must be ready to execute at the time they are added to the queue. (If you have used
Cocoa operation objects before, notice that this behavior differs from the model operations use.)
● Private dispatch queues are reference-counted objects. In addition to retaining the queue in your own
code, be aware that dispatch sources can also be attached to a queue and also increment its retain count.
Thus, you must make sure that all dispatch sources are canceled and all retain calls are balanced with an
appropriate release call. For more information about retaining and releasing queues, see “Memory
Management for Dispatch Queues” (page 45). For more information about dispatch sources, see “About
Dispatch Sources” (page 56).
For more information about interfaces you use to manipulate dispatch queues, see Grand Central Dispatch
(GCD) Reference .
Dispatch Queues
About Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
40Queue-Related Technologies
In addition to dispatch queues, Grand Central Dispatch provides several technologies that use queues to help
manage your code. Table 3-2 lists these technologies and provides links to where you can find out more
information about them.
Table 3-2 Technologies that use dispatch queues
Technology Description
A dispatch group is a way to monitor a set of block objects for completion. (You can
monitor the blocks synchronously or asynchronously depending on your needs.)
Groups provide a useful synchronization mechanism for code that depends on the
completion of other tasks. For more information about using groups, see “Waiting
on Groups of Queued Tasks” (page 53).
Dispatch
groups
A dispatch semaphore is similar to a traditional semaphore but is generally more
efficient. Dispatch semaphores call down to the kernel only when the calling thread
needs to be blocked because the semaphore is unavailable. If the semaphore is
available, no kernel call is made. For an example of how to use dispatch semaphores,
see “Using Dispatch Semaphores to Regulate the Use of Finite Resources” (page 52).
Dispatch
semaphores
A dispatch source generates notifications in response to specific types of system
events. You can use dispatch sourcesto monitor eventssuch as process notifications,
signals, and descriptor events among others. When an event occurs, the dispatch
source submits your task code asynchronously to the specified dispatch queue for
processing. For more information about creating and using dispatch sources, see
“Dispatch Sources” (page 56).
Dispatch
sources
Implementing Tasks Using Blocks
Block objects are a C-based language feature that you can use in your C, Objective-C, and C++ code. Blocks make
it easy to define a self-contained unit of work. Although they might seem akin to function pointers, a block is
actually represented by an underlying data structure that resembles an object and is created and managed
for you by the compiler. The compiler packages up the code you provide (along with any related data) and
encapsulates it in a form that can live in the heap and be passed around your application.
One of the key advantages of blocks is their ability to use variables from outside their own lexical scope. When
you define a block inside a function or method, the block acts as a traditional code block would in some ways.
For example, a block can read the values of variables defined in the parent scope. Variables accessed by the
block are copied to the block data structure on the heap so that the block can access them later. When blocks
Dispatch Queues
Queue-Related Technologies
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
41are added to a dispatch queue, these values must typically be left in a read-only format. However, blocks that
are executed synchronously can also use variables that have the __block keyword prepended to return data
back to the parent’s calling scope.
You declare blocks inline with your code using a syntax that is similar to the syntax used for function pointers.
The main difference between a block and a function pointer is that the block name is preceded with a caret
(^) instead of an asterisk (*). Like a function pointer, you can pass arguments to a block and receive a return
value from it. Listing 3-1 shows you how to declare and execute blockssynchronously in your code. The variable
aBlock is declared to be a block that takes a single integer parameter and returns no value. An actual block
matching that prototype is then assigned to aBlock and declared inline. The last line executes the block
immediately, printing the specified integers to standard out.
Listing 3-1 A simple block example
int x = 123;
int y = 456;
// Block declaration and assignment
void (^aBlock)(int) = ^(int z) {
printf("%d %d %d\n", x, y, z);
};
// Execute the block
aBlock(789); // prints: 123 456 789
The following is a summary of some of the key guidelines you should consider when designing your blocks:
● For blocks that you plan to perform asynchronously using a dispatch queue, it is safe to capture scalar
variables from the parent function or method and use them in the block. However, you should not try to
capture large structures or other pointer-based variables that are allocated and deleted by the calling
context. By the time your block is executed, the memory referenced by that pointer may be gone. Of
course, it issafe to allocate memory (or an object) yourself and explicitly hand off ownership of that memory
to the block.
● Dispatch queues copy blocks that are added to them, and they release blocks when they finish executing.
In other words, you do not need to explicitly copy blocks before adding them to a queue.
Dispatch Queues
Implementing Tasks Using Blocks
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
42● Although queues are more efficient than raw threads at executing small tasks, there is still overhead to
creating blocks and executing them on a queue. If a block doestoo little work, it may be cheaper to execute
it inline than dispatch it to a queue. The way to tell if a block is doing too little work is to gather metrics
for each path using the performance tools and compare them.
● Do not cache data relative to the underlying thread and expect that data to be accessible from a different
block. If tasks in the same queue need to share data, use the context pointer of the dispatch queue to
store the data instead. For more information on how to access the context data of a dispatch queue, see
“Storing Custom Context Information with a Queue” (page 46).
●
If your block creates more than a few Objective-C objects, you might want to enclose parts of your block’s
code in an @autorelease block to handle the memory management for those objects. Although GCD
dispatch queues have their own autorelease pools, they make no guarantees as to when those pools are
drained. If your application is memory constrained, creating your own autorelease pool allows you to free
up the memory for autoreleased objects at more regular intervals.
For more information about blocks, including how to declare and use them, see Blocks Programming Topics.
For information about how you add blocks to a dispatch queue, see “Adding Tasks to a Queue” (page 47).
Creating and Managing Dispatch Queues
Before you add your tasks to a queue, you have to decide what type of queue to use and how you intend to
use it. Dispatch queues can execute tasks either serially or concurrently. In addition, if you have a specific use
for the queue in mind, you can configure the queue attributes accordingly. The following sections show you
how to create dispatch queues and configure them for use.
Getting the Global Concurrent Dispatch Queues
A concurrent dispatch queue is useful when you have multiple tasks that can run in parallel. A concurrent
queue is still a queue in that it dequeues tasks in a first-in, first-out order; however, a concurrent queue may
dequeue additional tasks before any previoustasksfinish. The actual number of tasks executed by a concurrent
queue at any given moment is variable and can change dynamically as conditions in your application change.
Many factors affect the number of tasks executed by the concurrent queues, including the number of available
cores, the amount of work being done by other processes, and the number and priority of tasks in other serial
dispatch queues.
The system provides each application with three concurrent dispatch queues. These queues are global to the
application and are differentiated only by their priority level. Because they are global, you do not create them
explicitly. Instead, you ask for one of the queues using the dispatch_get_global_queue function, asshown
in the following example:
Dispatch Queues
Creating and Managing Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
43dispatch_queue_t aQueue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT,
0);
In addition to getting the default concurrent queue, you can also get queues with high- and low-priority levels
by passing in the DISPATCH_QUEUE_PRIORITY_HIGH and DISPATCH_QUEUE_PRIORITY_LOW constants to
the function instead. As you might expect, tasks in the high-priority concurrent queue execute before those
in the default and low-priority queues. Similarly, tasks in the default queue execute before those in the
low-priority queue.
Note: The second argument to the dispatch_get_global_queue function is reserved for future
expansion. For now, you should always pass 0 for this argument.
Although dispatch queues are reference-counted objects, you do not need to retain and release the global
concurrent queues. Because they are global to your application, retain and release calls for these queues are
ignored. Therefore, you do not need to store references to these queues. You can just call the
dispatch_get_global_queue function whenever you need a reference to one of them.
Creating Serial Dispatch Queues
Serial queues are useful when you want your tasks to execute in a specific order. A serial queue executes only
one task at a time and always pulls tasks from the head of the queue. You might use a serial queue instead of
a lock to protect a shared resource or mutable data structure. Unlike a lock, a serial queue ensures that tasks
are executed in a predictable order. And as long as you submit your tasks to a serial queue asynchronously,
the queue can never deadlock.
Unlike concurrent queues, which are created for you, you must explicitly create and manage any serial queues
you want to use. You can create any number of serial queues for your application but should avoid creating
large numbers of serial queues solely as a means to execute as many tasks simultaneously as you can. If you
want to execute large numbers of tasks concurrently, submit them to one of the global concurrent queues.
When creating serial queues, try to identify a purpose for each queue, such as protecting a resource or
synchronizing some key behavior of your application.
Listing 3-2 shows the steps required to create a custom serial queue. The dispatch_queue_create function
takes two parameters: the queue name and a set of queue attributes. The debugger and performance tools
display the queue name to help you track how your tasks are being executed. The queue attributes are reserved
for future use and should be NULL.
Dispatch Queues
Creating and Managing Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
44Listing 3-2 Creating a new serial queue
dispatch_queue_t queue;
queue = dispatch_queue_create("com.example.MyQueue", NULL);
In addition to any custom queues you create, the system automatically creates a serial queue and binds it to
your application’s main thread. For more information about getting the queue for the main thread,see “Getting
Common Queues at Runtime” (page 45).
Getting Common Queues at Runtime
Grand Central Dispatch provides functions to let you access several common dispatch queues from your
application:
● Use the dispatch_get_current_queue function for debugging purposes or to test the identity of the
current queue. Calling this function from inside a block object returns the queue to which the block was
submitted (and on which it is now presumably running). Calling this function from outside of a block
returns the default concurrent queue for your application.
● Use the dispatch_get_main_queue function to get the serial dispatch queue associated with your
application’s main thread. This queue is created automatically for Cocoa applications and for applications
that either call the dispatch_main function or configure a run loop (using either the CFRunLoopRef
type or an NSRunLoop object) on the main thread.
● Use the dispatch_get_global_queue function to get any of the shared concurrent queues. For more
information, see “Getting the Global Concurrent Dispatch Queues” (page 43).
Memory Management for Dispatch Queues
Dispatch queues and other dispatch objects are reference-counted data types. When you create a serial dispatch
queue, it has an initial reference count of 1. You can use the dispatch_retain and dispatch_release
functions to increment and decrement that reference count as needed. When the reference count of a queue
reaches zero, the system asynchronously deallocates the queue.
It is important to retain and release dispatch objects, such as queues, to ensure that they remain in memory
while they are being used. As with memory-managed Cocoa objects, the general rule is that if you plan to use
a queue that was passed to your code, you should retain the queue before you use it and release it when you
no longer need it. This basic pattern ensures that the queue remains in memory for as long as you are using
it.
Dispatch Queues
Creating and Managing Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
45Note: You do not need to retain or release any of the global dispatch queues, including the
concurrent dispatch queues or the main dispatch queue. Any attemptsto retain or release the queues
are ignored.
Even if you implement a garbage-collected application, you must still retain and release your dispatch queues
and other dispatch objects. Grand Central Dispatch does notsupport the garbage collection model for reclaiming
memory.
Storing Custom Context Information with a Queue
All dispatch objects (including dispatch queues) allow you to associate custom context data with the object.
To set and get this data on a given object, you use the dispatch_set_context and dispatch_get_context
functions. The system does not use your custom data in any way, and it is up to you to both allocate and
deallocate the data at the appropriate times.
For queues, you can use context data to store a pointer to an Objective-C object or other data structure that
helps identify the queue or its intended usage to your code. You can use the queue’s finalizer function to
deallocate (or disassociate) your context data from the queue before it is deallocated. An example of how to
write a finalizer function that clears a queue’s context data is shown in Listing 3-3 (page 46).
Providing a Clean Up Function For a Queue
After you create a serial dispatch queue, you can attach a finalizer function to perform any custom clean up
when the queue is deallocated. Dispatch queues are reference counted objects and you can use the
dispatch_set_finalizer_f function to specify a function to be executed when the reference count of
your queue reaches zero. You use this function to clean up the context data associated with a queue and the
function is called only if the context pointer is not NULL.
Listing 3-3 shows a custom finalizer function and a function that creates a queue and installs that finalizer. The
queue uses the finalizer function to release the data stored in the queue’s context pointer. (The
myInitializeDataContextFunction and myCleanUpDataContextFunction functionsreferenced from
the code are custom functions that you would provide to initialize and clean up the contents of the data
structure itself.) The context pointer passed to the finalizer function contains the data object associated with
the queue.
Listing 3-3 Installing a queue clean up function
void myFinalizerFunction(void *context)
{
Dispatch Queues
Creating and Managing Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
46MyDataContext* theData = (MyDataContext*)context;
// Clean up the contents of the structure
myCleanUpDataContextFunction(theData);
// Now release the structure itself.
free(theData);
}
dispatch_queue_t createMyQueue()
{
MyDataContext* data = (MyDataContext*) malloc(sizeof(MyDataContext));
myInitializeDataContextFunction(data);
// Create the queue and set the context data.
dispatch_queue_t serialQueue =
dispatch_queue_create("com.example.CriticalTaskQueue", NULL);
if (serialQueue)
{
dispatch_set_context(serialQueue, data);
dispatch_set_finalizer_f(serialQueue, &myFinalizerFunction);
}
return serialQueue;
}
Adding Tasks to a Queue
To execute a task, you must dispatch it to an appropriate dispatch queue. You can dispatch taskssynchronously
or asynchronously, and you can dispatch them singly or in groups. Once in a queue, the queue becomes
responsible for executing your tasks as soon as possible, given its constraints and the existing tasks already in
the queue. This section shows you some of the techniques for dispatching tasks to a queue and describes the
advantages of each.
Dispatch Queues
Adding Tasks to a Queue
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
47Adding a Single Task to a Queue
There are two ways to add a task to a queue: asynchronously or synchronously. When possible, asynchronous
execution using the dispatch_async and dispatch_async_f functions is preferred over the synchronous
alternative. When you add a block object or function to a queue, there is no way to know when that code will
execute. As a result, adding blocks or functions asynchronously lets you schedule the execution of the code
and continue to do other work from the calling thread. This is especially important if you are scheduling the
task from your application’s main thread—perhaps in response to some user event.
Although you should add tasks asynchronously whenever possible, there may still be times when you need
to add a task synchronously to prevent race conditions or other synchronization errors. In these instances, you
can use the dispatch_sync and dispatch_sync_f functions to add the task to the queue. These functions
block the current thread of execution until the specified task finishes executing.
Important: You should never call the dispatch_sync or dispatch_sync_f function from a task that
is executing in the same queue that you are planning to pass to the function. This is particularly important
for serial queues, which are guaranteed to deadlock, but should also be avoided for concurrent queues.
The following example shows how to use the block-based variants for dispatching tasks asynchronously and
synchronously:
dispatch_queue_t myCustomQueue;
myCustomQueue = dispatch_queue_create("com.example.MyCustomQueue", NULL);
dispatch_async(myCustomQueue, ^{
printf("Do some work here.\n");
});
printf("The first block may or may not have run.\n");
dispatch_sync(myCustomQueue, ^{
printf("Do some more work here.\n");
});
printf("Both blocks have completed.\n");
Dispatch Queues
Adding Tasks to a Queue
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
48Performing a Completion Block When a Task Is Done
By their nature, tasks dispatched to a queue run independently of the code that created them. However, when
the task is done, your application might still want to be notified of that fact so that it can incorporate the
results. With traditional asynchronous programming, you might do this using a callback mechanism, but with
dispatch queues you can use a completion block.
A completion block is just another piece of code that you dispatch to a queue at the end of your original task.
The calling code typically provides the completion block as a parameter when it starts the task. All the task
code has to do is submit the specified block or function to the specified queue when it finishes its work.
Listing 3-4 shows an averaging function implemented using blocks. The last two parameters to the averaging
function allow the caller to specify a queue and block to use when reporting the results. After the averaging
function computes its value, it passes the results to the specified block and dispatches it to the queue. To
prevent the queue from being released prematurely, it is critical to retain that queue initially and release it
once the completion block has been dispatched.
Listing 3-4 Executing a completion callback after a task
void average_async(int *data, size_t len,
dispatch_queue_t queue, void (^block)(int))
{
// Retain the queue provided by the user to make
// sure it does not disappear before the completion
// block can be called.
dispatch_retain(queue);
// Do the work on the default concurrent queue and then
// call the user-provided block with the results.
dispatch_async(dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0),
^{
int avg = average(data, len);
dispatch_async(queue, ^{ block(avg);});
// Release the user-provided queue when done
dispatch_release(queue);
});
}
Dispatch Queues
Adding Tasks to a Queue
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
49Performing Loop Iterations Concurrently
One place where concurrent dispatch queues might improve performance is in places where you have a loop
that performs a fixed number of iterations. For example, suppose you have a for loop that does some work
through each loop iteration:
for (i = 0; i < count; i++) {
printf("%u\n",i);
}
If the work performed during each iteration is distinct from the work performed during all other iterations,
and the order in which each successive loop finishes is unimportant, you can replace the loop with a call to
the dispatch_apply or dispatch_apply_f function. These functionssubmit the specified block or function
to a queue once for each loop iteration. When dispatched to a concurrent queue, it is therefore possible to
perform multiple loop iterations at the same time.
You can specify either a serial queue or a concurrent queue when calling dispatch_apply or
dispatch_apply_f. Passing in a concurrent queue allows you to perform multiple loop iterations
simultaneously and isthe most common way to use these functions. Although using a serial queue is permissible
and does the right thing for your code, using such a queue has no real performance advantages over leaving
the loop in place.
Important: Like a regular for loop, the dispatch_apply and dispatch_apply_f functions do not
return until all loop iterations are complete. You should therefore be careful when calling them from code
that is already executing from the context of a queue. If the queue you pass as a parameter to the function
is a serial queue and is the same one executing the current code, calling these functions will deadlock the
queue.
Because they effectively block the current thread, you should also be careful when calling these functions
from your main thread, where they could prevent your event handling loop from responding to events in
a timely manner. If your loop code requires a noticeable amount of processing time, you might want to
call these functions from a different thread.
Listing 3-5 shows how to replace the preceding for loop with the dispatch_apply syntax. The block you
pass in to the dispatch_apply function must contain a single parameter that identifies the current loop
iteration. When the block is executed, the value of this parameter is 0 for the first iteration, 1 for the second,
and so on. The value of the parameter for the last iteration is count - 1, where count is the total number
of iterations.
Dispatch Queues
Adding Tasks to a Queue
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
50Listing 3-5 Performing the iterations of a for loop concurrently
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT,
0);
dispatch_apply(count, queue, ^(size_t i) {
printf("%u\n",i);
});
You should make sure that your task code does a reasonable amount of work through each iteration. As with
any block or function you dispatch to a queue, there is overhead to scheduling that code for execution. If each
iteration of your loop performs only a small amount of work, the overhead ofscheduling the code may outweigh
the performance benefits you might achieve from dispatching it to a queue. If you find this is true during your
testing, you can use striding to increase the amount of work performed during each loop iteration. With striding,
you group together multiple iterations of your original loop into a single block and reduce the iteration count
proportionately. For example, if you perform 100 iterations initially but decide to use a stride of 4, you now
perform 4 loop iterations from each block and your iteration count is 25. For an example of how to implement
striding, see “Improving on Loop Code” (page 77).
Performing Tasks on the Main Thread
Grand Central Dispatch provides a special dispatch queue that you can use to execute tasks on your application’s
main thread. This queue is provided automatically for all applications and is drained automatically by any
application that sets up a run loop (managed by either a CFRunLoopRef type or NSRunLoop object) on its
main thread. If you are not creating a Cocoa application and do not want to set up a run loop explicitly, you
must call the dispatch_main function to drain the main dispatch queue explicitly. You can still add tasks to
the queue, but if you do not call this function those tasks are never executed.
You can get the dispatch queue for your application’s main thread by calling the dispatch_get_main_queue
function. Tasks added to this queue are performed serially on the main thread itself. Therefore, you can use
this queue as a synchronization point for work being done in other parts of your application.
Using Objective-C Objects in Your Tasks
GCD provides built-in support for Cocoa memory management techniques so you may freely use Objective-C
objects in the blocks you submit to dispatch queues. Each dispatch queue maintains its own autorelease pool
to ensure that autoreleased objects are released at some point; queues make no guarantee about when they
actually release those objects.
Dispatch Queues
Adding Tasks to a Queue
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51If your application is memory constrained and your block creates more than a few autoreleased objects, creating
your own autorelease pool is the only way to ensure that your objects are released in a timely manner. If your
block creates hundreds of objects, you might want to create more than one autorelease pool or drain your
pool at regular intervals.
For more information about autorelease pools and Objective-C memory management, see Advanced Memory
Management Programming Guide .
Suspending and Resuming Queues
You can prevent a queue from executing block objects temporarily by suspending it. You suspend a dispatch
queue using the dispatch_suspend function and resume it using the dispatch_resume function. Calling
dispatch_suspend increments the queue’s suspension reference count, and calling dispatch_resume
decrementsthe reference count. While the reference count is greater than zero, the queue remainssuspended.
Therefore, you must balance allsuspend calls with a matching resume call in order to resume processing blocks.
Important: Suspend and resume calls are asynchronous and take effect only between the execution of
blocks. Suspending a queue does not cause an already executing block to stop.
Using Dispatch Semaphoresto Regulate the Use of Finite Resources
If the tasks you are submitting to dispatch queues access some finite resource, you may want to use a dispatch
semaphore to regulate the number of tasks simultaneously accessing that resource. A dispatch semaphore
works like a regular semaphore with one exception. When resources are available, it takes less time to acquire
a dispatch semaphore than it does to acquire a traditional system semaphore. This is because Grand Central
Dispatch does not call down into the kernel for this particular case. The only time it calls down into the kernel
is when the resource is not available and the system needsto park your thread until the semaphore issignaled.
The semantics for using a dispatch semaphore are as follows:
1. When you create the semaphore (using the dispatch_semaphore_create function), you can specify
a positive integer indicating the number of resources available.
2. In each task, call dispatch_semaphore_wait to wait on the semaphore.
3. When the wait call returns, acquire the resource and do your work.
4. When you are done with the resource, release it and signal the semaphore by calling the
dispatch_semaphore_signal function.
Dispatch Queues
Suspending and Resuming Queues
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52For an example of how these steps work, consider the use of file descriptors on the system. Each application
is given a limited number of file descriptors to use. If you have a task that processes large numbers of files, you
do not want to open so many files at one time that you run out of file descriptors. Instead, you can use a
semaphore to limit the number of file descriptors in use at any one time by your file-processing code. The
basic pieces of code you would incorporate into your tasks is as follows:
// Create the semaphore, specifying the initial pool size
dispatch_semaphore_t fd_sema = dispatch_semaphore_create(getdtablesize() / 2);
// Wait for a free file descriptor
dispatch_semaphore_wait(fd_sema, DISPATCH_TIME_FOREVER);
fd = open("/etc/services", O_RDONLY);
// Release the file descriptor when done
close(fd);
dispatch_semaphore_signal(fd_sema);
When you create the semaphore, you specify the number of available resources. This value becomes the initial
count variable for the semaphore. Each time you wait on the semaphore, the dispatch_semaphore_wait
function decrements that count variable by 1. If the resulting value is negative, the function tells the kernel to
block your thread. On the other end, the dispatch_semaphore_signal function increments the count
variable by 1 to indicate that a resource has been freed up. If there are tasks blocked and waiting for a resource,
one of them is subsequently unblocked and allowed to do its work.
Waiting on Groups of Queued Tasks
Dispatch groups are a way to block a thread until one or more tasks finish executing. You can use this behavior
in places where you cannot make progress until all of the specified tasks are complete. For example, after
dispatching several tasksto compute some data, you might use a group to wait on those tasks and then process
the results when they are done. Another way to use dispatch groupsis as an alternative to thread joins. Instead
of starting several child threads and then joining with each of them, you could add the corresponding tasks
to a dispatch group and wait on the entire group.
Listing 3-6 shows the basic process for setting up a group, dispatching tasks to it, and waiting on the results.
Instead of dispatching tasks to a queue using the dispatch_async function, you use the
dispatch_group_async function instead. This function associates the task with the group and queues it for
execution. To wait on a group of tasks to finish, you then use the dispatch_group_wait function, passing
in the appropriate group.
Dispatch Queues
Waiting on Groups of Queued Tasks
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53Listing 3-6 Waiting on asynchronous tasks
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT,
0);
dispatch_group_t group = dispatch_group_create();
// Add a task to the group
dispatch_group_async(group, queue, ^{
// Some asynchronous work
});
// Do some other work while the tasks execute.
// When you cannot make any more forward progress,
// wait on the group to block the current thread.
dispatch_group_wait(group, DISPATCH_TIME_FOREVER);
// Release the group when it is no longer needed.
dispatch_release(group);
Dispatch Queues and Thread Safety
It might seem odd to talk about thread safety in the context of dispatch queues, but thread safety is still a
relevant topic. Any time you are implementing concurrency in your application, there are a few things you
should know:
● Dispatch queues themselves are thread safe. In other words, you can submit tasks to a dispatch queue
from any thread on the system without first taking a lock or synchronizing access to the queue.
● Do not call the dispatch_sync function from a task that is executing on the same queue that you pass
to your function call. Doing so will deadlock the queue. If you need to dispatch to the current queue, do
so asynchronously using the dispatch_async function.
● Avoid taking locks from the tasks you submit to a dispatch queue. Although it is safe to use locks from
your tasks, when you acquire the lock, you risk blocking a serial queue entirely if that lock is unavailable.
Similarly, for concurrent queues, waiting on a lock might prevent other tasks from executing instead. If
you need to synchronize parts of your code, use a serial dispatch queue instead of a lock.
Dispatch Queues
Dispatch Queues and Thread Safety
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54● Although you can obtain information about the underlying thread running a task, it is better to avoid
doing so. For more information about the compatibility of dispatch queues with threads,see “Compatibility
with POSIX Threads” (page 82).
For additional tips on how to change your existing threaded code to use dispatch queues,see “Migrating Away
from Threads” (page 74).
Dispatch Queues
Dispatch Queues and Thread Safety
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
55Whenever you interact with the underlying system, you must be prepared for that task to take a nontrivial
amount of time. Calling down to the kernel or othersystem layersinvolves a change in context that isreasonably
expensive compared to calls that occur within your own process. As a result, many system libraries provide
asynchronous interfaces to allow your code to submit a request to the system and continue to do other work
while that request is processed. Grand Central Dispatch builds on this general behavior by allowing you to
submit your request and have the results reported back to your code using blocks and dispatch queues.
About Dispatch Sources
A dispatch source is a fundamental data type that coordinates the processing of specific low-level system
events. Grand Central Dispatch supports the following types of dispatch sources:
● Timer dispatch sources generate periodic notifications.
● Signal dispatch sources notify you when a UNIX signal arrives.
● Descriptor sources notify you of various file- and socket-based operations, such as:
● When data is available for reading
● When it is possible to write data
● When files are deleted, moved, or renamed in the file system
● When file meta information changes
● Process dispatch sources notify you of process-related events, such as:
● When a process exits
● When a process issues a fork or exec type of call
● When a signal is delivered to the process
● Mach port dispatch sources notify you of Mach-related events.
● Custom dispatch sources are ones you define and trigger yourself.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
56
Dispatch SourcesDispatch sourcesreplace the asynchronous callback functionsthat are typically used to processsystem-related
events. When you configure a dispatch source, you specify the events you want to monitor and the dispatch
queue and code to use to process those events. You can specify your code using block objects or functions.
When an event of interest arrives, the dispatch source submits your block or function to the specified dispatch
queue for execution.
Unlike tasks that you submit to a queue manually, dispatch sources provide a continuous source of events for
your application. A dispatch source remains attached to its dispatch queue until you cancel it explicitly. While
attached, it submits its associated task code to the dispatch queue whenever the corresponding event occurs.
Some events, such as timer events, occur at regular intervals but most occur only sporadically as specific
conditions arise. For this reason, dispatch sources retain their associated dispatch queue to prevent it from
being released prematurely while events may still be pending.
To prevent events from becoming backlogged in a dispatch queue, dispatch sources implement an event
coalescing scheme. If a new event arrives before the event handler for a previous event has been dequeued
and executed, the dispatch source coalesces the data from the new event data with data from the old event.
Depending on the type of event, coalescing may replace the old event or update the information it holds. For
example, a signal-based dispatch source provides information about only the most recent signal but also
reports how many total signals have been delivered since the last invocation of the event handler.
Creating Dispatch Sources
Creating a dispatch source involves creating both the source of the events and the dispatch source itself. The
source of the events is whatever native data structures are required to process the events. For example, for a
descriptor-based dispatch source you would need to open the descriptor and for a process-based source you
would need to obtain the process ID of the target program. When you have your event source, you can then
create the corresponding dispatch source as follows:
1. Create the dispatch source using the dispatch_source_create function.
2. Configure the dispatch source:
● Assign an event handler to the dispatch source; see “Writing and Installing an Event Handler” (page
58).
● For timer sources, set the timer information using the dispatch_source_set_timer function; see
“Creating a Timer” (page 62).
3. Optionally assign a cancellation handler to the dispatch source;see “Installing a Cancellation Handler” (page
60).
4. Call the dispatch_resume function to start processing events; see “Suspending and Resuming Dispatch
Sources” (page 73).
Dispatch Sources
Creating Dispatch Sources
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57Because dispatch sources require some additional configuration before they can be used, the
dispatch_source_create function returns dispatch sources in a suspended state. While suspended, a
dispatch source receives events but does not process them. This gives you time to install an event handler and
perform any additional configuration needed to process the actual events.
The following sections show you how to configure various aspects of a dispatch source. For detailed examples
showing you how to configure specific types of dispatch sources, see “Dispatch Source Examples” (page 62).
For additional information about the functions you use to create and configure dispatch sources, see Grand
Central Dispatch (GCD) Reference .
Writing and Installing an Event Handler
To handle the events generated by a dispatch source, you must define an event handler to process those
events. An event handler is a function or block object that you install on your dispatch source using the
dispatch_source_set_event_handler or dispatch_source_set_event_handler_f function. When
an event arrives, the dispatch source submits your event handler to the designated dispatch queue for
processing.
The body of your event handler is responsible for processing any events that arrive. If your event handler is
already queued and waiting to process an event when a new event arrives, the dispatch source coalesces the
two events. An event handler generally sees information only for the most recent event, but depending on
the type of the dispatch source it may also be able to get information about other events that occurred and
were coalesced. If one or more new events arrive after the event handler has begun executing, the dispatch
source holds onto those events until the current event handler has finished executing. At that point, it submits
the event handler to the queue again with the new events.
Function-based event handlerstake a single context pointer, containing the dispatch source object, and return
no value. Block-based event handlers take no parameters and have no return value.
// Block-based event handler
void (^dispatch_block_t)(void)
// Function-based event handler
void (*dispatch_function_t)(void *)
Inside your event handler, you can get information about the given event from the dispatch source itself.
Although function-based event handlers are passed a pointer to the dispatch source as a parameter, block-based
event handlers must capture that pointer themselves. You can do thisfor your blocks by referencing the variable
containing the dispatch source normally. For example, the following code snippet capturesthe source variable,
which is declared outside the scope of the block.
Dispatch Sources
Creating Dispatch Sources
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58dispatch_source_t source = dispatch_source_create(DISPATCH_SOURCE_TYPE_READ,
myDescriptor, 0, myQueue);
dispatch_source_set_event_handler(source, ^{
// Get some data from the source variable, which is captured
// from the parent context.
size_t estimated = dispatch_source_get_data(source);
// Continue reading the descriptor...
});
dispatch_resume(source);
Capturing variablesinside of a block is commonly done to allow for greater flexibility and dynamism. Of course,
captured variables are read-only within the block by default. Although the blocks feature provides support for
modifying captured variables under specific circumstances, you should not attempt to do so in the event
handlers associated with a dispatch source. Dispatch sources always execute their event handlers asynchronously,
so the defining scope of any variables you captured is likely gone by the time your event handler executes.
For more information about how to capture and use variables inside of blocks, see Blocks Programming Topics.
Table 4-1 lists the functions you can call from your event handler code to obtain information about an event.
Table 4-1 Getting data from a dispatch source
Function Description
Thisfunction returnsthe underlying system data type that the dispatch source
manages.
For a descriptor dispatch source, this function returns an int type containing
the descriptor associated with the dispatch source.
For a signal dispatch source, this function returns an int type containing the
signal number for the most recent event.
For a process dispatch source, this function returns a pid_t data structure
for the process being monitored.
For a Mach port dispatch source, this function returns a mach_port_t data
structure.
For other dispatch sources, the value returned by this function is undefined.
dispatch_source_-
get_handle
Dispatch Sources
Creating Dispatch Sources
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59Function Description
This function returns any pending data associated with the event.
For a descriptor dispatch source that reads data from a file, this function
returns the number of bytes available for reading.
For a descriptor dispatch source that writes data to a file, this function returns
a positive integer if space is available for writing.
For a descriptor dispatch source that monitorsfile system activity, thisfunction
returns a constant indicating the type of event that occurred. For a list of
constants, see the dispatch_source_vnode_flags_t enumerated type.
For a process dispatch source, this function returns a constant indicating the
type of event that occurred. For a list of constants, see the
dispatch_source_proc_flags_t enumerated type.
For a Mach port dispatch source, this function returns a constant indicating
the type of event that occurred. For a list of constants, see the
dispatch_source_machport_flags_t enumerated type.
For a custom dispatch source, thisfunction returnsthe new data value created
from the existing data and the new data passed to the
dispatch_source_merge_data function.
dispatch_source_-
get_data
This function returns the event flags that were used to create the dispatch
source.
For a process dispatch source, this function returns a mask of the events that
the dispatch source receives. For a list of constants, see the
dispatch_source_proc_flags_t enumerated type.
For a Mach port dispatch source with send rights, thisfunction returns a mask
of the desired events. For a list of constants, see the dispatch_source_-
mach_send_flags_t enumerated type.
For a custom OR dispatch source, thisfunction returnsthe mask used to merge
the data values.
dispatch_source_-
get_mask
Forsome examples of how to write and install event handlersforspecific types of dispatch sources,see “Dispatch
Source Examples” (page 62).
Installing a Cancellation Handler
Cancellation handlers are used to clean up a dispatch source before it is released. For most types of dispatch
sources, cancellation handlers are optional and only necessary if you have some custom behaviors tied to the
dispatch source that also need to be updated. For dispatch sourcesthat use a descriptor or Mach port, however,
Dispatch Sources
Creating Dispatch Sources
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60you must provide a cancellation handler to close the descriptor or release the Mach port. Failure to do so can
lead to subtle bugs in your code resulting from those structures being reused unintentionally by your code or
other parts of the system.
You can install a cancellation handler at any time but usually you would do so when creating the dispatch
source. You install a cancellation handler using the dispatch_source_set_cancel_handler or
dispatch_source_set_cancel_handler_f function, depending on whether you want to use a block object
or a function in your implementation. The following example shows a simple cancellation handler that closes
a descriptor that was opened for a dispatch source. The fd variable is a captured variable containing the
descriptor.
dispatch_source_set_cancel_handler(mySource, ^{
close(fd); // Close a file descriptor opened earlier.
});
To see a complete code example for a dispatch source that uses a cancellation handler, see “Reading Data
from a Descriptor” (page 64).
Changing the Target Queue
Although you specify the queue on which to run your event and cancellation handlers when you create a
dispatch source, you can change that queue at any time using the dispatch_set_target_queue function.
You might do this to change the priority at which the dispatch source’s events are processed.
Changing a dispatch source’s queue is an asynchronous operation and the dispatch source does its best to
make the change as quickly as possible. If an event handler is already queued and waiting to be processed, it
executes on the previous queue. However, other events arriving around the time you make the change could
be processed on either queue.
Associating Custom Data with a Dispatch Source
Like many other data types in Grand Central Dispatch, you can use the dispatch_set_context function to
associate custom data with a dispatch source. You can use the context pointer to store any data your event
handler needs to process events. If you do store any custom data in the context pointer, you should also install
a cancellation handler (as described in “Installing a Cancellation Handler” (page 60)) to release that data when
the dispatch source is no longer needed.
If you implement your event handler using blocks, you can also capture local variables and use them within
your block-based code. Although this might alleviate the need to store data in the context pointer of the
dispatch source, you should always use this feature judiciously. Because dispatch sources may be long-lived
in your application, you should be careful when capturing variables containing pointers. If the data pointed
Dispatch Sources
Creating Dispatch Sources
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61to by a pointer could be deallocated at any time, you should either copy the data or retain it to prevent that
from happening. In either case, you would then need to provide a cancellation handler to release the data
later.
Memory Management for Dispatch Sources
Like other dispatch objects, dispatch sources are reference counted data types. A dispatch source has an initial
reference count of 1 and can be retained and released using the dispatch_retain and dispatch_release
functions. When the reference count of a queue reaches zero, the system automatically deallocatesthe dispatch
source data structures.
Because of the way they are used, the ownership of dispatch sources can be managed either internally or
externally to the dispatch source itself. With external ownership, another object or piece of code takes ownership
of the dispatch source and is responsible for releasing it when it is no longer needed. With internal ownership,
the dispatch source ownsitself and isresponsible for releasing itself at the appropriate time. Although external
ownership is very common, you might use internal ownership in cases where you want to create an autonomous
dispatch source and let it manage some behavior of your code without any further interactions. For example,
if a dispatch source is designed to respond to a single global event, you might have it handle that event and
then exit immediately.
Dispatch Source Examples
The following sections show you how to create and configure some of the more commonly used dispatch
sources. For more information about configuring specific types of dispatch sources,see Grand Central Dispatch
(GCD) Reference .
Creating a Timer
Timer dispatch sources generate events at regular, time-based intervals. You can use timers to initiate specific
tasksthat need to be performed regularly. For example, games and other graphics-intensive applications might
use timers to initiate screen or animation updates. You could also set up a timer and use the resulting events
to check for new information on a frequently updated server.
All timer dispatch sources are interval timers—that is, once created, they deliver regular events at the interval
you specify. When you create a timer dispatch source, one of the values you must specify is a leeway value to
give the system some idea of the desired accuracy for timer events. Leeway values give the system some
flexibility in how it manages power and wakes up cores. For example, the system might use the leeway value
to advance or delay the fire time and align it better with other system events. You should therefore specify a
leeway value whenever possible for your own timers.
Dispatch Sources
Dispatch Source Examples
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62Note: Even if you specify a leeway value of 0, you should never expect a timer to fire at the exact
nanosecond you requested. The system does its best to accommodate your needs but cannot
guarantee exact firing times.
When a computer goes to sleep, all timer dispatch sources are suspended. When the computer wakes up,
those timer dispatch sources are automatically woken up as well. Depending on the configuration of the timer,
pauses of this nature may affect when your timer fires next. If you set up your timer dispatch source using the
dispatch_time function or the DISPATCH_TIME_NOW constant, the timer dispatch source uses the default
system clock to determine when to fire. However, the default clock does not advance while the computer is
asleep. By contrast, when you set up your timer dispatch source using the dispatch_walltime function, the
timer dispatch source tracks its firing time to the wall clock time. This latter option is typically appropriate for
timers whose firing interval is relatively large because it prevents there from being too much drift between
event times.
Listing 4-1 shows an example of a timer that fires once every 30 seconds and has a leeway value of 1 second.
Because the timer interval is relatively large, the dispatch source is created using the dispatch_walltime
function. The first firing of the timer occurs immediately and subsequent events arrive every 30 seconds. The
MyPeriodicTask and MyStoreTimer symbolsrepresent custom functionsthat you would write to implement
the timer behavior and to store the timer somewhere in your application’s data structures.
Listing 4-1 Creating a timer dispatch source
dispatch_source_t CreateDispatchTimer(uint64_t interval,
uint64_t leeway,
dispatch_queue_t queue,
dispatch_block_t block)
{
dispatch_source_t timer = dispatch_source_create(DISPATCH_SOURCE_TYPE_TIMER,
0, 0, queue);
if (timer)
{
dispatch_source_set_timer(timer, dispatch_walltime(NULL, 0), interval,
leeway);
dispatch_source_set_event_handler(timer, block);
dispatch_resume(timer);
}
return timer;
}
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
63void MyCreateTimer()
{
dispatch_source_t aTimer = CreateDispatchTimer(30ull * NSEC_PER_SEC,
1ull * NSEC_PER_SEC,
dispatch_get_main_queue(),
^{ MyPeriodicTask(); });
// Store it somewhere for later use.
if (aTimer)
{
MyStoreTimer(aTimer);
}
}
Although creating a timer dispatch source isthe main way to receive time-based events, there are other options
available as well. If you want to perform a block once after a specified time interval, you can use the
dispatch_after or dispatch_after_f function. This function behaves much like the dispatch_async
function except that it allows you to specify a time value at which to submit the block to a queue. The time
value can be specified as a relative or absolute time value depending on your needs.
Reading Data from a Descriptor
To read data from a file or socket, you must open the file or socket and create a dispatch source of type
DISPATCH_SOURCE_TYPE_READ. The event handler you specify should be capable of reading and processing
the contents of the file descriptor. In the case of a file, this amounts to reading the file data (or a subset of that
data) and creating the appropriate data structures for your application. For a network socket, this involves
processing newly received network data.
Whenever reading data, you should always configure your descriptor to use non-blocking operations. Although
you can use the dispatch_source_get_data function to see how much data is available for reading, the
number returned by that function could change between the time you make the call and the time you actually
read the data. If the underlying file istruncated or a network error occurs, reading from a descriptor that blocks
the current thread could stall your event handler in mid execution and prevent the dispatch queue from
dispatching other tasks. For a serial queue, this could deadlock your queue, and even for a concurrent queue
this reduces the number of new tasks that can be started.
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
64Listing 4-2 shows an example that configures a dispatch source to read data from a file. In this example, the
event handler reads the entire contents of the specified file into a buffer and calls a custom function (that you
would define in your own code) to processthe data. (The caller of thisfunction would use the returned dispatch
source to cancel it once the read operation was completed.) To ensure that the dispatch queue does not block
unnecessarily when there is no data to read, this example usesthe fcntl function to configure the file descriptor
to perform nonblocking operations. The cancellation handler installed on the dispatch source ensures that the
file descriptor is closed after the data is read.
Listing 4-2 Reading data from a file
dispatch_source_t ProcessContentsOfFile(const char* filename)
{
// Prepare the file for reading.
int fd = open(filename, O_RDONLY);
if (fd == -1)
return NULL;
fcntl(fd, F_SETFL, O_NONBLOCK); // Avoid blocking the read operation
dispatch_queue_t queue =
dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_source_t readSource = dispatch_source_create(DISPATCH_SOURCE_TYPE_READ,
fd, 0, queue);
if (!readSource)
{
close(fd);
return NULL;
}
// Install the event handler
dispatch_source_set_event_handler(readSource, ^{
size_t estimated = dispatch_source_get_data(readSource) + 1;
// Read the data into a text buffer.
char* buffer = (char*)malloc(estimated);
if (buffer)
{
ssize_t actual = read(fd, buffer, (estimated));
Boolean done = MyProcessFileData(buffer, actual); // Process the data.
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
65// Release the buffer when done.
free(buffer);
// If there is no more data, cancel the source.
if (done)
dispatch_source_cancel(readSource);
}
});
// Install the cancellation handler
dispatch_source_set_cancel_handler(readSource, ^{close(fd);});
// Start reading the file.
dispatch_resume(readSource);
return readSource;
}
In the preceding example, the custom MyProcessFileData function determines when enough file data has
been read and the dispatch source can be canceled. By default, a dispatch source configured for reading from
a descriptor schedules its event handler repeatedly while there is still data to read. If the socket connection
closes or you reach the end of a file, the dispatch source automatically stops scheduling the event handler. If
you know you do not need a dispatch source though, you can cancel it directly yourself.
Writing Data to a Descriptor
The process for writing data to a file or socket is very similar to the process for reading data. After configuring
a descriptor for write operations, you create a dispatch source of type DISPATCH_SOURCE_TYPE_WRITE. Once
that dispatch source is created, the system calls your event handler to give it a chance to start writing data to
the file or socket. When you are finished writing data, use the dispatch_source_cancel function to cancel
the dispatch source.
Whenever writing data, you should always configure your file descriptor to use non-blocking operations.
Although you can use the dispatch_source_get_data function to see how much space is available for
writing, the value returned by that function is advisory only and could change between the time you make
the call and the time you actually write the data. If an error occurs, writing data to a blocking file descriptor
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
66could stall your event handler in mid execution and prevent the dispatch queue from dispatching other tasks.
For a serial queue, this could deadlock your queue, and even for a concurrent queue this reduces the number
of new tasks that can be started.
Listing 4-3 shows the basic approach for writing data to a file using a dispatch source. After creating the new
file, this function passes the resulting file descriptor to its event handler. The data being put into the file is
provided by the MyGetData function, which you would replace with whatever code you needed to generate
the data for the file. After writing the data to the file, the event handler cancels the dispatch source to prevent
it from being called again. The owner of the dispatch source would then be responsible for releasing it.
Listing 4-3 Writing data to a file
dispatch_source_t WriteDataToFile(const char* filename)
{
int fd = open(filename, O_WRONLY | O_CREAT | O_TRUNC,
(S_IRUSR | S_IWUSR | S_ISUID | S_ISGID));
if (fd == -1)
return NULL;
fcntl(fd, F_SETFL); // Block during the write.
dispatch_queue_t queue =
dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_source_t writeSource =
dispatch_source_create(DISPATCH_SOURCE_TYPE_WRITE,
fd, 0, queue);
if (!writeSource)
{
close(fd);
return NULL;
}
dispatch_source_set_event_handler(writeSource, ^{
size_t bufferSize = MyGetDataSize();
void* buffer = malloc(bufferSize);
size_t actual = MyGetData(buffer, bufferSize);
write(fd, buffer, actual);
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
67free(buffer);
// Cancel and release the dispatch source when done.
dispatch_source_cancel(writeSource);
});
dispatch_source_set_cancel_handler(writeSource, ^{close(fd);});
dispatch_resume(writeSource);
return (writeSource);
}
Monitoring a File-System Object
If you want to monitor a file system object for changes, you can set up a dispatch source of type
DISPATCH_SOURCE_TYPE_VNODE. You can use this type of dispatch source to receive notifications when a
file is deleted, written to, or renamed. You can also use it to be alerted when specific types of meta information
for a file (such as its size and link count) change.
Note: The file descriptor you specify for your dispatch source must remain open while the source
itself is processing events.
Listing 4-4 shows an example that monitors a file for name changes and performssome custom behavior when
it does. (You would provide the actual behavior in place of the MyUpdateFileName function called in the
example.) Because a descriptor is opened specifically for the dispatch source, the dispatch source includes a
cancellation handler that closesthe descriptor. Because the file descriptor created by the example is associated
with the underlying file-system object, thissame dispatch source can be used to detect any number of filename
changes.
Listing 4-4 Watching for filename changes
dispatch_source_t MonitorNameChangesToFile(const char* filename)
{
int fd = open(filename, O_EVTONLY);
if (fd == -1)
return NULL;
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
68dispatch_queue_t queue =
dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_source_t source = dispatch_source_create(DISPATCH_SOURCE_TYPE_VNODE,
fd, DISPATCH_VNODE_RENAME, queue);
if (source)
{
// Copy the filename for later use.
int length = strlen(filename);
char* newString = (char*)malloc(length + 1);
newString = strcpy(newString, filename);
dispatch_set_context(source, newString);
// Install the event handler to process the name change
dispatch_source_set_event_handler(source, ^{
const char* oldFilename = (char*)dispatch_get_context(source);
MyUpdateFileName(oldFilename, fd);
});
// Install a cancellation handler to free the descriptor
// and the stored string.
dispatch_source_set_cancel_handler(source, ^{
char* fileStr = (char*)dispatch_get_context(source);
free(fileStr);
close(fd);
});
// Start processing events.
dispatch_resume(source);
}
else
close(fd);
return source;
}
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
69Monitoring Signals
UNIX signals allow the manipulation of an application from outside of its domain. An application can receive
many different types of signals ranging from unrecoverable errors (such as illegal instructions) to notifications
about important information (such as when a child process exits). Traditionally, applications use the sigaction
function to install a signal handler function, which processes signals synchronously as soon as they arrive. If
you just want to be notified of a signal’s arrival and do not actually want to handle the signal, you can use a
signal dispatch source to process the signals asynchronously.
Signal dispatch sources are not a replacement for the synchronous signal handlers you install using the
sigaction function. Synchronous signal handlers can actually catch a signal and prevent it from terminating
your application. Signal dispatch sources allow you to monitor only the arrival of the signal. In addition, you
cannot use signal dispatch sources to retrieve all types of signals. Specifically, you cannot use them to monitor
the SIGILL, SIGBUS, and SIGSEGV signals.
Because signal dispatch sources are executed asynchronously on a dispatch queue, they do not suffer from
some of the same limitations as synchronous signal handlers. For example, there are no restrictions on the
functions you can call from yoursignal dispatch source’s event handler. The tradeoff for thisincreased flexibility
is the fact that there may be some increased latency between the time a signal arrives and the time your
dispatch source’s event handler is called.
Listing 4-5 shows how you configure a signal dispatch source to handle the SIGHUP signal. The event handler
for the dispatch source calls the MyProcessSIGHUP function, which you would replace in your application
with code to process the signal.
Listing 4-5 Installing a block to monitor signals
void InstallSignalHandler()
{
// Make sure the signal does not terminate the application.
signal(SIGHUP, SIG_IGN);
dispatch_queue_t queue =
dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_source_t source = dispatch_source_create(DISPATCH_SOURCE_TYPE_SIGNAL,
SIGHUP, 0, queue);
if (source)
{
dispatch_source_set_event_handler(source, ^{
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
70MyProcessSIGHUP();
});
// Start processing signals
dispatch_resume(source);
}
}
If you are developing code for a custom framework, an advantage of using signal dispatch sources is that your
code can monitor signals independent of any applications linked to it. Signal dispatch sources do not interfere
with other dispatch sources or any synchronous signal handlers the application might have installed.
For more information about implementing synchronous signal handlers, and for a list of signal names, see
signal man page.
Monitoring a Process
A process dispatch source lets you monitor the behavior of a specific process and respond appropriately. A
parent process might use this type of dispatch source to monitor any child processes it creates. For example,
the parent process could use it to watch for the death of a child process. Similarly, a child process could use it
to monitor its parent process and exit if the parent process exits.
Listing 4-6 shows the steps for installing a dispatch source to monitor for the termination of a parent process.
When the parent process dies, the dispatch source sets some internal state information to let the child process
know it should exit. (Your own application would need to implement the MySetAppExitFlag function to set
an appropriate flag for termination.) Because the dispatch source runs autonomously, and therefore owns
itself, it also cancels and releases itself in anticipation of the program shutting down.
Listing 4-6 Monitoring the death of a parent process
void MonitorParentProcess()
{
pid_t parentPID = getppid();
dispatch_queue_t queue =
dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_source_t source = dispatch_source_create(DISPATCH_SOURCE_TYPE_PROC,
parentPID, DISPATCH_PROC_EXIT,
queue);
Dispatch Sources
Dispatch Source Examples
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
71if (source)
{
dispatch_source_set_event_handler(source, ^{
MySetAppExitFlag();
dispatch_source_cancel(source);
dispatch_release(source);
});
dispatch_resume(source);
}
}
Canceling a Dispatch Source
Dispatch sourcesremain active until you cancel them explicitly using the dispatch_source_cancel function.
Canceling a dispatch source stops the delivery of new events and cannot be undone. Therefore, you typically
cancel a dispatch source and then immediately release it, as shown here:
void RemoveDispatchSource(dispatch_source_t mySource)
{
dispatch_source_cancel(mySource);
dispatch_release(mySource);
}
Cancellation of a dispatch source is an asynchronous operation. Although no new events are processed after
you call the dispatch_source_cancel function, events that are already being processed by the dispatch
source continue to be processed. After it finishes processing any final events, the dispatch source executes its
cancellation handler if one is present.
The cancellation handler is your chance to deallocate memory or clean up any resources that were acquired
on behalf of the dispatch source. If your dispatch source uses a descriptor or mach port, you must provide a
cancellation handler to close the descriptor or destroy the port when cancellation occurs. Other types of
dispatch sources do not require cancellation handlers, although you still should provide one if you associate
any memory or data with the dispatch source. For example, you should provide one if you store data in the
dispatch source’s context pointer. For more information about cancellation handlers,see “Installing a Cancellation
Handler” (page 60).
Dispatch Sources
Canceling a Dispatch Source
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
72Suspending and Resuming Dispatch Sources
You can suspend and resume the delivery of dispatch source eventstemporarily using the dispatch_suspend
and dispatch_resume methods. These methods increment and decrement the suspend count for your
dispatch object. As a result, you must balance each call to dispatch_suspend with a matching call to
dispatch_resume before event delivery resumes.
When you suspend a dispatch source, any events that occur while that dispatch source is suspended are
accumulated until the queue is resumed. When the queue resumes, rather than deliver all of the events, the
events are coalesced into a single event before delivery. For example, if you were monitoring a file for name
changes, the delivered event would include only the last name change. Coalescing events in this way prevents
them from building up in the queue and overwhelming your application when work resumes.
Dispatch Sources
Suspending and Resuming Dispatch Sources
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
73There are many ways to adapt existing threaded code to take advantage of Grand Central Dispatch and
operation objects. Although moving away from threads may not be possible in all cases, performance (and
the simplicity of your code) can improve dramatically in places where you do make the switch. Specifically,
using dispatch queues and operation queues instead of threads has several advantages:
●
It reduces the memory penalty your application pays for storing thread stacks in the application’s memory
space.
●
It eliminates the code needed to create and configure your threads.
●
It eliminates the code needed to manage and schedule work on threads.
●
It simplifies the code you have to write.
This chapter providessome tips and guidelines on how to replace your existing thread-based code and instead
use dispatch queues and operation queues to achieve the same types of behaviors.
Replacing Threads with Dispatch Queues
To understand how you might replace threads with dispatch queues, first considersome of the ways you might
be using threads in your application today:
● Single task threads. Create a thread to perform a single task and release the thread when the task is done.
● Worker threads. Create one or more worker threads with specific tasks in mind for each. Dispatch tasks
to each thread periodically.
● Thread pools. Create a pool of generic threads and set up run loops for each one. When you have a task
to perform, grab a thread from the pool and dispatch the task to it. If there are no free threads, queue the
task and wait for a thread to become available.
Although these might seem like dramatically different techniques, they are really just variants on the same
principle. In each case, a thread is being used to run some task that the application has to perform. The only
difference between them is the code used to manage the threads and the queueing of tasks. With dispatch
queues and operation queues, you can eliminate all of your thread and thread-communication code and
instead focus on just the tasks you want to perform.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
74
Migrating Away from ThreadsIf you are using one of the above threading models, you should already have a pretty good idea of the type
of tasks your application performs. Instead ofsubmitting a task to one of your custom threads, try encapsulating
that task in an operation object or a block object and dispatching it to the appropriate queue. For tasks that
are not particularly contentious—that is, tasksthat do not take locks—you should be able to make the following
direct replacements:
● For a single task thread, encapsulate the task in a block or operation object and submit it to a concurrent
queue.
● For worker threads, you need to decide whether to use a serial queue or a concurrent queue. If you use
worker threads to synchronize the execution of specific sets of tasks, use a serial queue. If you do use
worker threads to execute arbitrary tasks with no interdependencies, use a concurrent queue.
● For thread pools, encapsulate your tasks in a block or operation object and dispatch them to a concurrent
queue for execution.
Of course, simple replacements like this may not work in all cases. If the tasks you are executing contend for
shared resources, the ideal solution is to try to remove or minimize that contention first. If there are ways that
you can refactor or rearchitect your code to eliminate mutual dependencies on shared resources, that is certainly
preferable. However, if doing so is not possible or might be less efficient, there are still ways to take advantage
of queues. A big advantage of queues is that they offer a more predictable way to execute your code. This
predictability means that there are still ways to synchronize the execution of your code without using locks or
other heavyweight synchronization mechanisms. Instead of using locks, you can use queues to perform many
of the same tasks:
●
If you have tasksthat must execute in a specific order,submit them to a serial dispatch queue. If you prefer
to use operation queues, use operation object dependencies to ensure that those objects execute in a
specific order.
●
If you are currently using locks to protect a shared resource, create a serial queue to execute any tasks
that modify that resource. The serial queue then replaces your existing locks as the synchronization
mechanism. For more information techniques for getting rid of locks, see “Eliminating Lock-Based
Code” (page 76).
●
If you use thread joins to wait for background tasks to complete, consider using dispatch groups instead.
You can also use an NSBlockOperation object or operation object dependencies to achieve similar
group-completion behaviors. Formore information on how to track groups of executing tasks,see “Replacing
Thread Joins” (page 79).
●
If you use a producer-consumer algorithm to manage a pool of finite resources, consider changing your
implementation to the one shown in “Changing Producer-Consumer Implementations” (page 80).
●
If you are using threads to read and write from descriptors, or monitor file operations, use the dispatch
sources as described in “Dispatch Sources” (page 56).
Migrating Away from Threads
Replacing Threads with Dispatch Queues
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
75It isimportant to remember that queues are not a panacea for replacing threads. The asynchronous programming
model offered by queues is appropriate in situations where latency is not an issue. Even though queues offer
ways to configure the execution priority of tasks in the queue, higher execution priorities do not guarantee
the execution of tasks at specific times. Therefore, threads are still a more appropriate choice in cases where
you need minimal latency, such as in audio and video playback.
Eliminating Lock-Based Code
For threaded code, locks are one of the traditional ways to synchronize access to resources that are shared
between threads. However, the use of locks comes at a cost. Even in the non-contested case, there is always
a performance penalty associated with taking a lock. And in the contested case, there is the potential for one
or more threads to block for an indeterminate amount of time while waiting for the lock to be released.
Replacing your lock-based code with queues eliminates many of the penalties associated with locks and also
simplifies your remaining code. Instead of using a lock to protect a shared resource, you can instead create a
queue to serialize the tasks that access that resource. Queues do not impose the same penalties as locks. For
example, queueing a task does not require trapping into the kernel to acquire a mutex.
When queueing tasks, the main decision you have to make is whether to do so synchronously or asynchronously.
Submitting a task asynchronously letsthe current thread continue to run while the task is performed. Submitting
a task synchronously blocksthe current thread until the task is completed. Both options have appropriate uses,
although it is certainly advantageous to submit tasks asynchronously whenever you can.
The following sectionsshow you how to replace your existing lock-based code with the equivalent queue-based
code.
Implementing an Asynchronous Lock
An asynchronous lock is a way for you to protect a shared resource without blocking any code that modifies
that resource. You might use an asynchronous lock when you need to modify a data structure as a side effect
of some other work your code is doing. Using traditional threads, the way you would normally implement this
code would be to take a lock for the shared resource, make the necessary changes, release the lock, and
continue with the main part of your task. However, using dispatch queues, the calling code can make the
modifications asynchronously without waiting for those changes to be completed.
Listing 5-1 shows an example of an asynchronouslock implementation. In this example, the protected resource
defines its own serial dispatch queue. The calling code submits a block object to this queue that contains the
modifications that need to be made to the resource. Because the queue itself executes blocks serially, changes
to the resource are guaranteed to be made in the order in which they were received; however, because the
task was executed asynchronously, the calling thread does not block.
Migrating Away from Threads
Eliminating Lock-Based Code
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
76Listing 5-1 Modifying protected resources asynchronously
dispatch_async(obj->serial_queue, ^{
// Critical section
});
Executing Critical Sections Synchronously
If the current code cannot continue until a given task is complete, you can submit the task synchronously using
the dispatch_sync function. This function adds the task to a dispatch queue and then blocks the current
thread until the task finishes executing. The dispatch queue itself can be a serial or concurrent queue depending
on your needs. Because thisfunction blocksthe current thread, though, you should use it only when necessary.
Listing 5-2 shows the technique for wrapping a critical section of your code using dispatch_sync.
Listing 5-2 Running critical sections synchronously
dispatch_sync(my_queue, ^{
// Critical section
});
If you are already using a serial queue to protect a shared resource, dispatching to that queue synchronously
does not protect the shared resource any more than if you dispatched asynchronously. The only reason to
dispatch synchronously is to prevent the current code from continuing until the critical section finishes. For
example, if you wanted to get some value from the shared resource and use it right away, you would need to
dispatch synchronously. If the current code does not need to wait for the critical section to complete, or if it
can simply submit additional follow-up tasks to the same serial queue, submitting asynchronously is generally
preferred.
Improving on Loop Code
If your code has loops, and the work being done each time through the loop is independent of the work being
done in the other iterations, you might consider reimplementing that loop code using the dispatch_apply
or dispatch_apply_f function. These functions submit each iteration of a loop separately to a dispatch
queue for processing. When used in conjunction with a concurrent queue, thisfeature lets you perform multiple
iterations of the loop concurrently.
Migrating Away from Threads
Improving on Loop Code
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
77The dispatch_apply and dispatch_apply_f functions are synchronous function calls that block the
current thread of execution until all of the loop iterations are complete. When submitted to a concurrent queue,
the execution order of the loop iterations is not guaranteed. The threads running each iteration could block
and cause a given iteration to finish before or after the others around it. Therefore, the block object or function
you use for each loop iteration must be reentrant.
Listing 5-3 shows how to replace a for loop with its dispatch-based equivalent. The block or function you pass
to dispatch_apply or dispatch_apply_f must take an integer value indicating the current loop iteration.
In this example, the code simply prints the current loop number to the console.
Listing 5-3 Replacing a for loop without striding
queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT, 0);
dispatch_apply(count, queue, ^(size_t i) {
printf("%u\n", i);
});
Although the preceding example is a simplistic one, it demonstrates the basic techniques for replacing a loop
using dispatch queues. And although this can be a good way to improve performance in loop-based code,
you must still use this technique discerningly. Although dispatch queues have very low overhead, there are
still costs to scheduling each loop iteration on a thread. Therefore, you should make sure your loop code does
enough work to warrant the costs. Exactly how much work you need to do is something you have to measure
using the performance tools.
A simple way to increase the amount of work in each loop iteration is to use striding. With striding, you rewrite
your block code to perform more than one iteration of the original loop. You then reduce the count value you
specify to the dispatch_apply function by a proportional amount. Listing 5-4 shows how youmightimplement
striding for the loop code shown in Listing 5-3 (page 78). In Listing 5-4, the block calls the printf statement
the same number of times as the stride value, which in this case is 137. (The actual stride value is something
you should configure based on the work being done by your code.) Because there is a remainder left over
when dividing the total number of iterations by a stride value, any remaining iterations are performed inline.
Listing 5-4 Adding a stride to a dispatched for loop
int stride = 137;
dispatch_queue_t queue = dispatch_get_global_queue(DISPATCH_QUEUE_PRIORITY_DEFAULT,
0);
dispatch_apply(count / stride, queue, ^(size_t idx){
Migrating Away from Threads
Improving on Loop Code
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
78size_t j = idx * stride;
size_t j_stop = j + stride;
do {
printf("%u\n", (unsigned int)j++);
}while (j < j_stop);
});
size_t i;
for (i = count - (count % stride); i < count; i++)
printf("%u\n", (unsigned int)i);
There are some definite performance advantages to using strides. In particular, strides offer benefits when the
original number of loop iterations is high, relative to the stride. Dispatching fewer blocks concurrently means
that more time is spent executing the code of those blocks than dispatching them. As with any performance
metric though, you may have to play with the striding value to find the most efficient value for your code.
Replacing Thread Joins
Thread joins allow you to spawn one or more threads and then have the current thread wait until those threads
are finished. To implement a thread join, a parent creates a child thread as a joinable thread. When the parent
can no longer make progress without the results from a child thread, it joins with the child. This process blocks
the parent thread until the child finishes its task and exits, at which point the parent can gather the results
from the child and continue with its own work. If the parent needs to join with multiple child threads, it does
so one at a time.
Dispatch groups offer semantics that are similar to those of thread joins but that have some additional
advantages. Like thread joins, dispatch groups are a way for a thread to block until one or more child tasks
finishes executing. Unlike thread joins, a dispatch group waits on all of its child tasks simultaneously. And
because dispatch groups use dispatch queues to perform the work, they are very efficient.
To use a dispatch group to perform the same work performed by joinable threads, you would do the following:
1. Create a new dispatch group using the dispatch_group_create function.
2. Add tasks to the group using the dispatch_group_async or dispatch_group_async_f function.
Each task you submit to the group represents work you would normally perform on a joinable thread.
3. When the current thread cannot make any more forward progress, call the dispatch_group_wait
function to wait on the group. This function blocks the current thread until all of the tasks in the group
finish executing.
Migrating Away from Threads
Replacing Thread Joins
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
79If you are using operation objects to implement your tasks, you can also implement thread joins using
dependencies. Instead of having a parent thread wait for one or more tasks to complete, you would move the
parent code to an operation object. You would then set up dependencies between the parent operation object
and any number of child operation objects set up to do the work normally performed by the joinable threads.
Having dependencies on other operation objects prevents the parent operation object from executing until
all of the operations have finished.
For an example of how to use dispatch groups, see “Waiting on Groups of Queued Tasks” (page 53). For
information about setting up dependencies between operation objects, see “Configuring Interoperation
Dependencies” (page 29).
Changing Producer-Consumer Implementations
A producer-consumer model lets you manage a finite number of dynamically produced resources. While the
producer creates new resources (or work), one or more consumers wait for those resources (or work) to be
ready and consume them when they are. The typical mechanisms for implementing a producer-consumer
model are conditions or semaphores.
Using conditions, the producer thread typically does the following:
1. Lock the mutex associated with the condition (using pthread_mutex_lock).
2. Produce the resource or work to be consumed.
3. Signal the condition variable that there is something to consume (using pthread_cond_signal)
4. Unlock the mutex (using pthread_mutex_unlock).
In turn, the corresponding consumer thread does the following:
1. Lock the mutex associated with the condition (using pthread_mutex_lock).
2. Set up a while loop to do the following:
a. Check to see whether there is really work to be done.
b. If there is no work to do (or no resource available), call pthread_cond_wait to block the current
thread until a corresponding signal occurs.
3. Get the work (or resource) provided by the producer.
4. Unlock the mutex (using pthread_mutex_unlock).
5. Process the work.
With dispatch queues, you can simplify the producer and consumer implementations into a single call:
Migrating Away from Threads
Changing Producer-Consumer Implementations
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
80dispatch_async(queue, ^{
// Process a work item.
});
When your producer has work to be done, all it hasto do is add that work to a queue and let the queue process
the item. The only part of the preceding code that changes is the queue type. If the tasks generated by the
producer need to be performed in a specific order, you use a serial queue. If the tasks generated by the producer
can be performed concurrently, you add them to a concurrent queue and let the system execute as many of
them as possible simultaneously.
Replacing Semaphore Code
If you are currently using semaphoresto restrict accessto a shared resource, you should consider using dispatch
semaphores instead. Traditional semaphores always require calling down to the kernel to test the semaphore.
In contrast, dispatch semaphores test the semaphore state quickly in user space and trap into the kernel only
when the test fails and the calling thread needs to be blocked. This behavior results in dispatch semaphores
being much faster than traditional semaphores in the uncontested case. In all other aspects, though, dispatch
semaphores offer the same behavior as traditional semaphores.
For an example of how to use dispatch semaphores, see “Using Dispatch Semaphores to Regulate the Use of
Finite Resources” (page 52).
Replacing Run-Loop Code
If you are using run loops to manage the work being performed on one or more threads, you may find that
queues are much simpler to implement and maintain going forward. Setting up a custom run loop involves
setting up both the underlying thread and the run loop itself. The run-loop code consists of setting up one or
more run loop sources and writing callbacks to handle events arriving on those sources. Instead of all that
work, you can simply create a serial queue and dispatch tasks to it. Thus, you can replace all of your thread
and run-loop creation code with one line of code:
dispatch_queue_t myNewRunLoop = dispatch_queue_create("com.apple.MyQueue", NULL);
Migrating Away from Threads
Replacing Semaphore Code
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
81Because the queue automatically executes any tasks added to it, there is no extra code required to manage
the queue. You do not have to create or configure a thread, and you do not have to create or attach any
run-loop sources. In addition, you can perform new types of work on the queue by simply adding the tasks to
it. To do the same thing with a run loop, you would need to modify your existing run loop source or create a
new one to handle the new data.
One common configuration for run loops is to process data arriving asynchronously on a network socket.
Instead of configuring a run loop for this type of behavior, you can attach a dispatch source to the desired
queue. Dispatch sources also offer more options for processing data than traditional run loop sources. In
addition to processing timer and network port events, you can use dispatch sources to read and write to files,
monitor file system objects, monitor processes, and monitor signals. You can even define custom dispatch
sources and trigger them from other parts of your code asynchronously. For more information on setting up
dispatch sources, see “Dispatch Sources” (page 56).
Compatibility with POSIX Threads
Because Grand Central Dispatch manages the relationship between the tasks you provide and the threads on
which those tasks run, you should generally avoid calling POSIX thread routines from your task code. If you do
need to call them for some reason, you should be very careful about which routines you call. This section
provides you with an indication of which routines are safe to call and which are not safe to call from your
queued tasks. This list is not complete but should give you an indication of what is safe to call and what is not.
In general, your application must not delete or mutate objects or data structures that it did not create.
Consequently, block objects that are executed using a dispatch queue must not call the following functions:
pthread_detach
pthread_cancel
pthread_join
pthread_kill
pthread_exit
Although it is alright to modify the state of a thread while your task is running, you must return the thread to
its original state before your task returns. Therefore, it is safe to call the following functions as long as you
return the thread to its original state:
pthread_setcancelstate
pthread_setcanceltype
pthread_setschedparam
Migrating Away from Threads
Compatibility with POSIX Threads
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
82pthread_sigmask
pthread_setspecific
The underlying thread used to execute a given block can change from invocation to invocation. As a result,
your application should not rely on the following functions returning predictable results between invocations
of your block:
pthread_self
pthread_getschedparam
pthread_get_stacksize_np
pthread_get_stackaddr_np
pthread_mach_thread_np
pthread_from_mach_thread_np
pthread_getspecific
Important: Blocks must catch and suppress any language-level exceptions thrown within them. Other errors
that occur during the execution of your block should similarly be handled by the block or used to notify
other parts of your application.
For more information about POSIX threads and the functions mentioned in this section, see the pthread man
pages.
Migrating Away from Threads
Compatibility with POSIX Threads
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
83application A specific style of program that displays
a graphical interface to the user.
asynchronous design approach The principle of
organizing an application around blocks of code that
can be run concurrently with an application’s main
thread or other threads of execution. Asynchronous
tasks are started by one thread but actually run on
a different thread, taking advantage of additional
processor resourcesto finish their work more quickly.
block object A C construct for encapsulating inline
code and data so that it can be performed later. You
use blocksto encapsulate tasks you want to perform,
either inline in the current thread or on a separate
thread using a dispatch queue. For more information,
see Blocks Programming Topics.
concurrent operation An operation object that
does not perform its task in the thread from which
its start method was called. A concurrent operation
typically sets up its own thread or calls an interface
that sets up a separate thread on which to perform
the work.
condition A construct used to synchronize access
to a resource. A thread waiting on a condition is not
allowed to proceed until another thread explicitly
signals the condition.
critical section A portion of code that must be
executed by only one thread at a time.
custom source A dispatch source used to process
application-defined events. A custom source calls
your custom event handler in response to events
that your application generates.
descriptor An abstract identifier used to access a
file, socket, or other system resource.
dispatch queue A Grand Central Dispatch (GCD)
structure that you use to execute your application’s
tasks. GCD defines dispatch queues for executing
tasks either serially or concurrently.
dispatch source A Grand Central Dispatch (GCD)
data structure that you create to process
system-related events.
descriptor dispatch source A dispatch source used
to processfile-related events. A file descriptorsource
calls your custom event handler either when file data
is available for reading or writing or in response to
file system changes.
dynamic shared library A binary executable that
is loaded dynamically into an application’s process
space rather than linked statically as part of the
application binary.
framework A type of bundle that packages a
dynamic shared library with the resources and
header files that support that library. For more
information, see Framework Programming Guide .
global dispatch queue A dispatch queue provided
to your application automatically by Grand Central
Dispatch (GCD). You do not have to create global
queues yourself or retain or release them. Instead,
you retrieve them using the system-provided
functions.
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
84
GlossaryGrand Central Dispatch (GCD) A technology for
executing asynchronous tasks concurrently. GCD is
available in OS X v10.6 and later and iOS 4.0 and
later.
input source A source of asynchronous events for
a thread. Input sources can be port based or
manually triggered and must be attached to the
thread’s run loop.
joinable thread A thread whose resources are not
reclaimed immediately upon termination. Joinable
threads must be explicitly detached or be joined by
another thread before the resources can be
reclaimed. Joinable threads provide a return value
to the thread that joins with them.
library A UNIX feature for monitoring low-level
system events. For more information see the kqueue
man page.
Mach port dispatch source A dispatch source used
to process events arriving on a Mach port.
main thread A special type of thread created when
its owning processis created. When the main thread
of a program exits, the process ends.
mutex A lock that provides mutually exclusive
access to a shared resource. A mutex lock can be
held by only one thread at a time. Attempting to
acquire a mutex held by a different thread puts the
current thread to sleep until the lock is finally
acquired.
Open Computing Language (OpenCL) A
standards-based technology for performing
general-purpose computations on a computer’s
graphics processor. For more information, see
OpenCL Programming Guide for Mac .
operation object An instance of the NSOperation
class. Operation objects wrap the code and data
associated with a task into an executable unit.
operation queue An instance of the
NSOperationQueue class. Operation queues
manage the execution of operation objects.
private dispatch queue A dispatch queue that you
create, retain, and release explicitly.
process The runtime instance of an application or
program. A process hasits own virtualmemory space
and system resources(including port rights) that are
independent of those assigned to other programs.
A process always contains at least one thread (the
main thread) and may contain any number of
additional threads.
process dispatch source A dispatch source used
to handle process-related events. A process source
calls your custom event handler in response to
changes to the process you specify.
program A combination of code and resourcesthat
can be run to perform some task. Programs need
not have a graphical user interface, although
graphical applications are also considered programs.
reentrant Code that can be started on a new thread
safely while it is already running on another thread.
run loop An event-processing loop, during which
events are received and dispatched to appropriate
handlers.
run loop mode A collection of input sources, timer
sources, and run loop observers associated with a
particular name. When run in a specific “mode,” a
run loop monitors only the sources and observers
associated with that mode.
run loop object An instance of the NSRunLoop
class or CFRunLoopRef opaque type. These objects
provide the interface for implementing an
event-processing loop in a thread.
Glossary
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
85run loop observer A recipient of notifications
during different phases of a run loop’s execution.
semaphore A protected variable that restricts access
to a shared resource. Mutexes and conditions are
both different types of semaphore.
signal A UNIX mechanism for manipulating a
process from outside its domain. The system uses
signals to deliver important messages to an
application, such as whether the application
executed an illegal instruction. For more information
see the signal man page.
signal dispatch source A dispatch source used to
process UNIX signals. A signal source calls your
custom event handler whenever the processreceives
a UNIX signal.
task A quantity of work to be performed. Although
some technologies (most notably Carbon
Multiprocessing Services) use this term differently,
the preferred usage is as an abstract concept
indicating some quantity of work to be performed.
thread A flow of execution in a process. Each thread
has its own stack space but otherwise shares
memory with other threads in the same process.
timer dispatch source A dispatch source used to
process periodic events. A timer source calls your
custom event handler at regular, time-based
intervals.
Glossary
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
86This table describes the changes to Concurrency Programming Guide .
Date Notes
Removed obsolete information about autorelease pool usage with
operations.
2012-07-17
Updated the code for manually executing operations to handle
cancellation correctly.
2011-01-19
Added information about using Objective-C objects in conjunction with
dispatch queues.
2010-04-13 Updated to reflect support for iOS.
Corrected the start method for the nonconcurrent operation object
example.
2009-08-07
New document that describes technologies for executing multiple code
paths in a concurrent manner.
2009-05-22
2012-07-17 | © 2012 Apple Inc. All Rights Reserved.
87
Document Revision HistoryApple Inc.
© 2012 Apple Inc.
All rights reserved.
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MainStage 2
User ManualCopyright © 2009 Apple Inc. All rights reserved.
Your rights to the software are governed by the
accompanying software license agreement. The owner or
authorized user of a valid copy of Logic Studio software
may reproduce this publication for the purpose of learning
to use such software. No part of this publication may be
reproduced or transmitted for commercial purposes, such
as selling copies of this publication or for providing paid
for support services.
The Apple logo is a trademark of Apple Inc., registered in
the U.S. and other countries. Use of the “keyboard” Apple
logo (Shift-Option-K) for commercial purposes without
the prior written consent of Apple may constitute
trademark infringement and unfair competition in violation
of federal and state laws.
Every effort has been made to ensure that the information
in this manual is accurate. Apple is not responsible for
printing or clerical errors.
Note: Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites, images shown in this manual may be slightly
different from what you see on your screen.
Apple
1 Infinite Loop
Cupertino, CA 95014–2084
408-996-1010
www.apple.com
Apple, the Apple logo, FireWire, GarageBand, Logic,
Logic Studio, Mac, MainStage, Ultrabeat, and WaveBurner
are trademarks of Apple Inc., registered in the U.S. and
other countries.
Finder is a trademark of Apple Inc.
Intel, Intel Core, and Xeon are trademarks of Intel Corp. in
the U.S. and other countries.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention of
third-party products is for informational purposes only
and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.Preface 7 Welcome to MainStage
7 About MainStage
8 About the MainStage Documentation
8 Additional Resources
Chapter 1 11 Introducing MainStage
11 What Is MainStage?
13 Using MainStage with Keyboard Controllers
13 Using MainStage with Electric Guitars
13 Using MainStage with Vocals, Drums, and Other Instruments
13 How to Use MainStage in Your Music Setup
16 Using MainStage in Live Performance
Chapter 2 17 Setting Up Your System
17 Using MIDI Devices with MainStage
19 Using Audio Devices with MainStage
19 Using Effects Plug-ins with MainStage
19 Using MainStage with Time Machine
Chapter 3 21 The MainStage Interface
22 The MainStage Window
23 Layout Mode
24 Edit Mode
25 Perform Mode
26 Full Screen Mode
26 Customizing the MainStage Window
Chapter 4 29 Getting Started with MainStage
29 Before You Begin
30 Opening MainStage
30 Choosing a Concert Template
31 Selecting Patch Settings in the Patch Library
32 Adding a Patch
33 Naming a Patch
3
Contents33 Selecting and Playing Patches
34 Adding a Channel Strip
36 Changing a Channel Strip Setting
37 Learning a Controller Assignment
39 Mapping a Screen Control
39 Trying Out Full Screen and Perform Modes
Chapter 5 41 Working in Edit Mode
41 Working with Patches in Edit Mode
48 Working with Channel Strips in Edit Mode
69 Mapping Screen Controls
77 Editing Screen Control Parameters in Edit Mode
81 Working with Sets in Edit Mode
83 Working at the Set Level
84 Sharing Patches and Sets Between Concerts
85 Recording the Audio Output of a Concert
Chapter 6 87 Working with Concerts
88 Opening and Closing Concerts
89 Saving Concerts
89 How Saving Affects Parameter Values
90 Setting the Time Signature for a Concert
91 Using Tempo in a MainStage Concert
92 Defining the Source for Program Change Messages for a Concert
93 Setting the Pan Law for a Concert
93 Changing the Tuning for a Concert
93 Silencing MIDI Notes
94 Muting Audio Output
95 Working at the Concert Level
101 Controlling the Metronome
Chapter 7 103 Working in Layout Mode
104 Modifying the Layout of a Concert
104 Working with Screen Controls
114 Assigning Hardware Controls to Screen Controls
116 Editing Screen Control Parameters
121 How MainStage Passes Through MIDI Messages
122 Exporting a Layout
122 Importing a Layout
123 Changing the Aspect Ratio of a Layout
Chapter 8 125 Playing Back Audio in MainStage
125 Adding a Playback Plug-in
4 Contents130 Using the Playback Plug-in
Chapter 9 133 Performing Live with MainStage
133 Before the Performance Starts
134 Using Full Screen Mode and Perform Mode
135 Selecting Patches in Performance
136 Using Screen Controls in Performance
137 Handling Tempo Changes in Performance
137 Tips for Performing with Keyboard Controllers
137 Tips for Performing with Guitars and Other Instruments
138 Using the Tuner
139 Using the Playback Plug-in in Performance
140 Recording Your Performances
141 After the Performance
141 Tips for Complex Hardware Setups
Chapter 10 143 Key Commands
143 Using the Command Editor
143 MainStage Default Key Commands
Appendix A 147 The Playback Plug-in
148 Getting to Know the Playback Interface
149 Using the Playback Waveform Display
150 Using the Playback Transport and Function Buttons
151 Using the Playback Information Display
152 Using the Playback Sync, Snap To, and Play From Parameters
153 Using the Playback Group Functions
154 Using the Playback Action Menu and File Field
155 Using the Playback Shortcut Menu
Appendix B 157 The Loopback Plug-in
158 Getting to Know the Loopback Interface
159 Using the Loopback Waveform Display
159 Using the Loopback Transport and Function Controls
160 Using the Loopback Information Display
161 Using the Loopback Sync, Snap To, and Play From Parameters
162 Using the Loopback Group Functions
163 Using the Loopback Action Menu
164 Adding Loopback to a Channel Strip
Appendix C 165 Setting MainStage Preferences
165 General Preferences
166 Audio Preferences
168 MIDI Preferences
Contents 5168 Display Preferences
Appendix D 169 Using MainStage Actions
169 Table of Actions
6 ContentsMainStage turns your computer into a powerful and customizable musical instrument
and effects processor that you can use with your music gear (your instruments,
microphones, controllers, and other equipment) in live performance.
This preface covers the following:
• About MainStage (p. 7)
• About the MainStage Documentation (p. 8)
• Additional Resources (p. 8)
About MainStage
For performing musicians, MainStage gives you the power and flexibility of Logic Pro in
an application optimized for live performance. Whether you are a keyboard player, guitarist,
vocalist, drummer, or play another instrument, you can use MainStage in your live
performance setup.
Some of the things you can do with MainStage include:
• Create custom sounds using a wide variety of software instruments and effects included
in Logic Studio. You can also use third-party plug-ins, ReWire applications, and external
sound modules.
• Organize your sounds for easy access when you perform.
• Create a visual layout that matches your hardware devices, putting the controls you
need at your fingertips.
• Connect MIDI devices to your MainStage concert so you can control parameters of your
sounds in real time.
• Trigger backing tracks and other audio files while you play.
• Loop your performances to create multitextured, dynamic sound environments.
• Record your performances in real time.
This is only a brief list of what you can do with MainStage. For a more detailed introduction,
see Introducing MainStage.
7
Welcome to MainStage
PrefaceAbout the MainStage Documentation
Logic Studio includes several documents that will introduce you to MainStage, help you
get started working, and provide detailed information about the features and controls
of MainStage.
• MainStage User Manual: This onscreen manual (the MainStage User Manual) describes
the MainStage interface, commands, and menus, and gives step-by-step instructions
for creating MainStage concerts and for accomplishing specific tasks. It also includes
information on setting up your system. It is designed to provide the information you
need to get up to speed quickly so you can make use of the intuitive interface and
powerful features of MainStage.
If you want to start by learning how to set up audio and MIDI hardware to use with
MainStage, read Setting Up Your System. If you want to learn about the features and
controls in the MainStage interface, read The MainStage Interface. If you want to jump
right in and start using the application, skip ahead to Getting Started with MainStage,
then read the chapters on Edit mode, working with concerts, and Layout mode. If you
want to read about using MainStage in live performance, turn to Performing Live with
MainStage.
• Exploring MainStage: This booklet introduces the basics of MainStage in an easy,
approachable way. It aims to get new users up and running with MainStage quickly so
you can have confidence and continue learning at your own pace. Each chapter presents
major features and guides you in trying things out. This document is a PDF version of
the printed Exploring MainStage document included in the Logic Studio package.
• Logic Studio Instruments: This onscreen manual provides comprehensive instructions
for using the powerful collection of instruments included with Logic Pro and MainStage.
• Logic Studio Effects: This onscreen manual provides comprehensive instructions for
using the powerful collection of effects included with Logic Pro, MainStage, and
WaveBurner.
• Logic Studio Working with Apogee Hardware: This onscreen manual describes the use
of Apogee hardware with Logic Pro.
Additional Resources
Along with the documentation that comes with Logic Studio, there are a variety of other
resources you can use to find out more.
Release Notes and New Features Documents
Each application offers detailed documentation that covers new or changed features and
functions. This documentation can be accessed in the following location:
• Click the Release Notes and New Features links in the application Help menu.
8 Preface Welcome to MainStageMainStage Website
For general information and updates, as well as the latest news on MainStage, go to:
• http://www.apple.com/logicstudio/mainstage
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple
products, go to the general Apple Support webpage. You’ll also have access to product
specifications, reference documentation, and Apple and third-party product technical
articles.
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for MainStage, go to:
• http://www.apple.com/support/mainstage
For discussion forums for all Apple products from around the world, where you can search
for an answer, post your question, or answer other users’ questions, go to:
• http://discussions.apple.com
Preface Welcome to MainStage 9This chapter gives you a conceptual overview of MainStage and describes how you can
use it together with your instruments and other musical equipment when you perform
live.
This chapter covers the following:
• What Is MainStage? (p. 11)
• Using MainStage with Keyboard Controllers (p. 13)
• Using MainStage with Electric Guitars (p. 13)
• Using MainStage with Vocals, Drums, and Other Instruments (p. 13)
• How to Use MainStage in Your Music Setup (p. 13)
• Using MainStage in Live Performance (p. 16)
What Is MainStage?
MainStage is a music application designed for you to use in live performance. MainStage
turns your computer into a powerful multi-instrument and effects processor that you can
use on stage when you perform. Whether you play a keyboard, guitar, another instrument,
or sing, you can use MainStage with your instruments, microphones, and MIDI hardware
when you perform live.
MainStage lets you use the professional-quality instruments and effects included in
Logic Studio in your live performances. You access and modify the instruments and effects
in MainStage using the familiar Logic channel strip interface. If you play a USB or MIDI
keyboard controller, you can play and control a wide variety of software instruments,
including pianos and other keyboards, synthesizers, strings, horns, percussion, and more.
If you play electric guitar, you can perform using Logic Studio effects setups, including
amp simulation, overdrive, reverb, compression, and more. You can create your own
effects setups and switch between them easily. Vocalists and acoustic musicians can also
use effects setups with sound input through a microphone.
11
Introducing MainStage
1MainStage provides a flexible interface for organizing and accessing your sounds in
concerts. Concerts are MainStage documents that hold your sounds—a concert can store
all the sounds you’ll use in an entire performance or a series of performances. In a
MainStage concert, individual sounds are stored as patches, and each patch can contain
one or more channel strips, each with its own instruments and effects. You can add
channel strips, choose channel strip settings, add instruments and effects, and edit their
parameters to customize your sounds. You can even mix channel strips of different types
in a single patch.
You can organize patches in a concert by ordering them in the Patch List and also by
grouping them into sets. Sets are folders where you can store patches you want to keep
together.
Each concert also includes a visual interface, called a layout, with controls that you can
use to modify your patches in live performance. Layouts contain screen controls, which
are onscreen representations of keyboards, faders, knobs, buttons, pedals, drum pads,
and other hardware controls and displays. You make connections between your MIDI
devices and your MainStage concert by assigning hardware controls to the screen controls
in the concert. After you make these controller assignments, you map the screen controls
to channel strip and plug-in parameters, completing the connection so that you can easily
access and manipulate the parameters you want for each patch in the concert. You can
also map screen controls to actions, which provide the ability to select patches, control
the Tuner or metronome, provide visual feedback, and perform other functions.
Parameter
mapping
MainStage screen control Channel strip or
plug-in parameter
Hardware control
Controller
assignment
MainStage lets you quickly and easily make controller assignments and parameter
mappings to speed your workflow. You can customize your layout to match the controls
on your MIDI hardware, to optimize the use of available screen space, or in other ways
that suit your needs.
12 Chapter 1 Introducing MainStageUsing MainStage with Keyboard Controllers
If you perform using a USB or MIDI keyboard controller, you can play and control MainStage
patches with software instruments using your controller. You can assign faders, knobs,
buttons, and other controls on the keyboard controller to screen controls in your concert,
and then map those screen controls to parameters in your patches. You can choose
exactly the parameters you want to have at your fingertips for each patch and access
them from your controller as you perform.
You can use MainStage with other MIDI controllers, including sustain pedals, expression
pedals, foot switches, MIDI guitars, and wind controllers that send standard MIDI messages.
You can also control external hardware synthesizers, ReWire applications, and other virtual
instruments using external instrument channel strips.
Using MainStage with Electric Guitars
If you play an electric guitar, you can use MainStage as a powerful, customizable
multi-effects processor. After you connect your instrument to your computer using an
audio interface, you send your guitar’s audio signal to audio channel strips in your patches,
where you can add effects including the Amp Designer and Pedalboard plug-ins designed
specifically for use with electric guitar. You can also use EQ, compression, reverb, overdrive,
and other Logic Studio effects in your guitar patches. You can control volume, effect
blend, or expression with an expression pedal, and use a foot switch to select patches
hands-free when you perform.
Using MainStage with Vocals, Drums, and Other Instruments
Vocalists and acoustic musicians can use MainStage by sending the audio output from
a microphone connected to their computer to audio channel strips in their patches. You
can use MainStage with Core Audio-compatible audio devices, such as audio interfaces
and digital mixers, for input from instruments and microphones, and for audio output to
speakers, monitors, a mixing board, or a public address (PA) system. In MainStage, you
can access a wide range of effects in your patches.
Drummers can also use MainStage by sending the audio output from microphones to
audio channel strips in their patches or by using drum pads or a virtual drum kit to control
the EXS24 mkII sampler, Ultrabeat, and percussion-oriented plug-ins.
How to Use MainStage in Your Music Setup
You can add MainStage to your music equipment setup by following these steps:
Chapter 1 Introducing MainStage 13Stage 1: Creating a Concert from a Template
You begin working in MainStage by creating a new concert from a template. MainStage
includes concert templates for keyboard, guitar, and other instruments, making it easy
to choose a template suited to your needs. MainStage recognizes many popular MIDI
controllers and automatically assigns hardware controls on the controller to corresponding
screen controls in the workspace, simplifying hardware setup.
For information about choosing a template to create a concert, see Choosing a Concert
Template.
Stage 2: Adding and Editing Patches to Customize Your Sounds
After you create a concert, you add patches for the sounds you want to play, and edit
the patches by adding channel strips, instruments, and effects, and adjusting their
parameters to “dial in” your custom sounds. You edit and organize patches in Edit mode.
In Edit mode, your patches are “live” so you can hear the results of your edits instantly.
You can select and play patches, choose channel strip settings, and edit channel strip
and plug-in parameters. You can quickly define key ranges for channel strips to create
keyboard layers and splits, scale expression and other parameters using transforms, and
filter incoming MIDI messages.
For information about editing patches, see Working with Patches in Edit Mode.
Stage 3: Organizing Your Patches for Easy Access
When you open a concert in Edit mode, the patches in the concert appear in the Patch List,
where you can select them and start playing. You can edit patch parameters, add channel
strips to existing patches or create new ones, and reorder patches to build your custom
collection of sounds to use when you perform.
You can also organize patches in sets for added flexibility. Sets are like folders that can
store groups of patches you want to keep together, which can be useful in several ways.
For example, you can store all your favorite lead synth patches in a set or store multiple
patches you intend to use in a single song, and quickly select the patches you want while
performing. You can also add channel strips at the set level, and have them available
with every patch in the set.
For information about organizing patches, see Working with Patches in Edit Mode. For
information about creating and editing sets, see Working with Sets in Edit Mode.
14 Chapter 1 Introducing MainStageStage 4: Customizing the Visual Layout of Your Concert to Match Your Hardware
Devices
In Layout mode, you arrange screen controls in the workspace to create the visual layout
corresponding to your hardware controls. MainStage features a variety of screen controls,
including keyboards, knobs, faders, pitch bend and modulation wheels, foot pedals, drum
pads, and more. Also included are screen controls to display parameter and system
informaton, text and images, and a selector that you can use to view and select patches
or markers while performing.
You can quickly add screen controls to the workspace, and move, resize, and copy them
to create your layout. Alignment guides and other tools make it easy to visually arrange
screen controls, and you can customize display color, text labels, and other parameters
in the Screen Control Inspector. You can also group controls and arrange the grouped
control as a single unit.
For information about working with screen controls in Layout mode, see Working with
Screen Controls.
Stage 5: Making Connections Between MainStage and Your Music Hardware
In Layout mode, you connect physical controls on your MIDI hardware to the screen
controls in your concert by assigning the physical controls to the corresponding screen
controls in the workspace. You can move and resize screen controls in the workspace
and customize the display of visual feedback for parameter values and other information.
You only need to make hardware controller assignments once for an entire concert,
greatly reducing the amount of work required to connect your hardware with your
computer.
For information about making hardware assignments, see Assigning Hardware Controls
to Screen Controls.
Stage 6: Mapping Screen Controls to the Parameters You Want to Control in
Performance
Edit mode is where you map screen controls to channel strip parameters. You can map
whichever parameters you want to modify for each patch to screen controls so they can
be easily manipulated from your hardware when you perform live. You can also map
screen controls to MainStage actions, such as selecting the next patch you want to play.
For information about mapping screen controls, see Mapping Screen Controls.
You need not follow these steps in a strict order; however, in most cases you will find
working easier if you create your layout before making hardware assignments and make
hardware assignments before you map screen controls. If you plan to use one of the
existing concert templates without modifying its layout significantly, you can concentrate
on stages 1 to 3 and stage 6.
Chapter 1 Introducing MainStage 15To make setup easier, MainStage divides these tasks into two groups, with separate modes
for each group of tasks. You customize and organize your patches in Edit mode and
customize your layout and make connections with your hardware in Layout mode. The
advantage of this division is that it separates tasks you normally perform only once, such
as setting up your layout (the Layout mode tasks), from those you are likely to repeat
more often, such as editing your sounds (the Edit mode tasks).
Using MainStage in Live Performance
After you have created a concert with your custom patches following the steps described
above, you’re ready to play. When you perform live, you can use your computer as the
final sound module and effects box in your rig. You can select a patch and start playing
it instantly. MainStage switches seamlessly between patches and can sustain notes from
the previous patch while you start playing the newly selected one. You can view feedback
about your patches, including names, parameter values, and audio output levels, in real
time. You can also adjust concert-wide effects using auxiliary channels and control other
concert-wide settings.
MainStage provides two modes optimized for performing live:Perform mode and Full
Screen mode. In Perform mode, the workspace fills the MainStage window but lets you
retain access to the Finder and to other applications. In Full Screen mode, the workspace
fills your entire screen, optimizing available screen space for your onscreen layout. You
can use whichever mode you prefer.
You can use MainStage with multiple MIDI controllers, microphones, musical instruments,
and other music equipment. For time-based effects such as reverb and delay, you can
set a pre-defined tempo, use MIDI input for tempo changes, or tap the tempo as you
perform.
For tips and other information about using MainStage when you perform live, see
Performing Live with MainStage.
16 Chapter 1 Introducing MainStageYou can use MainStage with a wide variety of MIDI controllers and Core Audio-compliant
audio devices. For basic information about designing and configuring your system,
including information about computer requirements, connecting audio and MIDI devices,
and configuring your audio hardware, see the “Setting Up Your System” chapter in the
Logic Pro User Manual.
Real-time generation and processing of digital audio requires intensive processing by
your computer. If you plan to work on large or complex projects, using a computer with
a faster processor and extra random-access memory (RAM) installed can facilitate your
productivity. Additional RAM is useful particularly when using a large number of effects
plug-ins and when playing sample-based software instruments. It is recommended that
you do not run other processor- or RAM-intensive applications simultaneously with
MainStage, particularly when performing live.
This chapter covers the following:
• Using MIDI Devices with MainStage (p. 17)
• Using Audio Devices with MainStage (p. 19)
• Using Effects Plug-ins with MainStage (p. 19)
• Using MainStage with Time Machine (p. 19)
Using MIDI Devices with MainStage
MainStage works with many USB and MIDI keyboard controllers and with other MIDI
devices such as foot pedals and switches. To work with MainStage, MIDI devices must
send standard MIDI control messages. MainStage receives standard MIDI messages and
can be used to control external MIDI devices using external MIDI instrument channel
strips. For more information about using keyboard controllers and other MIDI devices,
see the “Setting Up Your System” chapter in the Logic Pro User Manual.
17
Setting Up Your System
2Using MIDI Devices That Send Special MIDI Message Types
Certain types of hardware controls such as knobs (rotary controls) and buttons are capable
of sending several types of MIDI messages. When you assign these controls to MainStage
screen controls using the Learn process, MainStage analyzes the incoming MIDI data to
determine which type of message the hardware control is sending. In order for MainStage
to learn these controls correctly, be sure to turn knobs through their full range of motion
and to press buttons exactly three times during the Learn process.
Some MIDI controllers can send nonstandard or proprietary MIDI messages. MainStage
cannot process or respond to nonstandard MIDI messages, to “registered” or
“non-registered” parameter messages, or to system exclusive (SysEx) messages. MainStage
can process some system real-time messages and MIDI Machine Control (MMC) messages
when you assign a hardware control that sends these messages to a screen control.
Some devices feature buttons that send program change messages. You can use these
buttons to send program change messages to MainStage, but you cannot assign them
to control other parameters using MainStage screen controls.
Choosing a Controller Preset
Some keyboard controllers allow you to choose different presets or “scenes” that
reconfigure the messages sent by the controls on the device. In most cases, you should
choose a generic preset that sends standard MIDI messages rather than system exclusive
messages or messages intended for a particular application. After you have assigned
hardware controls to screen controls in MainStage, do not change the preset on the MIDI
device, or your assignments might be lost.
In some cases, you can change the message type the controller sends by choosing a
different preset or by reprogramming the device. Some devices may include software
that you can use to reprogram knobs, buttons, and other controls. For information about
reprogramming a MIDI device, see the documentation that came with the device.
Using MIDI Devices That Support Automatic Configuration
MainStage can automatically configure the screen controls in a concert to support many
popular MIDI controllers. If you are using a device that supports automatic configuration,
MainStage alerts you to select the appropriate preset on your device when you open a
new concert. After you select the preset on your MIDI device, the screen controls in the
concert are assigned to the corresponding controls on your hardware device so you can
use them in MainStage with no further configuration.
18 Chapter 2 Setting Up Your SystemUsing Audio Devices with MainStage
MainStage works with Core Audio-compliant audio devices, including FireWire, USB,
ExpressCard, and PCI audio interfaces. You can connect microphones, electronic musical
instruments, and other musical equipment to your computer, or to an audio interface or
other audio device, and use them with MainStage. For detailed information about using
audio devices, see the “Setting Up Your System” chapter in the Logic Pro User Manual.
MainStage can require a large amount of available RAM, particularly when playing
sample-based software instruments. It is recommended that you test your system and
the concerts you plan to use before you perform using MainStage to make sure there is
enough available memory to select and play the patches you want to use without causing
audio drop-outs or distortion. Unlike in Logic Pro, you can choose different audio input
and output drivers in MainStage. For more information about choosing audio drivers, see
Setting MainStage Preferences.
Using Effects Plug-ins with MainStage
You can use all of the Logic Studio effects plug-ins, except for surround plug-ins, in
MainStage channel strips. For more information about the included effects plug-ins, refer
to the Logic Studio Instruments and Logic Studio Effects manuals. You can also use Apple
and third-party Audio Units effects in MainStage channel strips in the same way you use
them in Logic Pro channel strips.
Some Logic Studio effects, including Space Designer, require intensive realtime processing
of the audio signal. Using Space Designer on individual patches can affect the performance
of your concert, and in some cases result in audio dropouts or glitches, particularly if you
set the audio buffer to a smaller size. For this reason, it is recommended that you use
Space Designer sparingly in your concerts, and use a few Space Designer instances on
auxiliary channel strips shared between multiple patches, rather than in individual patches.
Some Audio Units plug-ins can introduce latency. Using effects that introduce latency,
such as compressors and limiters, can produce undesirable or unpredictable results during
live performance. Other Audio Units plug-ins, particularly instrument and amp modelling
plug-ins, require high levels of realtime processing and can affect the performance of
your concert.
Using MainStage with Time Machine
If you use Time Machine to back up the computer you are using to perform with
MainStage, be aware that if Time Machine runs while you are performing in Perform or
Full Screen mode the performance of your MainStage concert could be affected. To avoid
any impact on performance, it is recommended that you disconnect your Time Machine
backup drive when you perform with MainStage.
Chapter 2 Setting Up Your System 19You do all your work in MainStage in a single window, the MainStage window.
The MainStage window is organized to make it easy to work with your patches and the
layout of your concert. When you open MainStage, the workspace fills the center of the
window, with Inspectors and other editing areas on the sides and below. When you are
ready to perform, you can use one of two performance-oriented modes to maximize your
computer performance and also maximize your display space for easy viewing on stage.
The first time you open MainStage, the Choose Template dialog appears so that you can
choose a concert template to create a new concert. To learn how to open MainStage, see
Opening MainStage. For information about choosing a template, see Choosing a Concert
Template.
This chapter covers the following:
• The MainStage Window (p. 22)
• Layout Mode (p. 23)
• Edit Mode (p. 24)
• Perform Mode (p. 25)
• Full Screen Mode (p. 26)
• Customizing the MainStage Window (p. 26)
21
The MainStage Interface
3The MainStage Window
Some features of the MainStage interface are common to all modes, while others are
exclusive to certain modes.
Inspector
Workspace with
Toolbar Activity Monitor screen controls
The main features of the MainStage window include:
• Toolbar: Includes buttons for quick access to common commands and tools. You can
customize the toolbar so that the commands you use most frequently are readily
available.
• Activity Monitor: Shows your computer’s processor and memory usage, and shows the
input from your MIDI devices as you edit and perform.
• Workspace: The “canvas” where you customize your onscreen layout, assign hardware
controls to screen controls, and view your concerts while you perform.
• Screen controls: The onscreen objects that correspond to the controls on your hardware
devices. You can add and arrange screen controls in the workspace, assign hardware
controls to screen controls, and then map them to parameters you want to control for
each patch in your concert. There are three types of screen controls: panel controls,
shelf controls, and grouped controls.
• Channel strips: Channel strips are where you build and customize your sounds.
MainStage channel strips are similar to channel strips in Logic Pro, with Insert, Sends,
and I/O menus as well as level meters, faders, pan knobs, and other controls.
22 Chapter 3 The MainStage Interface• Inspectors: Inspectors appear below (in Edit mode) or along the left side of the MainStage
window (in Layout mode) when you select different items onscreen. The Inspectors
allow you to edit parameters and attributes for patches, sets, screen controls, channel
strips, and the concert. Most Inspectors feature tabs that make it easy to quickly access
the parameters you want to edit.
To make working easier, MainStage features four different modes, each suited to a different
task. You audition, edit, and organize your sounds and map screen controls in Edit mode.
You customize the visual arrangement of controls onscreen and make controller
assignments in Layout mode. You use either Perform mode or Full Screen mode when
you perform live.
Layout Mode
Layout mode is where you customize your onscreen layout and make connections between
your MIDI hardware and the screen controls in your concert. You drag screen controls
into the workspace and arrange them onscreen to customize your layout, then create
connections (called controller assignments) between your MIDI hardware and the screen
controls.
In the Screen Control Inspector, you can edit layout parameters to customize hardware
assignments and modify the visual look of the screen controls in your concert.
Screen Control Inspector Screen Controls Palette
• Screen Control Inspector: View and edit parameters for screen controls in the workspace,
including hardware input, appearance, and certain types of MIDI output parameters.
Chapter 3 The MainStage Interface 23• Screen Controls Palette: Drag screen controls from the palette into the workspace to
add them to your onscreen layout. The palette has four tabs so that you can quickly
view all screen controls or only one type of screen control. Panel controls appear as
two-dimensional objects in the workspace, while shelf controls appear on an adjustable
three-dimensional shelf.
• Layout buttons: Along the left side of the workspace is a series of buttons that you can
use to quickly position selected screen controls in the workspace. You can align,
distribute, and group selected screen controls.
In Layout mode, unlike the other modes in MainStage, you can’t select or edit individual
patches. To learn what you can do in Layout mode, see Working in Layout Mode.
Edit Mode
Edit mode is where you create, customize, and organize your sounds. You can add patches,
add and edit channel strips, create keyboard layers and splits, and edit channel strip and
plug-in parameters. Edit mode is also where you map screen controls to channel strip
parameters and actions, and edit patch, set, and concert-level parameters.
Patch List Inspector (changes
depending on the
selection)
Channel Strips
area
• Patch List: Shows the patches and sets in the concert. You can add patches and sets
to the Patch List, name them, and organize them. The Patch List includes an Action
menu with commands to create patches and sets, reset program change numbers, skip
items, and import and export patches and sets to use in other concerts.
24 Chapter 3 The MainStage Interface• Inspector (varies depending on the type of item selected): View and edit parameters for
the currently selected patch, channel strip, screen control, set, or for the concert. The
name of the Inspector changes to identify the type of item you are currently inspecting.
• Channel Strips area: View and edit the channel strips in your patches or at the concert
or set level. Channel strips appear in a vertical format similar to Logic Pro channel strips,
with many of the same controls. You can also add channel strips and save channel strip
settings.
To learn what you can do in Edit mode, see Working in Edit Mode and Working with
Concerts.
The remaining two modes, Perform mode and Full Screen mode, are both optimized for
performing live. You can use either one when you perform.
Perform Mode
In Perform mode, the workspace fills the entire MainStage window. The toolbar is visible
so that you can switch modes using the Mode buttons, use the Panic or Master Mute
buttons and the Tuner, and view CPU and memory levels and MIDI input in the Activity
Monitor. The browsers and Inspectors are hidden to maximize the size of the workspace,
making screen controls larger and easier to read in onstage situations. You can still access
the Finder and switch to other applications in Perform mode but cannot open plug-in
windows.
Chapter 3 The MainStage Interface 25Full Screen Mode
In Full Screen mode, the workspace fills your entire computer display so that your screen
controls are as large as possible for maximum readability. Full Screen mode optimizes
your display for live performance when you want to use MainStage exclusively while you
play. Plug-in windows cannot be open in Full Screen mode.
To learn about using Perform mode and Full Screen mode when you perform live, see
Performing Live with MainStage.
Customizing the MainStage Window
You can customize the MainStage window to suit your way of working. In Edit mode, you
can adjust the width of the Patch List, show or hide the Inspectors and the Channel Strips
area, and customize the buttons on the toolbar.
Resizing the Workspace
You can adjust both the horizontal and vertical size of the workspace to give more room
to the Patch List, the Inspector, and the Channel Strips area.
To resize the workspace horizontally
1 Move the pointer to the space between the workspace and the Inspector.
The pointer becomes a resize pointer.
2 Drag up or down to resize the workspace.
To resize the workspace vertically
1 Move the pointer to the space between the workspace and the Channel Strips area.
26 Chapter 3 The MainStage InterfaceThe pointer becomes a resize pointer.
2 Drag left or right to resize the workspace.
Hiding and Showing the Inspector
You can hide the Inspector or show it if it is hidden.
To hide or show the Inspector
Do one of the following:
µ Choose View > Inspectors (or press Command-5).
µ In the toolbar, click the Inspectors button.
Hiding and Showing the Channel Strips Area
You can hide the Channel Strips area or show it if it is hidden. Hiding the Channel Strips
area gives you more room for the workspace.
To hide or show the Channel Strips area
Do one of the following:
µ Choose View > Channel Strips (or press Command-6).
µ In the toolbar, click the Channel Strips button.
Customizing the Toolbar
The toolbar at the top of the MainStage window contains buttons for frequently used
commands. You can customize the toolbar, adding buttons for the functions you use
most often and can return to the default set later.
The default set of toolbar buttons includes buttons for selecting the different window
modes, hiding the Inspector and the Channel Strips area, activating Master Mute, and
other common commands. You can customize the toolbar with additional buttons for
other commands and adjust the position and spacing of items. You can also hide the
toolbar to maximize available screen space. You customize the toolbar by dragging items
from the Customize Toolbar dialog to the toolbar.
To show the Customize dialog
Do one of the following:
µ Choose View > Customize Toolbar.
µ Control-click the toolbar, then choose Customize Toolbar from the shortcut menu.
The Customize Toolbar dialog appears, and spaces between buttons in the toolbar are
outlined in gray.
Chapter 3 The MainStage Interface 27To add a button to the toolbar
µ Drag a button from the Customize dialog to the toolbar.
If you drag a button between two existing buttons, the buttons move to make room for
the new button.
To move a button in the toolbar
Do one of the following:
µ If the Customize Toolbar dialog is visible, drag the button to move it.
µ If the Customize Toolbar dialog is not visible, Command-drag the button to move it.
You can also rearrange the toolbar using set-width spaces, flexible spaces, and separators.
To add a space or a separator to the toolbar
µ Drag a space, flexible space, or separator from the Customize Toolbar dialog to the toolbar.
To return the toolbar to the default set of buttons
µ Drag the default button set, located at the bottom of the Customize Toolbar dialog, to
the toolbar.
You can also change the toolbar so that it shows only icons or only text by Control-clicking
the toolbar, then choosing Icon Only or Text Only from the shortcut menu.
To show only icons in the toolbar
Do one of the following:
µ Control-click the toolbar, then choose Icon Only from the shortcut menu.
µ In the Customize Toolbar dialog, choose Icon Only from the Show pop-up menu.
To show only text in the toolbar
Do one of the following:
µ Control-click the toolbar, then choose Text Only from the shortcut menu.
µ In the Customize Toolbar dialog, choose Text Only from the Show pop-up menu.
To show both icons and text in the toolbar
Do one of the following:
µ Control-click the toolbar, then choose Icon & Text from the shortcut menu.
µ In the Customize Toolbar dialog, choose Icon & Text from the Show pop-up menu.
To close the Customize dialog
µ When you are finishing customizing the toolbar, click Done.
To hide the toolbar
µ Choose View > Hide Toolbar.
When the toolbar is hidden, the menu item becomes Show Toolbar.
28 Chapter 3 The MainStage InterfaceYou can quickly start working in MainStage by choosing a concert template and trying
out the patch settings in the concert. This chapter provides a brief guided “walkthrough”
you can follow the first time you open MainStage. If you wish to continue learning the
major features of the application in a hands-on manner, consult the Exploring MainStage
guide included in the Logic Studio package.
This chapter covers the following:
• Before You Begin (p. 29)
• Opening MainStage (p. 30)
• Choosing a Concert Template (p. 30)
• Selecting Patch Settings in the Patch Library (p. 31)
• Adding a Patch (p. 32)
• Naming a Patch (p. 33)
• Selecting and Playing Patches (p. 33)
• Adding a Channel Strip (p. 34)
• Changing a Channel Strip Setting (p. 36)
• Learning a Controller Assignment (p. 37)
• Mapping a Screen Control (p. 39)
• Trying Out Full Screen and Perform Modes (p. 39)
Before You Begin
Before you start working in MainStage, you should connect the hardware equipment that
you plan to use, such as your keyboard controller, audio interface, instruments, or
microphones, to your computer. To use keyboard controllers and other MIDI devices with
MainStage, the devices should be capable of sending standard MIDI messages. If you’re
not sure whether this is the case for a particular device, consult the owner’s manual or
the product website. For more information, see Setting Up Your System.
29
Getting Started with MainStage
4Opening MainStage
You start by opening MainStage and creating a new concert from a template.
To open MainStage
µ Double-click the MainStage icon in your Applications folder or in the Dock.
Choosing a Concert Template
MainStage includes templates for different musical instruments, including Keyboards,
Guitar Rigs, Drums, Vocals, and more. You can choose a concert template in the Choose
Template dialog, which appears the first time you open MainStage and when you create
a new concert or close a concert.
To choose a concert template
1 Choose File > New Concert (or press Command-N).
2 In the Choose Template dialog, click the instrument category on the left you want to
view templates for.
A brief description below each template describes its features and intended use.
30 Chapter 4 Getting Started with MainStage3 Scroll through the available templates to find the one you want to use.
4 Click Choose, or double-click the template.
A new concert created from the template opens in Edit mode. The workspace appears
in the center of the MainStage window, showing the screen controls in the concert. To
the left of the workspace is the Patch List, which shows the patches and sets in the concert.
The channel strips for the selected patch appear in the Channel Strips area to the right
of the workspace. The new concert may contain a single patch, or several patches. Below
the workspace, the Patch Library is open, so you can easily audition different patch settings
to find the one you want to use.
In the Choose Template dialog, you can view templates in either a grid or a Cover Flow
view. You can choose a different view using the view buttons, located in the lower-left
part of the dialog.
To choose a different view for the Choose Template dialog
µ To view templates in a grid, click the Grid button.
µ To view templates in Cover Flow, click the Cover Flow button.
For more information about opening, editing, and saving concerts, see Working with
Concerts.
Selecting Patch Settings in the Patch Library
When you open a concert or select a patch, the Patch Library opens in the Patch Inspector
below the workspace. The Patch Library contains a variety of patches optimized for the
instrument the concert is designed for. You can quickly audition patch settings in the
Patch Library and choose a setting for the selected patch.
To select a patch setting
1 Look through the settings in the Patch Library to find the one you want to use.
2 Click the patch setting.
You can start playing the patch immediately using the selected patch setting. You can
also search for patch settings by name.
To search for patch settings by name
1 Choose Find in Library from the Action menu in the upper-right corner of the Patch
Inspector.
2 Enter the name of the patch setting you want to find.
3 Click Find.
The first patch setting with the text you entered appears selected in the Patch Library.
Chapter 4 Getting Started with MainStage 314 To find subsequent patch settings with the same name, choose Find Again in Library
from the Action menu.
Note: If you have saved multiple patches to a .patch file using the Save as Set command
(or the Export as Set command in MainStage 1.0) in the Action menu, the saved file
appears as a patch in the Patch Library unless you have selected a different location for
saving the file. Clicking the saved file in the Patch Library causes an alert to appear while
the individual patches are opened from the .patch file.
Adding a Patch
You can add patches to the concert and organize them in the Patch List. The number of
patches is limited only by the amount of available memory in your system. When you
add a patch to a concert, the patch is selected so you can easily audition and select a
patch setting from the Patch Library.
To add a new patch
1 Click the Add Patch button (+), located in the upper-right corner of the Patch List.
The new patch appears in the Patch List, and the Patch Library is open in the Patch
Inspector.
2 Select the patch setting you want to use from the Patch Library.
If you want to play the patch using your keyboard controller, select a Keyboard patch. If
you want to play the patch using your electric guitar, select a Guitar Rig patch. For other
instruments or vocals, you can choose a template from the appropriate category or modify
a keyboard or guitar template to suit your needs.
3 If the patch uses an audio channel strip, make sure the channel strip is set to use the
correct audio input, then gradually raise the volume fader on the channel strip until you
hear sound on the channel.
32 Chapter 4 Getting Started with MainStageNaming a Patch
When you add a patch, by default it takes the name of the channel strip added with it.
You can give each patch a custom name to make it easier to identify and distinguish
between them.
To name a patch
1 Double-click the patch in the Patch List.
A field appears around the patch name, which is selected.
Double-click the
patch name, then
type a new name.
2 Type a new name in the patch name field.
For more information about editing and organizing patches, see Working with Patches
in Edit Mode.
Selecting and Playing Patches
The patches in the concert appear in the Patch List along the left side of the MainStage
window. You can easily access the patches in your concert by selecting them in the
Patch List. You can quickly select patches by clicking them in the Patch List.
If you are using a MIDI controller, you can play patches that have a software instrument
channel strip using your controller. If you are playing an electric guitar or another
instrument or are using a microphone connected to an audio interface, you can play or
sing using patches that have an audio channel strip. Before playing through an audio
channel strip, first make sure that the channel strip is set to receive input on the channel
(or stereo pair of channels) to which your instrument or microphone is connected.
With the patch selected, try moving some controls on your MIDI controller and check to
see if the screen controls in the workspace respond. Some screen controls, including the
keyboard, modulation and pitch bend wheels, and sustain pedal screen controls, respond
to appropriate MIDI messages without needing to be assigned or mapped.
Chapter 4 Getting Started with MainStage 33You can continue selecting and playing patches in the concert to find sounds you want
to perform with or to use as a starting point for creating your own custom patches. You
can also add new patches and edit their channel strip settings to create your own unique
sounds.
For more information about organizing and selecting patches in the Patch List, see Working
with Patches in Edit Mode.
Adding a Channel Strip
You can add channel strips to a patch to create layered sounds and keyboard splits. When
you add a channel strip to a patch, you choose the type of channel strip, the output, and
other settings. You can mix both types in a single patch.
To add a channel strip to a patch
1 Make sure the patch is selected in the Patch List.
2 Click the Add Channel Strip button (+) in the upper-right corner of the Channel Strips
area.
The New Channel Strip dialog appears. You choose settings in the Channel Strip dialog
in the same way as when you add a patch.
3 In the New Channel Strip dialog, select the type of channel strip you want to create.
4 Choose the audio output for the channel strip from the Output pop-up menu.
5 For audio channel strips, choose mono or stereo format from the Format pop-up menu
and choose the audio input from the Input pop-up menu. For external instrument channel
strips, also choose the MIDI input, MIDI output, and MIDI channel from their respective
pop-up menus.
Important: Audio channel strips can produce feedback, particularly if you are using a
microphone for audio input. When you add an audio channel strip, the volume of the
channel strip is set to silence, and Feedback Protection is turned on to alert you when
feedback occurs on the channel strip. When you add an external instrument channel
strip, the volume of the channel strip is set to silence, but Feedback Protection is turned
off.
6 Optionally, you can add multiple channel strips to a patch by typing a number in the
Number field. You can add up to the maximum number for a channel strip type.
7 Click Create.
A new channel strip appears in the Channel Strips area, highlighted in white to indicate
that it is selected. The Channel Strip Inspector appears below the workspace, showing
different parameters for the new channel strip.
34 Chapter 4 Getting Started with MainStage8 For audio and external instrument channel strips, gradually raise the volume fader until
you hear sound on the channel.
Most channel strip controls function in MainStage in the same way that they do in
Logic Pro. You can adjust channel strip output using the Volume fader, adjust pan position
using the Pan knob, and mute or solo the channel strip using the Mute and Solo buttons.
You can choose new channel strip settings, add and edit effects, add sends to busses,
and change the output in the same way as in Logic Pro. For audio channel strips, you can
switch between mono and stereo format using the Format button. For software instrument
channel strips, you can choose a different instrument from the Input pop-up menu.
You can also define the key range for a channel strip, create transform and velocity graphs,
and filter various MIDI messages to a channel strip in the Channel Strip Inspector. For
general information about working with channel strips, see the “Working with Instruments
and Effects” chapter of the Logic Pro User Manual. For more information about using
channel strips in MainStage, see Working with Channel Strips in Edit Mode.
Chapter 4 Getting Started with MainStage 35Changing a Channel Strip Setting
You can quickly change the instrument, effects, and other parameters for a channel strip
by selecting a new setting from the Channel Strip Library. The browser shows available
settings for the currently selected channel strip.
To select a new channel strip setting
1 Make sure that the channel strip you want to change is selected.
The selected channel strip is highlighted.
2 In the Channel Strip Inspector, click the Channel Strip Library tab.
Available channel strip settings appear in the Channel Strip Library. Logic Studio content
appears as a series of folders with different instrument and usage categories. If you have
GarageBand or have one or more Jam Pack collections installed on your computer, those
settings appear below the Logic Studio settings.
3 Click a category from the column on the left, then click subcategories from the columns
on the right until you see the settings you want.
Click a category in this
column to see the
available choices.
Click the channel strip
setting you want to use from
the columns to the right.
You can also search for channel strip settings by name and perform other functions using
the Channel Strip Library. For more information about the Channel Strip Inspector, see
Choosing Channel Strip Settings.
36 Chapter 4 Getting Started with MainStageLearning a Controller Assignment
When you select a patch or a channel strip setting, some channel strip parameters respond
to the controls on your MIDI device instantly. MainStage responds to notes played on a
keyboard controller, volume, pan, and expression messages, modulation and pitch bend
wheel messages, and sustain pedal messages without your having to configure any screen
controls to receive these messages. For other controls such as faders, knobs, and buttons,
you must assign these hardware controls to MainStage screen controls before you can
use them in your concert.
In MainStage, you assign hardware controls to screen controls in the Layout Inspector
using the Learn process, similar to learning controller assignments for a control surface
in Logic Pro. Learning controller assignments is a quick and easy method for assigning
hardware controls to screen controls.
Note: To be able to assign a hardware control to a screen control, the hardware control
must send standard MIDI messages. For more information, see Using MIDI Devices with
MainStage.
To learn a controller assignment
1 In the toolbar, click the Layout button.
MainStage switches to Layout mode.
2 In the workspace, select the screen control you want to learn.
The selected control appears highlighted in blue.
3 Click the Learn button in the Screen Control Inspector (or press Command-L).
Chapter 4 Getting Started with MainStage 37The Learn button glows red to indicate that the Learn process is active, and the selected
screen control is highlighted in red.
Click the Learn button to
start learning hardware
assignments.
4 On your MIDI device, move the control you want to assign. Move faders and knobs through
their full range of motion, and press buttons exactly three times (not too quickly) to
enable MainStage to correctly learn the MIDI message types sent by these controls.
The values in the Hardware Assignment pop-up menus change to reflect the type of
hardware control learned by the screen control. While the assignment is being learned,
incoming MIDI messages appear in the Activity Monitor above the workspace.
After the assignment is learned, the screen control responds when you move the
corresponding hardware control. This shows that the screen control is receiving MIDI
input and is correctly assigned.
5 While the Learn process is active, you can learn additional controller assignments by
selecting another screen control and moving the hardware control you want to assign
to it. You can learn as many assignments as you wish while the Learn button remains red.
6 When you are finished assigning controls, click the Learn button (or press Command-L)
again to turn off the Learn process.
For more information about making controller assignments, see Assigning Hardware
Controls to Screen Controls.
38 Chapter 4 Getting Started with MainStageMapping a Screen Control
After you have learned controller assignments for the screen controls you want to use,
you can map the screen controls to the parameters in your patches you will want to
control while you are performing. You will likely want to map screen controls to parameters
in each patch in a concert, so that you can easily access and modify the parameters you
want for each patch when you are performing live. You can also map parameters at the
concert level to control master volume, view master levels, or modify concert-wide effects.
There are two ways to map screen controls to parameters: by visually selecting parameters
on channel strips or plug-in windows, or by choosing parameters in the Parameter
Mapping browser. To learn how to map a screen control to a channel strip or plug-in
parameter, see Mapping Screen Controls to Channel Strip and Plug-In Parameters. To
learn how to map a screen control to an action, see Mapping Screen Controls to Actions.
Trying Out Full Screen and Perform Modes
Now you can try playing your patches as you would in a performance. MainStage provides
two modes, Full Screen mode and Perform mode, that optimize the display of the
workspace for live performance. In Perform mode, you see the workspace and the toolbar,
so you can use the toolbar buttons and access other applications. In Full Screen mode,
the workspace occupies the entire screen, presenting the screen controls as large as
possible for easy viewing in concert environments.
To switch to Full Screen mode
Do one of the following:
µ Choose View > Full Screen (or press Command-4).
µ Click the Full Screen button.
To switch to Perform mode
Do one of the following:
µ Choose View > Perform (or press Command-3).
µ Click the Perform button.
You can try both of these modes, playing the patches you added or modified, and using
the controls on your MIDI controller to modify the parameters you have mapped to screen
controls.
Chapter 4 Getting Started with MainStage 39In Edit mode, you add and edit patches to create your custom sounds, choose patch
settings in the Patch Library, organize and select patches in the Patch List, edit patch
parameters in the Inspector, and map screen controls to parameters and actions. You can
create custom patches in Edit mode and organize them in the Patch List so that you can
easily access them when you perform.
This chapter covers the following:
• Working with Patches in Edit Mode (p. 41)
• Working with Channel Strips in Edit Mode (p. 48)
• Mapping Screen Controls (p. 69)
• Editing Screen Control Parameters in Edit Mode (p. 77)
• Working with Sets in Edit Mode (p. 81)
• Working at the Set Level (p. 83)
• Sharing Patches and Sets Between Concerts (p. 84)
• Recording the Audio Output of a Concert (p. 85)
Working with Patches in Edit Mode
Patches are the individual sounds you play using your keyboard controller (for MIDI
keyboardists) and the effects setups you use with your guitar, microphone, or other
instrument (for guitarists, vocalists, and other instrumentalists). MainStage patches can
contain multiple channel strips, each with a different instrument or effects setup.
Some basic patch operations, including adding and naming patches, selecting and naming
patches, and adding channel strips to patches, are described in Getting Started with
MainStage.
If MainStage is currently in Layout, Perform, or Full Screen mode, click the Edit button in
the top-left corner of the MainStage window to begin working in Edit mode.
41
Working in Edit Mode
5Selecting Items in the Patch List
All of the patches and sets in a concert appear in the Patch List, located to the left of the
workspace. To select an item in the Patch List in Edit mode, you can click the item or use
key commands.
To select a patch in the Patch List
1 In the Patch List, located to the left of the workspace, click the patch.
Click a patch in the
Patch List to select it,
and start playing.
2 With the patch selected, you can start playing instantly.
You can also select patches in the Patch List using your computer keyboard.
To select a patch using your computer keyboard
µ Press the Down Arrow key to select the next (lower) patch in the Patch List.
µ Press the Up Arrow key to select the previous (higher) patch in the Patch List.
There are additional key commands you can use to select items in the Patch List.
Default key command Selects
Up Arrow Previous item (patch or set) in the Patch List
Down Arrow Next item (patch or set) in the Patch List
Command-Up Arrow Previous patch in the Patch List
Command-Down Arrow Next patch in the Patch List
Command-Left Arrow First patch of the previous set
Command-Right Arrow First patch of the next set
Note: When you use the Command-Arrow key commands listed above to select different
patches, the selected screen control remains selected in the workspace. This makes it
easy to see how a screen control is configured in different patches.
In addition to using key commands, you can select a patch (or set) in the Patch List by
typing the first few letters of its name.
42 Chapter 5 Working in Edit ModeTo select a patch or set by typing its name
1 Click the border of the Patch List to select it.
2 With the Patch List selected, start typing the name of the patch. Once you type enough
letters to uniquely identify its name, the patch or set is selected.
You can also select a patch by typing its name in Perform or Full Screen mode. For
information, see Selecting Patches by Typing.
You can also select a patch using your computer keyboard by typing its patch number.
Patch numbers appear to the left of the patch names in the Patch List.
To select a patch by typing its patch number
1 Click the border of the Patch List to select it.
2 With the Patch List selected, type the patch number using your computer keyboard.
Skipping Items in the Patch List
You can skip patches or sets in the Patch List. When a patch or set is skipped, you can
still select the item by clicking it. However, when you use the arrow keys together with
the Command key to select items in the Patch List, skipped items are passed over and
the next non-skipped item is selected. Skipped items are also skipped when you use the
patch selector in Full Screen or Perform mode.
To skip a patch or set
1 Select the patch or set in the Patch List.
2 Choose Skip from the Action menu for the Patch List.
The item appears as a thin line in the Patch List.
To set a skipped patch or set to no longer be skipped
1 Select the item (patch or set) in the Patch List.
2 Choose Don’t Skip from the Action menu for the Patch List.
The item returns to full size in the Patch List.
Patches and sets are skipped only when you use the arrow keys together with the
Command key. Items set to be skipped are still selected when you use the arrow keys
alone or when you click them.
Collapsing Sets in the Patch List
You can collapse sets in the Patch List. When you collapse a set, you can select the set
and use any channel strips or busses at the set level but cannot select or play patches in
the set while in Edit mode.
To collapse a set
µ In the Patch List, click the disclosure triangle for the set.
Chapter 5 Working in Edit Mode 43You can uncollapse the set by clicking its disclosure triangle again. Collapsing a set has
no effect on whether you can select patches in the set in Full Screen or Perform mode.
For information about creating and using sets, see Working with Sets in Edit Mode.
Copying and Pasting Patches
You can copy, paste, and duplicate patches in the Patch List using the standard Mac OS X
menu and key commands or by Option-dragging. When you paste or duplicate a patch,
it includes any mappings made to parameters in the original patch.
Reordering Patches in the Patch List
When you add a patch to a concert, the new patch appears below the currently selected
patch in the Patch List. You can reorder patches in the Patch List.
To reorder patches in the Patch List
µ Drag patches up or down in the Patch List until they appear in the order you want.
Moving Patches in the Patch List Repeatedly
The MainStage command set includes a Move Again command that lets you easily move
selected patches multiple times. You can use Move Again when you drag, paste, create,
or delete patches in the Patch List. By default, the Move Again command is not assigned
to a key command. To use it, you should first assign it to a key command in the Command
Editor. For information about using the Command Editor, see Using the Command Editor.
Creating a Patch from Several Patches
You can create a patch by combining several existing patches. The new patch contains
all of the channel strips of the selected patches.
To create a patch from several existing patches
1 In the Patch List, select the patches you want to use to create the new patch.
2 Choose “Create Patch from Selected Patches” from the Action menu at the upper-right
corner of the Patch List.
The new “combined” patch appears in the Patch List, labeled “Untitled Patch.”
Note: Creating a patch with more than three channel strips can affect performance,
particularly if the channel strips are audio channel strips, or if they use a large number of
plug-ins or processor-intensive plug-ins.
Setting the Time Signature for a Patch
You can set the time signature for a patch. Time signatures can be used with the Playback
plug-in and also control the beats for the metronome. When you set the time signature
for a patch, it overrides any concert- or set-level time signature.
To set the time signature for a patch
1 In the Patch Inspector, select the Attributes tab.
44 Chapter 5 Working in Edit Mode2 In the Attributes tab, select the Has Time Signature checkbox.
3 Double-click the number in the field to the right, and enter the number of beats for one
measure of the time signature.
4 Choose the beat value from the pop-up menu to the right.
Changing the Tempo When You Select a Patch
You can give a patch its own tempo setting so that when you select the patch, the tempo
changes to the patch tempo setting. MainStage uses the new tempo until you select
another patch or set with its own tempo setting, tap a new tempo, or until MainStage
receives tempo information from incoming MIDI messages. For more information about
using and changing tempo in MainStage, see Using Tempo in a MainStage Concert.
To change the tempo using a patch
1 In the Attributes tab of the Patch Inspector, set the patch tempo using the Change Tempo
To value slider.
2 Select the Change Tempo To checkbox to activate the patch tempo when the patch is
selected.
Select the checkbox
and set the tempo
using the slider.
Setting Patch Program Change Numbers
When you add a patch to a concert, the patch is given a MIDI program change number
(the lowest available number between 0 and 127) until all available program change
numbers are taken. You can select patches using program change numbers when
performing by assigning buttons on a MIDI device to send program change messages.
You can change the program change number in the Patch Inspector.
To change the program change number for a patch
1 In the Patch List, select the patch.
When you select a patch, the Patch Inspector appears below the workspace.
2 In the Attributes tab of the Patch Inspector, select the Program Change checkbox.
3 Using the value slider, set the program change number.
Chapter 5 Working in Edit Mode 45The MIDI standard allows program change numbers with values from 0 to 127. If all
available program change numbers in a concert are already in use, any new patches
added to the concert will be given program change number zero (0), but the number is
inactive (the checkbox is not selected). Bank changes are not supported.
If you set a program change number so that it duplicates an existing program change
number, the word “Duplicate” appears in red next to the Program Change value slider.
If two or more patches have the same program change number, and the numbers are
active, the patch that appears first (highest) in the Patch List or patch selector is selected
when you send the program change message with the corresponding value.
You can reset program change numbers for all active (non-skipped) patches in a concert.
When you reset program change numbers, patches are assigned program change numbers
based on their order in the Patch List, starting from the top. The program change numbers
for skipped (inactive) patches are not reset.
To reset program change numbers for active patches in a concert
µ Choose Reset Program Change Numbers from the Action menu for the Patch List (or press
Command-Shift-Option-R).
You can assign buttons and other controls to send program change messages and use
them to select patches in the concert. For information about assigning buttons, see
Assigning Buttons.
Deferring Patch Changes
By default, when you switch patches, the new patch is ready to play immediately. You
can “defer” a patch change so that the patch change occurs after the last note of the
previous patch has been released or sustained.
To defer a patch change
µ In the Attributes tab of the Patch Inspector, select the Defer Patch Change checkbox.
Note: Deferring patch change works in Perform mode and Full Screen mode but does
not work when you are editing patches in Edit mode.
Instantly Silencing the Previous Patch
Sometimes you may want the sound of the previous patch to continue after you select
a new patch, as when you want to sustain a chord pad while soloing over it. At other
times, you may want to silence the sound of the previous patch instantly when you select
a new patch.
To instantly silence the previous patch when you select a patch
µ In the Attributes tab of the Patch Inspector, select the Instantly Silence Previous Patch
checkbox.
46 Chapter 5 Working in Edit ModeChanging the Patch Icon
Each patch has an icon that appears in the Patch List next to the patch name. By default,
the patch icon shows the type of channel strip created when the patch was added. You
can choose a new icon for a patch and use icons to visually distinguish patches in the
Patch List.
To change the icon for a patch
µ In the Attributes tab of the Patch Inspector, choose an icon from the Icon pop-up menu.
Changing the Tuning for a Patch
By default, patches use the same tuning method as the concert (or the set, if they are in
a set with its own tuning method). You can change the tuning for a patch so that it uses
a different tuning. When you change the tuning for a patch, it overrides any concert- or
set-level tuning method.
To change the tuning for a patch
1 In the Patch Inspector, select the Tuning tab.
2 Choose the tuning you want the patch to use from the Method pop-up menu.
Deleting Patches
You can delete a patch if you decide you no longer want it in the concert.
To delete a patch
1 Select the patch in the Patch List.
2 Choose Edit > Delete (or press the Delete key).
Chapter 5 Working in Edit Mode 47Working with Channel Strips in Edit Mode
Channel strips are the building blocks of your patches. They contain the instruments and
effects for the sounds you use in performance. MainStage channel strips use the channel
strip interface familiar from Logic Pro. MainStage channel strips have the same structure
and many of the same functions as Logic Pro channel strips. The main features of
MainStage channel strips are shown below:
Settings menu
Pan knob
Icon
Name
Mute and solo buttons
Insert slots
Send slots
Volume fader and
level meter
In MainStage, you can use audio, software instrument, and auxiliary (aux) channel strips
in your patches and sets, and also at the concert level. You can also use external instrument
patches to “play” external hardware devices and ReWire applications. You can use channel
strips in MainStage just as you can in Logic Pro. You can adjust the volume level using
the Volume fader, adjust the pan position using the Pan knob, and mute or solo the
channel strip using the Mute and Solo buttons.
48 Chapter 5 Working in Edit ModeA MainStage concert can have a maximum of 1023 software instrument channel strips,
512 audio channel strips, 256 external instrument channel strips, and 256 auxiliary (aux)
channel strips.
As in Logic Pro, you can add effects using the Insert slots, send the signal to an auxiliary
channel (aux) using the Sends slots, and choose a different output from the Output slot.
For audio channel strips, you can change the format between mono and stereo using
the Format button. For software instrument channel strips, you can change the instrument
using the Input slot. You can also choose, copy, and save channel strip settings, choose
a different channel strip type, or reset the channel strip from the channel strip menu.
Because MainStage is designed for live performance rather than recording and arranging,
there are a few differences between MainStage channel strips and Logic Pro channel
strips:
• MainStage channel strips include an Expression dial so that you can easily see the
current MIDI Expression being received by the channel strip.
• MainStage channel strips do not have a Record Enable or Bounce button.
• MainStage audio channel strips can use automatic Feedback Protection to alert you
when feedback occurs on the channel. For information about using Feedback Protection,
see Using Feedback Protection with Channel Strips.
• MainStage audio channel strips do not have an input monitoring (i) button. You can
use the Mute button to silence the channel strip.
• In MainStage, you can use the Format button to select mono or stereo format. MainStage
does not support surround input or surround processing.
• MainStage channel strips do not have Group or Automation Mode pop-up menus.
• MainStage channel strips include a Change All option in both Input and Output pop-up
menus that you can use to change either the input or output for all channel strips in
a patch, a set, or for the overall concert.
• In MainStage, the selected channel strip is highlighted in white.
• Only one channel strip in each patch–the first audio channel strip–sends audio to the
Tuner. The channel strip that sends audio to the Tuner is indicated by a tuning fork
icon at the top of the channel strip.
• In MainStage, the name of the channel strip changes when you select a new channel
strip setting, unless you have renamed it.
• In MainStage, the channel strip number (at the bottom of the channel strip) reflects its
order in the patch, not the concert.
• Surround plug-ins are not available in MainStage.
Chapter 5 Working in Edit Mode 49• You can choose the information displayed on the channel strip, including latency
information, by Control-clicking the channel strip and choosing the information you
want to display from the shortcut menu.
• The Playback plug-in is available only in MainStage, not in Logic Pro.
For more information about working with channel strips, see the “Working with
Instruments and Effects” and “Mixing” chapters in the Logic Pro User Manual. For complete
information about the instruments and effects available in Logic Studio, see the Logic Studio
Instruments and Logic Studio Effects guides.
To learn how to add a channel strip, see Adding a Channel Strip. To learn how to change
a channel strip setting, see Changing a Channel Strip Setting.
Selecting Channel Strips
When you add a channel strip to a patch (or add a channel strip at the set or concert
level), the channel strip is selected in the Channel Strips area, and available settings appear
in the Channel Strip Settings browser. You can select a channel strip directly by clicking
it in the Channel Strips area and also select an adjacent channel strip by using key
commands:
Key command Selection
Left Arrow The channel strip to the left
Right Arrow The channel strip to the right
Showing Signal Flow Channel Strips
In addition to the channel strips in a patch, you can view and edit signal flow channel
strips in the Channel Strips area. Signal flow channel strips include the Output and Master
channel strips for the concert, auxes that are receiving signal from a channel strip in the
patch, and any set- or concert-level channel strips that are available when the patch is
selected. You can also view signal flow channel strips at the set level.
When you show signal flow channel strips, channel strips at the concert level, including
Output and Aux channel strips, include a small concert icon near the top of the channel
strip to make it easy to distinguish them from patch-level channel strips. Channel strips
at the set level include a small folder icon so they can also be easily distinguished.
You can edit signal flow channel strips in the Channel Strips area. For example, you can
adjust the volume fader or pan slider of a signal flow channel strip, or add effects to an
aux channel strip.
To show signal flow channel strips
µ Choose Show Signal Flow Channel Strips from the Action menu in the upper-right corner
of the Channel Strips area.
50 Chapter 5 Working in Edit ModeCreating an Alias of a Channel Strip
You can create an alias of a channel strip and use the alias in different patches or sets.
Aliases allow you to share highly memory-intensive plug-ins, such as third-party
multi-channel instruments and samplers, between different patches, rather than creating
multiple instances of these plug-ins. In some cases, creating an alias can be more efficient
(use fewer resources) than adding a concert- or set-level channel strip.
To create an alias of a channel strip
1 In the Channel Strips area, select the channel strip.
2 Choose Edit > Copy, or press Command-C (default).
3 In the Patch List, select the patch in which you want to use the alias.
4 Choose Edit > Paste as Alias, or press Command-Option-V (default).
The alias is pasted after the last channel strip in the patch (but before any signal flow
channel strips, if they are visible). An alias icon appears near the top of the alias to
distinguish it from the channel strips in the patch.
You can use an alias in multiple patches or sets. When you change any setting on the
original channel strip, those changes are reflected in the aliases of the channel strip. You
may want to audition each patch that uses an alias after changing the settings of the
original channel strip, to make sure it sounds the way you want.
Note: You can’t import a patch or set containing an alias, because the aliased channel
strip may not be available.
You can create an alias of a multi-output instrument, such as the EXS24 mkII, to use in
another patch or set in the concert. When you copy a multi-output instrument to create
an alias, be sure to select all of the aux channel strips for the instrument so that the
complete multi-output instrument is pasted as an alias. For information about using
multi-output instruments in MainStage, see Using Multiple Instrument Outputs in
MainStage.
Editing Channel Strips in MainStage
You can add instruments to software instrument channel strips and add effects to any
channel strip in the Channel Strips area. Adding instruments and effects to a channel
strip is the same in MainStage as it is in Logic Pro.
Chapter 5 Working in Edit Mode 51You edit channel strip parameters in the Channel Strip Inspector, which appears below
the workspace when the channel strip is selected in the Channel Strips area. You can set
the key range and velocity offset, create a controller transform, and filter MIDI control
messages to the channel strip. You can also rename the channel strip and change the
channel strip color and icon. The Channel Strip Inspector has four tabs, which provide
the following functions:
• Channel Strip Library and Plug-In Library: With a channel strip selected, you can choose
channel strip settings from the Channel Strip Library. With an Insert slot selected, you
can choose settings for the plug-in from the Plug-In Library.
• Attributes: You can rename the channel strip and choose a different channel strip color
and icon.
• MIDI Input: You can create controller transforms in the MIDI Input tab. For software
instrument and external instrument channel strips, you can also choose the MIDI input
device, filter MIDI input, transpose the instrument, and create velocity scaling graphs.
• Layer Editor: For software instrument and external instrument channel strips, you can
define the key range, set floating split points, and set the minimum and maximum
velocity for the channel strip.
Using the Channel Strip Library you can access any Logic Studio channel strip. However,
some channel strips include plug-ins, particularly Space Designer, not suited for live
performance because of their intensive CPU usage. Using these channel strips can affect
the performance of your concert, resulting in audio dropouts and other issues.
Logic Studio surround effect plug-ins cannot be used with MainStage. If you choose a
channel strip setting containing one of these effects, the unused effects are shown disabled
(gray, with a diagonal line running through the effect name).
Choosing Channel Strip Settings
You can quickly change the instrument, effects, and other parameters for a channel strip
by choosing a new channel strip setting. You can choose a new channel strip setting in
one of two ways: by using the Channel Strip Library or by using the Settings button at
the top of the channel strip.
To choose a channel strip setting from the Channel Strip Library
1 In the Channel Strips area, select the channel strip you want to change.
The selected channel strip is highlighted with a blue outline.
2 In the Channel Strip Inspector, click the Channel Strip Library tab.
Available settings for the channel strip appear in the Channel Strip Library. Logic Studio
content appears in a series of folders with different instrument categories. If you have
GarageBand installed, or have one or more Jam Packs installed on your computer, those
settings appear below the Logic Studio settings.
52 Chapter 5 Working in Edit Mode3 Click a category from the column on the left, then click subcategories from the columns
on the right until you see the settings you want.
You can select a recent channel strip setting by clicking Recent in the column on the left,
and then selecting a recent setting from the second column. As in Logic Pro, you can also
choose a new channel strip setting from the Settings menu at the top of the channel
strip.
To choose a channel strip setting from the Settings menu
µ Click the Settings button at the top of the channel strip, then choose a new setting from
the menu that appears.
When you choose new channel strip settings from the Settings menu, the selected channel
strip setting does not appear selected in the Channel Strip Library.
You can also search for channel strip settings by name.
To search for channel strip settings in the Channel Strip Library
1 In the Channel Strip Inspector, select the Channel Strip Library tab.
2 Choose Find in Library from the Action menu in the upper-right corner of the Channel
Strip Inspector.
3 In the dialog that appears, type the text you want to search for.
The channel strip with the text in its name appears selected in the library.
4 If more than one channel strip includes the search text, choose “Find Next in Library”
from the Action menu to cycle through the channel strips with names containing the
text.
5 To change the channel strip setting, click the name of the new setting in the Channel
Strip Inspector.
The Channel Strip Library shows all channel strip settings available to Logic Studio
applications, including settings that may not be useful in MainStage, such as mastering
settings. If you choose a channel strip setting containing plug-ins not usable in MainStage,
the plug-ins appear with a bold diagonal line in the Channel Strips area.
Chapter 5 Working in Edit Mode 53Renaming a Channel Strip
When you add a channel strip to a patch, the channel strip has a default name. You can
rename channel strips to distinguish your custom settings from the default ones.
To rename a channel strip
µ In the Attributes tab of the Channel Strip Inspector, select the name in the Name field
and type a new name.
Type a new name
in the field.
Changing the Channel Strip Color
Each channel strip has a color, which appears at the bottom of the channel strip and as
a layer above the keyboard screen control in the workspace and the Layer Editor. You
can change the color of a channel strip to make it easier to visually distinguish channel
strips.
To change the color of a Software Instrument channel strip
µ In the Attributes tab of the Channel Strip Inspector, choose a color from the Color pop-up
menu.
Choose a color from the
pop-up menu.
54 Chapter 5 Working in Edit ModeChanging the Channel Strip Icon
When you add a channel strip, the channel strip has a default icon, which appears above
the Settings menu. You can change the icon to help visually distinguish channel strips
with different instrument types or uses.
To change the icon for a channel strip
µ In the Attributes tab of the Channel Strip Inspector, choose an icon from the Icon well.
Choose an icon from
the menu. Using Feedback Protection with Channel Strips
You can use “Feedback Protection” on audio and external instrument channel strips in
MainStage. When Feedback Protection is turned on for a channel strip, MainStage alerts
you when it detects feedback on the channel. When the feedback alert appears, the
channel is temporarily silenced. You can then choose to mute the channel while you find
and eliminate the source of the feedback, allow feedback on the channel, or continue to
use the channel and receive alerts when feedback occurs.
Feedback protection is turned on by default for audio channels strips and turned off by
default for external instrument channel strips. You can turn Feedback Protection on or
off for a channel strip in the Channel Strip Inspector.
To turn Feedback Protection on or off
µ In the Attributes tab of the Channel Strip Inspector, select the Feedback Protection
checkbox to turn Feedback Protection on. If it is on, deselect the checkbox to turn it off.
Setting Keyboard Input for a Software Instrument Channel Strip
In the Channel Strip Inspector, you can choose the keyboard controller from which the
channel strip receives MIDI input. If you are using a multitimbral instrument, you can also
choose the input for each MIDI channel. For example, you can use the EVB3 instrument
as a multitimbral instrument, and send input to the upper and lower register and the
foot pedal using three separate MIDI channels.
Chapter 5 Working in Edit Mode 55To set the keyboard input for a software instrument channel strip
1 In the Channel Strip Inspector, click the MIDI Input tab.
2 Choose the MIDI input device from the Keyboard pop-up menu in the Input section.
The names in the Keyboard pop-up menu correspond to keyboard screen controls in the
workspace.
To set multitimbral input for different MIDI channels
1 In the Channel Strip Inspector, click the MIDI Input tab.
2 Choose Multitimbral from the Keyboard pop-up menu in the Input section.
3 In the Multitimbral Settings dialog, choose the input device for each MIDI channel you
want to receive MIDI input.
Transposing Software Instrument Channel Strips
You can transpose (change the pitch of) a software instrument channel strip. When you
transpose a channel strip, every MIDI note received by the channel strip is transposed by
the number of semitones set in the Transpose value slider.
To transpose the MIDI input of a software instrument channel strip
1 Select the channel strip in the Channel Strips area.
2 In the MIDI Input tab of the Channel Strip Inspector, set the value using the Transpose
value slider. You can click the value and drag up or down to set the value, click the up
arrow or down arrow, or double-click the value and type a new value.
Filtering MIDI Messages
You can filter some MIDI messages for a channel strip in the Channel Strip Inspector.
When you select one or more MIDI message types in the Filter section of the Channel
Strip Inspector, the corresponding MIDI message types are filtered out of any incoming
MIDI data and are not sent to the channel strip.
You can filter the following types of MIDI messages:
• Pitch Bend
• Sustain (control message 64)
• Modulation (control message 1)
• Expression (control message 11)
• Aftertouch
To filter incoming MIDI messages
1 In the Channel Strip Inspector, click the MIDI Input tab.
2 In the Filter section of the MIDI Input tab, select the checkbox for the MIDI messages you
want to filter.
56 Chapter 5 Working in Edit ModeIf you have created a controller transform, you can filter the input message type, and the
controller transform will still send its output message type. It is also possible to filter the
output message type, but in this case the output of the controller transform will be filtered.
Setting a Channel Strip to Ignore Hermode Tuning
If a patch (or the concert or set containing the patch) is set to use Hermode tuning, but
the patch contains a channel strip (for example, one with a drum or percussion instrument)
that you do not want to use Hermode tuning, you can set the individual channel strip to
ignore Hermode tuning.
To set a channel strip to ignore Hermode tuning
µ In the MIDI Input tab of the Channel Strip Inspector, select the Ignore Hermode Tuning
checkbox.
For information about using Hermode tuning, see the Logic Pro User Manual.
Working with Graphs
Using graphs, you can graphically remap the values for some MIDI control messages so
that input values from your controller produce different output values for the channel
strip or plug-in parameter. Graphs make it easier to see and modify a range of values for
a parameter, such as velocity or filter cutoff.
You can use graphs for the following types of parameters:
• Controller transforms
• Velocity scaling (both input velocity and note input)
• Parameters to which a screen control is mapped
You open a graph window by clicking the button for that type of graph in the appropriate
Inspector. The Transform and Velocity Scaling graphs for the selected channel strip are
available in the MIDI Input tab of the Channel Strip Inspector. The Parameter graph for
the selected screen control is available in the tab for the individual mapping as well as
in the Mappings tab in the (Edit mode) Screen Control Inspector.
The graph shows the range of input values on the horizontal (x) axis, moving from left
to right, and shows the range of output values on the vertical (y) axis, moving from bottom
to top.
In the graph window, you have several ways of working. You can edit the graph curve
directly, edit values numerically using the Precision Editor, or use the Curve buttons to
set the graph to one of the predefined curves.
Chapter 5 Working in Edit Mode 57Most of the ways you edit graphs are the same, regardless of the type of graph—although
there are a few features specific to one or another type. For Parameter graphs, you can
change the minimum and maximum range values for the graph using the Range Min
and Range Max value sliders. For information about controller transforms, see Creating
Controller Transforms. For information about velocity scaling, see Scaling Channel Strip
Velocity. For information about parameter mapping graphs, see Using Parameter Mapping
Graphs.
To edit a graph
1 Select the channel strip or screen control you want the graph to apply to.
2 Select the MIDI Input tab (for transform and velocity scaling graphs) or the Mapping tab
(for parameter mapping graphs).
3 Click the graph button for the type of graph you want to edit.
The graph window opens.
4 Do one of the following:
• Click one of the Curve buttons to set the graph to one of the preset curves.
• Click the curve at the point where you want to add a node, then drag the node to the
desired value. Drag horizontally to change the input value, or vertically to change the
output value.
As you drag, the current values of the node appear next to the pointer.
• Double-click the curve at the point where you want to add a node, then edit the values
for the node in the Precision Editor.
• Option-click any part of the curve (except a node), then drag the dotted part of the
curve to make the curve nonlinear.
5 Continue adding and adjusting points on the curve until you achieve the result you want.
6 When you are finished, click the close button at the upper-left corner of the graph window
to close it.
To invert the values of the graph
Do one of the following:
µ In the graph window, click the Invert button.
µ In the tab for the mapping, select the Invert Parameter Range checkbox.
To reset the graph to its default values
µ Click the Revert to Default button at the top of the graph window.
After you have edited a graph, the button for the graph in the Inspector shows the edited
shape of the graph in a dark blue color to make it easier to identify which graphs you
have edited and how.
58 Chapter 5 Working in Edit ModeTo close the graph window
µ Press Escape (Esc).
Creating Controller Transforms
Using a transform graph, you can remap the values for some MIDI control messages so
that input values from your controller produce different output values for the channel
strip. A common use of the transform is for expression scaling, where input MIDI expression
values are mapped to different output values on a graphic curve.
In addition, you can transform input values for one message type to output values for
another message type. For example, you can transform MIDI volume values from your
controller to send expression values to the channel strip, or transform input breath values
to send modulation values. The transform graph provides a very flexible way of remapping
both the values and the output destination for these MIDI control messages. In MainStage,
you can transform values for expression, modulation, MIDI volume, and breath control
messages.
You choose the input and output message types and graphically create transform curves
in the MIDI Input tab of the Channel Strip Inspector. In a transform graph, the horizontal
axis represents input values from your controller, and the vertical axis represents output
values sent to the channel strip.
To set the input and output message types for a controller transform
1 In the Channel Strips area, select the channel strip for which you want to create a controller
transform.
2 In the Channel Strip Inspector, select the MIDI Input tab.
3 In the Controllers section, choose the input message type from the Input pop-up menu.
4 Choose the output message type from the Output pop-up menu.
Click the Transform button
to edit the graph.
Choose the input and
output message types
from these menus.
Chapter 5 Working in Edit Mode 59To open the Transform graph
µ In the MIDI Input tab of the Channel Strip Inspector, click the Transform button.
The Transform graph opens.
If a patch contains more than one channel strip with a transform graph, the transform
curves for the other channel strips in the patch appear in the controller Transform graph
window behind the current curve. Each channel strip in the patch can have its own
controller transform.
For information about editing the graph, see Working with Graphs.
Scaling Channel Strip Velocity
You can scale the output velocity of a channel strip using the Velocity Scaling graphs.
You can scale output velocity based on note input or input velocity.
When you perform velocity scaling, each input velocity (regardless of the note being
played) is scaled to the output velocity.
When you perform note scaling, output velocity is scaled depending on the note in the
key range. This is useful when you want to have a parameter change in different parts of
the key range; for example, when a filter or attack parameter opens for higher note values
to give a brighter, sharper sound.
To open a velocity scaling graph
1 In the Channel Strips area, select the channel strip on which you want to perform velocity
scaling.
2 In the Channel Strip Inspector, select the MIDI Input tab.
3 In the MIDI Input tab, do one of the following:
• To open the velocity input graph, select the Velocity Input button.
• To open the note input graph, select the Note Input button.
The selected velocity scaling graph opens.
For information about editing the graph, see Working with Graphs.
Creating Keyboard Layers and Splits
If you play a keyboard controller, you can easily create keyboard layers and splits in your
MainStage patches. You create layers and splits by adding two or more channel strips to
a patch and setting the Low Key and High Key for each channel strip to define its key
range. The key range defines the range of notes on a keyboard controller that trigger
sound from a software instrument or external instrument in the channel strip. You can
define key ranges so that they overlap (for layered sounds) or are contiguous (for splits).
60 Chapter 5 Working in Edit ModeThe Layer Editor tab in the Channel Strip Inspector shows the key range for each channel
strip in a patch and in the concert or set containing the patch (if either includes a channel
strip with a key range). You can define the key range for a channel strip in one of several
ways: you can drag the edges of the layer, use the Learn buttons to define the Low and
High keys, or use the Low Key and High Key value sliders.
To open the Layer Editor
µ In the Channel Strip Inspector, click the Layer Editor tab.
To define a key range using the layers
1 In the Layer Editor, move the pointer over the left edge of the layer you want to
change/define.
The pointer changes to a resize pointer.
2 Drag the left edge of the layer to the note you want to use as the low key (the lowest
note in the key range).
3 Move the pointer over the right edge of the layer.
4 Drag the right edge of the layer to the note you want to use as the high key (the highest
note in the key range).
To define a key range using the Learn buttons
1 In the Channel Strips area, select the channel strip.
2 In the Channel Strip Inspector, click the Layer Editor tab.
3 Click the Learn button next to the Low Key value slider.
Click Learn and play the
corresponding note on
your music keyboard.
4 On your keyboard controller, press the key you want to set as the lowest key in the key
range.
5 Click the Learn button again to turn off Learn mode for the Low Key.
6 Click the Learn button next to the High Key value slider.
Chapter 5 Working in Edit Mode 617 On your keyboard controller, press the key you want to set as the highest key in the key
range.
8 Click the Learn button again to turn off Learn mode for the High Key.
When you play the patch, you hear the channel strip when you play notes inside the key
range. When you play notes outside the key range, no sound is generated from the
channel strip.
To define a key range using the value sliders
1 In the Channel Strips area, select the channel strip.
2 In the Channel Strip Inspector, click the Layer Editor tab.
3 Change the value in the Low Key value slider.
You can click the value and drag vertically, click the up arrow or down arrow, or
double-click the value and type a new value.
Set the high key and
low key using these
value sliders.
4 Change the value in the High Key value slider.
You can click the value and drag vertically, click the up arrow or down arrow, or
double-click the value and type a new value.
Setting Floating Split Points
When a key range has a floating split point, the notes that define the boundaries of the
key range ends change depending on the keys you play as you approach the boundary
of the key range. You set floating split points in the Layer Editor tab of the Channel Strip
Inspector.
62 Chapter 5 Working in Edit ModeFloating split points can be explained using an example. If you set the Low Key of a key
range to C1, set a floating split point value of 3, then play notes immediately above C1
(for example, the notes F1-Eb1-D1), and continue playing downward past C1 (for example,
the notes C1-Bb0-A0), the split point moves down to include those notes, up to the
floating split point value (3 semitones). If, however, you start by playing notes immediately
below the Low Key (for example, the notes G0-A0-B0) and continue playing upward past
C1 (for example, the notes C1-D1-E1), the split point moves up to include those notes,
up to the floating split point value. (In this example, C1 and D1 would be included, but
not E1, which is four semitones above the Low Key.)
To set floating split points for a layer/key range
1 In the Layer Editor tab, click the Low Key Floating value slider and drag vertically to change
the value, or double-click the current value and type a new value (the value is the number
of semitones used for the split).
2 Click the High Key Floating value slider and drag vertically to change the value, or
double-click the current value and type a new value.
You can also create a keyboard split by adding a channel strip at the set level and adjusting
the key range of the channel strips in the patches in the set. The channel strip at the set
level takes precedence over any channel strips in patches in the set for the notes in its
key range. For information about adding a channel strip at the set level, see Working at
the Set Level.
Setting the Velocity Range
By default, the velocity of a channel strip extends from 1 to 127. You can limit the velocity
range so that the channel strip only responds when the notes you play on your controller
fall between the Min and Max values of the velocity range.
To set the velocity range for a channel strip
1 In the Channel Strips area, select the channel strip.
2 In the Channel Strip Inspector, click the Layer Editor tab.
3 In the Layer Editor, set the minimum velocity that triggers the channel strip using the
Velocity Min value slider. (Click the value and drag vertically to change the value, or
double-click the value and type a new value.)
4 Set the maximum velocity that triggers the channel strip using the Velocity Max value
slider.
Overriding Concert- and Set-Level Key Ranges
If a software instrument channel strip exists at the concert level, the concert-level channel
strip takes precedence over any patch-level software instrument channel strips within its
key range. This means that when you play any notes in the key range of the concert-level
channel strip on a keyboard controller, you hear only the concert-level channel strip, even
when a patch is selected.
Chapter 5 Working in Edit Mode 63Similarly, if a software instrument channel strip exists at the set level, the same condition
applies for all patches in the set. That is, the set-level channel strip takes precedence over
any patch-level channel strips within its key range.
You can override concert- or set-level channel strips for a channel strip on an individual
patch, so that the patch-level channel strip takes precedence over the concert-level or
set-level channel strips.
To override concert- or set-level key ranges
1 In the Patch List, select the patch with the channel strip that you want to override the
concert- or set-level channel strip.
2 In the Channel Strips area, select the channel strip with the key range that you want to
override the concert- or set-level key range.
3 In the Channel Strip Inspector, select the Layer Editor.
4 Select the “Override parent ranges” checkbox.
The “Override parent ranges” checkbox is available only if there is a concert- or set-level
channel strip.
Using the EXS24 mkII Instrument Editor in MainStage
For channel strips using the EXS24 mkII sampler instrument, you can edit sampler
instrument zones and groups in the EXS Instrument Editor. The EXS24 mkII Instrument
Editor works exactly the same in MainStage as it does in Logic Pro, with one exception: in
MainStage, you cannot open the Sample Editor to edit individual audio samples.
In an EXS24 mkII instrument, a zone is a location into which a single sample (an audio
file) is loaded from a hard disk. You can edit zone parameters in Zone view mode. Zones
can be assigned to groups, which provide parameters that allow you to simultaneously
edit all zones in the group. You can define as many groups as desired. The Instrument
Editor has two view modes: Zones view and Groups view. You can edit zones in Zones
view and edit group parameters in Groups view.
To open the EXS24 mkII Instrument Editor
1 In a channel strip using the EXS24 mkII, double-click the EXS24 slot in the I/O section.
64 Chapter 5 Working in Edit Mode2 In the upper-right area of the EXS24 mkII plug-in window, click the Edit button.
Click the Edit button
to open the
Instrument Editor.
The Instrument Editor opens. When you play notes on the keyboard of the EXS24 mkII
Instrument Editor, the notes are played on the selected channel strip. You can switch
between Zones view and Groups view, click individual zones to view their parameters,
click notes on the keyboard to hear the samples assigned to them, create zones and
groups, and edit zone and group parameters just as you can in Logic Pro.
For in-depth information about using the EXS24 mkII Instrument Editor, refer to the
Logic Studio Instruments Help.
Using Multiple Instrument Outputs in MainStage
MainStage supports the multiple output versions of the EXS24 mkII, Ultrabeat, and some
Audio Units instruments. You can insert multi output instruments and use them to route
different outputs to different physical outputs, apply different plug-ins or processing to
different outputs, or for other uses.
Chapter 5 Working in Edit Mode 65If an instrument supports multiple outputs, one or more multi output versions are available
in the Instrument Plug-In menu for the instrument.
The Plug-In menu shows specific information about output configurations, for
example: EXS24: Multi Output (5xStereo, 6xMono).
Note: Not all instruments support multiple outputs. If no multi output version is available
in the Plug-In menu, the instrument does not support multiple outputs.
To insert a multi output instrument
1 On the channel strip in which you want to use the multi output instrument, click the
Instrument slot.
2 Choose the instrument from the Plug-In menu, and choose the multi output version from
the submenu.
The instrument name appears in the Instrument slot, and a small Add (+) button appears
below the Solo button on the channel strip. The Output for the instrument is set to Output
1-2.
3 Double-click the Instrument slot to open the instrument (plug-in) window.
You need to set up the output routing for individual sounds or samples in the instrument
(plug-in window). You set up output routing for the EXS24 mkII in the Instrument Editor,
and set up output routing for Ultrabeat in the Output menu of the Assignment section
of the Ultrabeat window.
66 Chapter 5 Working in Edit Mode4 On the channel strip, click the Add button to add additional outputs.
Each time you add an output, a new section of the channel strip is added, with the next
available pair of outputs.
Each output uses the same instrument, but each can have its own inserts, volume, pan,
and expressions settings and its own effect sends, as well as its own outputs.
For more information about using multiple instrument outputs, see the Logic Pro
User Manual and the Logic Studio Instruments manual. Information about specific
instruments (for example, Ultrabeat) can be found in the chapters covering those
instruments.
Using External MIDI Instruments in MainStage
You can add an external MIDI instrument channel strip to a patch and use it to play an
external instrument, such as a hardware synthesizer. You can also use an external
instrument to “play” a ReWire application.
When you use an external MIDI instrument channel strip, you choose the MIDI channel
to send MIDI output from MainStage to the instrument, and choose the audio inputs to
receive audio from the instrument. The audio output from the instrument is routed to
the input of the channel strip, where you can process it using MainStage effects.
To add an external instrument channel strip
1 Click the Add Channel Strip (+) button in the upper-right corner of the Channel Strips
area.
2 In the New Channel Strip dialog, select External Instrument.
You can also choose the MIDI input and output, the format, and the audio input and
output for the channel strip. You can choose an audio channel or a ReWire application
for the input, but cannot choose a bus. The MIDI input pop-up menu shows the Keyboard
or MIDI Activity screen controls (which receive MIDI note input) currently in the workspace.
Note: When using an external instrument to send MIDI to a ReWire slave application
(such as Reason or Live), you should disable any MIDI input the slave application receives
directly from the hardware controller. For information about disabling MIDI input from
a hardware device, consult the documentation for the application.
For ReWire applications, when you add an external channel strip, set the MIDI port to the
ReWire slave. The Channel list also updates based on the port. Some ReWire slaves set
up multiple ports. To use a ReWire application with MainStage, open the ReWire application
after opening MainStage.
Chapter 5 Working in Edit Mode 67When you play your keyboard controller with the patch containing the external MIDI
instrument selected, MainStage sends note and other MIDI messages to the chosen MIDI
Output and MIDI Channel, receives audio from the chosen Input, and sends the audio
output to the chosen Output. You can also send a program change message to the
external instrument when you select the patch to control which program the external
instrument uses.
To send a program change to an external instrument when you select a patch
1 In the Channel Strip Inspector, click the MIDI Out tab.
2 In the MIDI Out tab, select the Send Program Change checkbox.
The Program Change value is set to –1 by default, so that no program change is sent
when you select the Send Program Change checkbox, until you change the value.
3 Set the program change number you want to send using the Send Program Change value
slider.
4 If you want to send a Bank Change message, select the Send Program Change checkbox,
then set the most-significant byte (MSB) and least-significant byte (LSB) of the bank
change number using the Bank MSB and Bank LSB value sliders.
When you select the patch, the program change and bank change messages are sent to
the external instrument. Also note that program and bank changes are sent when you
edit the program change and bank change value sliders in the Channel Strip Inspector
(so you can be sure that the values you enter send the correct program and bank change
messages). For more information about using external MIDI instruments, see the Logic Pro
User Manual.
If you want the external instrument to respond to the program change, but do not want
it to receive note or other MIDI information from your controller, click the MIDI Input tab
and choose None from the Keyboard pop-up menu.
You can also use a knob or fader mapped to the Program Change action to send program
changes to an external instrument.
To send program changes to an external instrument using a screen control
1 In the workspace, click the screen control you want to use to send program change
messages.
2 In the Screen Control Inspector, click the Unmapped tab.
3 In the Mapping browser, select the external instrument, then select MIDI Controller folder
from the submenu.
4 In the third column from the left, select Program Change.
The screen control is mapped to the Program Change parameter. By moving the hardware
control assigned to the screen control, you can send program changes to the external
instrument.
68 Chapter 5 Working in Edit ModeNote: If the MIDI Out parameter of the external instrument channel strip is set to the
external instrument when you map the screen control to the Program change parameter,
a program change (Program 0) is sent when you create the mapping. If you are editing
the program on the external instrument, your changes may be lost. To map the screen
control without sending an immediate program change to the external instrument, choose
None from the MIDI Out slot of the external instrument before you create the mapping,
then choose the external instrument in the MIDI Out slot. No program change is sent
until you move the knob or fader.
Using the Activity Monitor
As you work on your concert in Edit mode, the Activity Monitor in the toolbar shows the
current CPU and memory information as well as received MIDI messages. The CPU section
of the Activity Monitor glows red to indicate a CPU overload condition.
The Memory section of the Activity Monitor glows yellow to indicate a low-memory
condition. If an extreme low-memory condition occurs, an alert appears, warning you to
save the concert before MainStage quits. Low-memory conditions can be caused by
having too many memory-intensive channel strips or plug-ins in a concert or by using
other memory-intensive applications (including ReWire applications) together with the
concert. If a low-memory condition occurs, try reopening the concert and consolidating
some memory-intensive plug-ins or channel strips.
Deleting Channel Strips
You can delete a channel strip if you decide you no longer want it in a patch.
To delete a channel strip
1 Select the channel strip in the Channel Strips area.
2 Choose Edit > Delete (or press the Delete key).
Mapping Screen Controls
After you have created your patches and learned controller assignments for the screen
controls you want to use, you can map MainStage screen controls to channel strip and
plug-in parameters to modify the sound of your patches while you perform, or map them
to MainStage actions to control other functions.
You map screen controls to parameters in Edit mode. After you learn controller
assignments (in Layout mode), the screen controls in the workspace do not respond to
movements of physical controls on your MIDI hardware until you map them to channel
strip parameters (in Edit mode). There are two ways to map screen controls to
parameters: by visually selecting parameters on channel strips or plug-in windows or by
choosing parameters in the Parameter Mapping browser.
Chapter 5 Working in Edit Mode 69Mapping Screen Controls to Channel Strip and Plug-In Parameters
After you have made your controller assignments, you can begin mapping screen controls
to the parameters in your patches you will want to control while you are performing. You
will likely want to map screen controls to parameters in each patch in a concert, so that
you can easily access and modify the parameters you want for each patch when you are
performing live. You can also map parameters at the concert level to control master
volume, view master levels, or modify concert-wide effects.
You can map screen controls to channel strip and plug-in parameters in one of two
ways: by mapping screen controls visually to parameters on the channel strip or in a
plug-in window or by using the Parameter Mapping browser.
You map screen controls to parameters in Edit mode. The screen controls in the workspace
do not respond to movements of physical controls on your MIDI hardware until you map
them to channel strip parameters.
To map a screen control to a channel strip or plug-in parameter
1 In the workspace, click the screen control you want to map.
The screen control is highlighted in blue. The Screen Control Inspector appears below
the workspace, showing the parameters for the selected screen control. The Screen Control
Inspector includes General and Mapping tabs as well as a tab labeled Unmapped.
2 Press Command-L.
The Screen Control Inspector opens to the Unmapped tab, showing the Parameter
Mapping browser. The Map Parameter button lights red to indicate that mapping is active.
3 To map the screen control to a channel strip parameter, click the control for the parameter
on the channel strip in the Channel Strips area.
70 Chapter 5 Working in Edit Mode4 To map the screen control to a plug-in parameter, double-click the plug-in in the Inserts
section of the channel strip to open the plug-in window, then click the parameter in the
plug-in window.
Click the parameter in
a channel strip or
plug-in window.
Click the screen control
you want to map to a
parameter.
The screen control is mapped to the selected parameter, and the Unmapped tab takes
the name of the parameter. You can continue mapping additional screen controls by
clicking them in the workspace and then clicking the corresponding parameters in a
channel strip or plug-in window.
5 When you are finished, press Command-L again (or click the Map Parameter button) to
turn off mapping.
To map a screen control using the Parameter Mapping browser
1 In the workspace, click the screen control you want to map.
The screen control is highlighted in blue. The Screen Control Inspector appears below
the workspace, showing the parameters for the selected screen control. The Screen Control
Inspector includes General and Mapping tabs as well as a tab labeled Unmapped.
Chapter 5 Working in Edit Mode 712 In the Screen Control Inspector, click the Unmapped tab.
The Parameter Mapping browser appears, showing the channel strips and plug-ins
available for mapping as well as the Actions folder.
3 In the column on the left of the Parameter Mapping browser, select the channel strip
with the parameter to which you want to map the screen control.
Parameters for the selected channel strip appear in the columns on the right. Additional
folders for the instruments and effects in the channel strip may appear in these columns.
Click a folder to see the parameters for that instrument or effect.
4 Select the parameter you want to map.
Click the parameter to
which you want to map
the screen control.
Click the channel strip
or plug-in with the
parameter you want
to map.
The screen control is mapped to the selected parameter, and the Unmapped tab takes
the name of the parameter. You can continue mapping additional screen controls by
clicking them in the workspace and then choosing parameters in the Parameter Mapping
browser. Using the Parameter Mapping browser, you can map parameters that are not
visible in plug-in windows.
You can also map screen controls to MainStage actions and to AppleScript scripts. For
more information about mapping screen controls, see Mapping Screen Controls.
Note: If you change the channel strip setting for a channel strip to which you have mapped
screen controls, you will lose any parameter mappings.
You can also edit velocity sensitivity for a channel strip, create controller transforms, and
filter various MIDI messages. For information about editing channel strips, see Editing
Channel Strips in MainStage.
72 Chapter 5 Working in Edit ModeMapping Screen Controls to Actions
In addition to mapping screen controls to channel strip and plug-in parameters, you can
map them to MainStage actions. Actions let you select patches and sets; silence MIDI
notes; control the Tuner and the metronome; tap a new tempo; display information about
patches, MIDI messages, and other information; and perform other functions using screen
controls.
For a complete table of actions, including descriptions and usage notes, see Using
MainStage Actions.
The Actions folder, which appears in the Parameter Mapping browser along with available
parameters, contains actions for selecting patches and sets, showing the Tuner, activating
tap tempo, Master Mute, or Panic, and others. The Actions folder also contains an
AppleScript subfolder with useful scripts.
You can map button screen controls to actions for selecting different patches and use
physical buttons on your MIDI device to select patches when you perform. You can also
map buttons to actions for selecting different sets or selecting the concert. For information
about assigning buttons, see Assigning Buttons.
To map a screen control to an action
1 In the workspace, click the screen control you want to map.
The Screen Control Inspector appears below the workspace, showing the settings for the
selected screen control. If the screen control is currently mapped, a tab with the name
of the mapping is visible in addition to the General and Mapping tabs. If the control is
unmapped, the tab is labeled “Unmapped.”
2 Click the Unmapped (or name of mapping) tab.
The Parameter Mapping browser appears below the workspace. The Actions folder is
available in the Parameter Mapping browser.
3 In the column on the left of the Parameter Mapping browser, click the Actions folder.
Chapter 5 Working in Edit Mode 73The available actions appear in the second column of the browser.
Click the Actions folder to
see available actions.
Click the action you
want to map from
the submenu.
4 Select the action you want to map.
Note: If you map a knob screen control to an action to select a patch (such as the
−10 Patches, Previous Patch, Next Patch, or +10 Patches action), the screen control jumps
to the value of the hardware control, regardless of the setting of the Respond to Hardware
Move parameter in the Screen Control Inspector.
Mapping a Screen Control to Multiple Parameters
You can map a single screen control to multiple parameters and control how the screen
control modifies each mapped parameter. Mapping a screen control to multiple parameters
is also referred to as multimapping. You map a screen control to up to eight parameters
by adding mappings in the Screen Control Inspector.
To add a mapping
1 Map the screen control to a parameter or action, as described in Mapping Screen Controls
to Channel Strip and Plug-In Parameters and Mapping Screen Controls to Actions.
2 With the screen control selected, click the Add Mapping (+) button at the upper-right
corner of the Screen Control Inspector.
A new Unmapped tab appears in the Inspector, showing the Parameter Mapping browser.
3 In the Parameter Mapping browser, choose the parameter to which you want to map the
screen control.
If you add a mapping while the Learn process is active (the Map Parameter button is red),
you can immediately learn the new mapping. The Command Editor also includes key
commands for selecting the previous and next tab to make mapping to multiple
parameters easier. For information about using key commands, see Using the Command
Editor.
74 Chapter 5 Working in Edit ModeIf you frequently map screen controls to multiple parameters, you can speed your workflow
by assigning key commands to select the previous and next tab or to select a specific tab
in the Screen Control Inspector. For information about assigning key commands, see
Using the Command Editor.
To view all mappings for a screen control
µ In the Screen Control Inspector, select the Mappings tab.
The mappings appear in a list view that shows the minimum and maximum range values
and patch change behavior for each mapping and includes buttons to open the Parameter
graph and Invert graph values for each mapping.
If you create multiple mappings for a screen control, you can define the relationships
between the first mapping and subsequent mappings. This can be especially useful when,
for example, you are mapping the same control to filter cutoff and filter resonance, and
you want to ensure that resonance does not exceed a certain maximum value as you
increase the cutoff value. The default relationship affects all future mappings (for the
same and other screen controls), but does not affect existing mappings. The default is
set to Scale the first time you open MainStage.
To define the default relationship between the first mapping and subsequent mappings
1 Select a screen control you want to map to multiple parameters.
2 Choose “Default Relation to First Mapping” from the Action menu, located in the
upper-right corner of the Screen Control Inspector.
3 Do one of the following:
• To set subsequent mappings to be offset by a fixed value from the first mapping, choose
Offset.
• To set subsequent mappings to scale by a constant ratio, starting from the same
minimum value, choose Scale.
• To set subsequent mappings to scale by a constant ratio to the point defined for the
mapping, starting from both the same minimum value and maximum value, choose
Pivot.
Using Parameter Mapping Graphs
Each parameter mapping has a Parameter graph. You can edit the graph to remap input
values to different output values for the parameter.
To open the Parameter graph for a mapping
µ In the tab for the mapping or in the Mappings tab, double-click the Graph button for the
mapping you want to edit.
The Parameter graph window opens. The title of the graph window shows the parameter
name.
Chapter 5 Working in Edit Mode 75For information about editing graphs, see Working with Graphs.
Mapping Screen Controls to All Channel Strips in a Patch
When you map a screen control to a channel strip parameter such as volume or pan, you
can map it to control the same parameter in all of the channel strips in the patch. This is
particularly useful when you want to control the overall volume of a layered sound, even
if the different layers are played across multiple keyboards.
To map a screen control to all channel strips in a patch
1 Map the screen control following the instructions in the preceding sections.
2 In the column on the left of the Parameter Mapping browser, select the Send to All folder.
3 Select the destination from the second column.
4 Select the parameter to map the screen control to from the third column.
You can map the screen control to actions for transposing software instrument channel
strips, channel strip parameters, and MIDI control message types from the Destinations
folder. When you map a screen control to all channel strips in a patch, the parameter to
which the screen control is mapped changes to the same value for all channel strips in
the patch when you move the screen control.
Note: When you map a drum map using Send to All, the Send to All folder contains MIDI
notes, not controllers.
Undoing Parameter Mapping
You can undo parameter mapping if you decide you don’t want to keep the mapping.
When you undo parameter mapping, all mappings created in the current Learn mode
(either by pressing Command-L or clicking the Map Parameter button) session are undone.
To undo parameter mappings
Do one of the following:
µ Choose Edit > Undo (or press Command-Z).
µ Press the Escape key.
Removing Screen Control Mappings
If you want a screen control to be free of any mappings, you can remove its existing
mapping. This can be useful with controls that pass through MIDI messages (for example,
for pitch bend and modulation wheels, or expression pedals) when you do not want them
to send MIDI messages for their pass-through control type. You do not need to remove
the mapping for a screen control when you remap it.
To reset the mapping for a screen control
1 In the workspace, click the screen control you want to map.
2 In the column on the left of the Parameter Mapping browser, click None.
76 Chapter 5 Working in Edit ModeEditing Screen Control Parameters in Edit Mode
In Layout mode, you edit basic screen control parameters that are constant throughout
the entire concert. In Edit mode, you can edit screen control parameters for a specific
patch or set. You can also override concert- and set-level mappings for an individual
patch or set.
Overriding Concert- and Set-Level Mappings
By default, mappings you make at the concert level (to parameters and actions) take
precedence over mappings to individual patches or sets in the concert. If you map a
screen control to a parameter at the concert level (for example, to Master Volume), that
screen control cannot be mapped to a parameter or action in a patch or set, unless you
override the concert-level mapping.
Similarly, mappings you make at the set level take precedence over mappings for any
patches in the set. If you map a screen control to a parameter at the set level (for example,
to an effect on a set-level channel strip), that screen control cannot be mapped to a
parameter or action in a patch in the set, unless you override the set-level mapping.
If you try to map a screen control that is mapped at the concert or set level, text appears
in the Screen Control Inspector informing you that the screen control is mapped at another
level, and the parameters in the Screen Control Inspector are dimmed. You can override
the concert- and set-level mappings for an individual patch, and then map the screen
control at the patch level.
To override concert-level mappings
µ In the Screen Control Inspector, select the Override Concert Mapping checkbox.
Select the checkbox to
override mappings at
the concert level.
The parameters in the Screen Control Inspector become active.
To override set-level mappings and other parameters for a patch
µ In the Screen Control Inspector, select the Override Set Mapping checkbox.
Chapter 5 Working in Edit Mode 77The Parameter Mapping section becomes active so that you can map the parameter.
Mapping tabs for concert-level mappings are available only at the concert level, and
mapping tabs for set-level mappings are available only at the set level. When you override
a concert- or set-level mapping, the mapping tabs become available at the level of the
override.
Replacing the Parameter Label
You can replace the parameter label for a screen control (for an individual patch or set),
to make the label easier to identify.
To replace the parameter label for a screen control
1 Select the screen control in the workspace.
2 In the Screen Control Inspector, select the Attributes tab.
3 Select the Replace Parameter Label checkbox.
4 Enter the new label text in the field.
Choosing a Custom Color for a Screen Control
You can change the color of the active area of a screen control (for an individual patch
or set).
To choose a custom color for a screen control
1 Select the screen control in the workspace.
2 In the Screen Control Inspector, select the Attributes tab.
3 Select the Custom Color checkbox.
4 Choose a new color from the Custom Color pop-up menu.
Choosing a Custom Image for a Panel Screen Control
You can display a custom image for a panel control, and choose a different image for
each patch or set.
To choose a custom image for a panel screen control
1 In Edit Mode, Option-click the panel screen control in the workspace.
Panel and Image controls appear in the Screen Control Inspector.
2 In the Screen Control Inspector, select the Custom Image checkbox.
3 Click Image, then click Select...
An Open dialog appears.
4 Browse to the image you want to use, select the image, then click Choose Image.
Choosing Custom Text Color for a Screen Control
You can change the color of the text for a screen control (for an individual patch or set).
78 Chapter 5 Working in Edit ModeTo choose a custom text color for a screen control
1 Select the screen control in the workspace.
2 In the Screen Control Inspector, select the Attributes tab.
3 Select the Custom Label Color checkbox.
4 Choose a new color from the Custom Label Color menu.
Setting a Screen Control to Show the Hardware Value
By default, screen controls show the value of the parameter the control is mapped to. In
some cases, for example, when the screen control is assigned to a foot pedal, or when
the screen control is mapped to multiple parameters, it may be better to show the value
of the hardware control assigned to the screen control.
To set a screen control to show the hardware value
1 Select the screen control in the workspace.
2 In the Screen Control Inspector, select the Attributes tab.
3 Select the Show Input Value checkbox.
Setting Parameter Change Behavior for Screen Controls
You can set the behavior for saving parameter values for screen controls in individual
patches. This is useful, for example, when the default for saving parameter values is set
to Reset, but you want certain screen controls (for example, concert- and set-level screen
controls) to keep their current value when switching patches.
To set the behavior for saving parameter values in a patch
1 Select the patch.
2 Select the screen control for which you want to set the parameter change behavior.
3 In the Attributes tab of the Screen Control Inspector, choose the parameter change
behavior for the screen control from the “When a patch is changed and screen value
differs from saved patch” pop-up menu:
• To have the screen control use the default behavior set in MainStage preferences,
choose Preference.
• To preserve changes to parameter values when you change patches, choose Keep.
• To return values to the last saved value, choose Reset. When this value is chosen, you
should save the concert after making any changes you wish to keep to the patch, before
selecting another patch.
• To have the screen control use the last received value from the physical control assigned
to it, choose Match.
When you choose an item from the pop-up menu, a brief description of its function
appears below the menu.
Chapter 5 Working in Edit Mode 79Important: If you set the behavior for saving parameter values in a patch to Reset,
parameter values are also reset when you switch to Layout mode.
Setting Hardware Matching Behavior for Screen Controls
Some hardware synthesizers and music workstations let users control what happens
when you move a physical control that is set to a different value than the parameter it
modifies. The parameter value can instantly change to the position of the physical control
(sometimes called jump), it can change by the same amount (called relative), or it can not
change at all until the physical control matches its current value (called snap).
You can set the behavior for screen controls in MainStage to any of these behaviors when
you move the physical control assigned to the screen control.
To set the behavior for screen controls when you move a hardware control
1 Select the patch.
2 Select the screen control for which you want to set the hardware matching behavior.
3 In the Attributes tab of the Screen Control Inspector, choose the parameter change
behavior for the screen control from the “When hardware value differs from screen value”
pop-up menu:
• To have the screen control use the default behavior set in MainStage preferences,
choose Preference.
• To have the screen control instantly change to match the hardware value, choose Jump.
• To have the screen control change when the hardware control matches its current
value, choose Pickup.
• To have the screen control move relative to the hardware control, choose Relative.
Note: When you choose an item from the menu, a brief description of its function appears
below the menu.
Resetting and Comparing Changes to a Patch
You can reset changes to all parameters in a patch that are mapped to screen controls
to their last saved value, letting you hear the patch in its last saved (original) state, and
toggle between the original and modified states of the patch. There are two ways to reset
and compare changes to a patch: by using the Reset/Compare Patch button in the toolbar
or by using the Reset/Compare Patch action mapped to a screen control at the concert
level.
To reset changes to mapped patch parameters using the Reset/Compare Patch button
1 With the patch selected, click the Reset/Compare Patch button.
The patch is reset to its previously saved state.
2 To hear the patch in its modified state, click the Reset/Compare Patch button.
80 Chapter 5 Working in Edit ModeTo reset and compare changes using the Reset/Compare action
1 In Layout mode, add a button screen control to your layout.
2 Assign a button on your hardware controller to the new button screen control.
3 In Edit mode, click the concert icon in the Patch List.
4 Select the new button screen control in the workspace.
5 In the Parameter Mapping browser, select the Actions folder, and then select the Reset/
Compare Patch action in the second column.
For more information about mapping a screen control at the concert level, see Controlling
the Overall Volume of a Concert.
Working with Sets in Edit Mode
Sets are like folders that let you organize patches you want to keep together. Using sets,
you can organize patches in any manner. For example, you can put all the patches you
want to use in the first part of a performance together or keep all your lead synth patches
together. Sets are flexible, so you can use them in whatever way suits your method of
working.
Here are some different ways you can use sets:
• To group similar or related sounds into “banks”
• To keep multiple patches you’ll use in a single song together
• To share a set-level instrument or channel strip between a group of songs
Creating Sets
You can create a new, empty set or create a set from a group of selected patches.
To create a new, empty set
µ Choose New Set from the Action menu in the upper-right corner of the Patch List.
A new set appears in the Patch List.
To create a set from a group of patches
1 In the Patch List, select the patches you want to include in the new set.
2 Choose New Set From Selection from the Action menu at the upper-right corner of the
Patch List.
The new set appears in the Patch List containing the selected patches. You can add new
patches to the set or drag existing patches into the set.
Renaming Sets
When you create a set, it is given a default name. You can rename a set in the same way
you rename a patch in the Patch List.
Chapter 5 Working in Edit Mode 81To rename a set
1 Double-click the set in the Patch List.
A text field appears around the set name, which is selected.
2 Type a new name in the set name field.
Setting the Time Signature for a Set
You can set the time signature for a set. Time signatures can be used with the Playback
plug-in and also affect the beats of the metronome. When you set the time signature for
a set, it overrides the concert-level time signature (if one is set).
To set the time signature for a set
1 In the Set Inspector, select the Has Time Signature checkbox.
2 Double-click the number in the field to the right, and enter the number of beats for one
measure of the time signature.
3 Choose the beat value from the pop-up menu to the right.
Changing the Tempo When You Select a Set
You can give a set its own tempo setting so that when you select the set, the tempo
changes to the set tempo setting. MainStage uses the new tempo until you select another
patch or set with its own tempo setting, tap a new tempo, or until MainStage receives
tempo information from incoming MIDI messages. For more information about using
and changing tempo in MainStage, see Using Tempo in a MainStage Concert.
To change the tempo using a set
1 In the Patch List, select the set.
2 In the Set Inspector, set the set tempo using the “Change Tempo to” value slider.
3 Select the “Change Tempo to” checkbox to activate the set tempo when the set is selected.
Changing the Tuning for a Set
By default, new sets (and most existing ones) use the same tuning method as the concert.
You can change the tuning for a set so that it uses a different tuning. When you change
the tuning method for a set, the patches in the set use the set-level tuning unless you
change the tuning at the patch level.
To change the tuning for a set
1 In the Set Inspector, select the Tuning tab.
2 Choose the tuning you want the set to use from the Method pop-up menu.
82 Chapter 5 Working in Edit ModeOverriding Concert-Level Key Ranges for a Set
If a software instrument channel strip exists at the concert level, the concert-level channel
strip takes precedence over any set-level software instrument channel strips within its
key range. This means that when you play any notes in the key range of the concert-level
channel strip on a keyboard controller, you hear only the concert-level channel strip, even
when a patch is selected in a set with a set-level channel strip.
You can override the concert-level channel strip for a channel strip at the set level so that
the set-level channel strip takes precedence over the concert-level one.
To override concert- or set-level key ranges
1 In the Patch List, select the set with the channel strip that you want to override the
concert-level channel strip.
2 In the Channel Strips area, select the channel strip with the key range that you want to
override the concert-level key range.
3 Select the “Override parent ranges” checkbox.
Deleting Sets
You can delete a set if you decide you no longer want it in the concert.
To delete a set
1 Select the set in the Patch List.
2 Choose Edit > Delete (or press the Delete key).
When you delete a set, the patches in the set are also deleted. To delete the set without
deleting the patches, move the patches outside the set before you delete it.
Working at the Set Level
You can add channel strips at the set level and play the set-level channel strips together
with every patch in the set. This can be useful, for example, if you want to use the same
bass instrument in a single song or group of songs. You can place the patches for all of
the songs in a set, add a channel strip at the set level, and then add a bass instrument to
the set-level channel strip. You can set the key range of the bass instrument to play only
notes in the lower octaves so that you can play it together with your patches.
Important: If you add a channel strip at the set level, it takes precedence over all of the
channel strips in all of the patches in the set. For example, if you add a software instrument
channel strip at the set level, the software instrument for the set takes precedence over
all of the software instruments in all of the patches in the set that fall within the same
key range as the set-wide software instrument.
To add a set-level channel strip
1 In the Patch List, select the set.
Chapter 5 Working in Edit Mode 832 Click the Add Channel Strip (+) button at the top of the Channel Strips area.
3 In the New Channel Strip dialog, select the type of channel strip you want to create.
4 Choose the audio output for the channel strip from the Output pop-up menu.
5 For audio channel strips, choose mono or stereo format from the Format pop-up menu
and choose the audio input from the Input pop-up menu.
6 Click Create.
Sharing Patches and Sets Between Concerts
You can export patches and sets from a concert and import them into another concert.
When you import a set, all the patches in the set are imported.
To export a patch
Do one of the following:
µ Drag the patch from the Patch List to the Finder.
The patch appears as a .patch file in the Finder.
µ Select the patch, choose “Save as Patch” from the Action menu in the Patch List, then
click Save.
The patch is exported to the ~/Library/Application Support/Logic/MainStage Patches
folder.
To export a set
Do one of the following:
µ Drag the set from the Patch List to the Finder.
The set appears as a .patch file in the Finder.
µ Select the set, choose “Save as Set” from the Action menu in the Patch List, then click
Save.
The set is exported to the MainStage Patches folder.
Note: You can also export an entire concert as a set by selecting the concert and choosing
Export Set from the Action menu.
You can export multiple patches or sets. When you export multiple patches by dragging
them to the Finder, each patch is exported as a .patch file. When you select multiple
patches and export them using the Export Patch command, the patches are grouped
into a single exported set. You can import patches or sets from the Finder to another
open concert.
84 Chapter 5 Working in Edit ModeTo import a patch or set
Do one of the following:
µ In Edit mode, drag the patch or set from the Finder to the Patch List.
µ Choose Load Patch/Set from the Action menu in the Patch List, select the patch or set
you want to import, then click Import.
Recording the Audio Output of a Concert
You can record the audio output of a MainStage concert. When you record audio output,
all audio on the output you choose is recorded (including the metronome, and so on).
Before you record audio output, make sure the correct output, recording location, and
file format are set in the Audio tab of MainStage preferences. For information about
setting recording preferences, see Setting MainStage Preferences.
To record audio in Edit mode
µ Click the Record button in the toolbar.
To turn off recording
µ Click the Record button again.
You can also map a screen control to the Record action to record audio in Perform and
Full Screen modes, and assign a key command to the action to turn recording on or off
using a hardware control.
Chapter 5 Working in Edit Mode 85Concerts are the documents in which you create and organize the sounds you use in
your performances, customize your onscreen layout, and make connections between
your MIDI hardware and MainStage.
A concert holds all the sounds you’ll use for an entire performance or a series of
performances. In a concert, you add, edit, and organize patches, and select patches while
you are performing. You can reorder patches in the Patch List and also organize them
into sets.
Concerts also contain layouts, where you visually arrange screen controls in the workspace
and make connections between your hardware devices and MainStage. You can add and
arrange screen controls and assign physical controls on your hardware MIDI devices to
screen controls in Layout mode. For information about customizing your layout, see
Working in Layout Mode.
You can also control the volume for an entire concert, add concert-wide effects, and make
other changes at the concert level.
This chapter covers the following:
• Opening and Closing Concerts (p. 88)
• Saving Concerts (p. 89)
• How Saving Affects Parameter Values (p. 89)
• Setting the Time Signature for a Concert (p. 90)
• Using Tempo in a MainStage Concert (p. 91)
• Defining the Source for Program Change Messages for a Concert (p. 92)
• Setting the Pan Law for a Concert (p. 93)
• Changing the Tuning for a Concert (p. 93)
• Silencing MIDI Notes (p. 93)
• Muting Audio Output (p. 94)
• Working at the Concert Level (p. 95)
• Controlling the Metronome (p. 101)
87
Working with Concerts
6Opening and Closing Concerts
You can create a new concert from a template, open an existing concert to continue
working, and close and save concerts. You can add patches to a concert and organize
them in the Patch List. The number of patches is limited only by the amount of available
memory. You can add channel strips to an existing patch or to new ones you create and
can organize patches into sets. For information about patches and sets, see Working in
Edit Mode.
The process of creating a new concert from a concert template is described in Choosing
a Concert Template. You can open an existing concert to play the patches in the concert
or continue editing them.
To open an existing concert
Do one of the following:
µ Choose File > Open Concert, select the concert you want to open, then click Open.
µ Choose File > New to open the Choose Template dialog, click “Open an Existing Concert,”
then choose the concert from the Open dialog.
µ In the Finder, double-click the concert.
µ In the Finder, drag the concert over the MainStage icon in the Dock.
You can also reopen a recently open concert by choosing File > Open Recent Concert
and then choosing a concert from the submenu, or by opening the Choose Template
dialog, clicking Recent Concert, then choosing the concert you want to open.
By default, when you open a concert, it opens in Edit mode. You can change the default
behavior in MainStage preferences. For more information, see Setting MainStage
Preferences.
The first time you open a concert, the first patch is selected, and the Patch Library is open
so you can easily choose a patch setting. When you reopen a concert, the patch that was
selected when you last saved the concert is selected.
If any audio files or other assets are not found when you open a concert, a dialog appears
showing which assets are missing, and asking if you want to search for the assets, locate
them manually, or skip them.
Note: When you open a concert created with an earlier version of MainStage, it opens
as an untitled concert, and MainStage prompts you to save the concert as a MainStage 2
concert.
To close a concert
µ Choose File > Close Concert.
If you have edited the concert since the last time you saved it, you are prompted to save
your changes.
88 Chapter 6 Working with ConcertsSaving Concerts
When you save a concert, all of the changes you made to the patches and sets in the
concert, as well as the concert settings, are saved. To prevent losing your changes, be
sure to save your work periodically.
To save a concert
1 Choose File > Save Concert.
2 The first time you save a concert, the Save dialog appears. Enter a name for the concert,
and browse to the location where you want to save it, then click Save.
You can save a copy of a concert with a new name by choosing File > Save Concert As.
You can save a concert together with the assets (audio files, instruments, Ultrabeat
samples, and Space Designer impulse response files) the concert uses, similar to saving
a Logic song as a project.
To save a concert including its assets
1 Choose File > Save As.
2 In the Save As dialog, select the Include Assets checkbox.
3 Optionally, with the Include Assets checkbox selected, click the Advanced Options triangle,
then select the types of assets you want to include with the concert.
4 Click Save.
You can also save a concert as a template. When you save a concert as a template, the
template is available in the My Templates section of the Choose Template dialog.
To save a concert as a template
1 Choose File > Save as Template.
2 In the Save As dialog, enter a name for the template.
3 Click Save.
By default, templates are saved in the MainStage Concerts folder. When you save a concert
as a template, you can choose a different location to save the concert. If you save the
concert in a different location, it will not be available in the Choose Template dialog.
How Saving Affects Parameter Values
While a concert is open, any “performance” changes you make to channel strip parameters
(including volume, pan, and expression) or plug-in parameters are retained for as long
as the concert is open. If you close the concert without saving, the parameter values
revert to their previously saved state when you reopen the concert. If you save the concert
before closing it, the changed values are saved.
Chapter 6 Working with Concerts 89If you decide not to keep your latest changes, you can revert a concert to its previously
saved state.
To revert a concert to its last saved state
µ Choose File > Revert to Saved.
All the changes you’ve made since the last time you saved the concert are lost when you
revert the concert to its last saved state.
If you change parameter values in a patch, select another patch, and later select the first
patch again, the parameter values will be as you left them when you selected the other
patch. You can also choose the default behavior for saving changes to values of parameters
to which screen controls are mapped. You can set the default to either have parameters
keep their current value when changing patches (the default behavior in MainStage
version 1.0), or to reset their values to the last saved value (similar to many hardware
synthesizers).
To set the default behavior for saving parameter values
1 Choose MainStage > Preferences.
2 In the Parameter Values section of the General preferences pane, choose the default
behavior from the “On patch changes” pop-up menu.
a To preserve changes to parameter values when you change patches, choose “Keep
current value.”
b To return parameters to their last-saved value when you change patches, choose “Revert
to saved value.”
You can also set the behavior for saving parameter values for screen controls in individual
patches. For information, see Setting Parameter Change Behavior for Screen Controls.
Setting the Time Signature for a Concert
You can set the time signature for a concert. Time signatures can be used with the Playback
plug-in and also affect the operation of the metronome. When you set the time signature
for a patch or set, it overrides the concert-level time signature while the patch or set is
selected. When you select a patch or set without a time signature, it uses the concert
time signature.
To set the time signature for a concert
1 In the Concert Inspector, select the Has Time Signature checkbox.
2 Double-click the number in the field to the right, and enter the number of beats for one
measure of the time signature.
3 Choose the beat value from the pop-up menu to the right.
90 Chapter 6 Working with ConcertsUsing Tempo in a MainStage Concert
Each concert has a tempo, which you can change in different ways while you are
performing. Some plug-ins available in MainStage, including delay and tremolo effects,
synthesizer LFOs, and the metronome, can require a specific tempo. You can set the initial
tempo for a concert, and change the tempo by selecting a patch or a set with its own
tempo setting. You can also change the tempo in real time by tapping a new tempo or
have MainStage receive tempo changes from incoming MIDI messages.
When you open a MainStage concert, the tempo setting in the Concert Inspector is used
until you change the tempo by selecting a patch or set with its own tempo setting or by
tapping a tempo. When you change the tempo, MainStage uses the new tempo until
you change it again or until you close the concert.
You can set the tempo for a concert in the Concert Inspector, which appears in the
lower-left corner of the MainStage window when the concert icon is selected in the
Patch List. By default, the tempo for new concerts is set to 120 beats per minute (bpm).
To set the tempo for a concert
1 In the Patch List, select the concert icon.
2 In the Concert Inspector, set the tempo using the Tempo slider or value slider.
Set the tempo by
dragging the
Tempo slider or using
the value slider.
You can use patches and sets to change the tempo when you select the patch or set
while performing. For information about patch tempo settings, see Changing the Tempo
When You Select a Patch. For information about set-level tempo settings, see Changing
the Tempo When You Select a Set.
Tapping the Tempo
MainStage includes a “tap tempo” feature that allows you to set the tempo in real time
while you perform. You can tap the tempo using the Tap Tempo button in the toolbar
(if it is visible) or using a key command.
To tap the tempo using the Tap Tempo button
µ Click the Tap Tempo button in the toolbar several times at the desired tempo.
Chapter 6 Working with Concerts 91For information about adding buttons to the toolbar, see Customizing the Toolbar.
You can also tap the tempo using your computer keyboard.
To tap the tempo using a computer keyboard
µ Press Control-T several times at the desired tempo.
You can also tap the tempo using a screen control mapped to the Tap Tempo action. For
information about mapping screen controls to actions, see Mapping Screen Controls to
Actions.
Getting the Tempo from MIDI Input
You can also have MainStage receive tempo changes from incoming MIDI messages.
When the “Get tempo from MIDI input” checkbox is selected, MainStage listens to incoming
MIDI clock messages for tempo information. If it receives tempo information, the concert
tempo changes to the new tempo value.
To get the tempo from incoming MIDI clock messages
1 In the Concert Inspector, select the “Get tempo from MIDI input” checkbox.
2 Choose the MIDI clock source from the Device pop-up menu.
When the “Get tempo from MIDI input” checkbox is selected, the Tempo slider is dimmed
and cannot be edited. If MIDI messages MainStage receives do not include MIDI clock
information, MainStage uses the concert tempo setting and changes the tempo when
you select a patch or a set with its own tempo setting, or tap a new tempo. If MainStage
stops receiving MIDI clock messages, it continues to use the last received value for the
tempo until you select a patch or set with its own tempo setting or tap a new tempo.
Defining the Source for Program Change Messages for a Concert
By default, MainStage receives and responds to program change messages from all
connected MIDI controllers. Some MIDI controllers, however, send program change
messages while performing other operations. You can define the source for program
change messages for a concert, so the concert responds to messages for only one MIDI
device, port, or channel.
To define the source for program change messages
1 In the Attributes tab of the Concert Inspector, choose the device or port from which the
concert will receive program change messages from the Device pop-up menu.
2 If you want to limit messages to a single MIDI channel on the device, choose the MIDI
channel from the Channel pop-up menu.
92 Chapter 6 Working with ConcertsSetting the Pan Law for a Concert
Audio signals panned to the center position may sound louder than signals panned hard
left or right. The Pan Law value determines the amount of volume reduction applied to
audio that is panned to the center position. You can choose from the following settings:
• 0 dB: With no change to the volume level, signals will seem louder when panned to
the center position, in comparison with extreme left or right pan positions.
• −3 dB: A full scale signal (0 dBfs) will have a level of −3 dB when panned to the center
position.
• −3 dB compensated: A full scale signal (0 dBfs) will have a level of 0 dB when panned
to the center position (or +3 dB when panned to extreme left or right positions).
To set the pan law for a concert
µ In the Attributes tab of the Concert Inspector, choose the pan law value for the concert.
Changing the Tuning for a Concert
By default, concerts use equal tempered tuning. You can change the tuning for a concert
so that it uses a different tuning.
To change the tuning for a concert
1 In the Concert Inspector, select the Tuning tab.
2 Choose the tuning you want the concert to use from the Method pop-up menu.
When you change the tuning of a concert, the tuning of the patches and sets in the
concert changes if their Tuning Method is set to “Use parent tuning.” Patches and sets
with a different tuning method are not affected.
Silencing MIDI Notes
MainStage also includes a Panic function, which works like the Panic function in Logic Pro.
The Panic function immediately silences any hanging MIDI notes.
To silence all MIDI notes
Do one of the following:
µ Press Control-P.
µ Double-click the MIDI Monitor in the toolbar.
µ If the Panic button is visible in the toolbar, click it.
µ If you have mapped the Panic function to a screen control, press or move the
corresponding controller.
Chapter 6 Working with Concerts 93If the Panic button is not visible in the toolbar, you can customize the toolbar by adding
a Panic button. For information about customizing the toolbar, see Customizing the
Toolbar.
Muting Audio Output
Sometimes when you are playing or editing sounds, you may want to quickly mute
(silence) all audio output for the concert. MainStage includes a Master Mute button that
silences the output from every patch in the concert.
To quickly mute all sound
Do one of the following:
µ Press Control-M.
µ In the toolbar, click the Master Mute button.
µ If you have mapped the Master Mute function to a screen control, press or move the
corresponding controller.
The Master Mute button changes to show that the output is muted (a red diagonal line
covers the speaker icon). All output remains muted until you click the Master Mute button
again.
To unmute all sound
Do one of the following:
µ Press Control-M again.
µ In the toolbar, click the Master Mute button again.
µ If you have mapped the Master Mute function to a screen control, press or move the
corresponding controller.
Master Mute is also a mappable parameter in the Parameter Mapping browser. You can
map Master Mute to a button or other controller in your concerts so that you can quickly
mute all output when you are playing live in Perform or Full Screen mode.
In addition, you can mute audio output for a single channel strip by clicking its Mute (M)
button.
94 Chapter 6 Working with ConcertsWorking at the Concert Level
You can control the overall volume for a concert and make other changes at the concert
level. You can use busses at the concert level to control concert-wide effects or to control
the output of multiple channel strips assigned to the bus. You can also add channel strips
at the concert level and have the concert-level channel strips available with every patch
in the concert.
You can map screen controls to busses and to concert-level channel strips only at the
concert level, not at the patch or set level.
To make changes at the concert level
µ In Edit mode, select the concert icon in the Patch List.
Click the concert icon in
the Patch List to work at
the concert level.
Controlling the Overall Volume of a Concert
A MainStage concert contains Output and Master channel strips that you can use to
control the overall volume of the concert. The Master channel strip always controls the
output volume of the entire concert. If the concert has multiple Output channel strips,
each Output channel strip controls the volume level for a particular (mono or stereo)
physical output. You can use the Output and Master channel strips to control the overall
volume in the same way you control the overall volume of a Logic Pro project.
Chapter 6 Working with Concerts 95To see all of the channel strips, you may need to resize the Channel Strips area.
At the concert level, the
Channel Strips area
shows the Output and
Master channel strips,
auxes, and other
concert-level channel
strips.
To control the overall volume level of a concert
µ Drag either the Output 1-2 volume fader or the Master volume fader.
You can map a screen control to a channel strip parameter or an action at the concert
level. For example, you can map the Output 1-2 Volume fader to a fader screen control
and use the hardware control assigned to that screen control to adjust the overall volume
of the concert.
To map a screen control at the concert level
1 Make sure the concert icon is selected in the Patch List.
2 Click the screen control you want to map.
The Parameter Mapping browser appears below the workspace.
3 In the Parameter Mapping browser, click the parameter to which you want to map the
screen control.
96 Chapter 6 Working with ConcertsIn the example above, you would click the fader screen control, click Out 1-2 in the left
column of the Parameter Mapping browser, and then click Volume in the second column
of the browser.
Screen controls can also display visual feedback about parameter values, including volume
level. For example, you can also map the Output 1-2 Volume fader to a level meter screen
control and have the level meter display the overall volume level while you are performing
live. In this case, you would map the level meter to Level in the second column of the
browser, rather than to Volume.
When you map a screen control at the concert level, you cannot map the same screen
control at the patch or set level unless you override the concert-level mapping. For
information about overriding concert-level mappings, see Overriding Concert- and
Set-Level Mappings.
Adding Concert-Wide Effects
You can add concert-wide effects such as reverb and delay using auxiliary (aux) channels.
When you choose a bus from the Send slot on a channel strip, a corresponding aux
appears at the concert level. You can insert effects on the aux and have those effects
apply to every channel strip sending its signal to the aux.
To send a channel strip signal to an aux
1 In the Patch List, select the patch you want to use with a concert-wide effect.
The channel strips for the patch appear in the Channel Strips area.
Chapter 6 Working with Concerts 972 On the channel strip, click one of the Send slots and choose a bus from the menu.
Choose a bus from one
of the Send slots.
3 Drag the Send knob next to the slot to set the amount of the signal sent to the aux.
To add a concert-wide effect to an aux
1 In the Patch List, select the concert icon.
The auxes in the concert appear in the Channel Strips area along with the concert-level
channel strips.
2 On an aux, click one of the Insert slots and choose an effect from the menu.
After you add an effect to an aux, you can edit the effect as you would any channel strip
effect, by double-clicking it to open the plug-in window, and then adjusting parameters
in the plug-in window. You can add multiple effects to an aux, and adjust the level and
pan of the aux using the channel strip controls on the aux.
98 Chapter 6 Working with ConcertsYou can also add concert-wide effects to an aux at the patch level if Show Signal Flow
Channel Strips is active. For information about showing signal flow channel strips in the
Channel Strips area, see Showing Signal Flow Channel Strips.
Using Auxes to Control Channel Strip Output
You can also send the output of multiple channel strips to an aux (auxiliary channel) and
then use the aux to control the volume level and pan position of the channel strips.
Sending the output to an aux is also useful for adding EQ or compression to a group of
patches.
To send the output of a channel strip to an aux
1 In the Patch List, select the patch you want to control using an aux.
2 In the channel strip, click the Output slot and choose a bus from the menu.
When you send channel strip output to an aux, the volume fader of the channel strip
controls how much of the signal is sent to the aux.
To control the output of channel strips using an aux
1 In the Patch List, click the concert.
The concert is selected. The busses added to the concert appear in the Channel Strips
area along with the concert-level channel strips.
2 Drag the Volume fader on the aux to adjust the volume level of the overall aux output.
3 Drag the Pan knob on the aux to adjust the pan position of the overall aux output.
When you control the output of multiple channel strips using an aux, their relative volume
levels and pan positions are preserved, but the overall volume level and pan position are
modified by the aux Volume fader and Pan knob.
Adding Channel Strips at the Concert Level
You can add a channel strip at the concert level and use the concert-level channel strip
for a software instrument or audio input you want to use in every patch in the concert.
Important: When you add a channel strip at the concert level, it takes precedence over
the channel strips in the patches and sets in the concert. For example, if you add a
concert-level channel strip containing a software instrument, the software instrument
takes precedence over all of the software instruments in all of the patches and sets in the
concert, for the notes in its key range. This means that you will hear only the sound of
the concert-level software instrument and will not be able to play any software instruments
in a patch or set that fall in the same key range.
To add a concert-level channel strip
1 In the Patch List, select the concert.
2 Click the Add Channel Strip (+) button at the top of the Channel Strips area.
3 In the New Channel Strip dialog, select the type of channel strip you want to create.
Chapter 6 Working with Concerts 994 Choose the audio output for the channel strip from the Output pop-up menu.
5 For audio channel strips, choose mono or stereo format from the Format pop-up menu.
Important: Audio channel strips can produce feedback, particularly if you are using a
microphone for audio input. When you add an audio channel strip, the volume of the
channel strip is set to silence, and Feedback Protection is turned on to alert you when
feedback occurs on the channel strip. When you add an external instrument channel
strip, the volume of the channel strip is set to silence, but Feedback Protection is turned
off.
6 Click Create.
7 For software instrument channel strips, you can define the key range for the channel strip
in the Channel Strip Inspector so that the concert-level channel strip does not overlap
software instruments you plan to use in your patches and sets.
For information about defining the key range of a channel strip, see Creating Keyboard
Layers and Splits.
When you add a channel strip at the concert level, you can map screen controls to the
channel strip only at the concert level, not for individual patches or sets.
Using the MainStage Clock
Some plug-ins, including the Playback and Ultrabeat plug-ins included with Logic Studio,
require a time source, and use beat and tempo information in order to play in time.
Additionally, some third-party applications and plug-ins using their own sequencer or
playback engine may behave differently than sequencer-based plug-ins included in
Logic Studio. These plug-ins (which include Reason and other ReWire applications and
Reaktor) require a play message from the host application to begin playback and require
a stop message to end playback. They may also require a continue (also sometimes called
“resume”) message to continue playback from their current time position.
MainStage includes an internal beat clock or “time base” that you can use to control the
playback of these plug-ins. The MainStage clock generates beat, time position, and tempo
information so sequencer-oriented plug-ins can start, stop, and play in time. The MainStage
clock operates similarly to the song position in Logic Pro.
You can send play and stop messages in the following ways:
• Using the Play/Stop button in the toolbar, if it is visible
• Using the Metronome button in the toolbar, if it is visible (turning on the metronome
also starts the MainStage clock, if it is not already running)
• Using a screen control mapped to the Play/Stop, Play, or Stop action
• Using a screen control mapped to the Continue action to resume playback of a
third-party plug-in (but not a Playback plug-in)
100 Chapter 6 Working with ConcertsDifferent plug-ins can make use of the MainStage clock in different ways, depending on
what information they require and what mode they are set to. Some plug-ins may only
make use of the beat information, while others may only make use of tempo information.
For example:
• The Playback plug-in can start immediately (if Snap To is set to Off), at the beginning
of the next bar (if Snap To is set to Bar), or at the next beat (if Snap To is set to Beat).
It can also start when you start the MainStage clock (if “Start with Play Action” is selected
in the Action menu).
• UltraBeat starts when you start the MainStage clock if its sequencer is turned on, except
in Pattern mode.
• Reason and other ReWire applications start when you start the MainStage clock, and
stop when you stop the MainStage clock.
• For plug-ins with synchronizable LFOs, the LFO can oscillate at the tempo set by the
MainStage clock.
You can view the beat information of the MainStage clock using a Parameter Text screen
control mapped to the Beat Count action. When the MainStage clock is running, the
current bar and beat are displayed in the screen control.
Important: When you start the MainStage clock, the audio engine is reset, causing a brief
interruption in the audio output from MainStage. In some cases, you may want to start
the MainStage clock at the beginning of a song or performance and use screen controls
mapped to individual plug-in parameters to start and stop those plug-ins to avoid an
interruption in the audio output while you are performing.
Controlling the Metronome
MainStage features a metronome that you can use to play in time with the concert tempo.
The metronome always plays at the current tempo of the concert.
You can start the metronome in one of several ways.
To start the metronome
Do one of the following:
µ Click the Metronome button in the toolbar, if it is visible.
Chapter 6 Working with Concerts 101µ Click a button mapped to the Metronome action.
µ If you are using a Playback plug-in, click the Metronome button in the Playback window
(or click a button mapped to the Metronome button).
µ Click any of the listed buttons again to stop the metronome.
Note: Starting the metronome also starts the MainStage clock if it is not already running.
By default, the metronome sound is routed to the main outputs (Output 1-2). You can
route the metronome to another output pair, which can be useful in performance when
you want to hear the metronome sound through a separate audio output (for example,
a headphone mix) and not through the main outputs.
To change the audio output for the metronome sound
1 Choose MainStage > Preferences.
2 In the Metronome section of the General tab, choose a different audio output from the
Output pop-up menu.
You can also change the volume of the metronome relative to the overall audio output.
To change the relative output of the metronome sound
1 Choose MainStage > Preferences.
2 In the Metronome section of the General tab, drag the volume slider left or right to adjust
the relative volume of the metronome sound.
102 Chapter 6 Working with ConcertsYou visually arrange your onscreen layout and make connections between your music
hardware and MainStage in Layout mode.
You can’t change the position of physical faders, knobs, and other controls on your
instruments and other music hardware, but you can arrange the screen controls in your
MainStage concert in any order you like by editing the layout. You can modify an existing
layout or create one from a template, and you can export a layout and import it into
another concert.
Each concert template included with MainStage includes a built-in layout, optimized for
a type of musical instrument you use with MainStage.
You modify the layout of a concert in Layout mode. You can add and arrange screen
controls in the MainStage workspace to match your music hardware, optimize your display
size, and make assignments between controls on your MIDI hardware and the screen
controls in your concert. Below the workspace, the Screen Controls palette contains
different types of screen controls you can add to your layout. The Screen Control Inspector
appears to the left of the workspace, where you can learn controller assignments and
edit layout parameters.
This chapter covers the following:
• Modifying the Layout of a Concert (p. 104)
• Working with Screen Controls (p. 104)
• Assigning Hardware Controls to Screen Controls (p. 114)
• Editing Screen Control Parameters (p. 116)
• How MainStage Passes Through MIDI Messages (p. 121)
• Exporting a Layout (p. 122)
• Importing a Layout (p. 122)
• Changing the Aspect Ratio of a Layout (p. 123)
103
Working in Layout Mode
7Modifying the Layout of a Concert
You can modify an existing layout by adding and arranging screen controls in the
workspace, changing existing controller assignments or making new ones, and editing
screen control parameters. The following sections describe how to add and arrange
controls onscreen, make hardware assignments, change the appearance of screen controls,
and edit layout parameters. You can also export a layout and import the layout into a
different concert. For information about importing and exporting layouts, see Exporting
a Layout.
To work with the layout of a concert, you switch to Layout mode.
To switch to Layout mode
µ Click the Layout button at the upper-left corner of the MainStage window.
Working with Screen Controls
Screen controls are objects in a MainStage concert that correspond to the physical controls
on your music hardware. Screen controls can also display patch numbers, parameters
values, and other information and update the displayed information in real time.
You can add screen controls to the workspace of your concert, where you can move and
resize them, group them together, and edit their appearance in different ways.
After you have arranged the screen controls for your concert, you make connections
between your MIDI hardware and the concert by assigning physical controls on your
hardware to the screen controls in the workspace. You only need to make hardware
assignments for a concert once, as long as you are using the same music hardware.
After you make controller assignments, you can map screen controls to channel strip
parameters in your patches or to actions. You map parameters in Edit mode. For
information about mapping parameters, see Mapping Screen Controls.
Screen Control Types
There are three types of screen controls you can use in a MainStage layout: panel controls,
shelf controls, and grouped controls. In the Screen Controls palette, located below the
workspace in Layout mode, each type has its own tab; in addition, there is a tab for all
controls. You can add screen controls to the workspace by dragging them from the palette
to the workspace.
104 Chapter 7 Working in Layout ModeAdditionally, if you create and add a grouped control to the Screen Controls palette, a
tab for My Grouped Controls appears in the palette. You can add your custom grouped
controls to the palette, so they will be available in every concert.
Panel Controls
Panel controls appear on a two-dimensional plane (or panel) in the workspace. You can
move a panel control to any position in the workspace, except onto the shelf of a shelf
control. Panel controls include:
• MIDI Activity light (displays MIDI note activity, and can be used as a substitute
“keyboard”)
• Round and directional knobs
• Vertical and horizontal faders
• Button
• Drum pad
• Vertical and horizontal level meters (used to visually display volume level or another
parameter)
• VU meter (used to visually display volume level or another parameter)
• Parameter text (used to dynamically display parameter names and values)
• Organ drawbar
• Progress indicator (used with the Playback plug-in)
• Waveform (used with the Playback plug-in)
• Selector (used to select patches while you are performing, or to select markers for use
with the Playback plug-in)
• Text (used to display song lyrics, performance notes, and other static information)
• Background (used to group a series of controls)
Chapter 7 Working in Layout Mode 105Shelf Controls
When you add a shelf control, it appears on a three-dimensional shelf. You can move the
shelf, adjust the angle of the shelf, and place multiple shelf controls on the same shelf.
For example, if you have a keyboard screen control in your layout, you can add pitch
bend wheel and modulation wheel screen controls to the same shelf as the keyboard
screen control. Shelf controls include:
• Keyboard
• Modulation or pitch bend wheel
• Sustain pedal
• Foot pedal
• Foot switch
Grouped Controls
Grouped controls consist of individual controls that are grouped together to make them
easier to work with as a single unit. Grouped controls include:
• Selector grouped with increment and decrement buttons
• Keyboard grouped with mod wheel, pitch bend wheel, and sustain pedal
• Sustain and expression pedals
• Organ drawbars
• Guitar amp controls
• Guitar pedal controls
• Arrays of knobs and faders with uniform size and spacing
• Effects and tone control knobs
• Arrays of level meters and VU meters
• Arrays of parameter text displays
• Master output fader grouped with stereo level meter
• Arrays of drum pads
• Transport controls for use with Playback plug-in
• Channel strip controls
My Grouped Controls
The first time you add a custom grouped control to the Screen Controls palette, the
My Grouped Controls tab appears in the palette. You can add custom grouped controls
and name them so they will be accessible from every concert. For information about
adding custom grouped controls to the Screen Controls palette, see Grouping
Screen Controls.
106 Chapter 7 Working in Layout ModeAdding Screen Controls to a Layout
In Layout mode you can quickly add screen controls to your layout and arrange them in
the workspace.
To add a screen control
µ Drag the screen control from the Screen Controls palette to the workspace.
As you drag the screen control to the workspace, a white outline appears, showing where
it will be added. You can use the alignment guides to align the screen control with other
items in the workspace.
You can drag screen controls into the workspace in any order. If you plan to perform with
a keyboard controller, you might want to first drag a keyboard screen control into the
workspace, position it near the center, and then drag screen controls for the faders, knobs,
wheels, buttons, and other physical controls on the keyboard controller.
When you drag a screen control into the workspace, the control is selected, and the
available hardware assignments and other parameters for the screen control appear in
the Screen Control Inspector to the left of the workspace. Different types of screen controls
have different parameters, which are described in Editing Screen Control Parameters.
Adding Mod/Pitch Wheel Screen Controls
When you add mod/pitch wheels to a layout, by default they are configured to receive
the following MIDI message types:
• The first mod/pitch wheel is configured to receive modulation messages.
• The second mod/pitch wheel is configured to receive pitch bend messages.
• The third mod/pitch wheel is configured to receive aftertouch messages.
By default, modulation and pitch bend screen controls pass through the MIDI messages
for their common use—that is, mod wheels pass through MIDI modulation messages,
and pitch bend wheels pass through MIDI pitch bend messages. In most cases this is
desirable so that you can use them for their standard functions without any additional
setup. If you want to use these screen controls to control other parameters, choose “Do
not pass thru” from the MIDI Thru pop-up menu in the Screen Control Inspector.
Adding Foot Pedal Screen Controls
When you add a foot pedal to a layout, by default the first foot pedal you add is configured
to receive expression messages, and the second foot pedal you add is configured to
receive volume messages.
By default, expression pedal screen controls pass through the MIDI messages for their
common functions (expression or volume). If you want to use an expression pedal screen
control to control another parameter, choose “Don’t pass thru” from the MIDI thru pop-up
menu in the Screen Control Inspector.
Chapter 7 Working in Layout Mode 107Copying and Pasting Screen Controls
You can copy and paste screen controls using the standard Mac OS X menu items and
key commands.
To paste a copy of a screen control
Do one of the following:
µ Press Command-C to copy the selected screen control, then press Command-V to paste
a copy.
µ Option-drag the screen control to a new location in the workspace.
To add multiple instances of the same screen control in a row or column
1 Option-drag the screen control to create the first copy.
2 Choose Edit > Duplicate to create as many additional copies of the screen control as you
want.
The duplicated screen controls appear offset by the same amount as the first copy.
Option-drag the selected
screen control.
Duplicate additional
copies in a row.
Note: You can’t copy a panel control and a shelf control at the same time.
Moving Screen Controls
You can move screen controls to a new position whenever you are in Layout mode. You
can use the alignment guides to help align and position screen controls in an orderly
arrangement. You can move multiple controls together by selecting them (either by
Shift-clicking or “rubber-banding” them) and then dragging them to a new position. If
the panels for the screen controls are merged, rubber-banding selects the entire panel.
To move a screen control
Do one of the following:
µ Drag the screen control to a new position in the workspace.
µ Select the screen control, then press the arrow keys to move it in the workspace.
108 Chapter 7 Working in Layout ModeTo move multiple screen controls
Do one of the following:
µ Shift-click the screen controls, then drag them to a new position.
µ Hold down the Shift key as you drag around the controls, then drag them to a new
position.
You can constrain the movement of screen controls to either horizontal or vertical by
pressing Shift while dragging them.
If a screen control overlaps another screen control in the workspace when you switch
from Layout mode to another mode, an alert appears, asking if you want the overlapped
controls to be highlighted so you can adjust them before leaving Layout mode.
Resizing Screen Controls
You can resize screen controls to make them more easily visible or to fit them into a
smaller area. When you select a screen control, blue resize guides appear over it that you
can drag to resize the control.
To resize a screen control
1 Select the screen control in the workspace.
Blue resize guides appear over the screen control.
2 Drag the resize guides to resize the screen control.
Drag the outer resize
guides to resize the
screen control.
For screen controls with a text display area, such as a knob or fader, you can resize the
text display area independently from the control or resize them together.
To resize the text display area of a screen control
1 Select the screen control in the workspace.
2 Drag the inner resize guide to increase the area of the text display.
Chapter 7 Working in Layout Mode 1093 Drag the outer resize guide to increase the overall size of the control.
Drag the inner resize
guide to resize the
text area.
Notice that when you resize the text display area, the rest of the screen control becomes
smaller. You can first resize the overall control, and then resize the text display area using
the inner resize guide.
Aligning and Distributing Screen Controls
MainStage includes controls for centering, aligning, and distributing screen controls in
the workspace.
To align screen controls
1 Select the screen controls in the workspace.
2 Do one of the following:
• To align the top edges of the screen controls, click the Align Top button.
• To vertically align the centers of the screen controls, click the Align Vertical Centers
button.
• To align the bottom edges of the screen controls, click the Align Bottom button.
• To align the left edges of the screen controls, click the Align Left button.
• To horizontally align the centers of the screen controls, click the Align Horizontal Centers
button.
• To align the right edges of the screen controls, click the Align Right button.
To distribute screen controls evenly
1 Select the screen controls in the workspace.
2 Do one of the following:
• To vertically distribute the screen controls, click the Distribute Vertically button.
• To horizontally distribute the screen controls, click the Distribute Horizontally button.
110 Chapter 7 Working in Layout ModeYou can also align and distribute screen controls by Control-clicking the selected screen
controls and choosing commands from the Align and Distribute submenus in the shortcut
menu. The Distribute shortcut menu contains additional controls for distributing the
space between screen controls.
Adjusting the Shelf for a Shelf Control
When you add a shelf control such as a keyboard to the workspace, it appears at a default
angle, creating a three-dimensional appearance. You can adjust the angle of the shelf
control so that it appears more or less three-dimensional. This can be useful, for example,
if you want to see more of the keys on the keyboard or minimize the amount of space it
occupies onscreen.
To adjust the angle of the shelf for a shelf control
1 In the workspace, select the shelf control.
White alignment guides for the control’s shelf appear.
Alignment guides
2 Drag the lower alignment guide (the one aligned with the front of the shelf control).
Drag the lower alignment guide down to make the angle steeper (as though you are
looking down on the shelf control from above), or drag it up to make the angle less steep
(as though you are looking at it from the front).
Drag the front (lower)
alignment guide to change
the angle of the shelf.
Chapter 7 Working in Layout Mode 111Moving the Shelf Vertically
You can also move the shelf vertically to change its position in the workspace. When you
move the shelf vertically, all screen controls on the shelf (for example, a modulation or
pitch bend wheel and a keyboard) move with the shelf.
To move a shelf vertically
1 Select one of the screen controls on the shelf.
The alignment guides for the shelf appear.
Drag the rear (upper)
guide to move the
shelf vertically.
2 Place the pointer over the upper alignment guide (the one aligned with the rear of the
shelf control).
The pointer becomes a move pointer (a horizontal bar with up and down arrows).
3 Drag the upper alignment guide to move the shelf to a new position.
Grouping Screen Controls
You can group screen controls together, creating a grouped control. You can move and
resize the grouped control as a single unit. Grouping screen controls has no effect on
how they work in performance, but makes it easier to quickly create a layout. You can
group screen controls using the Group button, using the shortcut menu, or using a
background screen control.
To group screen controls using the Group button
1 Select the screen controls you want to group together.
The Group button is highlighted, indicating that the selected controls can be grouped.
2 Click the Group button, located below the align and distribute buttons on the left edge
of the workspace (or press Command-Shift-G).
The screen controls are grouped into a single, grouped control. If there is no background
around the screen controls, one is added to encompass them. Selecting any member of
the group selects the entire group so you can move and resize them together.
When you group screen controls, the edges of the background appear “dotted” to indicate
that the controls are grouped. When grouped controls are selected, the Ungroup button
is highlighted, indicating that the controls are grouped.
112 Chapter 7 Working in Layout ModeTo group screen controls using the shortcut menu
1 Select the screen controls you want to group together.
2 Control-click the selected controls, then choose Group from the shortcut menu.
To group screen controls using a background screen control
1 Drag a background screen control to the workspace.
2 Size and position the background screen control.
3 Drag the screen controls you want to include in the grouped control so they are within
the borders of the background screen control.
If you want to move one of the grouped controls separately, you can ungroup the controls.
To ungroup screen controls
1 Select the grouped control.
2 Click the Group button again (or press Command-Shift-Option-G).
You can quickly add one or more screen controls to a group.
To add a screen control to a group
µ Drag the screen control into the group.
You can also move and resize individual controls in a group without ungrouping them.
To move or resize a screen control in a group
1 Select the individual screen control you want to move or resize.
The handles of the screen control appear so you can move or resize it independently
from the group.
2 Hold down the Command key as you move or resize the screen control.
You can add a panel or an image to the background of a grouped control to recreate the
look of a hardware panel and visually distinguish the grouped control in the workspace.
To add a panel to a background
1 Select the background.
The Screen Control Inspector appears to the left of the workspace.
2 In the Appearance section of the Screen Control Inspector, click the Panel well, and choose
a panel from the menu.
If an image has been previously selected for the background, select the Panel button
before choosing a texture for the background.
To add an image to a background
1 Select the background.
The Screen Control Inspector appears to the left of the workspace.
Chapter 7 Working in Layout Mode 1132 In the Appearance section of the Screen Control Inspector, select the Image button.
3 Do one of the following:
• Drag an image to the Image well.
• Click the Select button, then navigate to the location containing the image you want
to use, and select the image.
You can add custom grouped controls to the Screen Controls palette, and use them in
the same concert or another concert. Grouped screen controls you add to the palette
appear in the My Grouped Controls tab.
To add a grouped control to the Screen Controls palette
Do one of the following:
µ Control-click the grouped control, then choose Add to Palette from the shortcut menu.
µ Select the grouped control, then choose Add to Palette from the Action menu at the
upper-right corner of the workspace.
After you add the first grouped control to the Screen Controls palette, the
My Grouped Controls tab appears. Select this tab (or the All tab) to see the custom grouped
controls you have added to the Screen Controls palette.
Deleting Screen Controls
If you decide you no longer want a screen control in your layout, you can delete it from
the workspace.
To delete a screen control
1 Select the screen control you want to delete.
2 Choose Edit > Delete (or press the Delete key).
When you delete a screen control, any assignments or mappings for the screen control
are deleted as well.
Assigning Hardware Controls to Screen Controls
To use MainStage with a MIDI controller, you assign hardware controls on the controller
(such as faders, knobs, buttons, drum pads, and pedals) to screen controls in the
workspace. After you assign a hardware control to a screen control, the screen control
receives the MIDI messages from the hardware control. You only need to make controller
assignments once for a concert as long as you use it with the same hardware.
You assign hardware controls to screen controls using the Learn process, which is similar
to the process for learning controller assignments for a control surface in Logic Pro. The
Learn process is described in Learning a Controller Assignment.
114 Chapter 7 Working in Layout ModeWhen you assign a hardware control using the Learn button, MainStage determines the
type of MIDI message the control sends when you move it, and the range of values the
control is capable of sending. When you map the screen control to a channel strip
parameter or an action, MainStage converts (or “maps”) the range of values sent by the
hardware control to the optimal range of values usable by the parameter.
For example, many faders, knobs, and other MIDI controls send a range of numeric values
between 0 and 127. You could map a hardware knob with this range of values to control
the frequency parameter of an EQ effect, which has a range of usable values between
20 Hz and 20 kHz. When you map the screen control for the knob to the EQ frequency
parameter, MainStage converts the values sent by the hardware knob to be distributed
between the minimum (20 Hz) and maximum (20 kHz) values for the parameter.
Assigning Knobs
MIDI controllers can have different types of knobs or rotary controllers. Knobs can be
either absolute controllers, which send a fixed value determined by the knob’s position
or can be relative controllers, which increment or decrement the previous value regardless
of their exact position. Knobs can either have a fixed range of movement, or be continuous
(sometimes called endless rotary encoders).
When you assign a knob screen control using the Learn button, MainStage attempts to
determine which type of knob or rotary control on your hardware is sending the MIDI
message and sets the value in the Type pop-up menu in the Screen Control Inspector to
the correct value. For absolute controllers, the correct value is Absolute; for relative
controllers, the correct value can be either Relative (2’s complement) or Relative (Sign
magnitude), depending on the type of relative controller. In most cases, there is no need
to change the default values unless you intend to use the knob for a specific, non-standard
purpose.
When you assign a knob screen control, be sure Absolute is chosen from the Type pop-up
menu if the hardware controller is an absolute rotary controller, or one of the Relative
values is chosen if the hardware controller is a continuous rotary encoder. Moving the
knob through its full range of motion helps ensure that MainStage correctly determines
the type of knob you are assigning.
Assigning Buttons
MIDI controllers can have different types of buttons. Some buttons send a single value
each time you press them, while others alternate between two values when pressed.
Other buttons can send separate values when they are pressed and released (this type
of button is called a momentary or temporary button).
Chapter 7 Working in Layout Mode 115When you assign a button screen control using the Learn button, MainStage attempts
to determine which type of button on your hardware is sending the MIDI message, and
sets the value in the Type pop-up menu in the Screen Control Inspector to the correct
value for that button type. To enable MainStage to determine the correct value, press
the button exactly three times when you are learning it. Pressing the button three times
helps ensure that MainStage determines if the button is a single value, an alternating
value (binary), or a momentary button. In most cases, there is no need to change the
default values unless you intend to use the button for a specific, non-standard purpose.
You can change the function of a momentary button to match the function of a single
value or alternating value button in MainStage.
To change the function of a momentary button
1 In Layout mode, be sure the button screen control is selected.
2 In the Screen Control Inspector, choose either Single Value or Alternating Value from the
Type pop-up menu.
Choose Single Value if you want the button to function as a single value button, or choose
Alternating Value if you want the button to function as an alternating value button. You
cannot change the function of a single value or alternating value button to match the
function of a momentary button.
Editing Screen Control Parameters
When you select a screen control in Layout mode, the parameters for the screen control
appear in the Screen Control Inspector where you can edit them. Most screen controls
share the same common parameters, but some types have different parameters according
to their function. The parameters for each type are described in the following section.
For most Hardware Input parameters, there is no need to change the default values
MainStage sets when you learn a controller assignment unless you intend to use the
screen control for a specific, non-standard purpose.
To edit screen control parameters
1 In Layout mode, select the screen control. (When you drag a screen control to the
workspace, it is selected.)
2 In the Screen Control Inspector, edit the parameters for the selected screen control by
choosing the menu item, typing text, clicking the button, or selecting the checkbox for
the parameters you want to edit.
116 Chapter 7 Working in Layout ModeLifting and Stamping Screen Control Parameters
You can “lift,” or copy, certain parameters from a screen control and “stamp” them onto
other screen controls. This makes it easy to give multiple screen controls the same size,
appearance, and text attributes to create a uniform look in your layout. Parameters affected
by lift and stamp include the parameters in the Appearance and Text Labels headings in
the Screen Control Inspector (except the control type), as well as the size of the screen
control.
To lift parameters from a screen control
µ Control-click the screen control in the workspace, then choose Lift Attributes from the
shortcut menu.
To stamp parameters onto another screen control
µ Control-click the screen control in the workspace, then choose Stamp Attributes from
the shortcut menu.
You can Shift-click to select multiple screen controls, then Control-click the selection.
Common Screen Control Parameters
You can edit the following common parameters for button, knob, fader, knob, pedal,
footswitch, mod/pitch wheel, meter, VU meter, organ drawbar, progress indicator, and
parameter text screen controls.
Hardware Input
• Device pop-up menu: Shows the name of the device containing the assigned control.
The device name may correspond to the name of a keyboard controller, or to a port
on the controller, if it has multiple ports. You can choose another device, All, or
Unassigned.
• Channel pop-up menu: Choose the MIDI channel on which MainStage receives input
from the controller.
If you plan to use more than one keyboard when you perform, be sure that screen
controls such as faders and knobs are assigned to receive input from the correct
controller using the Device and Channel pop-up menus.
• Type pop-up menu: Choose the type of control messages to which the control responds.
Control types include the following three categories:
• Continuous Control: Includes knobs, rotary encoders, faders, and most pedals that
send values in the range of 0-127. In most cases, these controls are set to Absolute.
Some rotary encoders can be set to Relative after you program the hardware device
to send relative controller messages. The different types of Relative control messages
represent different encoding types used by different vendors (who may refer to them
by proprietary names).
• Button Control—Toggle Only: Includes buttons that send either one (Single) or two
(Alternating) values.
Chapter 7 Working in Layout Mode 117• Button Control—Toggle or Momentary: Includes drum pads and other buttons that
send a value when the button is released as well as when it is pressed.
• Number pop-up menu: Choose the MIDI control number that the control sends. For
common MIDI controls, such as volume, the control name appears in the menu along
with the number.
• MIDI Thru pop-up menu: Choose whether the control automatically passes MIDI through
or does not pass MIDI through.
• Send Value to pop-up menu: Sends the current value of the screen control to supported
devices to display using an LED ring around a rotary encoder or to move a motorized
fader.
Appearance
• Color selector: Choose the color for the active part of the screen control, which visually
displays its current value in performance. (This parameter is not available for text or
meter screen controls.)
• Control pop-up menu: Choose the type for the screen control. If you change the control
to a different type, you may need to resize it in the workspace.
Text Labels
• Color selector: Choose the color for the text labels.
• Display pop-up menu: Choose what information is displayed in the text display area for
the control and how many lines are used to display it.
• Add hardware label checkbox and field: Select the checkbox, then type a hardware label
in the field to display it on the top line of the control’s text display.
Keyboard Screen Control Parameters
If you are using a keyboard controller or another MIDI device that sends MIDI note
messages, your layout should include a keyboard (or MIDI activity) screen control. You
can edit the following parameters for keyboard screen controls.
Hardware Assignment
• Device pop-up menu: Shows the name of the learned keyboard. The device name may
correspond to the name of the keyboard controller, or to a port on the controller, if it
has multiple ports. You can choose another device or choose All.
• Channel pop-up menu: Shows the MIDI channel on which MainStage receives input
from the keyboard. You can choose another channel or choose All.
• Velocity Sensitivity slider: Sets the velocity sensitivity for the keyboard. Less means that
higher velocities are required to trigger the maximum value, while More means that
lower velocities trigger the maximum value.
118 Chapter 7 Working in Layout ModeSettings
• Name field: Enter a name for the keyboard. The name appears in the Input pop-up
menu in the Channel Strip Inspector, where you can select the device the channel strip
responds to.
• Number of Keys value slider: Enter the number of keys to display on the keyboard screen
control.
• Lowest Key value slider: Enter the note name for the lowest key.
• Lowest Key Learn button: Click the Learn button, then press the lowest key to have
MainStage learn it.
The Number of Keys and Low Key affect only the visual appearance of the screen control.
They do not affect what notes are received from your keyboard controller.
Layer Display
• Display keyboard layers checkbox: When active, a layer is displayed above the keyboard
in the workspace for each software instrument channel strip in a patch. The layers show
the name and color of the channel strip and respond when you play the keyboard.
• Height value slider: Sets the height of the layer display that appears above the keyboard.
MIDI Activity Screen Control Parameters
MIDI activity screen controls can indicate when MIDI note messages are received and can
also be used as smaller, “noteless” keyboard screen controls. You can edit the following
parameters for MIDI activity screen controls.
Hardware Input
• Device pop-up menu: Shows the name of the device to show MIDI activity for. You can
choose another device, All, or Unassigned.
• Channel pop-up menu: Choose the MIDI channel on which MainStage receives input
from the controller.
• Velocity Sensitivity slider: Set the amount of sensitivity for incoming MIDI data.
Settings
• Name field: Type a name for the screen control.
Appearance
• Color selector: Choose the color for the MIDI activity light.
Drum Pad Screen Control Parameters
You can use drum pad screen controls with hardware drum pads. You can edit the
following parameters for drum pad screen controls.
Hardware Input
• Device pop-up menu: Shows the name of the hardware device with the drum pad
control. You can choose another device, All, or Unassigned.
Chapter 7 Working in Layout Mode 119Note: If the Device parameter for a drum pad screen control is set to All, the MIDI note
that triggers the drum pad (set in the Note value slider) is not sent to any keyboard
screen controls in the patch, and so does not produce sound from any software
instrument plug-ins “played” using those keyboard screen controls.
• Channel pop-up menu: Choose the MIDI channel on which MainStage receives input
from the controller.
• Note value slider: Change the MIDI note for the drum pad to a different value than the
learned value.
Appearance
• Color selector: Choose the color for the active part of the screen control, so that you
can easily see when the drum pad is pressed.
Text Labels
• Color selector: Choose the color for the active part of the text label.
• Justification buttons: Click to set the text justification (left, center, or right).
• Display pop-up menu: Choose what information is displayed in the text display area
and how many lines are used to display text.
• Add hardware label checkbox and field: Select the checkbox, then enter hardware label
text in the field to display it on the top line of the control’s text display.
Waveform Screen Control Parameters
You can use waveform screen controls to display the audio waveform of the audio file
for a Playback plug-in. You can edit the Color and Hide Ruler parameters for waveform
screen controls.
• Color selector: Choose the color for the waveform display.
• Hide Ruler checkbox: When selected, the ruler at the top of the waveform display is not
visible.
Selector Parameters
You can use selector screen controls to display and select patches and sets, or to display
and select markers in audio files used by a Playback plug-in. You can edit the following
parameters for selector (patch or marker selector) screen controls.
• View Patches and Sets button: When active, both patches and sets are shown in the
selector.
• Dual Column Display checkbox: When selected, sets are displayed in the left column
and patches are displayed in the right column.
• Patches or markers button: When active, only patches are shown in the selector.
• Items to Display value slider: Set the number of items (lines) visible in the selector.
• Color selector: Choose the color for selected items in the selector.
120 Chapter 7 Working in Layout Mode• Set Justification buttons: Click to set whether sets are left, center, or right justified in
the selector.
• Patch Justification buttons: Click to set whether patches are left, center, or right justified
in the selector.
Text Screen Control Parameters
You can edit the following parameters for text screen controls after adding text to the
text field.
• Font button: Select text, then click to show the Font menu from which you can select
the font, style, color, and size.
• Alignment buttons: Select whether the selected text is left, right, or center aligned, or
justified.
• Text field: Enter the text you want to display onscreen.
• Show frame around text checkbox: When selected, a darker frame appears around the
text, showing the borders of the screen control.
Background Screen Control Parameters
You can use backgrounds for grouped controls. You can edit the following parameters
for background screen controls.
• Name field: Enter a name for the grouped control in the Name field.
• Description field: Enter a description for the grouped control in the Description field.
• Panel button and well: Click the Panel button, then choose a panel or texture for the
background from the menu that appears.
• Image button and well: Click the Image button, then drag an image into the well to use
it for the background.
• Select button: Click to open an Open File dialog to browse and select an image.
• Stretch to Fit checkbox: When selected, the image stretches to fill the area of the
background as completely as possible.
How MainStage Passes Through MIDI Messages
Some MIDI messages sent by your keyboard controller (or other MIDI device) are “passed
through” to any channel strips in the MainStage concert that are mapped to the same
controller (or device). Whether or not MIDI messages are passed through depends on
the following conditions:
• If there is no screen control in your layout assigned to receive the message type sent
by the controller, the messages are passed through.
Chapter 7 Working in Layout Mode 121• If a screen control for that MIDI message type exists, and the MIDI Thru parameter for
the screen control is set to Automatic or to the input device, the messages are passed
through. This is the default for screen controls set to receive volume, pan, expression,
sustain, modulation, pitch bend, and aftertouch messages.
• If a screen control for that MIDI message type exists, and the MIDI Thru parameter for
the screen control is set to “Do not pass through,” the data is not passed through. This
is the default for most other screen controls.
The reason for these exceptions is so that when you add a screen control for a modulation
wheel or a sustain pedal, for example, it “automatically” responds to the appropriate MIDI
message type, without your having to configure it further. If you want to have the screen
control respond to a different type of MIDI message, you can choose another MIDI message
type from the Number pop-up menu in the Screen Control Inspector.
Incoming MIDI messages that are passed through are passed to any channel strips mapped
to the same device sending those messages (that is, to the keyboard controller you are
using to “play” those channel strips). If there is no matching device, the MIDI messages
are sent to all channel strips.
You can also filter incoming MIDI messages for individual channel strips. For information
on filtering MIDI messages, see Filtering MIDI Messages.
Exporting a Layout
You can export a layout so that you can save it independently from the concert and
import it into other concerts.
To export a layout
1 Choose File > Export Layout (or press Command-Shift-Control-S).
2 In the Save As dialog, type a name for the layout, and browse to a location where you
want to save the layout (or use the default location).
3 Click Save.
Importing a Layout
You can import an exported layout into another concert, and then adjust it to work with
the mappings in the concert.
To import a layout into a concert
1 Choose File > Import Layout (or press Command-Control-O).
2 In the Open dialog, select the layout you want to import.
3 Click Open.
The layout for the concert changes to the imported layout.
122 Chapter 7 Working in Layout ModeWhen you import a layout into a concert, MainStage analyzes the layout and attempts
to convert the assignments and mappings in the layout to work with the concert. It uses
the following rules to convert imported assignments and mappings:
• Screen controls are assigned and mapped to screen controls of the same type if they
exist in the imported layout.
• Keyboard screen controls are assigned only to keyboard screen controls.
• If the arrangement of screen controls in the concert is similar to their arrangement in
the imported layout, screen controls are assigned and mapped to screen controls in
the same positions in the workspace.
• If the arrangement of screen controls in the concert is different, MainStage tries to
assign and map screen controls starting from the top-left corner of the workspace to
the bottom-right corner.
Because of the wide variety of possible layouts, not all assignments and mappings may
be converted as you intended, depending on the differences between the layouts. After
you import a layout into a concert, be sure to try the screen controls in the concert to
see if they work as expected. After importing the layout, you may need to manually
reassign some controls and then manually remap screen controls in your patches for the
concert to work with the new layout. If the imported layout has fewer screen controls
than the old layout, or has different types of screen controls, you will likely have to add
new screen controls after importing and then assign physical controls to the screen
controls to maintain the same level of functionality.
Changing the Aspect Ratio of a Layout
You can change the aspect ratio of a concert layout. Changing the aspect ratio lets you
use the concert with different monitor types: 16:10 (widescreen), 4:3 (standard), and 10:16
(portrait).
To change the aspect ratio of a layout
µ In the Action menu located in the upper-right corner of the workspace, choose Aspect
Ratio, then choose the aspect ratio from the submenu.
Chapter 7 Working in Layout Mode 123You can play back audio files in time with your live performance. Playing back audio files
can have a variety of uses, including playing backing tracks to accompany your
performance, playing song stems that you can mix live, and using a “backing band” while
you practice your performance.
You play back audio files using the Playback plug-in, which is available in the Instrument
menu. Using the Playback plug-in, you can start and stop playback of an audio file, cycle
(loop) playback, and fade out the audio. Using markers, you can shift playback to different
parts of the audio file. You can have files play at their original speed or synchronize
playback to the current tempo of the concert. You can also play back several audio files
together using multiple instances of the Playback plug-in and control them using groups.
The Playback plug-in is available only in MainStage. This chapter provides information
on how you can use the Playback plug-in in a MainStage concert. For detailed information
about the interface, parameters, and functions of the Playback plug-in and supported
audio file formats, see The Playback Plug-in.
This chapter covers the following:
• Adding a Playback Plug-in (p. 125)
• Using the Playback Plug-in (p. 130)
Adding a Playback Plug-in
The Playback plug-in is an Instrument plug-in and is available only for software instrument
channel strips. To use the Playback plug-in, you add it to a software instrument channel
strip, then select an audio file to play. You can add a Playback plug-in to a channel strip
in a patch or at the set or concert level.
125
Playing Back Audio in MainStage
8Where you add an instance of the Playback plug-in depends on how you want to use it.
If you want to play back an audio file while you play a single patch, you can add it to the
patch. If you add a Playback plug-in at the set level, you can select different patches in
the set and have the audio file continue playing. This can be useful, for example, if the
set includes all the patches you’ll use in a song, and the Playback plug-in plays an audio
file with a backing track for the song. If you add a Playback plug-in at the concert level,
you can select different patches in the concert and have the audio file continue playing.
The ability to use the plug-in at any level gives you a great deal of creative freedom in
how you use it.
Each instance of the plug-in can play one audio file. You can use audio files in a variety
of file formats including AIFF, WAVE, and CAF. You can play audio files containing marker
information, including files exported (bounced) from Logic Pro and Apple Loops, and
shift playback to markers located at different time positions in the audio file.
There are two ways to add a Playback plug-in: by dragging an audio file to the Channel
Strips area or from the Instrument slot on a channel strip.
To add a Playback plug-in by dragging an audio file
1 In the Patch List, select the patch to which you want to add a Playback plug-in. You can
also select a set or the concert icon.
2 Drag an audio file from the Finder to the space between channel strips in the Channel
Strips area.
A black line appears between the channel strips, and the pointer becomes an Add File
pointer as a new channel strip is created. The new channel strip contains a Playback
plug-in with the audio file you dragged to the Channel Strips area.
To add a Playback plug-in from the Instrument slot
1 Click the Add Channel Strip button to add a new channel strip to the patch, set, or concert.
2 In the new Channel Strip dialog, select Software Instrument as the type. Leave other
settings at their default values, or change them to suit your setup.
A new software instrument channel strip appears in the Channel Strips area.
3 In the I/O section of the channel strip, click the Instrument slot, choose Playback from
the menu, then choose either Mono or Stereo from the submenu.
126 Chapter 8 Playing Back Audio in MainStageThe Playback plug-in is added to the channel strip, and the plug-in window appears over
the MainStage window.
You can add an audio file to a Playback plug-in in one of several ways: by dragging an
audio file, by clicking in the File field, or by using the Action menu in the plug-in window.
Adding an Audio File to the Playback Plug-in
After you add an instance of the Playback plug-in, you select and add the audio file you
want to play using the plug-in.
To add an audio file to the Playback plug-in
Do one of the following:
µ Drag the audio file to the Instrument slot with the Playback plug-in.
µ Drag the audio file to the “tape” area of the plug-in window.
µ Click the File field in the plug-in window, select an audio file in the Open dialog, then
click Open.
µ Choose Open File from the Action menu at the upper right of the Playback plug-in window,
select an audio file in the Open dialog, then click Open.
Chapter 8 Playing Back Audio in MainStage 127The name of the audio file appears in the File field, and the waveform of the audio file
appears in the Waveform display.
You can preview an audio file in the Open dialog by selecting the file and clicking Play.
To hear the file after adding it to the Playback plug-in, click the Play button in the plug-in
window.
Setting the Sync Mode for the Playback Plug-in
When you add an audio file to the Playback plug-in, MainStage looks for tempo information
in the file. For audio files containing tempo information (including Apple Loops and files
exported from Logic Pro), the file is scanned for transients (short bursts of audio energy
that usually occur on rhythmic beats). Transient information is stored in the audio file
and used to play the file with the best audio quality, even when the file is played at a
different tempo or pitch. For these audio files, you can use the Sync feature to set whether
the audio file plays at its recorded tempo or uses the current tempo of the concert. When
Sync is set to Off, the audio file plays at its recorded tempo, regardless of the current
tempo of the concert. This can be desirable, for example, when the audio file contains
non-pitched sounds or a sound effect. When Sync is set to On, the audio file plays at the
current tempo (set by the patch, set, or concert, by tapping the tempo, or by listening to
MIDI beat clock). This makes it easy to keep backing tracks, for example, in time with each
other and with your performance. Setting Sync to On can affect audio quality.
You set the Sync mode for an instance of the Playback plug-in from the Sync pop-up
menu, located in the lower-left corner of the plug-in window.
To set the Sync mode for a Playback plug-in
µ To have the audio file play back at its original tempo, choose Off from the Sync pop-up
menu.
µ To have the audio file play back at the current tempo of the concert, choose On from the
Sync pop-up menu.
128 Chapter 8 Playing Back Audio in MainStageNote: For audio files that do not contain tempo information, Sync is set to Off and the
Sync pop-up menu is unavailable.
Choosing the Flex Mode for the Playback Plug-in
For audio files containing tempo information, you can choose between different flex
modes for playing back audio. Each flex mode is optimized for playback of a certain type
of audio file, and you can choose which flex mode an instance of the Playback plug-in
uses to play back the audio file you added. The flex modes available are:
• Slicing: Slices the audio material at transient markers and plays each slice at its original
speed. Slicing is a good choice for general use, particularly for rhythmic material.
• Rhythmic: Based on the time-stretching algorithm used for Apple Loops, Rhythmic is
best suited for playing non-monophonic material, such as rhythmic guitars, rhythmic
keyboard parts, and Apple Loops.
• Speed: Time-stretches material by playing the source material faster or slower, including
changing the pitch. Speed is recommended for percussive material.
• Polyphonic: Based on a phase vocoder, Polyphonic time-stretches material, delivering
high sonic quality with suitable polyphonic material. It is recommended for complex
polyphonic material and is good for all kinds of chords—such as guitar, piano, and
choir—and for complex mixes.
Because each flex mode can produce different results depending on the audio material,
it is recommended that you try out different flex modes for each instance of the Playback
plug-in to determine which provides the best playback for your audio files.
To choose the flex mode for a Playback plug-in
µ Choose Flex Mode from the Action menu at the upper right of the plug-in window, then
choose the flex mode from the submenu.
Note: For audio files that do not contain tempo information, the Flex Mode menu item
is unavailable.
Adding Screen Controls for the Playback Plug-in
You can use screen controls to control the parameters of the Playback plug-in, display
parameter values and the name of the audio file, and display the audio waveform of the
audio file. The Screen Controls palette includes a waveform screen control that you can
use with the Playback plug-in to view the waveform of the audio file. If the audio file
contains markers, you can also view the markers in the waveform screen control.
To add a waveform screen control to the workspace
1 Click the Layout button (in the upper-left corner of the MainStage window) to switch to
layout mode.
2 Drag a waveform screen control to the workspace, and position it as needed.
Chapter 8 Playing Back Audio in MainStage 129Note: If there is no Playback plug-in in the patch, an alert appears when you try to add
a waveform screen control.
When you map the waveform screen control to the Playback plug-in, the waveform for
the audio file loaded in the Playback plug-in appears in the waveform screen control.
When you press the button you mapped to the Play/Stop parameter, the audio file starts
playing, and you see the waveform move across the waveform screen control.
You can add screen controls for other parameters, including Fade Out, Cycle, Tempo, and
so on, and map them to the corresponding parameters in the Mapping browser or in the
Playback plug-in window. You can also map a parameter text screen control to the File
field and have it display the name of the audio file being played.
Using the Playback Plug-in
The design of the Playback plug-in allows you to use it in many different ways. You should
plan how you intend to use the Playback plug-in when you are designing your concert
to use it most effectively. You can try out different placements and settings to decide
how you want to use the Playback plug-in in your concerts.
You start playback by sending a Play command to the Playback plug-in using a screen
control, such as a button, mapped to the Play/Stop parameter of the plug-in. To stop
playback, you send a Stop command using the same parameter. Alternatively, you can
set the plug-in to start when you select the patch or set, or when the Play action is
triggered. You can control other parameters of the Playback plug-in while you perform,
including the Fade Out and Cycle parameters. If the audio file contains marker information,
you can use the Go To Previous Marker and Go To Next Marker parameters to shift playback
to different parts of the audio file, or use the Go to Marker action to shift playback to a
specific marker.
Note: When mapping a screen control to the Go to Marker action (in the Markers
submenu), set both the Button On and Button Off parameters in the Screen Control
Inspector to the value of the marker, to ensure that the mapping works correctly.
130 Chapter 8 Playing Back Audio in MainStageA Playback plug-in in a patch plays only while the patch is selected. If you are using a
Playback plug-in at the set level, you can select different patches in the set (for example,
different lead synth or guitar solo patches) and have the audio file continue playing. If
you are using a Playback plug-in at the concert level, you can select different patches in
the concert and have the audio file continue playing.
The Playback plug-in provides an additional form of control using groups. If you use
multiple instances of the plug-in in your concert, you can use groups to control which
instances play together and which are mutually exclusive. When Playback instances are
in the same group, a change to the Play/Stop, Cycle, Fade Out, Return to Start, Go to
Previous Marker, or Go To Next Marker parameters in one instance changes that parameter
for every member of the group. You can use up to 26 groups, each identified by a different
letter. Starting one group stops all other groups, while ungrouped instances of the plug-in
continue playing.
If you are using multiple instances of the Playback plug-in in a group, you can start and
stop their playback together by starting or stopping any member of the group using a
screen control mapped to the Play/Stop parameter. When playback instances are grouped,
playback is “locked” so changes in position affect all members of the group. You can
control other aspects of playback, such as having the group fade out or loop playback,
using screen controls mapped to the corresponding controls in the plug-in window of
any member of the group. Playback instances that are not members of a group are not
affected.
You assign an instance of the Playback plug-in to a group from the Group pop-up menu,
located in the lower-right corner of the plug-in window.
To assign a Playback plug-in to a group
1 If the Playback plug-in window is not open, double-click its name in the Input slot to
open it.
2 Choose the letter of the group you want to assign the instance to from the Group pop-up
menu.
Chapter 8 Playing Back Audio in MainStage 131Now that you’ve created and organized your sounds and set up your layout, it’s time to
play! MainStage features two modes, Full Screen mode and Perform mode, optimized for
live performance.
This chapter covers the following:
• Before the Performance Starts (p. 133)
• Using Full Screen Mode and Perform Mode (p. 134)
• Selecting Patches in Performance (p. 135)
• Using Screen Controls in Performance (p. 136)
• Handling Tempo Changes in Performance (p. 137)
• Tips for Performing with Keyboard Controllers (p. 137)
• Tips for Performing with Guitars and Other Instruments (p. 137)
• Using the Tuner (p. 138)
• Using the Playback Plug-in in Performance (p. 139)
• Recording Your Performances (p. 140)
• After the Performance (p. 141)
• Tips for Complex Hardware Setups (p. 141)
Before the Performance Starts
Here are a few things to check before you begin performing:
• Make sure your MIDI controllers, instruments, microphones, and other music equipment
is connected to your computer and is working.
• Test the audio output from MainStage using the audio interface and speakers or
monitors you plan to use in performance.
• Select a patch with a software instrument channel strip and play your keyboard
controller. Watch the Activity Monitor to make sure MainStage is receiving MIDI input
from the controller, and make sure you can hear the audio output.
133
Performing Live with MainStage
9• Make sure any instruments or microphones you plan to play through audio channel
strips are connected to the correct audio inputs on your audio interface. Select a patch
with an audio channel strip and play or sing to make sure you can hear audio output.
• For the best results, close any applications that you do not need while performing,
particularly applications with high processor or RAM requirements.
• If you use Time Machine to back up your computer, turn it off.
• Disconnect the computer running MainStage from any network connections.
Using Full Screen Mode and Perform Mode
When you perform live, you can use either Full Screen mode or Perform mode, depending
on which you prefer. Each mode offers some advantages for different performance
situations.
Working in Full Screen Mode
In Full Screen mode, the MainStage workspace fills the entire screen, and screen controls
appear at the maximum possible size for easy viewing. MainStage receives all keyboard
input (so no other key commands, including Mac OS X key commands, are active). You
can access the Master Mute and Panic functions and the Tuner using their key commands
or if you have mapped screen controls to these functions.
To switch to Full Screen mode
Do one of the following:
µ Choose View > Full Screen (or press Command-4).
µ Click the Full Screen button in the toolbar.
To leave Full Screen mode
Do one of the following:
µ Press the Escape (Esc) key.
µ Click the circled “X” in the upper-left corner of the screen.
µ Use the key command for one of the other modes (Command-1 through Command-3).
Working in Perform Mode
In Perform mode, the workspace fills the MainStage window, but the toolbar is still visible
so that you can access the Master Mute, Panic, Tuner, and other toolbar buttons. You can
resize the MainStage window and can also change the size of the workspace inside the
window using the zoom slider. You can access the Finder and other open applications
by clicking outside the MainStage window.
134 Chapter 9 Performing Live with MainStageTo switch to Perform mode
Do one of the following:
µ Choose View > Perform (or press Command-3).
µ Click the Perform button in the toolbar.
By default, when you open MainStage, it opens in Edit mode. You can change the default
behavior in the General pane of MainStage preferences so that it opens in Perform or Full
Screen mode. For more information, see Setting MainStage Preferences.
Selecting Patches in Performance
In Full Screen or Perform mode, you can view and select patches using the patch selector
screen control in your layout. Patches and sets appear in the patch selector in the same
order as in the Patch List in Edit mode. Skipped items do not appear in the patch selector
and cannot be selected, but patches in collapsed sets do appear and can be selected.
For information about skipping items, see Skipping Items in the Patch List.
When you select a patch, you can start playing it instantly. If you are sustaining notes
from the previous patch, they will continue to be sustained until you release the notes
or the sustain pedal. If the previous patch contains effects (such as a reverb or delay effect)
with a release “tail,” the effect tail continues sounding for the amount of time set in the
Silence Previous Patch pop-up menu in MainStage preferences. For more information,
see Setting MainStage Preferences.
When performing, keep in mind the difference between patch parameters and parameters
controlled at the concert level. When you select a patch, its parameters are set to the
values at which you last saved the patch. If you have previously played the patch since
you opened the concert, they are set to the values at which you left them when you
played the patch. Parameters at the concert level, however, remain at their current value
when you select new patches. For example, if you select a patch with a channel strip set
to a volume 0 dB, but the Master volume fader at the concert level is set to −96 dB, you
will hear silence, not full volume. Similarly, parameters controlled at the set level remain
at their current value when you select a different patch in the set.
Also keep in mind that when you select a patch, the screen controls for knobs, faders,
and other controls in the workspace show the parameter values for the patch, which may
be different than the positions of the physical controls on your controller. When you
move the physical controls, the screen controls instantly update to show the current
value.
Selecting Patches Using Key Commands
You can select patches in the patch selector using the following key commands:
Chapter 9 Performing Live with MainStage 135Key command Selection
Up Arrow The previous patch
Down Arrow The next patch
Left Arrow The first patch in the previous set
Right Arrow The first patch in the next set
Selecting Patches by Typing
You can select a patch in the Patch List by typing the first few letters of its name.
To select a patch by typing its name
µ Type the letter “f”, then begin typing the name of the patch.
Once you type enough letters to uniquely identify the patch name, the patch is selected.
µ To cancel typing, press Enter.
Selecting Patches Using Actions
If you have mapped screen controls to actions for selecting patches, such as selecting
the previous or next patch, you can select the patches using the physical controls assigned
to those screen controls as you perform. You can also select sets or the concert using
actions. Buttons are particularly useful for selecting patches, sets, or the concert using
actions.
When selecting patches using actions, skipped patches are also skipped. For example, if
you use a screen control mapped to select +10 patches, any skipped patches would not
be counted in the +10.
For more information, see Using MainStage Actions.
Selecting Patches Using Program Change Messages
If your MIDI device has buttons or other controls that send program change messages,
you can select patches in your concert by program change number. You can use program
change messages to select patches but not sets.
For information about how your MIDI device sends program change messages, consult
the documentation that came with the device or the manufacturer’s website. For
information about changing the program change number for a patch, see Setting Patch
Program Change Numbers.
Using Screen Controls in Performance
In performance, you use the controls on your MIDI hardware devices that are assigned
to screen controls to manipulate the parameters mapped to those screen controls. When
you select a new patch, the parameters you mapped for that patch are instantly available
for editing.
136 Chapter 9 Performing Live with MainStageWhen you move a physical control, the screen control updates based on the Respond to
Hardware Move parameter in the Screen Control Inspector. If the parameter is set to
Jump, the screen control instantly moves to the position of the hardware control. If the
parameter is set to Pickup, the screen control starts moving when the hardware control
reaches its current position. If the parameter is set to Relative, the screen control moves
in sync with the hardware control, starting from its current position.
Handling Tempo Changes in Performance
When you open the concert you plan to use in your performance, MainStage uses the
tempo for the concert you set in the Concert Inspector. If the “Get tempo from MIDI input”
checkbox is selected, MainStage uses incoming MIDI beat clock to set the tempo. For
information about setting and changing the tempo in a concert, see Using Tempo in a
MainStage Concert.
If you select a patch or set with its own tempo setting, the tempo changes to the new
setting. You can also change the tempo in real time while you perform using the Tap
Tempo feature, either by pressing Control-T repeatedly at the tempo you want to use,
by clicking the Tap Tempo button in the toolbar repeatedly, or using a screen control
mapping to the Tap Tempo action.
Tips for Performing with Keyboard Controllers
If you are using one of the Keyboards templates designed for use with a MIDI-compatible
keyboard controller, you can play your keyboard and use MainStage as a sophisticated
sound module and multi-effects processor. The patches in the template make extensive
use of the software instrument plug-ins included in Logic Studio as well as a wide range
of effects plug-ins.
Tips for Performing with Guitars and Other Instruments
If you are using one of the Guitar Rigs templates designed for use with electric guitar,
you can play your electric guitar and use MainStage as a multi-effects processor. The
patches in the template make extensive use of the Amp Designer amp simulation plug-in
and the Pedalboard effects plug-ins as well as other effects commonly used with guitars.
Guitar patches with Pedalboard-style screen controls can be assigned to a foot switch,
allowing you to bypass different effects in the channel strip. Some patches also allow you
to switch between channel strips with different effects using an expression pedal.
When playing guitars and other low-impedance instruments, be sure they are connected
to an audio input that matches the impedance of the instrument. Connecting a guitar to
a standard line-level audio input may produce a lower volume level for the guitar’s output
than intended.
Chapter 9 Performing Live with MainStage 137You can also use MainStage with vocals, or any sound captured with a microphone, using
an audio interface connected to your computer and choosing the audio input channel
in audio channel strips in your patches.
For guitar patches that use multiple channel strips, you can control the overall volume
of the patch using a foot pedal. Using the following procedure, you can set the overall
volume for the patch (that is, for all channel strips) so it starts playing at the set volume
level but still control subsequent volume changes using the foot pedal.
Using the Tuner
MainStage includes a Tuner that you can use to tune guitars and other instruments you
play through an audio channel strip. The Tuner shows pitch on a circular scale with the
note name and octave displayed in the center of the scale. When you play a single note
on your instrument, the pitch is shown in relation to the correct pitch for the note
displayed.
You can use the Tuner on an instrument connected to the first audio channel strip in a
patch. Channel strips that can use the Tuner are indicated by a tuning fork icon near the
top of the channel strip.
To tune an instrument using the Tuner
1 Select the audio channel strip you want to use the Tuner with.
2 Click the Tuner icon in the toolbar (or press Command-T).
The Tuner appears in the workspace.
138 Chapter 9 Performing Live with MainStage3 Play a single note on your instrument, and watch the Tuner display.
As you play, the Tuner shows the note name of the closest note. If the note is not in tune,
red vertical bars appear, showing whether the note is sharp or flat. The bars appear to
the right of the note name if the note is sharp, and to the left if the note is flat.
4 Adjust the tuning peg for the string you are tuning.
When the note is in tune, a blue vertical bar appears in the center, above the note name.
Be sure to play only a single note at a time while tuning. The Tuner can’t tune to a chord
or interval or if you play different notes rapidly.
When using the Tuner with a patch containing multiple channel strips, only audio from
the first audio channel strip is sent to the Tuner, even if other channel strips in the patch
have the same input source. Before using the Tuner, make sure that the first audio channel
strip is active and not muted.
In the Channel Strips area, the channel strip that will send audio to the Tuner is indicated
by a tuning fork icon at the top of the channel strip.
If other channel strips in the patch have the same audio input source as the first channel
strip, the sound from those channel strips is still audible (unlike the output from the
Tuner). For example, if you are using a twin-amp patch from the Rock guitar concert
template, the output for the second amp is audible while you tune the guitar, unless you
mute its output (by setting the Expression pedal screen control to zero).
Using the Playback Plug-in in Performance
You can use the Playback plug-in to play backing tracks or other audio files while you are
performing, and trigger playback either when you select a patch or set, or using a button
or other screen control. You can control other Playback parameters to which you have
mapped screen controls, including fading out the sound and looping playback. For files
containing marker information, you can also use markers to switch playback to different
sections of the audio file. You can start and stop playback of multiple Playback plug-in
instances using the Group menu.
Where you add an instance of the Playback plug-in depends on how you want to use it.
If you want to play back an audio file while you play a single patch, you can add it to the
patch. If you add a Playback plug-in at the set level, you can select different patches in
the set and have the audio file continue playing. This can be useful, for example, if the
set includes all the patches you’ll use in a song, and the Playback plug-in plays an audio
file with a backing track for the song. If you add a Playback plug-in at the concert level,
you can select different patches in the concert and have the audio file continue playing.
The ability to use the plug-in at any level gives you a great deal of creative freedom in
how you use it.
Chapter 9 Performing Live with MainStage 139The Playback plug-in is designed so that it can be used in a variety of ways. Following
are a few ideas for how to use the Playback plug-in in different situations. You can try
them out or use them as a starting point for your own creative uses.
Some Playback Plug-in Usage Ideas
You can use the Playback plug-in in software instrument channel strips in a patch or at
the set or concert level.
• Add a Playback plug-in to a patch and use it to play a backing track while you play an
instrument on another channel strip in the patch.
• Add a Playback plug-in at the set level and use it to play a backing track that continues
while you select and play different patches in the set.
• Add a Playback plug-in at the concert level and use it to play a backing track or sound
effect while you select and play different patches in the concert.
• Add multiple instances of the Playback plug-in at the set or concert level, and use them
to play and remix different backing tracks.
Recording Your Performances
You can record a performance to an audio file. Before you record a performance, you can
choose the file format of the recorded audio file.
If you choose AIFF as the file format for recording, the maximum file size for the recorded
file is 2 gigabytes. If you choose WAVE as the file format, the maximum file size is
4 gigabytes. If you choose CAF as the file format, there is no practical limit to the file size.
You can choose the file format in the Audio pane of MainStage preferences and also set
the location of the recorded file and choose which audio outputs are recorded (if you are
using multiple sets of outputs in your concert). For information about recording
preferences, see Recording.
You can record in Perform or Full Screen mode by mapping a screen control to the Record
action. You can also assign a key command to the Record action and use it to record in
Perform mode but not in Full Screen mode.
To start recording to an audio file
µ Move the screen control mapped to the Record action (or press Option-R).
To stop recording
µ Move the screen control mapped to the Record action (or press Option-R again).
140 Chapter 9 Performing Live with MainStageAfter the Performance
Before closing your concert after your performance, remember that, for any screen controls
for which the On Patch Change parameter is set to “Reset to saved value,” any changes
to channel strip parameters or plug-in parameters you made while performing revert to
their previously saved state if you close the concert without saving. If you save the concert
before closing, the new values are saved in the concert.
Tips for Complex Hardware Setups
It is highly recommended that you test your concert thoroughly using the same setup
you plan to use in live performance prior to performing, at the performance location or
venue if possible. This is especially important for more complex hardware setups.
Using Multiple Keyboard Controllers in Performance
If you plan to use multiple keyboard controllers when you perform, you can choose
whether screen controls respond to MIDI messages from all controllers or only a specific
controller and whether channel strips receive input from all controllers or only a single
controller.
In Layout mode, screen controls can be set to respond to MIDI input on all MIDI ports
and channels or to only a specific device or channel. To have a screen control respond
to MIDI input from all controllers, choose All from both the Device and Channel pop-up
menus in the Layout Inspector. To have a screen control respond to a specific controller
or to the same channel as the keyboard screen control, choose that controller from the
Device pop-up menu.
In Edit mode, you set the device from which a channel strip receives MIDI input in the
Key Range section of the Channel Strip Inspector. By default, channel strips receive input
from the first controller in the layout. You can set a channel strip to receive input from
another device in the Input pop-up menu.
Using a Different Hardware Setup in Performance
If you use MainStage with a complex hardware setup, for example, with multiple MIDI
controllers or MIDI interfaces or with multiple audio inputs, you will achieve the best
results when you use exactly the same hardware setup you used when you created your
concert.
If you plan to use MainStage with different controllers, interfaces, or other devices than
the ones you used to create your concert, you need to relearn your hardware assignments
using your performance hardware setup. To facilitate working in this situation, you can
create two separate layouts, one for your studio setup and another for your performance
setup, with corresponding screen controls in each layout. Before you perform, import the
performance layout into your concert. The hardware assignments for your performance
setup are imported with the layout, and your mappings are maintained.
Chapter 9 Performing Live with MainStage 141This chapter provides tables listing the default key commands for MainStage and describes
how to open the Command Editor to customize key commands.
This chapter covers the following:
• Using the Command Editor (p. 143)
• MainStage Default Key Commands (p. 143)
Using the Command Editor
MainStage includes a Command Editor that lets you view and customize key commands.
You can assign key commands to functions that do not have a default key command and
change the key command for other functions. You can also create multiple command
sets and switch between them.
You can assign key commands to customize the current command set. You can also
choose a different command set, and import, export, duplicate, and delete command
sets in the Command Editor.
To open the Command Editor
µ Choose MainStage > Commands > Customize.
The Command Editor opens, showing the key commands for the selected command set.
For detailed information about working with the Command Editor, including information
on customizing, exporting, and importing command sets, see “Working with Key
Commands” in the “Basic Operations” chapter of the Logic Pro User Manual.
MainStage Default Key Commands
The following sections show all of the default key commands for MainStage, grouped by
function. These can significantly accelerate your workflow, particularly when creating
large or complex projects.
143
Key Commands
10Concerts and Layouts
Includes key commands for creating, opening, and saving concerts and for exporting and
importing layouts.
Default key command Function
Command-N New concert
Command-O Open concert
Command-W Close concert, or close the active plug-in window
Command-S Save concert
Command-Shift-S Save concert as
Command-Control-O Import layout
Command-Shift-Control-S Export layout
Patches and Sets (Edit Mode)
Includes key commands for adding, selecting, exporting, and importing patches and sets.
Default key command Function
Command-Option-N Add a new patch
Command-Option-S Add a new set
Command-I Import patches or sets
Export patch, export set, or export as set
(depending on what is selected)
Command-E
Command-Up Arrow Select the previous patch
Command-Down Arrow Select the next patch
Command-Left Arrow Select the first patch in the previous set
Command-Right Arrow Select the first patch in the next set
Command-Shift-Option-S Create a new set from selected patches
Command-Shift-Option-R Reset program change numbers
Editing
Includes key commands for cutting, copying, pasting, and other common editing functions.
Default key command Function
Command-Z Undo the last command
Command-Shift-Z Redo the last undone command
Command-X Cut
Command-C Copy
Command-V Paste
Command-D Duplicate
144 Chapter 10 Key CommandsDefault key command Function
Command-A Select all
Actions
Includes key commands for some MainStage actions.
Default key command Function
Control-P Panic
Control-T Tap Tempo
Control-M Master Mute
Control-R Toggle Recording
Space bar Toggle Play/Stop
Parameter Mapping (Edit Mode)
Includes commands for learning mappings and locating mappings in the Parameter
Mappings browser.
Default key command Function
Command-L Map the selected parameter (turn on mapping)
Command-F Find in Parameter Mapping browser
Command-G Find again
Channel Strips (Edit Mode)
Includes commands for adding channel strips.
Default key command Function
Command-Option-A Add audio channel strip
Command-Option-I Add software instrument channel strip
Command-Option-F Show/Hide signal flow channel strips
Screen Controls (Layout Mode)
Includes key commands for learning controller assignments and for grouping and
ungrouping screen controls.
Default key command Function
Command-L Learn controller assignment (turn on the Learn process)
Command-Option-G Group screen controls
Command-Shift-Option-G Ungroup screen controls
Select the next screen control, select the Add hardware label
checkbox, and select the Add hardware label text field for entering
text
Command-Option-H
Chapter 10 Key Commands 145Full Screen Mode
Includes key commands for selecting patches and sets, sending MIDI panic,
muting/unmuting audio, and exiting Full Screen mode.
Default key command Function
Up Arrow Select the previous patch
Down Arrow Select the next patch
Left Arrow Select the first patch of the previous set
Right Arrow Select the first patch of the next set
P Send MIDI panic
M Mute/unmute all audio
Esc Exit Full Screen mode
Window and View
Includes key commands for switching modes and for showing Inspectors and other areas
of the interface.
Default key command Function
Command-1 Layout mode
Command-2 Edit mode
Command-3 Perform mode
Command-4 Full Screen mode
Command-5 Show/Hide Inspectors
Command-6 Show/Hide the Channel Strips area
Command-T Show/Hide the Tuner
Command-M Minimize the MainStage window
Command-Comma (,) Open MainStage preferences
V Show/Hide the active plug-in window
Help and Support
Includes the key command to open the MainStage User Manual.
Default key command Function
Command-Question Mark (?) MainStage User Manual
146 Chapter 10 Key CommandsThe Playback plug-in is an audio file player that you can use to play backing tracks, song
stems, and other audio files. The Playback plug-in supports uncompressed mono or stereo
audio files in the AIFF, WAV, and CAF formats with a bit depth of 16 or 24 bits. You can
bounce a single stem from a Logic project or a set of stems from individual tracks.
You can use Playback to jump to song sections and repeat them. If you assign multiple
instances to groups, each song section can include multiple stems, which expands the
possibilities for live remixing of your material. These and other features make the Playback
plug-in a flexible, powerful, creative tool, both in the studio and in live performance.
This appendix covers the following:
• Getting to Know the Playback Interface (p. 148)
• Using the Playback Waveform Display (p. 149)
• Using the Playback Transport and Function Buttons (p. 150)
• Using the Playback Information Display (p. 151)
• Using the Playback Sync, Snap To, and Play From Parameters (p. 152)
• Using the Playback Group Functions (p. 153)
• Using the Playback Action Menu and File Field (p. 154)
• Using the Playback Shortcut Menu (p. 155)
147
The Playback Plug-in
A AppendixGetting to Know the Playback Interface
The Playback interface resembles a hardware tape player. This section will familiarize you
with various areas of the Playback plug-in window.
Waveform display Action menu
Sync, Snap To, Play From, Information display
and Group pop-up
menus
Transport buttons
Function buttons
• Waveform display: The waveform display shows the waveform of the currently loaded
audio file, the current playback position, and the ruler. See Using the Playback Waveform
Display.
• Transport and function buttons: The transport and function buttons appear on either
side of the information display in the silver bar below the waveform display. See Using
the Playback Transport and Function Buttons.
• Information display: The information display shows the current playback position and
audio file length, meter, tempo, fade time, and pitch. See Using the Playback Information
Display.
• Sync, Snap To, Play From, and Group pop-up menus: The bar across the bottom of the
Playback window contains controls you use to set playback behavior: the Sync, Snap
To, Play From, and Group pop-up menus. See Using the Playback Sync, Snap To, and
Play From Parameters. The Group pop-up menu sets group membership for each
Playback instance. See Using the Playback Group Functions.
• Action menu and File field: The Action menu (with the gear icon) contains options for
adding an audio file, choosing the flex mode, and other functions. See Using the
Playback Action Menu and File Field. The File field displays the name of the currently
loaded audio file.
• Shortcut menu: You can add, edit, and remove markers using the shortcut menu (not
shown), which you can access by Control-clicking (or right-clicking) the waveform
display. See Using the Playback Shortcut Menu.
148 Appendix A The Playback Plug-inUsing the Playback Waveform Display
The waveform display shows the waveform of the currently loaded audio file. The vertical
line in the center of the display indicates the current playback position as the waveform
scrolls from right to left. Above the waveform, the time ruler displays time in either hours,
minutes, and seconds (when Sync mode is off) or bars and beats (when Sync is on). If the
audio file contains marker information, the marker names and positions appear below
the time ruler.
File field Action menu
Playhead/playback
position Time ruler Marker bar
You can drag the waveform horizontally to move to a different position while Playback
is stopped. Playback starts from the new position if the Play From parameter is set to
Current Position.
Note: The Snap To and Play From parameters can affect playback behavior. See Using
the Playback Sync, Snap To, and Play From Parameters.
Markers, if present, are indicated on the marker bar, below the ruler. You can load audio
files that contain markers, or add markers to the loaded audio file using the Add Marker
command in the shortcut menu. For information about adding, renaming, and deleting
markers, see Using the Playback Shortcut Menu.
To move to different markers with the marker bar
Do one of the following:
µ Click a marker in the marker bar to move it to the current playhead position (in the center
of the waveform display). Playback begins from this position if you are in play mode.
µ Click to the left of a marker to move the preceding marker to the centered current position
indicator. Repeated clicks move earlier markers to the current position indicator. Playback
begins from this position if you are in play mode.
Appendix A The Playback Plug-in 149Using the Playback Transport and Function Buttons
This section covers the buttons used for playback, fade, count-in, click, and marker
navigation operations.
Return to Start button
Play/Stop button Metronome button
Cycle button Fade Out button Count-in button
Previous/Next Marker
button
• Return to Start button: Moves to the very beginning of the audio material, but does not
start playback. If Playback is in play mode, however, playback will continue from the
start of the audio file.
• Play/Stop button: Starts or stops playback. The position playback starts from is affected
by the Sync, Snap To, and Play From parameters. See Using the Playback Sync, Snap
To, and Play From Parameters.
• Cycle button: Cycles playback between the current marker and the next marker. Audio
is automatically crossfaded at the marker points to minimize clicks. If the file contains
no markers, playback of the entire file is cycled.
• Fade Out button: Gradually lowers the volume level to silence over the number of
seconds specified in the Fade Time parameter. The Fade Out button turns blue until
the fade out has completed and playback stops.
You can stop an active fade out by clicking the Fade Out button a second time. This
gradually restores audio playback to the full volume level over the same amount of
elapsed time as the fade out.
• Count-in button: Enables a one-bar count-in, using the MainStage metronome click.
The count-in always uses the concert tempo and meter, regardless of the Sync mode.
• Metronome button: Turns the MainStage metronome on or off. The metronome always
uses the concert tempo and meter, regardless of the Sync mode.
• Go to Previous Marker button: In play mode, immediately moves to the previous marker
(to the left of the current playhead position) if the audio material contains markers.
Playback continues from this position. If the audio file contains no markers, moves
backward 8 bars (if Sync is on) or 20 seconds (if Sync is off). Playback continues from
the new position.
150 Appendix A The Playback Plug-inIf Playback is stopped, moves to the previous marker or to the beginning of the audio
file if the current playhead position precedes the first marker. If the file contains no
markers, moves 8 bars (if Sync is on) or 20 seconds (if Sync is off). Press Play to start
playback from this position.
• Go to Next Marker button: In play mode, immediately moves to the next marker (to the
right of the current playhead position) if the audio file contains markers. Playback
continues from this position. If the audio file contains no markers, moves forward 8 bars
(if Sync is on) or 20 seconds (if Sync is off). Playback continues from the new position.
If Playback is stopped, moves to the next marker or to the end of the audio file if the
current playhead position is after the last marker. If the file contains no markers, playback
rewinds by 8 bars (if Sync is on) or 20 seconds (if Sync is off). Press Play to start playback
from the new position.
Using the Playback Information Display
The information display shows information about several key aspects of your audio
material, and lets you edit some of the displayed values.
• Position field: Shows the current position in hours, minutes, and seconds (when Sync
is off), or in bars and beats (when Sync is on).
• Length field: Displays the overall length of the loaded audio file in hours, minutes, and
seconds (when Sync is off), or in bars and beats (when Sync is on).
• Meter field: When Sync is on, lets you define the meter (time signature) of the audio
file. The bar and beat values can be altered independently. Editing the Meter field
changes the ruler display, and may alter the Length field display, but has no impact on
audio playback.
• Tempo field: Displays the MainStage concert tempo in beats per minute when Sync is
on. Playback follows only a single, constant tempo. The Tempo field is disabled when
Sync is off.
Note: Because Playback instances use the concert tempo when Sync is on, you can use
audio files recorded at different tempos, and have them all play back at the same tempo
(the concert tempo).
• Fade Time field: Sets the fade-out time in seconds. Drag vertically to adjust this value.
Click the Fade button to start or stop a fade-out.
Appendix A The Playback Plug-in 151• Pitch fields: Transpose audio playback when Sync is on. Drag vertically in either the
semi or cent field to transpose the audio file in semitones or cents (1/100 of a semitone).
The Pitch fields are disabled when Sync is off.
Using the Playback Sync, Snap To, and Play From Parameters
The Sync, Snap To, and Play From pop-up menus control various aspects of playback and
synchronization of the audio file.
• Sync pop-up menu: Controls whether playback is synchronized with the concert tempo.
When Sync is off, the audio file plays at its recorded tempo. When Sync is on, the file
plays at the current tempo of the concert.
Note: Only audio files that contain tempo information will play back at the MainStage
concert tempo when Sync is active. If the file contains no tempo information, the Sync
parameter is disabled.
• Snap To pop-up menu: Sets the value to which transport functions—including Play,
Return to Start, Previous Marker, and Next Marker—snap. The active transport function
is delayed until the next bar, beat, or marker is reached, depending on the current Snap
To setting. The Snap To setting always reflects the concert tempo and time signature,
regardless of the Sync setting.
• Off: Transport functions occur immediately, without waiting.
• Beat: Transport functions occur at the start of the next beat.
• Bar: Transport functions occur at the start of the next bar.
• Wait for Marker: Transport functions occur when the next marker is reached.
• Play From pop-up menu: Determines the position from which playback starts.
• Current Position: Playback starts from the current playhead position in the audio file.
This can be especially useful when you are setting up Playback instances in Edit
mode.
• Start: Playback starts from the beginning of the audio file.
• Current Marker: Playback starts from the start of the current marker (the marker to
the left of the current position) in the audio file.
• Relative Position: Playback is synced to the MainStage clock, so stopping and starting
playback follows the MainStage clock position. Using Relative Position is similar to
using a mute button.
152 Appendix A The Playback Plug-inUsing the Playback Group Functions
If you have multiple instances of the Playback plug-in in a concert, you can use groups
to control which instances play together and which instances operate independently.
Any Playback instance can either be assigned to one of 26 Groups, named A-Z, or not be
a member of any group. The linked operation of multiple instances can be used for
creative playback purposes, such as alternative versions of a song verse or chorus.
Only one group can be active at a time. For example, if two Playback instances are in
Group A, and four Playback instances are in Group B, activation of a transport function in
any Group A member will stop playback of all Group B members, and vice versa. Instances
that are not in any group are not affected.
All Playback instances that belong to a group will switch between states for the following
transport functions when changed in any group member:
• Return to Start
• Play or Stop
• Dragging in the waveform display
• Cycle
• Fade Out (time and action)
• Go to Previous (or Next) Marker
Important: Editing a parameter in one member of a group does not automatically update
the parameter value in other group members. To change the parameter value in all group
members, hold down Shift while you edit the parameter in any group member. This
applies to the Meter, Fade Time, Pitch, Sync, Snap To, and Play From parameters. You
need to set Sync to the same mode for all group members or you will hear playback drift
between grouped instances.
To assign a Playback instance to a group
µ Open the Group pop-up menu at the lower right of the interface and choose a letter.
Note: When a Playback instance is added to an existing group, some button states may
be different from other group members. If you want all group members to behave
identically when a transport button is used in any group member, make sure that the
states of all buttons match those of other group members before you add a Playback
instance to a group.
To remove a Playback instance from all groups
µ Choose the “–” item from the Group pop-up menu.
Appendix A The Playback Plug-in 153Using the Playback Action Menu and File Field
The Action menu is found to the top right of the waveform display and contains the
following items:
• Open File: Opens a dialog from which you can preview and choose a file to load into
the Playback plug-in.
• Remove File: Removes the file currently loaded in the Playback plug-in.
• Flex Mode: For audio files containing tempo information, you can choose one of the
following time-stretching modes:
• Slicing is a good choice for general use, particularly for rhythmic material such as
drum parts. It works by dividing the audio material at transient markers. Each slice
is played back at its original speed.
• Rhythmic is best suited for playing polyphonic rhythmic audio material such as rhythm
guitar or keyboard parts.
• Speed is recommended when the concert tempo is the same as (or close to) the
recorded tempo of the audio file. It produces an effect like slowing down or speeding
up a tape recorder, without the artifacts of time stretching.
• Polyphonic is designed for complex polyphonic audio material and is a good choice
for guitar, piano, and choir parts, or for complete mixes.
• Start on Patch Change: Starts playback when you select the patch (or set) containing
the Playback instance.
• Start with Play Action: Starts playback of the Playback plug-in when the MainStage clock
starts. “Start with Play Action” follows the current Play From setting—that is, it waits
until the next event specified in the Play From setting.
The File field, which is located to the left of the Action menu, shows the name of the
currently loaded audio file. You can load an audio file in several ways.
To load an audio file
Do one of the following:
µ Click the File field to show an Open dialog, from which you can choose the file you want
to load.
µ Choose Open File from the Action menu to show an Open dialog, from which you can
choose the file you want to load.
µ Drag an audio file to the File field.
µ Drag an audio file into the waveform display.
µ Drag an audio file to the Instrument slot containing the Playback plug-in.
154 Appendix A The Playback Plug-inµ Drag an audio file between two channel strips. This creates a new channel strip with the
Playback plug-in inserted. The (dragged) audio file is automatically loaded into this new
Playback instance. You can drag multiple files between channel strips to create a new
channel strip for each file.
Note: Using either of the first two methods, you can preview files in the dialog before
adding one to the Playback instance. To preview the selected audio file in the dialog,
click the Play button. Click the Stop button in the dialog to stop playback.
Using the Playback Shortcut Menu
The Playback window includes a shortcut menu that lets you add, name, and remove
markers in the waveform display. You access the shortcut menu by Control-clicking the
waveform display. The shortcut menu contains the following commands.
• Add Marker: Adds a marker at the current position of the pointer, and opens a name
field. Enter the name, then press Return or click outside the name field.
• Remove Marker: Removes the marker to the left of the current position.
• Rename Marker: Opens a name field for the marker nearest to the clicked position.
Enter a new name, then press Return or click outside the name field.
• Remove All Markers: Removes all markers.
Appendix A The Playback Plug-in 155The Loopback plug-in lets you record virtual “tape loops,” play them back repeatedly,
and overdub new recordings while previous ones continue playing. You can use the
Loopback plug-in to create simple loops, recurring motifs, or complex, evolving textures.
Using Loopback as an insert plug-in in an instrument channel strip, you can create looped
performances with a single instrument, your voice, or other audio material. By inserting
Loopback in an aux channel strip and using it as a send effect, you can create loops with
multiple instruments, vocal performances, and other audio material routed from other
channel strips. Relative levels can be controlled with the Send knobs of the source channel
strips.
Loopback lets you create “sound-on-sound” backing tracks or grooves in your MainStage
performance. You can use multiple instances as a rhythm section, and switch between a
reduced and a full version of your rhythm parts, for example. The Loopback plug-in is a
flexible, powerful, creative tool both for the studio and for live performance. You can also
export loop performances as standard audio files to use in other plug-ins, including the
Playback plug-in.
This appendix covers the following:
• Getting to Know the Loopback Interface (p. 158)
• Using the Loopback Waveform Display (p. 159)
• Using the Loopback Transport and Function Controls (p. 159)
• Using the Loopback Information Display (p. 160)
• Using the Loopback Sync, Snap To, and Play From Parameters (p. 161)
• Using the Loopback Group Functions (p. 162)
• Using the Loopback Action Menu (p. 163)
• Adding Loopback to a Channel Strip (p. 164)
157
The Loopback Plug-in
B AppendixGetting to Know the Loopback Interface
The Loopback interface resembles a hardware tape-loop device. This section will familiarize
you with various areas of the Loopback interface.
Waveform display Action menu
Sync, Snap To, and Information display
Play From pop-up menus
Transport buttons
Function buttons
• Waveform display: The waveform display shows the waveform of the recorded audio
material, the playhead position, and the ruler. See Using the Loopback Waveform
Display.
• Transport and Function controls: The transport and function buttons are located to the
left and right of the information display in the silver bar that spans the plug-in window.
See Using the Loopback Transport and Function Controls.
• Information display: The information display provides details on the current playback
position and recording length, meter, tempo, and fade time. See Using the Loopback
Information Display.
• Sync, Snap To, Play From, and Group pop-up menus: The black bar across the bottom
contains the Sync, Snap To, and Play From pop-up menus. These are used to set playback
and recording behavior. See Using the Loopback Sync, Snap To, and Play From
Parameters. The Group pop-up menu sets group membership for each Playback instance.
See Using the Loopback Group Functions.
• Action menu: The Action menu is accessed by clicking the button with the gear icon
at the top right of the interface. It provides import and export, monitoring, and other
commands. See Using the Loopback Action Menu.
158 Appendix B The Loopback Plug-inUsing the Loopback Waveform Display
The waveform display shows the waveform of the recorded audio material. The waveform
display updates in real time as you record new material. The vertical line in the center of
the display is the playhead, which shows the current playback or recording position as
the waveform scrolls from right to left. The ruler appears above the waveform, showing
bars and beats (musical time).
Using the Loopback Transport and Function Controls
This section covers the controls for recording, playback, fade, count-in, metronome, and
undo operations.
Record button
Play/Stop button
Reverse button
Fade Out button
Count-in button
Metronome button
Undo button
• Record button: Starts or stops recording. Click the Record button once to start recording
to the tape loop—a virtual tape loop, not an actual one. Click a second time to set the
length and start overdubbing. During overdubbing, the first recorded take plays back
while you record subsequent takes. Subsequent clicks toggle recording off or on, while
the tape loop keeps playing.
• Play/Stop button: Starts playback at the position set by the Play From and Snap To
parameters. If Loopback is playing or recording, stops immediately (without waiting
to reach the Snap To value). If loopback is recording and has not established length it
sets the length and just continues to play back with no overdubbing. See Using the
Loopback Sync, Snap To, and Play From Parameters.
Appendix B The Loopback Plug-in 159• Reverse button: Reverses the contents of the tape loop, so the sound plays back in
reverse. You can activate Reverse when Loopback is either playing or stopped.
• Fade Out button: Gradually lowers the volume level of the tape loop over the time
specified in the Fade Time field. The Fade Out button remains highlighted until the
fade-out has finished and playback stops.
The fade-out affects only previously recorded material. You can start recording during
a fade-out, and the new material is recorded and plays at full level. When you record
new material during a fade-out, Loopback does not stop when the fade-out has finished,
but continues playing the newly recorded material.
If the tape loop length has been set, pressing the Fade Out button (or activating a
screen control mapped to it) while Loopback is playing clears the buffer, but does not
reset the loop length. Pressing the Fade Out button while Loopback is stopped clears
the buffer. If the loop length was undefined when Loopback started playing, it also
resets the loop length.
• Count-in button: Enables a one-bar count-in, using the concert time signature.
• Metronome button: Turns the MainStage metronome on or off.
• Undo button: When pressed during playback or when stopped, removes the most
recently recorded take from the tape loop. Pressing Undo during the first beat of a new
take removes the previously recorded take.
Using the Loopback Information Display
The information display shows information about several key aspects of the audio material
in the tape loop, and lets you edit some of the displayed values.
• Position field: Indicates the current playhead position.
• Length field: Displays the length of the loop.
If Sync is set to Off, Loopback analyzes the first take and determines the tempo and
length, using the concert tempo as a starting point. After the length is set, it cannot
be changed (until you clear the tape loop).
If Sync is set to On, you can set the length (in the information display, or using a screen
control) before you record the first take. If you do not set the length, Loopback analyzes
the first take and sets the length using the concert tempo, rounding up to the next
whole bar.
160 Appendix B The Loopback Plug-in• Position dial: Displays the current playback position in the context of the overall loop
length.
• Meter field: Displays the meter (time signature) of the audio material. The bar and beat
values can be altered independently, which changes the ruler display and may alter
the Length field display, but does not affect audio playback. Cannot be changed once
the length is set without first clearing the tape loop.
• Tempo field: Displays the tempo in beats per minute. The tempo is “locked” after the
first recording and cannot be changed.
• Fade Time field: Indicates the fade-out time in seconds. Drag vertically to adjust this
value. See Using the Loopback Transport and Function Controls.
Using the Loopback Sync, Snap To, and Play From Parameters
The Sync, Snap To, and Play From pop-up menus in the bar at the bottom of the interface
control various aspects of playback and synchronization of the audio material.
• Sync pop-up menu: Enables or disables synchronization with the MainStage tempo and
clock.
• Snap To pop-up menu: Determines how Loopback starts, in play or record mode, when
stopped. It also quantizes the tape loop length “on the fly” by stopping the first take.
• Off: Loopback starts immediately, without waiting.
• Beat: Loopback starts or stops at the start of the next beat.
• Bar: Loopback starts or stops at the start of the next bar.
• Loop: Loopback waits for the amount of time defined by the Length parameter.
• Play From pop-up menu: Determines the playback start position within the audio
material.
• Loop Start: Playback starts from the beginning of the audio material.
• Relative Position: When you stop and restart the Loopback instance, playback
continues as if the plug-in had been playing continuously, without interruption. This
is useful when several Loopback instances are playing together, or when you are
using Loopback instances with Playback or Ultrabeat instances, allowing you to
effectively “mute” and “unmute” instances while keeping them in sync with each
other.
Appendix B The Loopback Plug-in 161Using the Loopback Group Functions
If you have multiple instances of the Loopback plug-in in a concert, you can use groups
to control which instances record and play together and which instances operate
independently. Any Loopback instance can either be assigned to one of 26 Groups, named
A-Z, or not be a member of any group. The linked operation of multiple instances can be
used for creative purposes, such as alternative versions of a song verse or chorus.
Loopback and Playback instances share the same group functions. If you have instances
of Playback that you have assigned to a group, they will respond to any group functions
(except Record) as any Loopback instances assigned to the same group.
Only one group can be active at a time. For example, if two Loopback instances are in
Group A, and four Loopback instances are in Group B, activation of a transport function
in any Group A member will stop all Group B members, and vice versa. Instances that are
not in any group are not affected. Similarly, any Playback instance in Group A will also
respond, while Playback instances in Group B (or any other group) will stop.
All Loopback instances that belong to a group will switch between states for the following
transport functions when changed in any group member:
• Record
• Play or Stop
• Return to Start
• Dragging in the waveform display
• Fade Out (time and action)
• Count In
• Metronome
• Undo
• Reverse
Important: Editing a parameter in one member of a group does not automatically update
the parameter value in other group members. To change the parameter value in all group
members, hold down Shift while you edit the parameter in any group member. You need
to set Sync to the same mode for all group members or you will hear playback drift
between grouped instances.
To assign a Loopback instance to a group
µ Open the Group pop-up menu at the lower right of the interface and choose a letter.
162 Appendix B The Loopback Plug-inNote: When a Loopback instance is added to an existing group, some button states may
be different from other group members. If you want all group members to behave
identically when a transport button is used in any group member, make sure that the
states of all buttons match those of other group members before you add a Loopback
instance to a group.
To remove a Loopback instance from all groups
µ Choose the “–” item from the Group pop-up menu.
Using the Loopback Action Menu
The Action menu is found to the top right of the waveform display and contains the
following items:
• Export Tape Loop: Shows an export dialog, where you can name and choose a location
to save the tape loop to an AIFF audio file.
• Import Tape Loop: Shows an import dialog, where you can select and import a previously
exported tape loop or any short audio file.
• Clear Tape Loop: Deletes the entire tape loop in the Loopback plug-in.
• Monitor: You can choose one of the following monitoring modes for the Loopback
plug-in: On (monitoring is always on); During Record (monitoring is on only during
recording); or Off (monitoring is disabled).
Note: Some mixer routing configurations may result in no audio being heard through
Loopback. Use this menu command if you encounter this situation.
• When Patch or Set is Selected: You can choose one of the following functions to be
performed when the patch (or set) containing the Loopback plug-in is selected: Do
Nothing (the default); Clear (empties the entire tape loop); Start Playing (starts the
plug-in playing at its current settings); Start Recording (starts recording the first take
at the current plug-in settings); or Clear and Start Recording (clears the existing tape
loop and starts recording the first take at the current plug-in settings).
• On MainStage Clock Start: You can choose one of the following functions to be
performed when the MainStage clock starts: Do Nothing (the default); Clear (empties
the entire tape loop); Start Playing (starts the plug-in playing at its current settings);
Start Recording (starts recording the tape loop at the current plug-in settings); or Clear
and Start Recording (clears the existing tape loop and starts recording a new tape loop
at the current plug-in settings).
• Set Concert Tempo After First Take: With this item selected, and Sync set to Off, clicking
Record tarts recording the tape loop but does not start the MainStage clock (if it is
stopped). When you click Record a second time (or click Play), recording stops and the
tape loop continues playing. MainStage sets the Length and Tempo based on the
duration of the recorded take, and starts the MainStage clock.
Appendix B The Loopback Plug-in 163Adding Loopback to a Channel Strip
The Loopback plug-in is an insert plug-in. You can use it in any type of channel strip.
To add a Loopback instance to a channel strip
1 Click one of the Insert slots in the channel strip you want to use Loopback on.
2 Choose Delay from the shortcut menu that appears, choose Loopback from the submenu,
then choose Stereo from the second submenu.
164 Appendix B The Loopback Plug-inYou can set a variety of preferences in the MainStage preferences window. The preferences
window includes tabs for general, audio, MIDI, and display preferences, which are described
below.
This appendix covers the following:
• General Preferences (p. 165)
• Audio Preferences (p. 166)
• MIDI Preferences (p. 168)
• Display Preferences (p. 168)
General Preferences
These preferences let you set the tuning of software instruments, set the volume and
output for the metronome, choose what happens when you open MainStage, reset alerts,
and set whether screen controls highlight when their parameter values change.
Tuning
• Tuning slider: Sets the tuning for all software instruments in MainStage. Tuning is
centered around A440 Hz, in the range of 100 cents.
Metronome
• Output pop-up menu: Choose the audio output (or output pair) that the metronome
sound is routed to.
• Volume slider: Drag the slider to set the relative volume for the metronome sound.
Startup
• Startup Action pop-up menu: Choose the startup action when you open MainStage. The
choices are:
• Do Nothing: Does nothing. You can access the Choose Template dialog by choosing
File > New.
• Create New Concert from Template: Opens the Choose Template dialog.
165
Setting MainStage Preferences
C Appendix• Open Most Recent Concert: Opens the last open concert in the same mode it was in
when you closed it.
• Open Most Recent Concert in Perform Mode: Opens the last open concert in Perform
mode.
• Open Most Recent Concert in Full Screen Mode: Opens the last open concert in Full
Screen mode.
Alerts
• Reset Warnings button: Click to reset the behavior of alerts for which you have selected
the “Do not show again” checkbox, so that they appear in the future when appropriate
conditions occur.
Parameter Values
• On Patch Change pop-up menu: Choose whether parameter values change or remain
the same when you change patches. By default, the On Patch Change parameter for
individual screen controls is set to Preference, in which case they follow the preference
behavior. If this parameter is set to another value for a screen control, the control follows
the value of its individual setting. The choices are:
• To preserve changes to parameter values when you change patches, choose “Keep
current value.”
• To return values to the last saved value, choose “Reset to saved value.”
• Respond to Hardware Move pop-up menu: Choose how screen controls respond when
you move the hardware controls assigned to them. By default, the Respond to Hardware
Move parameter for individual screen controls is set to Preference, in which case they
follow the preference behavior. If this parameter is set to another value for a screen
control, the control follows the value of its individual setting. The choices are:
• To have screen controls instantly change to match the hardware value, choose “Jump.”
• To have screen controls change when the hardware control matches its current value,
choose “Pickup.”
• To have screen controls move relative to the hardware control, choose “Relative.”
Audio Preferences
These preferences let you set the audio output and input drivers, set the size of the
I/O buffer, set the audio sample rate, and choose which note is displayed as middle C.
Audio
• Audio Output pop-up menu: Choose the device you want to use to hear the audio output
from MainStage.
166 Appendix C Setting MainStage Preferences• Audio Input pop-up menu: Choose the device you want to use as the source for audio
input.
• Setup buttons: Click the Audio Output Setup button to open the Audio/MIDI Setup
window and configure audio output. Click the Audio Input Setup button to open the
Audio/MIDI Setup window and configure audio input.
• I/O Buffer Size pop-up menu: Choose the size of the buffer for audio input and output
in samples. Smaller buffer sizes reduce the amount of latency, but also require more
work from the CPU and may result in playback artifacts. You may want to try different
settings to find the lowest setting that does not produce any artifacts.
• I/O Safety Buffer checkbox: When selected, MainStage uses an additional buffer to process
audio output streams, providing a safeguard against crackling noises that may occur
when using very low I/O Buffer Size settings. If turning on this preference doesn’t
improve things on your system, disable the checkbox and select a larger I/O buffer size
setting.
Note: Use of the I/O Safety Buffer preference increases the output latency and therefore
the round trip (input plus output) latency.
The latency for the current buffer size is displayed below the I/O Safety Buffer checkbox.
• Sample Rate pop-up menu: Choose the sample rate for audio input. If you are using an
audio interface or other audio device with MainStage, the Sample Rate value should
be set to the sample rate of your audio device.
• Apply Changes button: Click to apply changes to the input, output, sample rate, and
buffer size settings. If you do not click the Apply Changes button, changes are applied
when you close the Preferences window.
• Silence Previous Patch: Choose the amount of time sustained notes and effects tails
continue to sound before falling to silence when you select a new patch.
• Hot-Plug Behavior pop-up menu: Choose what action MainStage takes when you hot-plug
an audio device while MainStage is open. The choices are:
• Alert me: Displays an alert when a device is hot-plugged. The alert includes buttons
allowing you to use or ignore the device.
• Automatically Use Device: Switches the audio drivers to allow immediate use of the
hot-plugged device for audio input and output.
• Do Nothing: Does not switch the audio drivers.
• Display audio engine overload message: When selected, an alert appears when the audio
engine overloads.
Recording
• Output pop-up menu: Choose the audio output to record.
Appendix C Setting MainStage Preferences 167• Recordings Folder field and Set button: Click the Set button, then browse to choose the
location where recordings are saved. The file path of the chosen location appears in
the field.
• File Format pop-up menu: Choose the file format for audio recordings. The choices are:
• AIFF
• CAF
• WAVE
MIDI Preferences
These preferences let you view the current status of MIDI inputs, set the instrument voice
limiting threshold, and choose which note appears as middle C.
MIDI
• MIDI Status field and Setup button: Displays the number of detected MIDI inputs.
Instrument Voice Limiting
• CPU Usage Threshold: Set the level (percentage of CPU usage) above which voice limiting
is active. If you experience audio dropouts or glitches when performing with the current
setting, try lowering the threshold until the dropouts or glitches no longer occur.
MIDI
• Display Middle C As pop-up menu: Choose whether middle C is displayed as C3 or C4.
Display Preferences
This preference let you choose the default size at which plug-in windows are displayed.
• Default size pop-up menu: Choose whether plug-in windows are displayed at their
standard size (100%) or at a larger size.
168 Appendix C Setting MainStage PreferencesIn addition to mapping screen controls to channel strip and plug-in parameters, you can
map them to MainStage actions. Actions let you select patches and sets, silence MIDI
notes, control the Tuner and the metronome, tap a new tempo, display information about
patches, MIDI messages and other information, and perform other functions using screen
controls.
The Actions folder, which appears in the Parameter Mapping browser along with available
parameters, contains actions for a variety of MainStage functions. The Actions folder also
contains an AppleScript subfolder with useful scripts. The following table describes each
action and the type of screen control to map it to.
For information about mapping screen controls to actions, see Mapping Screen Controls
to Actions.
This appendix covers the following:
• Table of Actions (p. 169)
Table of Actions
For each action in the Actions folder, the Description column describes the function of
the action, and the Usage column tells which screen controls it is intended to be used
with.
Action Description Usage
Selects the patch 10 patches Button screen control
above the current patch in the
Patch List.
−10 Patches
Selects the patch above the Button screen control
current patch in the Patch List.
Prev Patch
Parameter Text screen control
(to display); Knob screen control
(to select)
Displays the name of the current
patch and can also be used to
change patches.
Current Patch
Parameter Text screen control
(to display); Knob screen control
(to select)
Displays the patch number of
the selected patch and can also
be used to change patches.
Current Patch Number
169
Using MainStage Actions
D AppendixAction Description Usage
Parameter Text screen control
(to display); Button screen
control (to change)
Displays the program change
number of the selected patch
and can be used to change to a
specific program.
Current Program Number
Selects the patch below the Button screen control
current patch in the Patch List.
Next Patch
Selects the patch 10 patches Button screen control
below the current patch in the
Patch List.
+10 Patches
Selects the set above the current Button screen control
patch in the Patch List.
Prev Set
Displays the name of the current Parameter Text screen control
set.
Current Set
Selects the set below the current Button screen control
patch in the Patch List.
Next Set
Displays the name of the Parameter Text screen control
concert.
Concert
Tuner Shows or hides the Tuner. Button screen control
Adjusts the overall tuning for the Knob or fader screen control
concert, from −100 cents to
+100 cents.
Master Tuning
Mutes or unmutes all audio Button screen control
(toggle).
Master Mute
Tap Tempo Use to tap a new tempo. Button screen control
Turns the metronome on or off Button screen control
and starts the “transport”
(toggle).
Metronome
Displays incoming MIDI beat Parameter Text screen control
clock messages.
MIDI Beat Clock
Displays the current bar and Button screen control
beat count from the “transport”
if it is running.
Beat Count
Displays incoming MIDI Button screen control
messages, the same as the MIDI
Activity display in the toolbar.
MIDI Display
Silences all MIDI notes and resets Button screen control
the audio engine.
Panic
Displays the current CPU usage, Parameter Text screen control
the same as the CPU Activity
display in the toolbar.
CPU Load
Turns audio recording on or off Button screen control
(toggle).
Record
170 Appendix D Using MainStage ActionsAction Description Usage
Starts or stops playback at the Button screen control
current transport position.
Play/Stop
Starts playback at the beginning Button screen control
of the song or file (bar 1, beat 1).
Play
Pauses playback at the current Button screen control
transport position.
Stop
Resumes playback at the current Button screen control
transport position.
Continue
Toggles the selected patch Button screen control
between its edited and last
saved state (toggle).
Reset/Compare Patch
Displays the current time in Parameter Text screen control
hours, minutes, and seconds.
Current Time
In addition to the actions in the Actions folder, there are two actions in the Send to All >
Destinations > Actions folder.
Action Description Usage
Transposes the software Button screen control
instrument played by the
keyboard up one octave.
Transpose Octave Up
Transposes the software Button screen control
instrument played by the
keyboard down one octave.
Transpose Octave Down
Appendix D Using MainStage Actions 171
User’s Guide• •
Manuel de l’utilisateur•
Benutzerhandbuch
Manual del usuario•
Manuale Utente•
Guia do Usuário•
Gebruikershandleiding•
Handbok
Brukerhåndbok•
Brugerhåndbog•
Käsikirja• • •1
2 Your iMac at a glance
4 Mac OS X basics
8 What you can do with your iMac
10 Listen to music on your computer or on the go
12 Create and edit your own movies
14 Search the Internet
16 Get more out of the Internet
18 Send and receive email
20 Organize, plan, and create
22 Keep your iMac’s software up-to-date
24 Learn more and solve problems
30 Install memory and an AirPort Card
32 Work more comfortably
34 Safety, cleaning, and power management
Once you’ve set up your iMac and followed the onscreen guide to connect to the
Internet, what’s next? Read on to find out how to get the most out of your iMac:2
Your iMac at a glance
Your computer has these built-in features:
Headphones port
CD-ROM or
CD-RW drive
Install software, use
applications, and listen to
music CDs. If you have
the CD-RW drive, you
can create your
own CDs. (For use only
with standard size,
circular discs.)
USB port
Connect a USB device,
such as a joystick or
graphics tablet.
Apple Pro Mouse
An optical mouse you
can use on almost
any surface.
Media Eject key
Eject a CD.
Volume controls
® Power button
Turn your computer on
or put it to sleep.
Two internal
stereo speakers
Microphone3
FireWire
Transfer video from
a DV camera. Connect
external hard disk drives,
printers, and scanners.
Modem
Connect to the Internet,
browse the World Wide
Web, and send email.
Ethernet
Share files with another
computer and access
a computer network,
printer, or the Internet.
USB
Connect printers, Zip
and other disk drives,
digital cameras,
joysticks, and more.
VGA output
Connect an external
monitor or television for
video mirroring.
Reset button
Use during
troubleshooting to restart
your computer.
Sound input
Record sounds using
an analog microphone
or other audio device.
To learn more about your iMac’s features:
m Choose Mac Help from the Help menu, then click
Go under “Discover my iMac.”
Access door
Install additional memory
and an AirPort Card for
wireless networking.
Sound output
Connect headphones,
external speakers, and
analog audio devices.4
Mac OS X basics
The Macintosh desktop is your starting place.
Finder icon
Click to open a
Finder window so
you can see the files
and applications on
your computer.
Window buttons
Click the red button to
close the window, the
yellow one to minimize it
into the Dock, and the
green one to resize it.
Apple menu
Use to change
system settings, open
recent items, and restart
or shut down your
computer. To see the
menu, click the apple
() in the menu bar.
View buttons
Click to see your
files as icons, in lists,
or in columns.
Toolbar button
Click to show or hide
the toolbar.
Toolbar icons
Click to navigate quickly
to different folders.
Your home folder
contains your personal
documents.
Trash
Drag an item here to
delete it. Items remain
here until you choose
Empty Trash from the
Finder menu.
To learn more about Mac OS X:
m See the Welcome to Mac OS X document in the
Documents folder on your hard disk.
Modem status
Use this menu to connect
to and disconnect from
the Internet using
a dialup modem.5
Dock
Click icons in the Dock
to open applications,
documents, folders,
or minimized windows.
Application menu
Shows the name of the
application you’re using.
Use to set preferences
or quit applications (other
than the Finder).
Document
Documents are files that
you create with an
application (such as a
letter you create with your
word processor). Doubleclick the icon to open the
file in the application used
to create it.
Folder
Folders help organize
your files and
applications. Doubleclick a folder to
see what’s inside.
Disc
This appears when a CD
is in the disc drive.
Double-click the icon to
see what’s on the disc.
To eject a disc, press and
hold the Media Eject ( )
key on the keyboard.
Application
Applications are software
programs (such as a
game or word processor)
that you use with your
computer. Double-click
an application’s icon to
open the application.6
Change the Mac OS to suit your preferences.
There are lots of ways to customize Mac OS X.
To change the size of
the Dock or move it to
a different place, open
System Preferences
and click Dock.
To change Finder
settings, choose
Preferences from the
Finder menu.
To change icon sizes
or the background of a
Finder window, choose
Show View Options from
the View menu.
Choose System
Preferences from
the Apple menu to
change most of your
computer’s settings.
To select a desktop
background picture, open
System Preferences and
click Desktop.7
Click the icons in the Dock or toolbar to find and open files and applications.
The triangle indicates the
application is open. Drag this bar up or down to
resize the Dock.
.Drag applications,
files, and folders
into the Dock for
one-click access.
This side of the Dock
shows application icons.
To set up the toolbar the
way you want it, choose
Customize Toolbar from
the Finder’s View menu,
then drag items to
the toolbar.
Press a folder icon to
see its contents and open
items in it.
This side of the Dock
shows files, windows,
and folders.8
Make your own CDs. Use iTunes to transfer music from your CD collection. If your iMac has
a CD-RW drive, burn your own music CDs. Transfer music to an iPod or other MP3 player to listen
on the go. Make a movie. Shoot video on a DV camcorder and import it into iMovie . Then
rearrange, edit, polish, and add titles and soundtracks. Connect to the Internet to send email and
browse the Web, or use iTools to post digital photos on the Web for everyone to see.
Browse through the next few pages to find out more.
What you can do with your iMac
Not sure how to get the most out of your new iMac? Read on for a few ideas.9
Send digital photos to
friends and family.
Connect to the Internet
wirelessly.
Listen to music and burn
your own CDs.
Send email and surf
the 'Net.
Import and edit
home movies.
The iMac is your
digital hub.
Put up to 1,000 songs in
your pocket.10
Listen to music on your computer or on the go.
Use iTunes to create a library of music and make your own CDs.
Library
Your collection of
songs, imported from
your own audio CDs or
downloaded from the
Internet. Easily browse
or search for music.
Radio Tuner
Choose from hundreds
of Internet radio
stations – jazz, rock,
talk, and more.
Audio CDs
Play an audio CD on your
computer. Import songs
to your Library
to play them without
the CD.
To learn more about iTunes:
m See iTunes Help, available in the Help menu.
m Go to www.apple.com/itunes
Portable music
If you have an Apple
iPod, transfer up to
1,000 songs for
listening on the go. Go
to www.apple.com/ipod
for more information.
Playlists
Make personalized
playlists using songs
from your Library.
Arrange your music by
mood, artist, genre, or
however you like.
Equalizer
Adjust the sound to
your tastes using
the 10-band EQ with
22 presets.11
2
3
1
1.
Click the icon in the Dock to
open iTunes.
2.
Drag songs from the Library to a
playlist. Then click the playlist.
3.
Click Burn CD and insert a CD-R disc.
Then click Burn CD again to start.
. You can fit up to 74 minutes of songs on a
standard music CD.
. To find out which recordable CDs
work best with your computer, go to
www.apple.com/itunes
If your computer has a CD-RW
drive, you can create your own
music CDs.12
Create and edit your own movies.
Use iMovie to edit video from a digital video camera.
2.
In iMovie, bring in your video
clips, then edit and polish them
into movies.
To learn more about iMovie:
m See iMovie Help, available in the Help menu.
m Go to www.apple.com/store to find compatible
DV cameras or to purchase a 6-pin to 4-pin
FireWire cable.
1.
Shoot video with a digital video
camera. Then connect the DV camera
using a FireWire cable.
3.
Export your finished movie
back to tape in your DV camera
or to a QuickTime file.13
With iMovie, you can add music, voiceovers, titles transitions, and more.
Playback controls
Use these to play the movie in the
iMovie monitor. Click the Play Full
Screen button to use the
entire screen.
iMovie monitor
Preview your movie or
view video from a
connected DV camera.
Viewers
Click the clip viewer
(eye tab) to edit and
place clips. Click the
timeline viewer (clock tab)
to edit sound.
Editing buttons
Click to open panels for
adjusting and selecting
sounds, video effects,
titles, and transitions.
Shelf
Clips appear here when
you import them. Move
clips to the viewer
to make them part of
Mode switch your movie.
Switch between
importing from a DV
camera and editing.14
Search the
Internet.
If you know the Internet
address, you can go
there directly.
1
2
1.
Click the icon in the Dock to open
Internet Explorer.
To learn more about Internet Explorer:
m Open Internet Explorer and choose
Internet Explorer Help from the Help menu.
2.
Type the Internet address and press
Return on your keyboard.
. If you have a dialup connection, you can use the
modem status (W) to connect to and disconnect
from the Internet.
1
215
1
1.
Click the icon in the Dock to
open Sherlock.
2.
Click the Internet icon and type
a question in the search field.
3.
Click the Search button ( ). Then
double-click an item in
the list of sites.
. Click the other buttons to find people, read the
news, shop, and more.
. Click the hard disk icon to search the files on
your computer.
Or you can search the Internet
with Sherlock.
2
316
Get more out of the Internet with iTools.
iTools is a suite of Internet services integrated into Mac OS X.
iDisk
Your own storage space on Apple’s Internet
server. Share photos, movies, and other
files over the Internet. Access your files from
another Macintosh or PC.
HomePage
Build a personal Web site in three easy
steps. Create a photo album, publish
an iMovie, post your résumé, and more.
Anyone can view your site on the World
Wide Web.
iCards
Send an elegant iCard, just right for any
occasion. Choose a ready-made photo, or
create a personalized iCard using a photo
on your iDisk.
Email
Get your own Mac.com email address.
It’s easy and works with your favorite
email application.
To learn more about iTools:
m Go to www.apple.com/itools and click Help on the
iTools menu bar.
. If you signed up for iTools when you first turned
on your computer, you already have an account.
Go to www.apple.com/itools to get started.
. To sign up for a new iTools account, open
System Preferences and click Internet. Then
click Sign Up.17
Store pictures, movies, documents, and other files remotely.
1
2
2.
Drag files to a folder on your iDisk
1. to copy them.
Choose iDisk from
the Go menu.
. To access your files from another
computer, log into your iTools account at
www.apple.com/itools
. Anyone can access the files in your Public folder.
. To find out how to use pictures and other
files from your iDisk to create a personal Web
site, go to www.apple.com/itools and click the
HomePage icon. 18
Send and
receive email.
Follow these steps to create
and send a message.
1
1.
Click the Mail icon in the Dock
to open the Mail application.
. To check for new messages, click Get Mail.
To view a message, click its subject.
. If you entered email information or got a
Mac.com account when you first turned on your
computer, Mail is already set up. To set up a
new email account, choose Preferences from
the Mail menu, then click Accounts.19
To learn more about Mail:
m Open Mail, then choose Mail Help from the
Help menu.
m Go to www.apple.com/macosx/applications/
mail.html
2
3
2.
To create a new email message,
click Compose. 3.
Type the email address and a
subject. Then type your message
and click Send.20
Organize, plan, and create using AppleWorks.
Use AppleWorks for writing, drawing, making presentations, and more.
Layout capabilities
Add photos, tables,
charts, and sidebars.
Link text frames, layer
graphics, and wrap text.
Word processing
Write letters, create
brochures, make
greeting cards and
party invitations.
Presentation tool
Create an onscreen
slide presentation.
Add movies, art,
graphs, and charts.
Database
Keep records, save
addresses, make
inventories. Merge
mailing information with
the word processor to
send form letters.
Customizable
templates
Choose from a wide
range of predesigned
documents and modify
them as needed.
Spreadsheet
Compute data easily
using over 100 built-in
functions, then use
formatting options to
make it stand out.
Painting
Create art from scratch
or apply effects to
existing pictures
or scanned photos.
Extensive
clip art libraries
Choose from over
25,000 high-quality
clip art images.21
. Click the Web tab to download more templates
from the Internet.
To learn more about AppleWorks:
m See AppleWorks Help, available in the Help menu.
m Go to the AppleWorks Web site at
www.apple.com/appleworks
1.
Click the icon in the Dock
to open AppleWorks. 2.
Click the type of document you want
to create, or click the Templates tab to
modify a ready-made document.
To get started using AppleWorks:
1
222
Keep your iMac’s
software up-to-date.
Use Software Update to
get the latest updates
and drivers.
1.
Click the icon in the Dock
to open System Preferences. 2.
Click
Software Update.
1
2
. To use Software Update, you must have an
Internet connection.23
3.
Then click
Update Now. 4.
Select the software you want to
update and then click Install.
3
4
. Click the name of a software item to learn
more about it.
. You can schedule your computer to check
automatically for software updates.24
Learn more
about using your
computer.
Look in Mac Help for
more information on using
your computer.
1
1.
Click the Finder icon
in the Dock.
2.
Then choose Mac Help from
the Help menu.
3.
Type a question
and click Ask.
4.
Click an item in the list
of Help topics.
. To browse the features of your computer, click
Go under “At a glance.”
. Click Quick Clicks topics for answers to
frequently asked questions.
. To look at Help for other applications, click
the ? button.
2
3
425
These Apple Web sites will help you get the most out of your computer.
Apple Service and Support
www.apple.com/support
Product support, software updates, and
technical information.
Apple Store
www.apple.com/store
Purchase the latest Apple and third-party hardware,
software, and accessories.
Macintosh Products Guide
www.apple.com/guide
For great hardware and software products
for your Mac, check the Web site or look for
the Mac symbol. Also get contact and
support information for third-party software
manufacturers.
. From these Web sites you can quickly link to
other Apple Web sites around the world.26
If you don’t find the answer to your problem
on the following pages:
Look in Mac Help.
m In Mac Help (see page 24), you can find a great deal of troubleshooting
advice, including information to help you solve problems with
m Connecting to the Internet
m Using software installation and restore discs
m Changing your computer’s settings
m Printing
m And more
m Click the Finder icon in the Dock, then choose Mac Help from the
Help menu. Type a question in the search window (for example,
type “How do I eject a disc?”) and click Ask.
Switching between Mac OS X and Mac OS 9
Your iMac is set to use Mac OS X. Most applications made for Mac OS 9 will
work in the Mac OS X Classic environment. Just open the application as
you normally would. You can also start up your computer using Mac OS 9.
To set your computer to use Mac OS 9:
m Choose System Preferences from the Apple (K) menu in Mac OS X.
m Click the Startup Disk icon to open the Startup Disk pane.
m Select the Mac OS 9 folder as your startup disk. If the icons are
dimmed, click the padlock icon and enter the password you chose
when you first set up Mac OS X.
m Click Restart.
To set your computer to use Mac OS X again:
m Choose Control Panels from the Apple (K) menu.
m Open the Startup Disk control panel.
m Click the triangle next to the hard disk that contains your operating
system folders.
m Select the Mac OS X System as your startup disk.
m Click Restart.
If the computer won’t respond:
First, make sure the mouse and keyboard are connected.
m Unplug and then plug in the connectors and make sure they
are secure.
Then try to cancel what the computer is doing.
m Try to force problem applications to quit. Hold down the Option and
Command (x) keys, then press the Esc key. Select the application and
click Force Quit.
Advice and troubleshooting27
If the computer still doesn’t respond, restart it.
m Hold the Power (®) button on the computer for five seconds. When
the computer turns off, press the Power button again to restart it.
m If that doesn’t work, press the Reset ( ) button.
m If that doesn’t work, unplug the power cord from the computer.
Then plug the power cord back in and press the Power button on
the computer to turn it on.
Then do this:
If the problem occurs frequently when you use a
particular application:
m Check with the application’s manufacturer to see if it is compatible
with your computer.
m For support and contact information about the software that came
with your computer, go to www.apple.com/guide
If the problem occurs frequently:
m You may need to reinstall your system software. Choose Mac Help
from the Help menu and type “install system software” for more
information.
If you see a flashing question mark
during startup:
If the computer doesn’t start up after a delay, hold down the
Option key and restart your computer.
m When your computer starts up, click the hard disk icon, then click
the arrow.
Then do this:
After the computer starts up:
m Open System Preferences and click Startup Disk. Select a local
Mac OS X System folder.
If the problem occurs frequently:
m You may need to reinstall your system software. Choose Mac Help
from the Help menu and type “install system software” for more
information.
If the computer won’t turn on or start up:
First, make sure the power cord is connected.
m Make sure both ends of the power cord are plugged in securely.
Make sure the power cord is plugged into a powered electrical outlet.
m If your computer is plugged into a power strip, make sure the power
strip is turned on.28
If that doesn’t work, or if you hear strange sounds during
startup:
m If you recently installed additional memory, make sure that it is
correctly installed and that it is compatible with your computer.
m If that doesn’t work, press the Reset ( ) button, wait a few seconds,
and then press the Power (®) button.
m See the service and support information that came with your iMac for
information on having your computer serviced.
If you can’t log into your computer:
Make sure you are typing your user name and
password correctly.
m Make sure you are using the same capitalization and punctuation that
you used originally. Check to see if the Caps Lock key has been
pressed.
If that doesn’t work, reset your password.
m Insert the Mac OS X software install CD that came with your computer.
Restart your computer while holding down the C key. When the
Installer appears, choose Reset Password from the Installer menu and
follow the onscreen instructions.
If your printer won’t respond or work correctly:
Check all cables and connections.
m Make sure the printer is plugged into the computer and an electrical
outlet. Make sure the printer is turned on.
Make sure your computer is set up to use your printer.
m Install the software that came with your printer. See the documentation
that came with the printer for instructions.
m Open the Print Center application in the Utilities folder. Then select
your printer.
If you can’t eject a CD:
Make sure the disc is not in use.
m Quit all applications that are using files on the disc.
m Then press the Media Eject ( ) key at the top-right corner of the
keyboard.
m If that doesn’t work, drag the disc’s icon to the Trash.
m If that doesn’t work, restart the computer, then hold down the mouse
button. To restart, choose Restart from the Apple (K) menu.29
If you have a problem with a third-party
software program:
Make sure the software is compatible with your version of
system software.
m See the documentation that came with the software. You can check the
version of system software you have by choosing About This Mac from
the Apple (K) menu.
To resolve other problems with software, contact the
software manufacturer.
m For support and contact information about the software that came with
your computer, go to www.apple.com/guide
If you have a problem with your
Internet connection:
First, make sure the telephone line or Ethernet cable is
properly connected to your computer.
m Wait a while, then try connecting again.
If that doesn’t work, make sure your Internet settings are
configured correctly.
m Open the Internet Connect application in the Applications folder to
check your dialup or AirPort settings. Open System Preferences and
click Network to check your Internet settings.
m If you’re not sure of the correct information for your Internet settings,
contact your Internet service provider.
If the Apple Pro Mouse isn’t
responding properly:
First, make sure the mouse and keyboard are connected.
m Unplug and then plug in the connectors and make sure they
are secure.
If that doesn’t work, try using the mouse on another surface,
like a mouse pad or a notebook.
m Non-reflective, opaque surfaces without repetitive patterns
work best.
If you run out of room and want to keep the mouse clicked
while you lift it:
m Click the mouse, then squeeze the sides with your thumb and fingers
and lift the mouse.
If the mouse clicks too easily or not easily enough:
m Turn the ring on the bottom of the mouse to adjust the tension
of the click.
For the latest troubleshooting information, go to the
Apple Support Web site at www.apple.com/support30
Install memory and an AirPort Card.
For detailed instructions, refer to Mac Help (see page 24).
Before installing:
m shut down the computer
m unplug all cables, except the power cord
m place the computer face down on a soft cloth
1.
Open the access door using a coin to
turn the latch. 2.
Touch the metal shield inside the
recessed latch area. Then unplug the
power cord.
3.
To install memory, insert a memory
module into one of the two lower
slots.
. Touch this metal before you touch any parts
inside the computer. Don’t walk around the
room until you’ve finished installing memory or
an AirPort Card.
.Be sure to align the notches on the module with
the small notches inside the slot.31
4.
To install an AirPort Card, detach the
antenna from the guide rail, then
remove the protective plastic cap.
5.
Connect the antenna firmly to the
AirPort Card and insert the card
sideways into the slot.
6.
Close the access door and use a coin
to close the latch.
. For instructions on using the AirPort software,
look in the Help Center, available in the Help
menu.
. Never turn your computer on unless all of its
internal and external parts are in place.The guidelines in this section can help you work more comfortably with
your computer. For detailed information about ergonomics,
see Apple’s Environmental Health and Safety Web site at
www.apple.com/about/ergonomics
Keyboard
m When you use the computer keyboard, your shoulders should be
relaxed. Your upper arm and forearm should form an approximate
right angle, with your wrist and hand in roughly a straight line.
m You may have to raise your chair so your forearms and hands are at the
proper angle to the keyboard. If this makes it impossible to rest your
feet flat on the floor, you can use a footrest with adjustable height and
tilt to make up for any gap between the floor and your feet. Or you may
lower the desktop to eliminate the need for a footrest. Another option
is to use a desk with a keyboard tray that is lower than the regular work
surface.
m Use a light touch when typing and keep your hands and fingers relaxed.
Avoid rolling your thumbs under your palms.
Mouse
m Position the mouse at the same height as your keyboard. Allow
adequate space to use the mouse comfortably.
Chair
m An adjustable chair that provides firm, comfortable support is best.
Adjust the height of the chair so your thighs are horizontal and your
feet flat on the floor.
m The back of the chair should support your lower back (lumbar region).
Follow the manufacturer’s instructions for adjusting the backrest to fit
your body properly.
Computer
m Arrange the computer so the top of the screen is slightly below your
eye level when you’re sitting at the keyboard. The best distance from
your eyes to the screen is up to you, although most people seem to
prefer 18 to 28 inches (45 to 70 cm).
m Position the computer to minimize glare and reflections on the screen
from overhead lights and windows.
32
Work more comfortably.33
Important Don’t lift the computer using the flip-out foot. You could
damage your computer. To move your computer, grab the handle on the
top of the computer with one hand; with your other hand, hold the
bottom of the computer.
Avoiding fatigue
m Change your seated position, stand up, or stretch whenever you start
to feel tired. Frequent short breaks are helpful in reducing fatigue.
m Use a light touch when typing or using a mouse and keep your hands
and fingers relaxed.
m Some computer users may develop discomfort in their hands, wrists,
or arms after periods of intensive work without breaks.
If you begin to develop chronic pain or discomfort in your hands,
wrists, or arms, consult a qualified health specialist immediately.
m Allow adequate workspace so that you can use your keyboard and
mouse comfortably. Place papers or other items so you can view them
easily while using your computer. A document stand may make reading
papers more comfortable.
m Eye muscles must work harder to focus on nearby objects.
Occasionally focus your eyes on a distant object, and blink often while
you work.
m Clean your screen regularly. Keeping the screen clean helps reduce
unwanted reflections.
45–70 cm (18–28 in.)
Thighs tilted slightly
Shoulders
relaxed
Screen positioned
to avoid reflected
glare
Forearms
and hands
in a straight
line
Forearms
level or tilted
down slightly
Lower back
supported
Feet flat on the floor
Top of the screen
at or slightly below
eye level (You may
need to adjust
the height of your
monitor by raising
your work
surface.)
Clearance under
work surface34
Safety
Make sure that you
m keep these instructions handy for reference by you and others who
may use your computer
m follow all instructions and warnings regarding your system
When setting up and using your computer, remember the following:
m Place your computer in a location with adequate ventilation. Never
block the vents on the computer.
m Your computer has a three-wire grounding plug that will only fit a
grounded AC outlet. If you are unable to insert the plug into the outlet,
contact a licensed electrician to replace the outlet with a properly
grounded outlet.
m Make sure you only connect the modem to an analog phone line, the
type commonly used in residences. Do not connect a digital telephone
line to the modem, because it could damage the modem.
m Never turn on your computer unless all of its internal and external
parts are in place. Operating the computer when it is open or missing
parts can be dangerous and damage your computer.
Important The only way to disconnect power completely is to unplug
the power cord. Make sure at least one end of the power cord is within
easy reach so that you can unplug the computer when you need to.
For your own safety and that of your equipment, always disconnect the
power plug (by pulling the plug, not the cord) if any of the following
conditions exists:
m you want to remove any parts (leave the cord disconnected as long as
the computer is open)
m the power cord or plug becomes frayed or otherwise damaged
m you spill something into the case
m your computer is exposed to rain or any other excess moisture
m your computer has been dropped or the case has been otherwise
damaged
m you suspect that your computer needs service or repair
m you want to clean the case (use only the recommended procedure
discussed in Mac Help)
Be sure that you always do the following:
m Keep your computer away from sources of liquids, such as drinks,
washbasins, bathtubs, shower stalls, and so on.
m Protect your computer from dampness or wet weather, such as rain,
snow, and so on.
Warning Electrical equipment may be hazardous if misused.
Operation of this product must always be supervised by an adult.
Do not allow children access to the interior of this product and do
not permit them to handle any cables.
Safety, cleaning, and power management35
Cleaning your computer equipment
To clean your computer equipment, use only the recommended
procedures discussed in Mac Help.
Power supply
The power supply in your computer is a high-voltage component and not
user-serviceable. If you suspect the power supply needs service, contact
your Apple-authorized dealer or service provider.
Power-saving and environmental features
Your computer is equipped with energy-saving features that allow it to
conserve energy when not in use. For instructions on adjusting the system
and display sleep settings and additional energy-conservation information,
see Mac Help.
ENERGY STAR
®
As an ENERGY STAR®
partner, Apple has determined that this product
meets the ENERGY STAR®
guidelines for energy efficiency. The ENERGY
STAR®
program is a partnership with office product equipment
manufacturers to promote energy efficiency. Reducing energy
consumption of office products saves money and reduces pollution by
eliminating wasted energy.
Warning Do not attempt to access the high-voltage area or
power supply. If you suspect the power supply needs service,
contact your Apple-authorized dealer or service provider.
Warning Do not clean the screen with a cleaner that contains
alcohol or acetone. Never spray cleaner directly onto the screen.
Liquid could drip inside the screen and cause an electrical shock.36
Communications, telephone, and modem
regulation information
For information on FCC regulations, radio and television interference, and
telephone and modem information related to this product, see the files in the
Communications Regulations folder, inside the Documents folder on your hard disk.
Laser information
Warning Making adjustments or performing procedures other than those specified in
your equipment’s manual may result in hazardous radiation exposure.
Do not attempt to disassemble the cabinet containing the laser. The laser beam
used in this product is harmful to the eyes. The use of optical instruments, such as
magnifying lenses, with this product increases the potential hazard to your eyes.
For your safety, have this equipment serviced only by an Apple-authorized
service provider.
Service warning label
High-risk activities warning
This computer system is not intended for use in the operation of nuclear facilities, aircraft
navigation or communications systems, or air traffic control machines, or for any other
uses where the failure of the computer system could lead to death, personal injury, or
severe environmental damage.
Camera information
The DV camera pictured on page 12 of this manual is not included with this product. The
model shown may not be available in all areas.
Mouse information
This product complies with the requirements of European Directives 72/23/EEC and
89/336/EEC. Complies with the Canadian ICES-003 Class B specification. This mouse is a
Class 1 LED product. (IEC 60825-1:1993+A1:1997+A2:2001)
Caution Use of controls or adjustment or performance of procedures other than those
specified herein may result in hazardous radiation exposure.
Every effort has been made to ensure that the information in this manual is accurate.
Apple is not responsible for printing or clerical errors.
Where’s the fine print?www.apple.com
© 2002 Apple Computer, Inc. All rights reserved.
AirPort, Apple, the Apple logo, AppleWorks, FireWire, the FireWire logo, iMac, Mac, the Mac logo, Macintosh, QuickTime, and Sherlock are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.
Finder, iMovie, iPod, and iTunes are trademarks of Apple Computer, Inc. ENERGY STAR®
is a U.S. registered trademark. Digital imagery copyright 1998 PhotoDisc, Inc.
034-2102-A Printed in U.S.A.
User’s Guide• •
Manuel de l’utilisateur•
Benutzerhandbuch
Manual del usuario•
Manuale Utente•
Guia do Usuário•
Gebruikershandleiding•
Handbok
Brukerhåndbok•
Brugerhåndbog•
Käsikirja• • •
iBooknce you’ve set up your iBook and followed the
onscreen guide to connect to the Internet, what’s
next? In this booklet you’ll find more information to help
you get the most out of your iBook:
2 Features
4 Basics
6 Internet and email
14 Music and desktop video
20 Productivity
22 Learning more and solving problems
28 Installing memory and an AirPort Card
32 Ergonomics and safety
1
O2
What can my iBook do?
Your computer has these built-in features:
Optional AirPort
wireless Internet
and networking
Using the optional AirPort
Card, you can connect to the
Internet, use email, share files,
play network games, and
more—without any
wires to hold you down.
Volume and
brightness controls
Adjust sound volume and
screen brightness directly using
your keyboard.
Programmable
function keys
Set the keyboard function
keys to open your Web
browser, email application,
or other favorite application
or document automatically.
Optical disc drive
Install and run software, or listen
to music CDs. Play DVD videos
if you have the DVD or combo
DVD/CD-RW drive, or create
your own CDs if you have the
CD-RW or combo drive. Press
the eject key ( ) on the
keyboard to open the drive.
Battery level indicator
(underneath)
When you press the button
on the battery, one to four
lights glow to show how
much charge is left.
Two built-in
stereo speakers
Listen to music, movies,
games, and multimedia.
Built-in microphone
Record sound or control
your computer with spoken
commands.Modem
Connect to the Internet,
browse the World Wide
Web, and send and
receive electronic mail.
3
Sleep indicator light
Pulsating light indicates that
the computer is in sleep.
® Power button
Turn your computer on, put
it to sleep, or shut it down.
Audio/video port
Connect headphones or
external speakers. Mirror
your iBook display on a
TV or video projector.
Ethernet
Share files with another
computer or access
a computer network.
USB
Connect printers, Zip and
other disk drives, digital
cameras, joysticks,
and more.
FireWire
Connect a digital video
camera and use it to create
your own desktop movies.
You can also connect
FireWire hard disks,
printers, and more.
RGB port
Connect an external monitor
(using the included Apple
RGB Display Adapter).
Reset button
Use during troubleshooting
to restart your computer.
Kensington
security slot
Attach a lock and cable
to prevent theft.4
What are the basics?
The Macintosh desktop is your starting place.
Control Strip
Use this for
convenient access to
often-used settings.
Application menu
Click here to switch
between open applications.
Remote Access
Use this Control Strip button
to connect to and disconnect
from the Internet.
Disc
This appears when a CD
or DVD is in the disc drive.
Double-click the icon to
see what’s on the disc.
To eject a disc, press the
eject key ( ) on the
keyboard.
Apple menu
Use this to select
often-used applications
and tools. To see the
menu, click the apple ()
in the menu bar.
Trash
Drag items here to
delete them. Items remain
here until you choose
Empty Trash from the
Special menu.
. For a quick tutorial on mouse and
desktop skills, choose Mac Tutorials
from the Help menu.5
Window close box
Click this to close
a window.
Hard disk
All of your files and
applications are kept here.
Double-click the icon to
open it.
Folder
Folders help
organize your files
and applications.
Double-click
a folder to open it.
Document
Documents are files that you create
with an application (such as a letter
you create with your word processor).
Double-click the icon to open the file
in the application used to create it.
Application
Applications are software programs
(such as a game or word processor)
that you use with your computer.
Double-click an application’s icon
to open the application.How do I find something on the Internet?
If you know the Internet address, you can go there directly.
6
1
Double-click
“Browse the Internet”
to open your Web browser.
2
Type the Internet address
and press Return on
your keyboard.7
2
Type what you want to find and
click the Search button ( ). Then
double-click an item in
the list of sites.
. Click the other buttons to find people,
read the news, shop, and more.
Or you can search the Internet with Sherlock 2.
1
Choose Search Internet
from the File menu.8
How can I get started on the World Wide Web?
These Apple Web sites will help you get the most out of your computer.
www.apple.com/support
Product support, software updates, and
technical information
. From these Web sites you can quickly
link to other Apple Web sites around
the world.
www.apple.com/store
Purchase the latest Apple hardware,
software, and accessories.
www.apple.com/guide
For great hardware and software
products for your Mac, check this
Web site or look for the Mac symbol.
Also get contact and support
information for third-party software
manufacturers.9
www.apple.com/hotnews
The latest Apple news and events, software updates for your
Mac, and QuickTime hot picks
www.apple.com/macosx
Get the latest info on the world’s most
advanced OS–Mac OS X.
www.apple.com/icards
Send customized electronic postcards
to your friends and family.KidSafe
Make the Internet a safer place
for your kids. KidSafe gives them
access to more than 100,000
educator-approved Web sites
and blocks the rest.
10
What can I do with iTools?
iTools is a new class of Internet services created for Mac users.
iDisk
Your own 20 MB of free storage
on Apple’s Internet server. Share
photos, movies, and other files over
the Internet. Purchase additional
storage space.
Email
Get your own Mac.com email
address. It’s easy and it works with
your favorite email programs.
HomePage
Build a personal Web site in
three easy steps. Create a photo
album, publish an iMovie, post your
resumé, and more. Now anyone can
view your page on the Internet.
iCards
Send an elegant iCard, just right for
any occasion. Choose a ready-made
photo, or create a personalized
iCards using photos on your iDisk.11
To get started using iTools:
2
Follow the simple instructions
to sign up for a free account.
. If you signed up with EarthLink and got
a Mac.com email address when you first turned
on your computer, you already have an iTools
account. Go to www.apple.com/itools and
enter your member name and password.
1
Go to www.apple.com/itools
and click the Free Sign Up button.
To learn more about iTools:
m go to www.apple.com/itools and click Help on the
iTools menu bar12
How do I use email?
Follow these steps to create and send a message:
1
Double-click the Mail icon
on the desktop to open your
email application.
. The first time you open the application,
a setup assistant helps you connect to
your email account.
. To check for new messages,
click the Send & Receive button.
To view a message, click its subject.13
2
To create a new email message, click
the New button.
3
Type the email address and
a subject. Then type your
message and click Send Now.Portable music
Take your iBook and your
entire music collection with
you, or transfer a few of
your favorites to an MP3
player.
Playlists
Make personalized
playlists using songs from
your Library. Arrange your
music by mood, artist,
genre, or however you like.
What can I do with iTunes?
Create a library of music, listen to Internet radio, or transfer songs to a portable MP3 player.
Library
Your collection of
songs, imported from
your own audio CDs or
downloaded from the
Internet. Easily browse
or search for music.
Radio Tuner
Listen to one of hundreds
of Internet radio stations—
jazz, rock, talk, and more.
Audio CDs
Play an audio CD on
your computer. Import
songs to your Library.
To learn more about iTunes:
m see iTunes Help, available in the Help menu
m go to www.apple.com/itunes
1415
If your computer has a CD-RW drive, you can create your own music CDs.
1
Drag songs from the Library to a
playlist. Then double-click the playlist.
. You can fit up to 74 minutes of songs on
a music CD.
2
Click Burn CD and insert a CD-R disc.
Then click Burn CD again to start.
. To find out which recordable CDs work best
with your computer, go to www.apple.com/itunesHow can I watch movies and videos?
Watch live video on the Internet using QuickTime TV.
2
Double-click the
QuickTime Player icon
on the desktop.
3
Pull the tab to open
the Favorites drawer.
Then click a channel.
.With QuickTime, you can
also watch movies you make with
iMovie, listen to MP3 music files,
and much more.
To learn more about QuickTime:
m see QuickTime Help, available in the Help menu
m go to www.apple.com/quicktime
1
Connect
to the Internet.
1617
If your computer has a DVD drive, you can watch DVD video.
. To use the whole screen to watch the
movie, choose Present Video on Screen from
the Video menu.
. Connect your iBook to a television using the
optional Apple AV Cable to watch a DVD on TV
(see Mac Help to learn more).
. To learn more about the Apple DVD Player,
see Apple DVD Player Help, available in the
Help menu.
1
Insert a DVD video disc.
Then choose Apple DVD Player
from the Apple (K) menu.
2
Use the controller to play
the movie or see the DVD’s
special features.18
How can I make a movie?
Use iMovie 2 to edit video from a digital video camera.
2
In iMovie, bring in your video
clips, then edit and polish them
into movies.
To learn more about iMovie:
m open the iMovie application, then go through
the tutorial, available in the Help menu
m see iMovie Help, available in the Help menu
m go to www.apple.com/imovie to find
compatible DV cameras
1
Shoot video with a digital video
camera. Then connect the DV camera
using a FireWire cable.
. Standard 6-pin-to-4-pin FireWire cable
not included.
3
Export your finished movie
back to tape in your DV camera
or to a QuickTime file.19
With iMovie 2, you can add music, voice-overs, titles, transitions, and more.
Editing buttons
Click these to open panels
for adjusting and selecting
sounds, video effects,
titles (text), and scene
transitions. Click the Clips
button to see the shelf.
iMovie monitor
Preview your movie or
view video directly
from a connected
DV camera.
Shelf
To make clips part of your
movie after you import
them, move them from the
shelf to the clip viewer.
Viewers
Click the clip viewer
(eye tab) to edit and place
clips. Click the timeline
viewer (clock tab) to
edit sound.
Mode switch
Use this to switch between
importing from a DV
camera and editing.
Scrubber bar
Use this to select sections of video.
Playback controls
Use these to play the movie
in the iMovie monitor. Click the
Play Full Screen button to
use the entire screen.20
What can I do with AppleWorks?
Use AppleWorks for writing, drawing, making presentations, and more.
Layout capabilities
Add photos, tables,
charts, and sidebars.
Link text frames, layer
graphics, and wrap text.
Word processing
Write letters, create
brochures, make
greeting cards and
party invitations.
Presentation tool
Create an onscreen slide
presentation. Add movies,
art, graphs, and charts.
Database
Keep records, save
addresses, make
inventories. Merge mailing
information with the
word processor to send
form letters.
Customizable
templates
Choose from a wide
range of predesigned
documents and modify
them as needed.
Spreadsheet
Compute data easily
using over 100 built-in
functions, then use
formatting options to
make it stand out.
Painting
Create art from scratch
or apply effects to
existing pictures
or scanned photos.
Extensive
clip art libraries
Choose from over
25,000 high-quality
clip art images.21
To get started using AppleWorks:
1
Open AppleWorks,
in the Applications folder
on your hard disk.
2
Click the type of document you want to
create, or click the Templates tab
to modify a ready-made document.
. Click the Web tab to download more templates
from the Internet.
To learn more about AppleWorks:
m see AppleWorks Help, available in the Help menu
m open the AppleWorks Getting Started file
(on your hard disk in the AppleWorks folder)
m go to the AppleWorks Web site at
www.apple.com/appleworks22
How can I keep my computer software up-to-date?
Use the Software Update control panel to get the latest updates and drivers.
1
Connect to
the Internet.
2
Choose Control Panels from the Apple
menu. Then choose Software Update
from the submenu.
3
Click the
Update Now
button.23
4
Select the software you want to
update and then click Install.
. Click the name of a software item to learn
more about it.
. You can schedule your computer to check
automatically for software updates.24
Where do I go to learn more?
Look in Mac Help for more information on using your computer.
2
Type a question and
click Search.
. If you don’t see Mac Help
in the Help menu, choose Finder
from the Application menu and
try again.
. You can browse through
information about your computer
by clicking one of the blue
underlined items in the window.
. If you want to see the Help
for other applications on your
computer, choose Help Center
from the Help menu.
1
Choose Mac Help
from the Help menu.25
. Underlined items are links. When you click a link,
it goes to another Help topic, does something for you,
or takes you to more information on the Internet.
3
Click an item in the list
of Help topics.
. If you didn’t find what you were
looking for, try rewording your question.If the computer won’t respond:
Try to cancel what the computer is doing.
m Press the Command (x) and period (.) keys at the same time.
m If that doesn’t work, hold down the Option and Command (x) keys
and then press the Esc key.
If the computer still doesn’t respond, restart it.
m Press and hold the Power button for 5 to 10 seconds to shut down
the computer. Then press the Power button to restart it.
m If that doesn’t work, hold down the Control and Command (x)
keys and then press the Power button.
m If that doesn’t work, gently press the reset ( ) button by inserting
the end of a paper clip into the small hole above the audio/video
port, wait a few seconds, and then press the Power button. You
need to reset the date and time (using the Date & Time control
panel) after you reset your iBook.
Then do this:
If the problem occurs when you use a certain application:
m If this is the only way that you can start up your computer, check
with the application’s manufacturer to see if it is compatible with
your computer.
If the problem occurs frequently:
m Choose Mac Help from the Help menu. Look at the section on how
to prevent and solve problems. You may need to check for
extension conflicts or reinstall your computer’s system software.
If the computer “freezes” during startup
or you see a flashing question mark:
Turn off system extensions.
m Start up your computer while holding down the Shift key.
If that does not work, start up using the system software CD.
m Insert your system software CD and start up while holding down
the C key. (Make sure the Caps Lock key is not engaged.)
Then do this:
After the computer starts up, see the troubleshooting
information in the onscreen help.
m Choose Mac Help from the Help menu. Look at the section
on how to prevent and solve problems. You may need to check for
extension conflicts or reinstall your computer’s system software.
If the background picture is different:
m You started up your computer using the system software on your
CD instead of your hard disk. If this is the only way that you can
start up your computer, you probably need to reinstall the system
software on your hard disk. Look for instructions in Mac Help or
look for the system software installation program on your CD.
26
What if I have a problem?27
If the computer won’t turn on or start up:
Make sure the power adapter is plugged into the computer
and into a functioning power outlet.
m Your battery may need to be recharged. Press the small button on
the battery. One to four lights glow indicating the battery’s level of
charge.
If that does not work, reset the computer’s memory.
m Start up the computer and immediately hold down the Command
(x), Option, P, and R keys until you hear the startup sound twice.
If that does not work or if you hear a strange sound during
startup:
m If you recently installed additional memory, make sure that it is
correctly installed. Try removing the memory; if the computer starts
up normally, the memory is not compatible with your computer.
m If that doesn’t work, gently press the reset ( ) button by inserting
the end of a paper clip into the small hole above the audio/video
port, wait a few seconds, and then press the Power button.
m See the service and support information that came with your iBook
for information on contacting Apple for service.
If you can’t eject a CD:
Make sure the disc is not in use.
m Quit all applications that are using files on the disc.
m Then press the keyboard’s Eject key ( ), or drag the disc’s icon to
the Trash.
If the disc still won’t eject, eject it manually:
m Carefully insert the end of a straightened paper clip into the
emergency eject hole on the drive tray.
Other problems:
If you have a problem with your Internet connection:
m Make sure the telephone line is connected to the modem port (W)
and the line is functioning properly.
m Choose Mac Help from the Help menu. There you can find out how
to locate and change your Internet settings.
m If you’re not sure of the correct information for your Internet
settings, contact your Internet service provider.
If you have a problem connecting other devices:
m Make sure that the device is properly connected. Try unplugging
and plugging in the device again.
m Check to see if the device has software that needs to be installed.
m If that doesn’t work, contact the device manufacturer.
m If you want to connect an older device, see Mac Help for
information on connecting older devices to your computer.
If you have a problem with an application:
m For problems with software, contact the software manufacturer.
m For information on the software that came with your iBook,
including how to contact the manufacturer, see
www.apple.com/support/bundledsw
If you have a problem using your computer:
m Look at the information in Mac Help for instructions and
troubleshooting information.
If you suspect there may be a problem with your computer
hardware:
m You can use the Apple Hardware Test CD to help you determine if
there is a problem with one of your computer’s components, such
as the memory or processor.28
How do I expand my iBook?
1
Shut down your computer. Then
disconnect the power adapter and
phone cord. Turn the computer
over and remove the battery.
3
If necessary, remove the metal
clip and pull the AirPort Card
from the adapter. The adapter is
not used with the iBook.
. For instructions on using the AirPort software,
look in the Help Center, available in the Help menu.29
4
Flip up the wire bracket and
connect the end of the antenna to
the AirPort Card. Touch a
metal surface inside the
computer.
5
Slide the AirPort Card (with the
AirPort ID and barcode facing up)
under the wire bracket and
into the slot.
6
Press the wire bracket down to
secure the card. Then replace the
keyboard and battery.
. You may need to reset the date and time
(using the Date & Time control panel) after
installing the AirPort Card.Add additional memory.
30
. Your iBook has one expansion slot that accepts
a 1.25-inch (or shorter), PC-100 compliant,
SO-DIMM memory module. For more information
on installing memory, look in Mac Help, available in
the Help menu.
1
Shut down your computer. Then
disconnect the power adapter and
phone cord. Turn the computer
over and remove the battery.
2
Release the keyboard by sliding
the two plastic tabs away from the
display.
3
Lift up the keyboard, flip it over,
and lay it on the palm rests and
trackpad. Touch a metal surface
inside the computer.31
4
If necessary, remove the
AirPort Card.
. To prevent scratching, place a soft
cloth between the AirPort Card and the
iBook case.
5
Remove the two screws that
secure the RAM shield, then
carefully lift it out.
6
Insert the RAM into the slot at an
angle and press down to lock it in
place. Replace the RAM shield,
AirPort Card (if necessary),
keyboard, and battery.
. You may need to reset the date and time
(using the Date & Time control panel) after
you install memory.Keyboard and trackpad
When you use the keyboard and trackpad, your shoulders should be
relaxed. Your upper arm and forearm should form an angle that is
slightly greater than a right angle, with your wrist and hand in roughly
a straight line.
Use a light touch when typing or using the trackpad and keep
your hands and fingers relaxed. Avoid rolling your thumbs under
your palms.
Change hand positions often to avoid fatigue. Some computer users
may develop discomfort in their hands, wrists, or arms after intensive
work without breaks. If you begin to develop chronic pain or
discomfort in your hands, wrists, or arms, consult a qualified
health specialist.
This Not this
This Not this
32
How do I work comfortably?33
Chair
An adjustable chair that provides firm, comfortable support is best.
Adjust the height of the chair so your thighs are horizontal and your
feet flat on the floor. The back of the chair should support your lower
back (lumbar region). Follow the manufacturer’s instructions for
adjusting the backrest to fit your body properly.
You may have to raise your chair so your forearms and hands are at the
proper angle to the keyboard. If this makes it impossible to rest your
feet flat on the floor, you can use a footrest with adjustable height and
tilt to make up for any gap between the floor and your feet. Or you can
lower the desktop to eliminate the need for a footrest. Another option
is to use a desk with a keyboard tray that’s lower than the regular work
surface.
External mouse
If you use an external mouse, position the mouse at the same height as
your keyboard and within a comfortable reach.
Built-in display
Adjust the angle of the display to minimize glare and reflections from
overhead lights and windows.
You can adjust the brightness of the screen when you take the
computer from one work location to another, if the lighting in your
work area changes.
For more information
For additional ergonomic information, see the Apple ergonomic
Web site at www.apple.com/about/ergonomicsWhen setting up and using your computer, remember the following:
m Read all the installation instructions carefully before you plug your
computer into a wall socket.
m Keep these instructions handy for reference by you and others.
m Follow all instructions and warnings dealing with your system.
m Use only the Apple Portable Power Adapter that came with your
computer. Adapters for other electronic devices may look similar,
but they may damage your computer.
m If your power adapter came equipped with a three-wire grounding
plug (a plug that has a third grounding pin), then this plug will fit
only a grounded AC outlet. If you are unable to insert the plug into
the outlet because the outlet is not grounded, contact a licensed
electrician to replace the outlet with a properly grounded outlet.
Do not defeat the purpose of the grounding plug!
m Always leave space around your power adapter. Do not use this
equipment in a location where airflow around the power adapter is
confined, such as a bookcase.
m Always disconnect the power adapter, phone line, and any other
cables before opening the computer to perform procedures such as
installing memory.
m Never turn on your computer unless all of its internal and external
parts are in place. Operating the computer with missing parts can
be dangerous and damage your computer.
m Do not connect a digital telephone line to the modem, because the
wrong type of line could damage the modem.
m When using your computer or when charging the battery, it is
normal for the bottom of the case to get warm. The bottom of the
computer case functions as a cooling surface that transfers heat
from inside the computer to the cooler air outside. The bottom of
the case is raised slightly to allow airflow that keeps the unit within
normal operating temperatures.
m Keep your computer away from sources of liquids, such as drinks,
washbasins, bathtubs, shower stalls, and so on.
m Protect your computer from dampness or wet weather, such as rain,
snow, and so on.
34
Is there anything else I need to know?
Follow these instructions for using your computer safely and wisely:For your own safety and that of your equipment, always disconnect the
power plug (by pulling the plug, not the cord), disconnect the phone
line, and remove the battery if any of the following conditions exists:
m you want to remove any parts (leave the cord disconnected as long
as the keyboard is open)
m the power cord or plug becomes frayed or otherwise damaged
m you spill something into the case
m your computer is exposed to rain or any other excess moisture
m your computer has been dropped or the case has been otherwise
damaged
m you suspect that your computer needs service or repair
m you want to clean the case (use only the recommended procedure)
Important The only way to disconnect power completely is to unplug
the power plug, disconnect the phone cord, and remove the battery.
Make sure at least one end of the power cord is within easy reach so
that you can unplug the computer when you need to.
Your iBook has a unique appearance and finish that may contain minor
imperfections, some of which may increase over time. Exposing your
iBook to extreme temperatures or humidity may cause this process to
accelerate. Proper care and handling, as described in this manual, will
help keep your iBook looking its best.
To clean the case, do the following:
1 Disconnect the power plug and phone cord and remove the
battery. (Pull the plug, not the cord.)
2 Wipe the surfaces lightly with a clean, soft cloth.
Warning Do not use any substance containing isopropyl alcohol.
It can damage the case. If necessary, use products made specifically
for cleaning computers.
Warning To avoid damage to your computer, Apple recommends
that only an Apple-certified technician install additional RAM or an
AirPort Card. Consult the service and support information that
came with your computer for instructions on how to contact an
Apple-authorized service provider or Apple for service. If you
attempt to install additional RAM or an AirPort Card yourself, any
damage you may cause to your equipment will not be covered by
the limited warranty on your computer. See an Apple-authorized
dealer or service provider for additional information about this or
any other warranty question.
Warning Electrical equipment may be hazardous if misused.
Operation of this product, or similar products, must always
be supervised by an adult. Do not allow children access to the
interior of any electrical product and do not permit them to handle
any cables.
Never push objects of any kind into this product through the
openings in the case. Doing so may result in fire or a dangerous
electric shock.
3536
Communications, Telephone, and Modem
Regulation Information
For information on FCC regulations, radio and television interference, and
telephone and modem information related to this product, see the files in the
Communications Regulations folder, inside the Documents folder on your hard disk.
Laser Information
Warning Making adjustments or performing procedures other than those specified
in your equipment’s manual may result in hazardous radiation exposure.
Do not attempt to disassemble the cabinet containing the laser. The laser beam
used in this product is harmful to the eyes. The use of optical instruments, such as
magnifying lenses, with this product increases the potential hazard to your eyes.
For your safety, have this equipment serviced only by an Apple-authorized
service provider.
Service Warning Label
Apple Portable Power Adapter
The Apple Portable Power Adapter that comes with your computer is a high voltage
component and should not be opened for any reason, even when the computer is
turned off. If your computer needs service, contact your Apple-authorized dealer or
service provider.
Battery
Warning Risk of explosion if battery is replaced by an incorrect type. Dispose of
used batteries according to your local environmental guidelines. Do not puncture or
incinerate.
High-Risk Activities Warning
This computer system is not intended for use in the operation of nuclear facilities,
aircraft navigation or communications systems, or air traffic control machines, or for
any other uses where the failure of the computer system could lead to death, personal
injury, or severe environmental damage.
Camera Information
The DV camera pictured on page 18 of this manual is not included with this product.
The model shown may not be available in all areas.
ENERGY STAR
®
As an ENERGY STAR®
partner, Apple Computer has determined that standard
configurations of this product meet the ENERGY STAR®
guidelines for energy
efficiency. The United States Environmental Protection Agency’s ENERGY STAR®
program is a partnership with office product equipment manufacturers to promote
energy-efficiency. Reducing energy consumption of office products saves money and
reduces pollution by eliminating wasted energy.
Every effort has been made to ensure that the information in this manual is
accurate. Apple is not responsible for printing or clerical errors.
Where’s the fine print?
Macintosh PowerBook
User’s Manual
Includes setup, expansion,
and important health-related information for
Macintosh PowerBook G3 Series computersK Apple Computer, Inc.
© 1998 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple.
The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. Use of the
“keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may
constitute trademark infringement and unfair competition in violation of federal and state laws.
Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for
printing or clerical errors.
Apple Computer, Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
http://www.apple.com
Apple, the Apple logo, AppleTalk, LaserWriter, LocalTalk, Mac, Macintosh, PlainTalk, PowerBook, and StyleWriter are
trademarks of Apple Computer, Inc., registered in the U.S. and other countries.
Other company and product names mentioned herein are trademarks of their respective companies. Mention of
third-party products is for informational purposes only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with regard to the performance or use of these products.
Simultaneously published in the United States and Canada.3
Contents
Communications Regulation Information 7
Laser Information 11
High-Risk Activities Warning 11
1 Setting Up 13
Becoming Familiar With Your Macintosh PowerBook 13
Hardware at a Glance 13
Your Computer’s Components and Controls 14
Your Computer’s Ports and Connectors 16
Setting Up the Computer 18
Your PowerBook Battery 18
Plugging In the Computer 20
Opening the Display 21
Turning the Computer On 22
Problems Turning the Computer On? 23
Adjusting the Internal Display 24
Adjusting the Resolution of the Internal Display 24
Moving Items on the Screen 25
Tips for Using the Trackpad 25
Putting the Computer to Sleep 26
Problems Working With Computer Programs or the Mac OS 27
Turning the Computer Off 28
What’s Next 284 Contents
2 Using Your PowerBook and Connecting to a Network 29
Using the Expansion Bays 30
Using Expansion Bay Modules 30
Removing an Expansion Bay Module 31
Inserting an Expansion Bay Module 33
Using a Disc in the CD-ROM or DVD-ROM Drive 34
Ejecting a Disc 36
Power Sources 37
AC Power 37
Main Battery 37
Optional Second Battery 37
Recharging the Battery 38
Monitoring the Battery Charge 38
Using the Battery Level Indicator Lights 39
Responding to Low-Power Messages 39
What You Should Do 39
What You Should Know 39
Maximizing Work Time 40
Removing or Replacing the Battery 41
Using PC Cards 42
Inserting a PC Card 43
Ejecting a PC Card 44
If You Can’t Eject a Card 45
Using a Zoomed Video PC Card 45
Using a PC Card Modem 46
Using the Infrared File Transfer Capability 47
Connecting to a Local Area Network 48
Connecting to a LocalTalk Network 48
Connecting to a 10Base-T Ethernet Network 50
Configuring Your Network Connection 50Contents 5
Using Your PowerBook’s Optional Internal Modem 51
Setting Up Your Modem’s Connections 51
Connecting the Telephone Line to the Modem 51
What Modems Do 53
Software for Your Modem 53
Choosing the Port Setting 54
Modem Tips and Troubleshooting 55
3 Connecting Additional Equipment 57
Connecting a Printer 58
Connecting an External Modem 58
Connecting SCSI Devices 59
Using Your Macintosh PowerBook as a Hard Disk 60
Connecting Your Computer as a Hard Disk 60
Quitting SCSI Disk Mode 62
Using an External Monitor 63
Connecting an External Monitor 64
Trouble With the External Monitor? 66
Disconnecting an External Monitor 66
Using an External Video Display or Recording Device 67
Connecting Video Equipment to Your PowerBook 68
Trouble With the External Video Device? 70
Disconnecting an External Video Device 70
Connecting and Using Sound Input Devices 71
Connecting Sound Output Devices 72
Locking Your Computer 72
Connecting a Mouse, Keyboard, or Other ADB Device 73
Connecting Other Devices 73
4 Installing a RAM Expansion Card and Removing Your Hard Disk 75
Getting Ready 75
Removing the Keyboard and Internal Heat Sink 75
Installing a RAM Expansion Card 79
Removing Your PowerBook Hard Disk Drive 81
Replacing the Keyboard and Internal Heat Sink 836 Contents
Appendix
Health, Safety, and Maintenance Tips 85
Health-Related Information About Computer Use 85
Musculoskeletal Discomfort 85
Eye Fatigue 86
Arranging Your Work Area and Equipment 87
Chair 87
Keyboard and Trackpad 87
Mouse 88
Built-In Display 88
External Monitor 88
Avoiding Fatigue 88
What About Electromagnetic Emissions? 88
Important Care and Safety Instructions 89
Caution 90
Important 90
Caring for Batteries 91
Handling Floppy Disks 91
Handling CD and DVD Discs 92
Traveling With the Macintosh PowerBook 92
Airplanes and Airports 93
Handling Your Macintosh PowerBook 93
International Repair and Service 93
Storing the Macintosh PowerBook 93
Service and Support 94
Modem and Fax Safety 94Communications Regulation Information 7
Communications Regulation Information
FCC Declaration of Conformity
This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This
device may not cause harmful interference, and (2) this device must accept any interference received, including
interference that may cause undesired operation. See instructions if interference to radio or television reception
is suspected.
Radio and Television Interference
The equipment described in this manual generates, uses, and can radiate radio-frequency energy. If it is not
installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with
radio and television reception.
This equipment has been tested and found to comply with the limits for a Class B digital device in accordance
with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection
against such interference in a residential installation. However, there is no guarantee that interference will not
occur in a particular installation.
You can determine whether your computer system is causing interference by turning it off. If the interference
stops, it was probably caused by the computer or one of the peripheral devices.
If your computer system does cause interference to radio or television reception, try to correct the interference
by using one or more of the following measures:
m Turn the television or radio antenna until the interference stops.
m Move the computer to one side or the other of the television or radio.
m Move the computer farther away from the television or radio.
m Plug the computer into an outlet that is on a different circuit from the television or radio. (That is, make
certain the computer and the television or radio are on circuits controlled by different circuit breakers or
fuses.)
If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that
came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions.
Important Changes or modifications to this product not authorized by Apple Computer, Inc., could void the
FCC Certification and negate your authority to operate the product.
This product was tested for FCC compliance under conditions that included the use of Apple peripheral devices
and Apple shielded cables and connectors between system components. It is important that you use Apple
peripheral devices and shielded cables and connectors between system components to reduce the possibility of
causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral
devices and the proper shielded cables and connectors through an Apple-authorized dealer. For non-Apple
peripheral devices, contact the manufacturer or dealer for assistance.
Responsible party (contact for FCC matters only): Robert Steinfeld, Apple Computer, Inc., 1 Infinite Loop,
Cupertino, CA 95014-2084, 408-974-2618.
Industry Canada Statement
This Class B device meets all requirements of the Canadian interference-causing equipment regulations.
Cet appareil numérique de la Class B respecte toutes les exigences du Règlement sur le matériel brouilleur du
Canada.8 Communications Regulation Information
VCCI Class 2 Statement
Notify Your Telephone Company
Some telephone companies require that you notify the local business office when you hook up a modem to their
lines.
Information You Need in the United States
The optional internal modem complies with Part 68 of the FCC rules. On the back of this equipment is a label that
contains, among other information, the FCC registration number and ringer equivalence number (REN). If
requested, provide this information to your telephone company.
m Ringer equivalence number (REN): 0.8–0.9 The REN is useful to determine the quantity of devices you may
connect to your telephone lines and still have all those devices ring when your telephone number is called. In
most, but not all areas, the sum of the RENs of all devices connected to one line should not exceed five (5.0).
To be certain of the number of devices you may connect to your line, as determined by the REN, you should
contact your local telephone company to determine the maximum REN for your calling area.
m Telephone jack type: USOC, RJ-11 An FCC-compliant telephone cord and modular plug are provided with this
equipment. This equipment is designed to be connected to the telephone network or premises wiring using a
compatible modular jack that complies with Part 68 rules. See the installation instructions for details.
Telephone Line Problems
If your telephone doesn’t work, there may be a problem with your telephone line. Disconnect the modem to see
if the problem goes away. If it doesn’t, report the problem either to your local telephone company or to your
company’s telecommunications people.
If disconnecting the modem eliminates the problem, the modem itself may need service. See the service and
support information that came with your Apple product for instructions on how to contact Apple or an Appleauthorized service provider for assistance.
If you do not disconnect your modem when it is adversely affecting the telephone line, the telephone company
has the right to disconnect your service temporarily until you correct the problem. The telephone company will
notify you as soon as possible. Also, you will be informed of your right to file a complaint with the FCC.
The telephone company may make changes in its facilities, equipment, operations, or procedures that could
affect the operation of your equipment. If this happens, the telephone company will provide advance notice in
order for you to make the necessary modifications to maintain uninterrupted service.
The optional internal modem will not work with party lines, cannot be connected to a coin-operated telephone,
and may not work with a private branch exchange (PBX).
Telephone Consumer Protection Act
The Telephone Consumer Protection Act of 1991 makes it unlawful for any person to use a computer or other
electronic device to send any message via a telephone fax machine unless such message clearly contains in a
margin at the top or bottom of each transmitted page or on the first page of the transmission, the date and time it
was sent and an identification of the business or other entity, or individual sending the message and the
telephone number of the sending machine of such business, entity, or individual.Communications Regulation Information 9
Information You Need in Canada
The Industry Canada (IC) label identifies certified equipment. This certification means that the equipment meets
certain telecommunications network protective, operational, and safety requirements. The Department does not
guarantee the equipment will operate to a user’s satisfaction.
Before installing this equipment, make sure that you are permitted to connect to the facilities of the local
telecommunications company. Be sure you use an acceptable method of connection to install the equipment. In
some cases, you may extend the company’s internal wiring for single-line individual service by means of a certified
telephone extension cord. Be aware, however, that compliance with these conditions may not prevent
degradation of service in some situations.
Repairs to certified equipment should be made by an authorized Canadian maintenance facility designated by the
supplier. Any equipment malfunctions or repairs or alterations that you make to this equipment may cause the
telecommunications company to request that you disconnect the equipment.
In Canada, contact Apple at: 7495 Birchmount Road, Markham, Ontario, L3R 5G2, 800-263-3394
Users should ensure for their own protection that the electrical ground connections of the power utility,
telephone lines, and internal metallic water pipe system, if present, are connected together. This precaution may
be particularly important in rural areas.
Informations Destinés aux Utilisateurs Canadiens
L’étiquette d’Industrie Canada identifie un matériel homologué. Cette étiquette certifie que le matériel est
conforme à certaines normes de protection, d’exploitation et de sécurité des réseaux de télécommunications. Le
Ministère n’assure toutefois pas que le matériel fonctionnera à la satisfaction de l’utilisateur.
Avant d’installer ce matériel, l’utilisateur doit s’assurer qu’il est permis de le raccorder au réseau de l’entreprise
locale de télécommunication. Le matériel doit également être installé en suivant une méthode acceptée de
raccordement. Dans certains cas, le cablage appartenant à l’entreprise utilisé pour un service individuel à ligne
unique peut être prolongé au moyen d’un dispositif homologué de raccordement (cordon prolongateur
téléphonique).
L’abonné ne doit pas oublier qu’il est possible que la conformité aux conditions énoncées ci-dessus n’empechent
pas la dégradation du service dans certaines situations. De fait, les entreprises de télécommunication ne
permettent pas que l’on raccorde un matériel aux prises d’abonné, sauf dans les cas précis prévus par les tarifs
particuliers de ces entreprises.
Les réparations de matériel homologué doivent être effectuées par un centre d’entretien canadien autorisé
désigné par le fournisseur. La compagnie de télécommuncations peut demander à l’utilisateur de débrancher un
appareil suite à des réparations ou des modifications effectuées par l’utilisateur ou à cause de mauvais
fonctionnement.
Veuillez contacter le fournisseur suivant pour des informations supplémentaires :
Apple Canada, Inc.
7495 Birchmount Road
Markham, Ontario
Canada L3R 5G2
Apple Canada Customer Assistance Line: 800-263-3394
Warning Users should not attempt to make such connections themselves, but should contact the appropriate
electric inspection authority or electrician
m Load number: 0.3 The load number (LN) assigned to each terminal device denotes the percentage of the
total load to be connected to the telephone loop that is used by the device, to prevent overloading. The
termination of a loop may consist of any combination of devices, subject only to the requirement that the sum
of the load numbers of all devices does not exceed 100.
m Telephone jack type: CA-1110 Communications Regulation Information
Pour sa propre protection, I’utilisateur doit s’assurer que tous les fils de mise à la terre du secteur, des lignes
téléphoniques et les canalisations d’eau métalliques, s’il y en a, soient raccordés ensemble. Cette précaution est
particulièrement importante dans les régions rurales.
Information You Need in the United Kingdom
This terminal equipment is intended for direct connection to the analogue Public Switched Telecommunications
Network and is approved for use within the United Kingdom with the following features:
m Modem facility
m Autocalling facility
m Autoanswer facility
m DTMF signaling
m Operation in the absence of proceed indication or upon detection of proceed indication
This product is in conformity with relevant regulatory standards following the provisions of European Council
Directives 73/23/EEC (Low Voltage Directive) and 89/336/EEC amended by 92/31/EEC (EMC Directive).
Information You Need in Germany
Diese Modem-Karte ist als Endeinrichtung vorgesehen und muss an ein TAE mit F-Kodierung angeschlossen
werden.
Diese Endeinrichtung ist in Konformität gemäss Niederspannungsrichtlinie 73 / 23 / EWG sowie EMC-Richtlinien
89 / 336 / EWG und 92 / 31 / EWG.
Information You Need in France
Ce matériel est conforme aux normes applicables de sécurité éléctrique d’après la directive 73 / 23 / CEE et aux
normes applicables de comptabilité éléctromagnétique d’après la directive 89 / 336 / CEE, modifié par la directive
92 / 31 / CEE.
Avertissement L’utilisateur ne doit pas tenter de faire ces raccordements lui-même; il doit avoir recours à un
service d’inspection des installations électriques ou à un électricien, selon le cas.
m Numéro de charge : 0.3 L’indice de charge (IC) assigné à chaque dispositif terminal indique, pour éviter toute
surcharge, le pourcentage de la charge totale qui sera raccordée à un circuit téléphonique bouclé utilisé par ce
dispositif. La terminaison du circuit bouclé peut être constituée de n’importe quelle combinaison de dispositifs
pourvu que la somme des indices de charge de l’ensemble des dispositifs ne dépasse pas 100.
m Type de prise téléphonique : CA-11Laser Information 11
Laser Information
Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to
the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential
hazard to your eyes. For your safety, have this equipment serviced only by an Apple-authorized service provider.
Your computer is a Class 1 laser product. The Class 1 label, located in a user-accessible area, indicates that the
drive meets minimum safety requirements. A service warning label is located in a service-accessible area. The
labels on your product may differ slightly from the ones shown here.
High-Risk Activities Warning
This computer system is not intended for use in the operation of nuclear facilities, aircraft navigation or
communications systems, or air traffic control machines, or for any other uses where the failure of the computer
system could lead to death, personal injury or severe environmental damage.
Warning Making adjustments or performing procedures other than those specified in your equipment’s
manual may result in hazardous radiation exposure.
Class 1 label Service warning label13
C H A P T E R
1
1 Setting Up
Your Macintosh PowerBook has been designed so that you can set it up quickly and start
using it right away. If you have never used a PowerBook or are new to Macintosh computers,
read this chapter for an overview of PowerBook features and instructions on getting started.
If you are an experienced user, you may already know enough to get started with your new
PowerBook. Take a moment to look over the information in this manual to find out about the
new features of your Macintosh PowerBook.
Becoming Familiar With Your Macintosh PowerBook
Your PowerBook is designed to keep you working productively in any location. The
information in this manual covers setting up, using, and expanding your PowerBook
hardware. With a PowerBook, you have
m easily configurable and expandable hardware.
m Mac OS system software along with software for connecting to the Internet.
m interactive online information and instructions for using the computer.
m a separate manual for troubleshooting, and system software reinstallation.
Hardware at a Glance
The illustrations on the next several pages show the built-in features of your computer,
including the expansion bays, PC Card slots, and the ports for connecting a printer, network,
and other external equipment.14 Chapter 1
Your Computer’s Components and Controls
Left expansion
bay release lever
Speaker
— Mute button
Ï Volume control
Trackpad Right expansion bay release lever Trackpad button
¤Brightness control
Sleep indicator
Expansion bay
with a CD-ROM
or DVD-ROM
drive inserted
® Power button
Display latch Microphone
Security slot
SpeakerSetting Up 15
Sleep indicator
Blinking green light indicates when the PowerBook is in sleep.
® Power button
Turns your PowerBook on and off.
Microphone
Record sounds directly to your PowerBook hard disk with this built-in microphone.
¤ Brightness control
Increase or decrease the brightness of your PowerBook display.
Ï Volume control
Increase or decrease the volume of the sound coming from your built-in speakers and
sound output port using this control.
— Mute button
Turn the sound off and on from the PowerBook external speakers and sound output port.
Trackpad
Move the pointer on the PowerBook display. The trackpad can also be set up so that you
can double-click and select items directly instead of using the trackpad button.
Right expansion bay with a CD-ROM or DVD-ROM drive module inserted
Dual-function expansion bay that accepts either removable modules (3.5-inch or 5.25-inch
size) or a PowerBook battery.
Ç Security slot
Protect your PowerBook by connecting a security cable.16 Chapter 1
Your Computer’s Ports and Connectors
-
√ ¯ V ´ G g Æ ™
External TV
out port
™ External
monitor port PC Card slots
PC Card
eject buttons
Internal
modem
port
(some
models)
Expansion bay with
a PowerBook battery
Left expansion
bay release
lever
Infrared
window
- Sound
output port
¯ Power
adapter port
Printer/
External
modem port
V Apple Desktop
Bus (ADB) port
√ Sound
input port
g SCSI port
(HDI-30)
Ethernet port
(10Base-T)
G
Æ
W
´Setting Up 17
Infrared window
Allows you to use infrared (IR) communication to send files to another IR-equipped
computer or connect to a wireless IrDA network.
g SCSI port (HDI-30)
Connect up to seven external SCSI devices (such as external hard drives or scanners).
´ Printer/External modem port
Connect to printer, external modem, or LocalTalk network.
™ External monitor port
Connect to any external monitor with a VGA-style connector or to any Macintosh monitor
using the included adapter.
Æ External TV out port
Connect to any television, VCR, or other video device that supports S-Video, NTSC, or PAL
formats.
V ADB port
Connect a mouse, external keyboard, or other ADB device.
G Ethernet port (10Base-T)
Connect to a high-speed 10Base-T Ethernet network.
¯ Power adapter port
Connect the power adapter to your PowerBook. When connected, the power adapter
provides power to your PowerBook and also charges the batteries inside the PowerBook.
PC Card slots
Expand the capabilities of your PowerBook using these two PC Card slots that support
both PCMCIA and CardBus formats.
W Internal modem port (some models)
Connect a standard phone line directly to the optional internal modem.
Left expansion bay with a PowerBook battery
Dual-function expansion bay that accepts either 3.5-inch removable modules or a
PowerBook battery.
√ Sound input port
Connect an external line level microphone or other sound input device.
- Sound output port
Connect external speakers, headphones, or other sound output device.18 Chapter 1
Setting Up the Computer
Now that you know some essential details about your PowerBook, you’re ready to set it up
and begin using it. Setting up your Macintosh PowerBook for the first time is a quick and
simple process. However, there are a few items that you need to have and things to do before
you begin using your PowerBook.
Your PowerBook Battery
The battery that came with your PowerBook computer may be already inserted in an
expansion bay. If not, you should insert it now so that it can be charged.
You can easily tell if the battery is already installed by looking at the left expansion bay. If you
see an opening for a floppy disk, then the floppy disk drive module is installed and the
battery is not installed. If you see a small button with four small lights to its right, the battery
is installed.
If Your PowerBook Did Not Come With the Battery Installed
If your PowerBook did not come with the battery inserted in the expansion bay, you should
insert it in place of the floppy disk drive module in order to charge it.
To remove the floppy disk drive module and insert the battery, follow these steps:
1 Place your PowerBook on a hard flat surface.
Important Before following the setup instructions in this chapter, you may want to read
“Arranging Your Work Area and Equipment” on page 87 for tips on adjusting your work
furniture and computer so that you’re comfortable when using the computer.
PowerBook battery
PowerBook battery inserted
in the left expansion bay
Floppy disk drive module
inserted in the left expansion baySetting Up 19
2 Pull the left expansion bay release lever to partially eject the floppy disk drive module.
3 Slide the floppy disk drive module out of its compartment.
4 Gently slide the battery (with the battery name facing up) into the left expansion bay until
the edge of the battery is flush with the left side of the PowerBook.
Be sure the battery is completely inserted.
If Your PowerBook Came With the Battery Installed
New PowerBook computers that ship with a battery installed have a shipping label covering
the battery to protect it from losing its charge completely. You need to remove the label
before the battery will provide power for the computer.
1 With the display open, peel off the part of the shipping label on the computer’s case, taking
care not to tear the label.
2 Pull the left expansion bay release lever to partially eject the battery.
3 Slide the battery out of its compartment.
4 Carefully remove the shipping label from the battery.
Avoid touching the battery’s metal contacts as you peel off the label.
5 Replace the battery.
Wall St. User’s Manual
034-0426-A20 Chapter 1
Plugging In the Computer
Plugging in the power adapter recharges the computer’s battery. You should plug in the
power adapter in case the battery has drained during shipping or storage.
When you are ready to begin, follow these steps:
1 Plug one end of the power cord into the power adapter and the other end into an outlet or
power strip.
2 Plug the power adapter plug into the power adapter port (marked with the icon ¯) on the
back of the computer.
Warning Use only the power adapter that came with your Macintosh PowerBook
computer. Adapters for other electronic devices (including other Macintosh PowerBook
models and other portable computers) may look similar, but they may damage your
computer.
If your power adapter came equipped with a three-wire grounding plug—a plug that has a
third (grounding) pin. This plug will fit only a grounded AC outlet. If you are unable to
insert the plug into the outlet because the outlet is not grounded, contact a licensed
electrician to replace the outlet with a properly grounded outlet. Do not defeat the
purpose of the grounding plug!
Power adapter plug
¯ Power adapter port
Power cord
Power adapterSetting Up 21
Opening the Display
1 Gently pull the display latch to release it.
2 Position the display at a comfortable viewing angle.
You can adjust the angle of the display at any time by tilting it toward or away from you.22 Chapter 1
Turning the Computer On
To turn on the computer for the first time, press the Power button (®) above the keyboard.
You should hear a tone when you turn on the computer. It takes the computer a few
moments to start up. As the computer starts up, several messages appear on the screen,
including an application to help you set up the Mac OS.
Note: Certain system settings (such as sound volume, screen brightness, and AppleTalk
connection) may not be saved the first time you set them if the battery has been completely
discharged or has been out of the computer for three days or more. You will need to reset
these system settings the second time you start up the computer.
® Power buttonSetting Up 23
Problems Turning the Computer On?
Nothing happened when you pressed the Power button.
m The battery may be drained. Make sure that you plugged in the power adapter, and that
the power adapter is firmly connected to both the computer and a power source. If the
power adapter is plugged into a power strip, make sure the power strip is plugged in and
turned on.
m If the computer doesn’t start up when you press the Power button, hold down the Shift,
Function (fn), and Control (ctrl) keys and then press the Power button (®). The Sleep
indicator light glows briefly while the computer goes through a reset process. After the
power indicator light turns off, wait a few seconds and then press the Power button again
to start up the computer. Once the battery has charged, you should be able to use the
Power button normally.
m If the computer still doesn’t turn on, see the troubleshooting manual that came with your
computer.
There is a slight delay after you press the power button before the computer
starts up.
m Every time you press the power button, the PowerBook performs a check of the
computer’s memory, causing a slight delay in startup. The more memory you have
installed in the PowerBook, the longer the delay.
You see a picture of a disk with a blinking question mark on the screen.
m This icon usually means that the computer can’t find system software on the hard disk or
any disks attached to the computer. You may need to reinstall system software. See the
troubleshooting manual that came with your computer.24 Chapter 1
Adjusting the Internal Display
Before you begin working with your new PowerBook, you may need to adjust your display so
that items on the screen are easy to see. Your PowerBook comes with a control (labeled with
the ¤ icon) that adjusts screen brightness.
m Use the brightness (¤) control to change the brightness of your display.
If your display is too dark, press and hold the right side of the brightness control (labeled
with the + icon) until items are easily visible on the screen. If your display is too bright,
press and hold the left side of the brightness control (labeled with the – icon) until items
are easily visible on the screen.
Adjusting the Resolution of the Internal Display
You can increase the size of images on your built-in display by switching from the standard
resolution to a scaled resolution. To do so, click the Resolution icon in the Control Strip.
When you switch to a scaled resolution, items on the screen appear larger, making them
easier to see.
Note: Scaled resolutions may not appear as sharp as the standard display resolution.
¤ Brightness control
Resolution iconSetting Up 25
Moving Items on the Screen
You use your PowerBook trackpad to move items and select items on the screen. To move
the arrow pointer on the screen, slide your finger across the trackpad. To select, click, or
double-click an item on the screen, press the trackpad button.
The trackpad is sensitive to how fast you move your finger. To move the pointer a short
distance across the screen, move your finger slowly across the trackpad. The faster you move
your finger, the farther the pointer moves on the screen.
You can find more information on setting up your PowerBook trackpad in the online help,
available in the Help menu.
Trackpad Trackpad button
Tips for Using the Trackpad
For best results when using the trackpad, keep in mind these tips:
m Use your index finger (left or right hand). Use only one finger.
m Use only your finger on the trackpad. Do not use a pen or any other object.
m Keep your finger and the trackpad dry. If the trackpad becomes moist from
humidity or condensation, gently wipe the trackpad with a clean cloth before you
use it.
m Never use any kind of cleaning solutions on your PowerBook trackpad.26 Chapter 1
Putting the Computer to Sleep
Sleep is a power conservation feature of Macintosh PowerBook computers that lets you
quickly wake the computer and bypass the startup process. You can extend the period of
time your battery will power the computer by putting the PowerBook to sleep when you
won’t be using it for several minutes or more. The length of time the computer can be left in
sleep depends on how much charge is left in the battery.
When the computer is in sleep, it has a darkened screen and appears to be off. A small green
light flashes on the case when the computer is in sleep.
To put the computer to sleep, follow these instructions:
1 Press the Power button (®).
The following dialog box appears.
2 Click the Sleep button.
You can also put your computer to sleep by doing one of the following:
m closing the display
m choosing Sleep from the Special menu
m clicking the Energy Settings icon in the Control Strip and choosing Sleep Now from the
menu that appears
3 To wake the computer, press the Power button (®) or any key on the keyboard (except for
the fn key.)
The screen reappears as it was before the computer went to sleep.
Note: To decrease the time it takes for the computer to wake up from sleep, turn off
AppleTalk. For more information, see the online help, available in the Help menu.
Warning Once you put your computer to sleep, listen for the hard disk to stop spinning
before you move your PowerBook. Moving your computer while the hard disk is spinning
can damage your computer.
Energy Settings iconSetting Up 27
Problems Working With Computer Programs or the Mac OS
If software difficulties (such as a software error message on your screen) don’t allow you to
use standard methods of quitting a program or restarting your computer, you can try using
these special key combinations.
The reset key combination immediately turns off the computer. Then the sleep indicator
light glows briefly while the computer goes through the reset process. After the sleep
indicator light turns off, wait a few seconds and then press the Power button again to start up
the computer.
For more information on solving problems, see the troubleshooting manual that came with
your computer.
To do this... ...press this key combination
Force a program to quit x-Option-Esc
Force the computer to restart x-Control–Power button
Force the computer to reset Shift-Fn-Control–Power button
Important Only force the computer to reset if the other two key combinations are
unsuccessful at solving your problem. When you force a reset, your computer’s default
(original) settings will be restored. You may need to reconfigure settings for power
management, memory, trackpad, TCP/IP, and AppleTalk if you reset the computer.28 Chapter 1
Turning the Computer Off
Always use one of the following methods to shut down the computer. If you don’t, you risk
losing any work you haven’t saved. You also risk losing any open documents.
To turn the computer off, follow these instructions:
1 If the computer is in sleep, press the Power button (®) or any key on the keyboard (except
for the fn key) to wake it.
2 Press the Power button.
The following dialog box appears:
3 Press the Return key on the keyboard (or click the Shut Down button in the dialog box).
If any applications are still open, a message asks if you want to save your work before the
computer shuts down.
Note: You can also turn off the computer by choosing Shut Down from the Special menu.
What’s Next
For more information about working with your computer’s hardware, refer to the following
chapters in this manual:
To learn more about the basics of your computer’s hardware, including the expansion bays,
batteries and power, and connecting to a network, go to Chapter 2, “Using Your PowerBook
and Connecting to a Network.”
To learn how to connect additional equipment to your PowerBook, such as printers or
external monitors, go to Chapter 3, “Connecting Additional Equipment.”
To learn how to install additional memory or remove your hard disk, go to Chapter 4,
“Installing a RAM Expansion Card and Removing Your Hard Disk.”29
C H A P T E R
2
2 Using Your PowerBook and
Connecting to a Network
This chapter provides information and instructions on using the built-in features of your
Macintosh PowerBook such as expansion bays, batteries, and PC Card slots. In addition, this
chapter describes connecting your PowerBook to a computer network and using your
internal modem (available on certain configurations only).
The information in this chapter will help you get started using the features of your
PowerBook. Many of these features, such as networking and infrared communication, require
that you configure your system software or use specific applications. You can find more
information in the online help, available in the Help menu.
In this chapter you will find information on using the following items:
m expansion bays and expansion bay modules
m batteries and power management
m PC Card slots that support PCMCIA and CardBus formats
m infrared communication
m connecting to a local area network
m using your internal modem (available on certain PowerBook configurations)
For information on connecting additional equipment such as printers and external monitors,
see Chapter 3, “Connecting Additional Equipment.”30 Chapter 2
Using the Expansion Bays
Your PowerBook comes with dual-function expansion bays that accept either expansion bay
modules or PowerBook batteries. Expansion bay modules–such as a floppy disk drive, CDROM drive, or DVD-ROM drive–are removable, which allows you to easily switch or replace
them with another module.
Dual-function expansion bays give you maximum flexibility in setting up your PowerBook to
meet your needs. For example, if you are working with your PowerBook at home or in the
office and you have the power adapter plugged in, you can have a floppy disk drive module
in one expansion bay and a CD-ROM or DVD-ROM drive module in the other expansion bay.
If you are traveling on a long plane trip, you can have a battery in each expansion bay.
Using Expansion Bay Modules
Expansion bay modules and PowerBook batteries are inserted and removed in the same way.
You can switch expansion bay modules while the PowerBook is turned on, in sleep, or shut
down. You should change batteries only when the PowerBook is shut down or in sleep
(unless there is a charged battery in the other expansion bay). For more information on
PowerBook batteries, see “Power Sources” on page 37.
If you purchase an expansion bay module from an independent supplier, be sure to follow
the instructions that came with the device. Some modules may have special requirements.
Important Only use expansion bay modules and batteries specifically designed for this
PowerBook. Expansion bay modules and batteries from other PowerBook computers are
not compatible.
Left expansion
bay
Right
expansion bay
Important Don’t switch modules while the computer is starting up. Also take care not to
remove a module if a floppy disk, CD-ROM disc, or other media is inserted (even if the
computer is in sleep). If you remove a module (such as the CD-ROM drive) when a disc is
inserted, you’ll see a message telling you to reinsert the module.Using Your PowerBook and Connecting to a Network 31
Removing an Expansion Bay Module
Before removing an expansion bay module from your PowerBook, you need to make sure
that it is not in use and that it does not contain a floppy disk, CD, or other media. To remove
an expansion bay module from your Macintosh PowerBook, follow these steps:
1 Place your PowerBook on a hard flat surface.
2 Click the Expansion Bay icon in the Control Strip to determine whether the expansion bay
module is ready to be removed.
If the Control Strip indicates that the expansion bay module is not removable, quit any
application programs or files that may be using it. Then do one of the following:
m Drag the icon of the floppy disk, CD, or other media that is inserted in the module to the
Trash.
m Click the icon of the floppy disk, CD, or other media that is inserted in the module and
choose Put Away from the File menu or choose Eject from the Special menu.
m Click the Expansion Bay icon in the Control Strip and choose Make Right Module
Removable from the menu that appears.
Important If you are going to remove both expansion bay modules at the same time,
adjust your PowerBook display so that it is at a 90-degree angle to the computer. If the
display is adjusted too far back, your PowerBook may tip backward when both expansion
bays are empty.
90
o
Expansion Bay icon
Important Do not remove an expansion bay module that is in use, or you may lose data. If
you try to remove the module when it is in use, you’ll see a message telling you to
reinsert it.32 Chapter 2
To be sure that the computer isn’t using the module, wait 5 seconds after quitting programs
and ejecting a disk before you remove the module.
3 Pull the expansion bay release lever to eject the module.
When the lever is completely extended, the module will be partially out of the expansion bay.
4 Gently slide the expansion bay module out of the computer.
Important If you see a message telling you to reinsert the module, the module is still in
use. Reinsert the module and repeat step 2.Using Your PowerBook and Connecting to a Network 33
Inserting an Expansion Bay Module
The PowerBook battery and the optional floppy disk drive module can be placed in either
expansion bay. The CD-ROM or DVD-ROM drive module (because of its larger size) can only
be put in the right expansion bay.
To insert an expansion bay module, follow these steps:
1 If the expansion bay that you want to use already has a module in place, remove it as
described in the previous section.
2 Gently slide the module into the expansion bay until the edge of the module is flush with the
side of the PowerBook and you hear the module click into place.
Make sure that you insert the module with the label facing up.
Note: The right expansion bay can accept the wide 5.25-inch CD-ROM or DVD-ROM drive
module or the narrower floppy disk drive module or PowerBook battery. When a narrower
device is in the expansion bay, a small flap covers the empty part of the bay. When the wider
CD-ROM or DVD-ROM drive module is inserted, the flap folds into the bay.
Insert the module with
the label facing up.34 Chapter 2
Using a Disc in the CD-ROM or DVD-ROM Drive
Inserting a Disc
To load a disc in the drive, follow these steps:
1 Make sure that the CD-ROM or DVD-ROM drive module is inserted into the right expansion
bay.
2 Start up the PowerBook, if it’s not already on.
3 Press the Open button on the outside of the module to open its tray.
4 Pull the tray all the way open.
Open button
Drive spindle
Drive lens
Important Do not touch the drive lens. Using Your PowerBook and Connecting to a Network 35
5 Place a disc in the tray, with the label facing up.
Make sure the disc is lying flat in the tray and is seated firmly on the spindle.
Note: CD-ROM and DVD-ROM drives have small locks on the drive spindle that securely
hold the disc in place. When inserting a disc over these locks, you may need to apply
additional pressure. Place the hole in the center of the disc directly over the drive spindle
and press down until you feel the disc lock into place.
6 Push the tray in to close it.
Keep the tray closed except when loading discs. This prevents dust from getting inside the
mechanism. Be sure to keep discs free of dust and grease.
Note: When the drive is in use, you may notice some vibration as the disc spins rapidly.
Certain discs can cause the drive to vibrate because they have heavily inked artwork or a label
that creates an imbalance as the drive spins. Some vibration is not unusual for a high-speed
CD-ROM or DVD-ROM drive. To minimize vibration from unbalanced discs, do not put labels
on your discs. In addition, place the computer on a flat, solid surface when using the drive.
Insert the disc,
label side up.36 Chapter 2
Ejecting a Disc
Follow these instructions to open the tray and eject a disc from the drive:
1 Open the tray.
There are several ways to open the tray of your drive.
If a disc icon appears on your screen, do one of the following:
m Select the disc icon on your screen and drag the icon to the Trash.
m Click the disc icon and choose Put Away from the File menu or Eject from the Special
menu.
m Click the Expansion Bay icon in the Control Strip and choose Make Right Module
Removable from the pop-up menu that appears.
If no disc icon appears on your screen, do this:
m Press the Open button on your drive.
If you can’t eject a disc, try this method:
m If the standard methods of ejecting a disc do not work (or the computer is shut down),
you can eject the disc manually. Carefully insert the end of a pen or straightened paper
clip into the small recessed button next to the eject button, and push firmly until the tray
disengages.
2 Take the disc out of the tray.
Store your discs in a safe place, away from heat, dust, and moisture.
3 Push the tray in to close it.
To avoid possible damage to the tray or the drive, keep the tray closed when you are not
using it.
Expansion Bay iconUsing Your PowerBook and Connecting to a Network 37
Power Sources
Your computer can draw its operating power either from a PowerBook battery in one of the
expansion bays or from an external power source, using the external power adapter that
came with your computer.
AC Power
You can run your computer from an electrical outlet by plugging in the external power
adapter that came with your computer. A battery in an expansion bay will automatically be
charged whenever the external power adapter is plugged in.
Main Battery
The main lithium ion (LiIon) battery provides power to your computer when it is not
plugged into an electrical outlet.
This battery should provide power for 2–3.5 hours of work time (you may get longer work
time, depending on the Macintosh PowerBook model you have and the battery conservation
features you use). You can find more information about the battery and power conservation
software that came with your PowerBook in the online help, available in the Help menu.
Note: The LiIon battery is charged whenever the external power adapter is connected.
However, the adapter will charge the battery more quickly if the computer is shut down or in
sleep.
Optional Second Battery
You can configure your computer with a battery in each expansion bay. This configuration is
especially useful when you need to use your PowerBook under battery power for a long
amount of time, such as on a long plane flight. You can purchase a second battery from an
Apple-authorized dealer.
Note: When fully charged batteries are installed in both expansion bays, the batteries are
discharged one at a time. The battery in the left expansion bay is discharged first. When the
charge in the left battery is depleted, the PowerBook switches to the battery in the right
expansion bay.
Important Be sure to use only the external power adapter that came with your computer
or one made specifically for this PowerBook model.38 Chapter 2
Recharging the Battery
To recharge the battery inside the computer, plug in the external power adapter. You may
also use an external battery charger designed specifically for your Macintosh PowerBook
model (available from other manufacturers).
When the AC adapter is plugged in, the LiIon battery is recharged whether the computer is
off, on, or in sleep. However, the battery will recharge more quickly if the computer is off or
in sleep.
Monitoring the Battery Charge
There are four ways you can determine the charge level of your battery:
m Look in the Battery Monitor portion of the Control Strip.
m See low-power messages on your display.
m Look at the battery level icon next to the clock in the menu bar.
m Look at the battery indicator level lights on the battery.
Power adapter plug
¯ Power adapter port
Power cord
Power adapter
Warning Use only the external power adapter that came with your computer. Adapters
for other electronic devices (including other portable computers) may look similar, but
they may damage your computer.
If your power adapter came equipped with a three-wire grounding plug—a plug that has a
third (grounding) pin—this plug will fit only a grounded AC outlet. If you are unable to
insert the plug into the outlet because the outlet is not grounded, contact a licensed
electrician to replace the outlet with a properly grounded outlet. Do not defeat the
purpose of the grounding plug!Using Your PowerBook and Connecting to a Network 39
Using the Battery Level Indicator Lights
You can tell the charge left in your battery by looking at the battery level indicator lights on
the battery itself. The charge can be checked with the battery inserted or outside the
PowerBook.
Push the battery level indicator button to activate the battery level indicator
lights.
The lights show how much charge is left in the battery. A lighted square indicates that the
battery has power; an unlighted square indicates lack of charge. The indicator lights remain
lit for a few seconds.
Note: The battery level indicator lights stay on while the battery is being charged by the
external power adapter. When the battery is fully charged, the lights turn off.
Responding to Low-Power Messages
When the battery runs low, the computer displays a series of low-power messages. The work
time remaining after you see the first message varies depending on how you are using the
computer. It’s a good idea to act promptly.
What You Should Do
When you see a low-power message, you should do one of the following:
m Plug in the external power adapter.
m Save your work and shut down the computer.
m Put the computer to sleep, and quickly replace the depleted battery with a charged one.
What You Should Know
When the first low-power message appears, the screen dims automatically to save power. If
you continue to work without plugging in the power adapter or changing the battery, the
computer displays a second low-power message indicating that the computer is about to put
itself to sleep. Within a few seconds, the computer goes to sleep automatically to protect the
contents of RAM. All activities are interrupted. It’s a good idea to save your work when you
see the first of the two low-power messages to make sure you don’t lose information.
Fully charged
3/4 charged
1/2 charged
1/4 charged
Battery level
indicator button
Battery level
indicator lights40 Chapter 2
If you continue working until the computer goes to sleep automatically, you can wake it
again as soon as you plug in the power adapter or replace the battery with a charged battery.
Maximizing Work Time
The amount of work time your PowerBook’s battery can provide before you need to
recharge depends on the equipment you’re using with your computer and the steps you take
to conserve power while you work.
Battery-saving measures include the following (in order of effectiveness):
m Make sure that power cycling is turned on.
Your PowerBook reduces the processor power when it is not being used in order to save
battery power. For instructions on setting up power cycling, see the online help, available
in the Help menu.
m Set your PowerBook to run in a reduced processor speed mode when performing tasks
such as word processing that don’t require fast processing speed.
Setting your PowerBook to run in a reduced processor mode will provide additional
battery savings but may affect system performance. For instructions, see the online help,
available in the Help menu.
m Remove CD-ROM and DVD-ROM discs when they are not in use.
m Set the hard disk to spin down after a short time interval.
m Set your PowerBook display to turn off (instead of dim) when not in use.
m Reduce screen brightness using the brightness control (¤) on the PowerBook case.
m Set your PowerBook to sleep after inactivity of 5 minutes or less.
m Take advantage of the sleep feature of your PowerBook whenever your work is
interrupted. You just need to close the display to put the computer in sleep.
You can find more information on the power conservation software and battery
conservation tips in the online help, available in the Help menu.
Note: If your PowerBook came with an internal modem, it does not support the Energy
Saver feature “Wake up when the modem detects a ring.”
Important Recharge a depleted battery as soon as possible. Leaving a depleted battery in
the computer for a length of time (especially in a hot location, such as the trunk of a car)
may damage the battery so that it can’t be recharged. If this happens, you need to replace
the battery.Using Your PowerBook and Connecting to a Network 41
Removing or Replacing the Battery
PowerBook batteries are removed in the same way that expansion bay modules are. To
remove or replace the battery, follow these steps:
1 Place your PowerBook on a hard, flat surface.
2 Save your work and then shut down the computer, put it to sleep, or plug in the power
adapter.
3 Pull the expansion bay release lever to eject the PowerBook battery.
4 Gently slide the battery out of the expansion bay.
5 Push the charged battery into the expansion bay to lock it into place.
It’s a good idea to plug in the power adapter in case the battery is not fully charged.
Important Batteries contain chemicals, some of which may be harmful to the
environment. Please dispose of used batteries according to your local environmental
guidelines.
Lithium-ion
(Li-ion)42 Chapter 2
Using PC Cards
PC Cards (also known as PCMCIA or CardBus cards) are about the size of a thick credit card
and have a 68-pin connector at one end. They come in many varieties, such as fax/modem
cards, mass-storage cards, Ethernet connection cards, zoomed video cards, and wireless
communication cards. You can use PC Cards to expand your Macintosh PowerBook’s
capabilities.
Your Macintosh PowerBook has two PC Card slots. You can insert a card into either slot, or
(depending on the cards you’re using) you can use both slots simultaneously.
There are three types of PC Cards. The different types refer to the thickness of the card. A
Type I card is 3.3 millimeters (mm) thick, a Type II card is 5 mm thick, and a Type III card is
10.5 mm thick.
You can place a Type I or Type II card in either slot. You can place a Type III card only in the
lower slot. When a Type III card is installed, you cannot use the upper slot. You may find it
useful to get in the habit of always using the lower slot first to make sure the card is properly
inserted.
A special type of PC Card supports “zoomed video,” which can display full-motion video in a
window on the computer’s screen.
Note: Zoomed video cards must be placed in the lower PC Card slot.
This section describes how to insert and eject PC Cards and how to use PC Card modems.
You can find more information on using PC Cards in the online help, available in the Help
menu.
Warning Make sure only to use cards that are compatible with your Macintosh
PowerBook. If you use an incompatible card, you may damage the card or your
PowerBook. If you are not sure whether a PC Card is compatible with your PowerBook,
contact the PC Card’s manufacturer.Using Your PowerBook and Connecting to a Network 43
Inserting a PC Card
To insert a card, do this:
m Insert the card, label up, into the slot. Make sure the card is level.
You’ll feel some resistance as you slide the card in. When the card is firmly seated, you will
feel it click into place.
An icon for the PC Card appears on the desktop.
You are now ready to use the card.
Consult the card’s documentation for details of its use.
A Type I or Type II PC Card
can be inserted in either
the upper or lower slot.
A Type III PC Card must
be inserted in the lower slot.44 Chapter 2
Ejecting a PC Card
You can eject a PC Card when your computer is on or off. You cannot eject a PC Card when
the computer is in sleep.
To eject a PC Card when the computer is on, follow these steps:
1 If the computer is in sleep, press the Power button (®) to wake it.
2 Make sure that nothing is blocking the card slot.
3 Click the PC Card’s icon to select it.
4 Drag the card’s icon to the Trash to eject it from the card slot.
The card will partially eject from the card slot.
5 Pull the card out of the slot.
If you want to use the card again immediately, pull it out about an inch more, wait 10
seconds, and then push it back in.
You can also eject a PC Card by doing the following:
m Click the card’s icon to select it. Then choose Put Away from the File menu or Eject from
the Special menu. After the card is ejected, pull it out of the slot. (If a dimmed icon of the
card remains on the desktop, drag it to the Trash.)
m Press the eject button for the slot containing the PC Card you want to eject. If the card is
not in use, it will usually be ejected.
Warning Do not force a PC Card out of the slot. Doing so may damage your computer
or PC Card.
Important Try to use the eject buttons only when the computer is turned off. Many PC
Cards won’t eject this way if the computer is on.
Press to eject
upper PC card
Press to eject
lower PC cardUsing Your PowerBook and Connecting to a Network 45
If You Can’t Eject a Card
If you are unable to eject a card, follow these steps:
1 Shut down the PowerBook.
2 Straighten one end of a paper clip.
3 Insert the end of the straightened paper clip into the hole next to the slot that contains the
card, and press gently but firmly until the card is ejected.
4 Pull the card out of the slot.
Using a Zoomed Video PC Card
The lower PC Card slot has circuitry for handling video signals, called “zoomed video.” You
can purchase PC Cards to which you can provide a video signal from a video camera, VCR, or
other such device. The zoomed video card can only be used in the lower slot.
With a zoomed video card installed, the PowerBook can display video on the computer’s
screen or on an external monitor while performing other tasks at the same time.
If you purchase a zoomed video PC Card, be sure it has software that works with your
PowerBook.
If you can’t eject a card, insert
the end of a straightened paper
clip into the hole next to the slot.
This hole is for the upper slot. 46 Chapter 2
Using a PC Card Modem
If your PowerBook does not come with a built-in modem, you can purchase a PC Card
modem. For information on using your built-in modem, see the section “Using Your
PowerBook’s Optional Internal Modem” on page 51. If you are using a PC Card modem,
make sure you do the following:
1 Install the communications software you want to use and any software that came with your
modem.
2 Insert the PC Card modem.
A PC Card modem icon appears on the desktop.
3 Plug your modem into a working phone line.
4 To set up and connect, follow the instructions that came with your modem and
communications software.
If you are having problems setting up your PC Card modem, try the following:
m Make sure to choose your PC Card modem in your communications software.
Some modem files come with your PowerBook. If your PC Card modem is not listed,
check the software that came with your modem. If you find the file for your modem, drag
it to the Modem Scripts folder inside the Extensions folder (which is in the System
Folder).
If you can’t find the file for your modem, try using the modem file for a different model
from the same manufacturer. If this doesn’t help, you may be able to get the correct
modem file from your PC Card modem’s manufacturer.
m Make sure to choose the port for your PC Card modem.
The port shows the modem name or type, rather than the name of the PC Card slot.
Some programs use a virtual port, the Data Port, to allow fax and data applications to
share the modem. See the instructions that came with your modem and communications
software to determine the specific setup procedure.
You must reselect the port if you remove the modem and later put it in the other slot.Using Your PowerBook and Connecting to a Network 47
Using the Infrared File Transfer Capability
Your PowerBook comes with built-in infrared (IR) communication features that let you send
and receive data without wires.
With IR communications, you can exchange files with another PowerBook or with a desktop
Macintosh using an external IR module. You can also use IR to make a wireless connection to
a network by means of a specialized local area network (LAN) access device that is
compatible with the Infrared Data Association (IrDA) Standard specifications.
To transfer files, your computer and the other IR device must be within range of each other
with their IR windows facing. The range depends on the devices and the method of
communication.
Note: For best results, place the IR windows directly facing each other. If the angle between
the windows is greater than 10 degrees, an IR connection may not be possible.
IR-equipped PowerBook computers must be within 3 feet of each other to exchange files
using the IRTalk transfer protocol (at 230 kilobits per second). Your computer must be within
3 feet of a LAN access device or another IrDA PowerBook to make a connection (at a
communications rate of up to 4 megabits per second).
For information on setting up your software for IR communication, see the online help,
available in the Help menu.
IR window48 Chapter 2
Connecting to a Local Area Network
Your computer has built-in hardware allowing you to connect to the following types of
networks:
m LocalTalk: To connect to a Local Talk network, you plug a LocalTalk cable to the printer/
external modem port (´) on the back of the PowerBook.
m Ethernet: To connect to a high-speed Ethernet network, you plug an Ethernet cable into
the Ethernet port (G) on the back of the PowerBook.
Once your computer is connected to a network, see the online help, available in the Help
menu, for information about printing to a network printer, accessing information on file
servers, and sharing files on your computer with other users. Ask your network administrator
for information about network services such as Internet access and electronic mail.
Connecting to a LocalTalk Network
To connect your Macintosh PowerBook to a LocalTalk network, you need LocalTalk cables
and a LocalTalk adapter (available from your Apple-authorized dealer). If a network
administrator is responsible for network maintenance and upkeep at your location, ask for
help connecting your computer to the network.
To connect your Macintosh to a LocalTalk network, do the following:
1 Open the cover on the computer’s back panel to access the printer/external modem port
(labeled with the ´ icon).
2 Attach the LocalTalk adapter to the printer/external modem port.
´Printer/External
modem port
-
√ ¯ V ´ G g Æ ™Using Your PowerBook and Connecting to a Network 49
3 Attach a network cable between the LocalTalk adapter connected to your computer and a
LocalTalk adapter on your existing network.
4 If you are using a LocalTalk adapter with RJ-11 (telephone) connectors, connect a terminator
to the unused RJ-11 connector on the LocalTalk adapter. A LocalTalk adapter with DIN-8
connectors doesn’t require an external terminator. (For more information on terminators,
see the instructions that came with the Apple LocalTalk RJ-11 Connector Kit.)
See “Configuring Your Network Connection” on page 50 for information on configuring your
LocalTalk connection.
-
√ ¯ V ´ G g Æ ™50 Chapter 2
Connecting to a 10Base-T Ethernet Network
The built-in Ethernet capabilities of your Macintosh PowerBook allow you to connect to a
standard (10 Mbit) Ethernet network. If a network administrator is responsible for network
maintenance and upkeep at your location, ask for help connecting your computer to the
network.
To connect your Macintosh PowerBook to an Ethernet network, use the Ethernet cable that
came with your computer. (The connector on the cable looks like a standard telephone
connector, but it is wider.)
To connect your PowerBook to an Ethernet network:
1 Open the cover on the computer’s back panel to access your Ethernet connector (labeled
with a G icon).
2 Locate a modular Ethernet cable and connect one end of the cable to the network.
3 Connect the free end of the Ethernet cable to the Ethernet port.
4 Set up your PowerBook software to use Ethernet communication.
Configuring Your Network Connection
After you physically connect your computer to a network, you need to configure the software
for your network connection using AppleTalk and/or TCP/IP. You can find more information
in the online help, available in the Help menu.
G Ethernet port
-
√ ¯ V ´ G g Æ ™
-
√ ¯ V ´ G g Æ ™Using Your PowerBook and Connecting to a Network 51
Using Your PowerBook’s Optional Internal Modem
Some models of the Macintosh PowerBook come with an internal modem card installed in
the communications slot inside your computer. To see if a modem is installed, open the
modem panel on the left side of the computer. If you see a connector for a phone line, then
the modem is installed.
Setting Up Your Modem’s Connections
To use the internal modem, you need the following:
m the single-line telephone cord supplied with your PowerBook, which has a standard RJ-11
phone connector at each end
m an analog telephone line (the type found in most homes) with a modular jack
You can find more information on setting up your modem communication software to
work with your PowerBook internal modem in the online help, available in the Help
menu.
Connecting the Telephone Line to the Modem
Follow these steps to connect the telephone line to the modem.
1 Open the cover on the left side of the computer to expose the modem telephone line
connector.
2 Locate the telephone cord that came with your PowerBook.
Phone line
connector
Modem panel
Important Use the telephone cord that came with your computer or an equivalent
single-line telephone cord. Other types of telephone cords may not work correctly with the
modem.52 Chapter 2
3 Plug one end of the telephone cord into the internal modem port on your PowerBook.
4 Plug the other end of the telephone cord into your telephone wall socket.
Once the telephone line is connected, you are ready to begin using the modem.
Warning The telephone line must be an analog line—the type used in residences. Do
not connect a digital telephone line to the modem, because the wrong type of line could
damage the modem.
Important When you have established a modem connection with another computer or an
online service, do not put the computer to sleep. Doing so will disconnect the modem.Using Your PowerBook and Connecting to a Network 53
What Modems Do
A modem allows your computer to communicate over telephone lines by converting
information from the digital format used by the computer to the analog format used by most
telephone systems. It dials the telephone number, establishes a connection with another
modem, and controls the flow of data so that communication takes place with optimal speed
and accuracy.
To exchange data over a telephone line, your modem and the remote modem must establish
a connection and agree on how data will be transmitted in these ways:
m Connection speed: Initially, your modem tries to connect at its fastest speed. If the
remote modem cannot connect at this speed, your modem tries to use the next highest
speed. The two modems continue this fallback process until they find the highest speed
supported by both.
There are several circumstances that may prevent your modem from communicating at its
fastest speed. For example, the telephone number you use to connect to your ISP may
not support the fastest speed of your modem.
m Error control: Error control ensures data accuracy. Your modem and the remote modem
must agree on an error control method. Your modem will try to use one of the methods it
supports. If the remote modem doesn’t support any of these methods, error control isn’t
used. Modems can still communicate reliably without error control.
m Data compression: Compression increases the speed of data transmission by up to four
times. Your modem will try to use one of the data compression methods it supports. If
the remote modem doesn’t support any of these methods, data compression isn’t used.
Modems can still communicate reliably without data compression.
Your modem is set up to make the best possible connection with other modems
automatically. You do not need to do anything.
Software for Your Modem
Your Macintosh PowerBook comes with modem software, including programs to connect to
the Internet and to send and receive faxes. Some of this software is already installed for you.
Other software, such as your fax software, needs to be installed from a separate CD that came
with your computer. For instructions on using these programs, see their electronic manuals
on your computer’s hard disk or on the CD that came with your computer.
Important The actual speed of data transmission can vary with line conditions. Because
Federal Communications Commission (FCC) rules restrict the power output of modems
used by service providers, transmission speeds are limited to 53 Kbps (53,000 bits per
second) in the United States. You can obtain speeds of 53 Kbps on downloads from an
Internet service provider (ISP) that uses K56flex modems.54 Chapter 2
Choosing the Port Setting
You must specify the modem port in each communications program before you can connect
to another computer by modem.
The following example shows how to specify the modem port in America Online (AOL)
software.
1 Open AOL (on your hard disk).
2 If you are new to America Online, click Continue in the dialog box that appears. If you have
an AOL account already, click Upgrade.
3 Follow the instructions on the screen to set up an AOL account or to upgrade your current
AOL account.
When you finish setting up your AOL account, the AOL Welcome window appears.
4 Click Setup in the Welcome window.
The Location window opens.
5 In the Port pop-up menu, choose Internal Modem.
6 In the Type pop-up menu, choose PowerBook/GV Internal 56.
7 In the Speed pop-up menu, choose 57600 bps.
Always choose the highest speed available. This is the speed at which the computer
communicates with the modem.
8 Click Save.
Now the AOL software is ready to use with your modem.Using Your PowerBook and Connecting to a Network 55
Modem Tips and Troubleshooting
If you have problems using your modem, try the following suggestions:
m Make sure the telephone cord is connected properly. Unplug the telephone cord and
reconnect it to ensure a good connection. You may also want to try a different telephone
cord.
Note: Your PowerBook internal modem does not support the Energy Saver feature
“Wake up when the modem detects a ring.”
m Make sure the telephone line you are using is working.
Connect a telephone to the line. You should hear a dial tone when you lift the receiver.
Listen for noise on the line. If the telephone line quality is poor, your modem may have
trouble maintaining a connection or sending and receiving faxes. If you have a problem
with the line quality, try connecting again. If the problem persists, you may need to
contact your telephone service provider.
Important The PowerBook internal modem will not work with party lines, cannot be
connected to a coin-operated telephone, and may not work with a private branch exchange
(PBX).57
C H A P T E R
3
3 Connecting Additional Equipment
The illustration below shows where equipment should be connected to your Macintosh
PowerBook. In most cases, you should refer to the documentation that came with your
equipment for instructions on connecting. The safest course is always to shut down your
Macintosh PowerBook before you connect any cable other than the power adapter. However,
you can connect external devices to the sound input port (√), sound output port (-),
printer/external modem port (´), Apple Desktop Bus port (V), and Ethernet port (G)
while the computer is on.
Information is provided in this chapter for connecting the following devices:
m printers and external modems
m SCSI devices
m external monitors and video display devices
m sound input and output devices
m mouse, keyboard, or other ADB devices
m security equipment to protect your PowerBook
External TV
out port
™ External
monitor port
Internal modem
Infrared port (some models)
- Sound output port
¯ Power adapter port V Apple Desktop Bus
(ADB) port
√ Sound input port
´Printer/external
modem port
g SCSI port
(HDI-30)
Ethernet port
(10Base-T)
G
Æ W
-
√ ¯ V ´ G g Æ ™58 Chapter 3
Connecting a Printer
Your PowerBook has a printer/external modem port, which you use to connect a printer.
The printer/external modem port can accept either a direct connection (to a printer such as
a StyleWriter) or a LocalTalk network connection (to a printer such as a LaserWriter). See the
documentation that came with your printer for specific information about the type of
connection it requires. Your computer comes with most Apple printer software (called
“printer drivers”) already installed. If you are using a printer from a manufacturer other than
Apple, you may need to install a printer driver.
You use the Chooser to tell the computer which port you used to connect your printer. You
can find more information on selecting a printer in the online help, available in the Help
menu.
Connecting an External Modem
Your PowerBook provides several different ways to connect to the rest of the world using a
modem. If your PowerBook came with the optional built-in modem, see “Using Your
PowerBook’s Optional Internal Modem” on page 51. If your PowerBook did not come with
an internal modem, you can use a PC Card modem in your computer’s PC Card slot (see
“Using a PC Card Modem” on page 46). You can also connect an external modem to the
printer/external modem port on the back panel of the computer.
To connect an external modem, follow these steps:
1 Connect the modem to a power source and to the phone line.
2 Make sure the modem is turned off.
3 With the computer shut down, connect the modem cable to the printer/external modem
port (´).
4 Turn on the modem.
5 Start up the computer.
The external modem is ready to use.
´Printer/External
modem port
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√ ¯ V ´ G g Æ ™Connecting Additional Equipment 59
Connecting SCSI Devices
You can attach up to seven SCSI devices, including hard disk drives, CD-ROM drives, and
scanners, to your computer by linking them together in a chain that starts at your computer’s
SCSI port.
To connect a SCSI device to your Macintosh PowerBook, you need an Apple HDI-30 SCSI
System Cable or equivalent. This cable is light gray, is about 19 inches long, and has 29 pins
(one “missing” pin) on the end that connects to the PowerBook.
Refer to the manuals that came with your SCSI devices for instructions on installing any
necessary software, setting SCSI ID numbers, and connecting SCSI cables and SCSI
terminators. The illustrations on the next page briefly describe the proper positioning of
SCSI terminators. A SCSI chain of devices must include a terminator on the first and last
devices in the chain (but nowhere else in the chain). Some devices include internal
terminators. Your Macintosh PowerBook is internally terminated.
The names and the part numbers of the cables mentioned in this chapter are as follows:
Where to add cable terminators when connecting a single SCSI device
Type of Connection Name of Part Part Number
From your computer to a SCSI device Apple HDI-30 SCSI System
Cable
M2538**/A
From SCSI device to SCSI device Apple SCSI Peripheral
Interface Cable
M0207
For SCSI disk mode Apple HDI-30 SCSI Disk
Adapter Cable
M2539**/A
Warning When connecting SCSI equipment, always turn off power to all devices in the
chain, including your computer. If you don’t, you could lose information and damage your
equipment.
Terminator
(If this SCSI device has an internal
terminator, omit this external terminator.)
HDI-30 SCSI system cable60 Chapter 3
Where to add cable terminators when connecting two or more SCSI devices
Using Your Macintosh PowerBook as a Hard Disk
The Apple HDI-30 SCSI Disk Adapter lets you connect your Macintosh PowerBook to another
computer as a hard disk. The PowerBook internal drive appears on the desktop of the other
computer as a hard disk icon, and you can transfer information between the computers by
dragging files. This feature is called SCSI disk mode.
The Apple HDI-30 SCSI Disk Adapter cable is dark gray, is about 10 inches long, and has 30
pins.
Connecting Your Computer as a Hard Disk
Before making any connections, you need to assign a unique SCSI ID number to the
PowerBook. (The ID numbers allow the computer to communicate with several connected
SCSI devices.)
1 Set up your system software to use your PowerBook in SCSI disk mode.
For information and instructions, see the online help, available in the Help menu.
If you are connecting the PowerBook to an existing SCSI chain, make sure to give it an ID
number different from those of the other devices. (Many devices include an ID number
indicator on the back panel.)
2 Shut down the PowerBook and plug in the power adapter.
HDI-30 SCSI SCSI peripheral interface cables
system cable
Terminator
(If this SCSI device has an
internal terminator, omit
this external terminator.)
Important Your Macintosh PowerBook hard disk uses Mac OS Extended format (also
known as HFS Plus). In order to use your PowerBook in SCSI disk mode, the computer you
are connecting to must be using Mac OS 8.1 or later. If the computer is using an earlier
version of system software, you will not be able to see the files on your PowerBook hard
disk.
Important Turn off password protection before using SCSI disk mode. For instructions,
see the online help, available in the Help menu.Connecting Additional Equipment 61
3 Shut down the computer you are connecting to and turn off any other devices in the SCSI
chain.
4 Connect the small end of the Apple HDI-30 SCSI Disk Adapter to the SCSI port on your
PowerBook.
5 If you are connecting the Macintosh PowerBook directly to the other computer (rather than
to an external device in the SCSI chain), attach a SCSI system cable to the other computer.
6 Connect the large end of the Apple HDI-30 SCSI Disk Adapter cable to a SCSI peripheral
interface cable attached to the SCSI port on the last device in the SCSI chain, or to the SCSI
system cable on the other computer.
7 Make sure that your PowerBook display is open.
8 Turn on the PowerBook by pressing the Power button (®). After a few seconds a SCSI icon
appears on the screen, showing the ID number you assigned in step 1.
9 Turn on the other SCSI devices in the chain, if any.
10 Turn on the other computer.
Warning Always shut down the PowerBook before connecting or disconnecting the
SCSI disk adapter cable. Connecting the adapter cable while the computer is turned on
can damage the computer.
Warning Always keep your PowerBook display open while operating in SCSI disk mode
because heat from the PowerBook is partially dissipated through the keyboard. Closing
your display may cause the PowerBook to function improperly.
Warning If you do not see the SCSI icon, and the computer starts up normally or
displays an error message, press the Power button (®) to shut down (if you can) and
then immediately disconnect your computer from the SCSI chain. (If you can’t choose
Shut Down, try resetting your PowerBook by holding down the Shift, Function (fn), and
Control (ctrl) keys and then pressing the Power button. If you cannot shut down your
PowerBook, you should disconnect the cable anyway, or you may lose information.) Then
go back and repeat steps 4 through 8, making sure to use the proper cables.62 Chapter 3
The PowerBook’s internal drive appears as a hard disk icon on the screen of the computer
you connected it to. You can now transfer and use files as if the Macintosh PowerBook were
an external disk drive.
Quitting SCSI Disk Mode
1 Shut down the computer your PowerBook is connected to.
2 Press the Power button (®) on the PowerBook.
3 Turn off any other SCSI devices in the chain.
4 Disconnect the PowerBook from the adapter cable.
5 If necessary, disconnect the adapter cable from the other computer or its SCSI chain.
You can leave the adapter cable attached if you wish.
Your equipment is now ready for normal use. If you disconnected the adapter cable from the
other computer or SCSI chain, make sure that the SCSI chain is properly terminated.
Important Do not leave the adapter cable attached to the PowerBook. If you do, the
computer will behave as though it is still in SCSI disk mode when you try to restart.Connecting Additional Equipment 63
Using an External Monitor
You can connect an external monitor to your Macintosh PowerBook. The types of monitors
you can use with this model and the way images are displayed on an external monitor differ
somewhat from the features available with other PowerBook computers.
To make the best choice of an external monitor, keep the following in mind:
m Your PowerBook can support a variety of external monitors, including 17-inch and 20-inch
multiple-scan displays.
m Your PowerBook display must be open when you use an external monitor because heat
from the PowerBook is partially dissipated through the keyboard. Closing the display will
cause the PowerBook to go to sleep. Macintosh PowerBook G3 Series computers do not
work with the display closed.
m The computer’s back panel has a VGA-style connector. You can connect the cable for a
VGA-style monitor directly to your PowerBook.
m To connect an Apple-compatible monitor to your PowerBook, you must use the video
adapter that came with the computer.
m Images can appear on the internal display, the external monitor, or both, depending on
your choice of resolution on the external monitor.
m When an image appears on both screens, it is exactly the same (this feature is known as
“simulscan” or “video mirroring”). You cannot move the pointer or menu bar from one
screen to the other (as you can when a second display is connected to most Macintosh
desktop computers).
m When an external monitor offers the same resolution as the PowerBook’s internal display,
the image appears on both screens the first time you turn on the computer.
m If a multiple-resolution external monitor provides a list of its capabilities, the list appears
in the Control Strip. Otherwise the system uses a resolution of 640 x 480 pixels as the
default for that monitor.
For more information on adjusting the resolution of an external monitor, see the online
help, available in the Help menu.
Important Video mirroring works only with the PowerBook display’s standard resolution.
For example, when the 12.1" display is set to its standard resolution (800 x 600) or the
14.1" display is set to its standard resolution (1024 x 768), the display can mirror the
external monitor. However, if you switch the resolution to 640 x 480, the built-in display
will go dark because scaled resolutions cannot be used for video mirroring.64 Chapter 3
Connecting an External Monitor
To connect an external monitor to your PowerBook, follow these steps. Also consult the
documentation that came with the monitor.
1 Press the Power button (®) once to get the Shut Down dialog box.
2 Click Shut Down or Sleep.
If you connect a monitor with your computer turned on, the computer will not recognize the
monitor.
3 Place the monitor near the PowerBook.
Arrange the monitor so the top of the screen is slightly below eye level while you work.
Position the monitor to minimize glare and reflections on the screen from lights and
windows.
4 Make sure that the PowerBook display is open.
5 Make sure the monitor’s power cord is attached to the monitor. Plug the other end into a
grounded outlet or power strip.
If your monitor’s power cord is designed to plug into the power receptacle on the back of a
computer, you can obtain a cord with the correct plug from your Apple-authorized dealer.
If you are using a power strip, make sure it is turned on.
6 If you are connecting an Apple-compatible monitor, attach the monitor adapter (shown on
the next page) that came with your computer to one end of the external monitor’s cable.
If you are connecting a VGA or SVGA monitor, skip this step.
Important Keep the computer and the monitor at least 8 inches apart. Interference
between the monitor and your computer’s floppy disk drive can cause errors on your
floppy disks.
8 inches minimum
Important Macintosh PowerBook G3 Series computers do not support operation with the
display closed.Connecting Additional Equipment 65
7 Make sure the other end of the monitor’s cable is attached to the monitor. Then attach the
end of the cable (with the monitor adapter, if you connected it) to the external monitor port
(™) on the back of the PowerBook.
If you are connecting a VGA or SVGA monitor, do not use the adapter. Connect the monitor
cable directly to the external monitor port on the PowerBook.
8 Turn on the external monitor.
9 Press the Power button (®) to turn on or wake your computer.
The external monitor is automatically activated.
10 Click the Resolution icon in the Control Strip and select a resolution from the menu that
appears.
If you select an external monitor resolution that matches the standard built-in resolution of
your PowerBook display, the same image will appear on both the display and the external
monitor (known as “simulscan” or “video mirroring”). If you choose a different resolution,
the PowerBook display will go dark and images will appear only on the external monitor. For
more information on the external monitor resolutions supported by your PowerBook, see
the Technical Information booklet that came with your computer.
™ External monitor port
Monitor adapter
Monitor cable
(to Macintosh-compatible monitor)
-
√ ¯ V ´ G g Æ ™
Resolution icon
Important Video mirroring works only with the PowerBook display’s standard resolution.
For example, when the 12.1" display is set to its standard resolution (800 x 600) or the 14.1"
display is set to its standard resolution (1024 x 768), the display can mirror the external
monitor. However, if you switch the resolution to 640 x 480, the built-in display will go dark
because scaled resolutions cannot be used for video mirroring.66 Chapter 3
Trouble With the External Monitor?
m Nothing happened when you tried to turn on or wake the PowerBook.
Make sure that all your equipment is connected properly. Then try turning on or waking
the computer again.
Make sure that the battery is charged, or that the power adapter is plugged into both the
computer and an electrical outlet. If you are using a power strip, make sure it is turned
on.
m The computer is on, but the external monitor is dark.
Make sure that the monitor’s power cord is connected and that its power switch is on. Try
adjusting the monitor’s brightness and contrast settings. If this doesn’t work, try
restarting your computer.
Note: The screen-dimming feature in the Energy Saver control panel turns the screen
brightness down to a low level when you haven’t used the computer for a few minutes.
( You can think of dimming as display sleep.) Dimming also affects the external monitor.
When you move your finger on the trackpad or press a key on the keyboard, the
brightness is restored on both screens. For information and instructions on setting screen
dimming, see the online help, available in the Help menu.
m The PowerBook goes to sleep when you close the display.
The PowerBook display must be open when using an external monitor.
Disconnecting an External Monitor
1 Make sure your computer is shut down or in sleep.
2 Make sure your monitor is switched off.
3 Disconnect the monitor cable (for a VGA-style monitor) or monitor adapter (for an Apple
monitor) from the external monitor port on the computer’s back panel. Connecting Additional Equipment 67
Using an External Video Display or Recording Device
Your PowerBook has an S-video output port (labeled with the Æ icon) where you can
connect an external video display or recording device such as a television, videocassette
recorder ( VCR), or video projection system.
Note: Due to the display limitations of most televisions, images displayed on the television
screen will be of lower quality than images on the built-in display or an external monitor. For
best results, always use an S-video connection when available.
Using the S-video output port, you can display your PowerBook desktop on a television
screen and record images from the desktop to a VCR.
PowerBook computers equipped with an S-video output port can output the following
display formats:
m S-video: High-quality video format used by certain televisions, VCRs, and video
projectors. You can connect a cable from an S-video device directly to the S-video output
port (Æ) on the back panel of your PowerBook. S-video is recommended because it
provides better quality.
m Composite video: Video format used by most televisions and VCRs. To connect a
composite video device, you need to use the composite to S-video adapter that came with
your PowerBook.
Æ S-video output port
-
√ ¯ V ´ G g Æ ™
Warning The S-video output port (labeled with the Æ icon) looks similar to the ADB
port (labeled with the V icon) and the printer/modem port (labeled with the ´ icon).
Only plug your S-video device into the S-video output port. Plugging a video device into
the wrong port could damage your equipment.
RCA plug S-video plug
Composite to S-video adapter68 Chapter 3
Connecting Video Equipment to Your PowerBook
You can record and deliver a sophisticated presentation by combining the video and sound
capabilities of your PowerBook. The steps that follow explain how to set up equipment for
displaying the computer desktop on a television and recording the computer’s output to
videotape. Use the information in this section as a guideline when connecting other external
video display and recording devices.
Note: You cannot use the S-video output port and the external monitor port at the same
time.
To connect a television or VCR for output from the computer:
1 Shut down your PowerBook and turn off the television or VCR.
2 Attach one end of a video cable (not included with your PowerBook) to the video in port on
the television or VCR. Follow the directions that came with the television or VCR.
3 If you’re using an RCA-type cable, plug in the other end of the video cable to the composite
to S-video adapter. If you’re using a device that supports S-video, skip this step.
4 Plug the S-video cable or adapter to the S-video output port (Æ) on the back panel of your
PowerBook.
PowerBook connected to a television using an S-video cable
S-video cable (not included with your computer)
RCA-type cable (not included with your computer)
Important If the connector doesn’t slide easily into the port, check the pin alignment and
try again. Don’t use force, which could damage your equipment.
TV
S-video
output port
Æ
S-video cable
S-video In portConnecting Additional Equipment 69
PowerBook connected to a television using an RCA-type cable
5 If you want to output sound as well as video from your PowerBook, use a
dual-RCA-plug–to–stereo-miniplug cable (not included with your computer) to connect the
sound output port on the back of your PowerBook to audio input ports on your television or
VCR.
6 Turn on the computer and the television or VCR.
Your PowerBook starts up using the built-in display. The television is dark.
7 Click the Resolution icon in the Control Strip and select a NTSC or PAL compatible screen
resolution from the menu that appears. For best results use 640 x 480, 60 Hz for NTSC
systems and 640 x 480, 50 Hz for PAL systems.
The PowerBook display becomes dark and images appear on the television.
8 To switch back to your PowerBook display, select the “built-in” resolution for your
PowerBook from the Control Strip.
TV
RCA In port
S-video
output port
Æ
Composite to S-video adapter RCA-type cable
Dual-RCA-plug–to–stereo-miniplug cable
(not included with your computer)
Resolution icon70 Chapter 3
Trouble With the External Video Device?
m Nothing happens when you tried to turn on the PowerBook.
Make sure your equipment is connected properly. Then try pressing the Power button
(®) again.
Make sure the battery is charged, or the power adapter is plugged into both the computer
and an electrical outlet. If you are using a power strip, make sure it is turned on.
m The computer is on, but the television is dark.
Select an NTSC or PAL compatible resolution from the Resolution icon in the Control
Strip. If the television is still dark, make sure that the television is on and set up to receive
video from an outside source. See the manual that came with your television or other
video device for more information. If this doesn’t work, try restarting your computer.
Note: The screen-dimming feature in the Energy Saver control panel turns the screen
brightness down to a low level when you haven’t used the computer for a few minutes.
Dimming also affects the television. When you move your finger on the trackpad or press
a key on the keyboard, the brightness is restored on both screens. For information on
screen dimming, see the online help, available in the Help menu.
Disconnecting an External Video Device
1 Make sure your computer is shut down or in sleep.
2 Make sure your television or other external video device is switched off.
3 Disconnect the S-video cable or S-video adapter from the S-video output port (Æ) on the
computer’s back panel. Connecting Additional Equipment 71
Connecting and Using Sound Input Devices
Your computer has a built-in microphone. In addition, you can connect a PlainTalk
microphone to the external sound input port (√). ( You can also connect a standard linelevel input microphone, although it is not suitable for speech recognition.) You can find
more information on using the microphone to record sounds in the online help, available in
the Help menu.
Note: When using an external microphone, set the volume to 50 percent and point the
microphone away from the PowerBook speakers. Pointing the microphone towards the
speakers with the volume set to maximum may result in feedback.
Because your PowerBook can receive sounds from a variety of different sources, such as the
internal microphone, expansion bay module, or zoomed video card, you need to select a
sound input source.
m Click the Sound Source icon in the Control Strip and choose an input source from the
menu that appears.
-Sound output port
√Sound input port
-
√ ¯ V ´ G g Æ ™
Sound Source icon72 Chapter 3
Connecting Sound Output Devices
The Macintosh PowerBook has a stereo sound output port (-) to which you can connect
externally powered speakers, an amplifier, headphones, or other audio output device. The
sound output port accepts a standard stereo miniplug, like that used to attach headphones
to a portable tape or CD player.
Your computer also has two stereo speakers, which play sound from the following sources:
audio CD in the CD-ROM or DVD-ROM drive, external stereo device connected to the
computer through the sound input port, zoomed video card, internal modem, or file on your
hard disk.
The computer automatically selects the sound output source. If an external device, such as a
pair of headphones, is connected, sound is routed there. If no external output device is
connected, sound plays through the computer’s speakers.
Locking Your Computer
You can purchase a security cable and lock to protect your Macintosh PowerBook. With a
lock, you can secure your computer to a desk or table. See your Apple-authorized dealer or
computer retailer for details on security devices.
Note: You can protect the contents of your hard disk by turning on password protection.
You can find more information on password security in the online help, available in the Help
menu.
Important A security locking cable does not prevent the removal of expansion bay
modules or batteries or access to your RAM and hard disk.
Sample locking device
with security cable
Ç Security slotConnecting Additional Equipment 73
Connecting a Mouse, Keyboard, or Other ADB Device
You can connect a mouse, keyboard, graphics tablet, or other Apple Desktop Bus (ADB)
device to the ADB port on the back panel of the PowerBook.
Note: You may experience a slight delay if you connect a mouse or other ADB device while
the computer is turned on.
Connecting Other Devices
For instructions on connecting a device not discussed in this chapter, refer to the
documentation that came with the device.
V Apple Desktop Bus (ADB) port
-
√ ¯ V ´ G g Æ ™75
C H A P T E R
4
4 Installing a RAM Expansion Card
and Removing Your Hard Disk
This chapter provides information about installing a RAM expansion card and removing your
PowerBook hard disk for service or security reasons.
Getting Ready
Before you open your computer, you need to make sure that you have a Phillips or a Torx T-8
screwdriver (available from a hardware or electronics supply store).
Removing the Keyboard and Internal Heat Sink
The design of your Macintosh PowerBook allows you to easily access the internal
components of the computer by removing the keyboard. The steps in this section explain
how to remove the PowerBook keyboard and internal heat sink to access the RAM expansion
slot and internal hard disk.
1 Place your PowerBook on a hard, flat surface.
Warning To avoid damage to your computer, Apple recommends that only an Applecertified technician install additional RAM. Consult the service and support information
that came with your Apple product for instructions on how to contact an Appleauthorized service provider or Apple for service. If you attempt to install additional RAM
yourself, any damage you may cause to your equipment will not be covered by the limited
warranty on your computer. See an Apple-authorized dealer or service provider for
additional information about this or any other warranty question.76 Chapter 4
2 If your PowerBook is turned on, press the Power button (®). In the Shut Down dialog box,
click Shut Down.
3 Unplug the power adapter and any other devices from the back of your PowerBook. Unplug
any phone line from the internal modem.
4 Adjust your display so that it is at a 90-degree angle to the computer.
If your display is tilted too far back, your PowerBook may tip backward when the expansion
bay modules are removed in the next step.
5 Pull out both expansion bay release levers to eject the modules or batteries in both the
expansion bays.
6 Remove the modules or batteries from both the expansion bays.
Warning The internal components (including the internal heat sink) of your PowerBook
may be hot. If you have been using your PowerBook, wait 10 minutes before continuing,
to let the internal components cool down.
90
oInstalling a RAM Expansion Card and Removing Your Hard Disk 77
7 With your thumbs positioned slightly below the keyboard, place your fingers inside the
expansion bays and locate the small plastic tabs that hold the keyboard in place.
The plastic tabs have small ridges on them and are located on the underside of the top shell
of the PowerBook approximately one inch inside each expansion bay.
8 Gently slide the plastic tabs toward you until you see the lower portion of the keyboard pop
up.
9 Lift the lower portion of the PowerBook keyboard up slightly and pull it back enough to
displace the five metal tabs that hold the front of the keyboard in place.
Plastic tab
Plastic tab
Tabs78 Chapter 4
10 Flip the keyboard over and lay it on the palm rests and trackpad.
11 Remove the two screws that secure the internal heat sink (using a Phillips or Torx T-8
screwdriver) and then lift it up by pulling on the small metal tab.
You now have access to the internal components of your PowerBook.
Warning The PowerBook internal heat sink may be hot. If you have been using your
PowerBook, wait 10 minutes before continuing to let the internal components cool down.
Screws
Heat sink Small metal tabInstalling a RAM Expansion Card and Removing Your Hard Disk 79
Installing a RAM Expansion Card
To install a RAM expansion card in your PowerBook, follow these steps:
1 If you have not already done so, remove the PowerBook keyboard and internal heat sink as
described in “Removing the Keyboard and Internal Heat Sink” on page 75.
2 Locate the empty RAM expansion slot.
Note: If you ordered your PowerBook with additional memory, this slot may already have a
RAM card installed.
3 Gently touch the metal surface on the right side of the inside of the computer to discharge
any static electricity built up on your body.
This prevents damage to your Macintosh PowerBook or RAM card.
Don’t walk around while installing the card. If you do, touch the metal surface again to
discharge any static electricity.
Important Make sure that the RAM expansion card you are installing is made for your
Macintosh PowerBook model. Components designed for other PowerBook models will not
work with your computer.
RAM expansion slot
Metal portion80 Chapter 4
4 Position the RAM expansion card at a 30-degree angle. Line up the notch in the PowerBook
RAM expansion card with the small tab in the RAM expansion slot.
5 Push the RAM expansion card into the plastic expansion slot.
You may feel some resistance. If you are having trouble inserting the card, try pushing one
side at a time.
6 Gently push the RAM expansion card down until the two snaps on either side of the card
lock into place.
Your RAM expansion card is now ready to use.
7 Skip ahead to “Replacing the Keyboard and Internal Heat Sink” on page 83.
30
o
SnapInstalling a RAM Expansion Card and Removing Your Hard Disk 81
Removing Your PowerBook Hard Disk Drive
Your PowerBook was designed so that you could easily remove your internal hard disk drive
for service or security needs.
1 If you have not already done so, remove the PowerBook keyboard and internal heat sink as
described in “Removing the Keyboard and Internal Heat Sink” on page 75.
2 Locate the hard disk drive.
3 Gently touch the metal surface on the left side of the inside of the computer to discharge any
static electricity built up on your body.
This prevents damage to the Macintosh PowerBook or internal hard disk drive.
Don’t walk around while removing the hard disk drive. If you do, make sure you touch the
metal surface again to discharge any static electricity.
Hard disk drive
Metal portion of
processor cage82 Chapter 4
4 Loosen the screw that locks the hard disk in place.
Note: The hard disk screw stays attached to the hard disk; you do not need to remove it
completely.
5 Gently pull up on the small metal tab (located on the left side of the hard disk) to disengage
the hard disk from the logic board.
6 Carefully lift the hard disk out of the PowerBook.
Always store your internal hard disk in a safe place and avoid contact with the hard disk
connectors.
Hard disk screwInstalling a RAM Expansion Card and Removing Your Hard Disk 83
Replacing the Keyboard and Internal Heat Sink
Follow the steps in this section to replace your PowerBook keyboard.
1 Insert the internal heat sink and replace the two screws to secure it in place.
2 Press down on the bottom portion of the heat sink to secure it into place.
3 Flip the keyboard back on top of the opening in your PowerBook.
4 Insert the five small tabs at the top of the keyboard into the opening in the PowerBook case.
5 Press down on the lower portion of the keyboard until it snaps into place.
6 Replace the expansion bay modules.
Screws
Tabs84 Chapter 4
You are now ready to start working with your PowerBook again.
Warning Never turn on your PowerBook G3 Series computer unless all of its internal
and external parts are in place. Operating the computer when it is open or missing parts
can be dangerous, and can damage your computer.85
A P P E N D I X
Health, Safety, and Maintenance Tips
Health-Related Information About Computer Use
Muscle soreness, eye fatigue, and other discomforts and injuries sometimes associated with
using computers can occur from performing any number of activities. In fact, misuse of the
same muscles during multiple activities can create a problem that might not otherwise exist.
For example, if you engage in nonwork activities that involve repetitive stress on the wrist—
such as bicycling—and also use your computer’s keyboard improperly, you may increase your
likelihood of developing wrist problems. Some individuals are at greater risk of developing
these problems because of their health, physiology, lifestyle, and general exposure to stress.
Work organization and conditions, such as workstation setup and lighting, also play a part in
your overall health and comfort. Preventing health problems is a multifaceted task that
requires careful attention to the way you use your body every hour of every day.
The most common health effects associated with using a computer are musculoskeletal
discomfort and eye fatigue. We’ll discuss each area of concern in this appendix.
Musculoskeletal Discomfort
As with any activity that involves sitting for long periods of time, using a computer can make
your muscles sore and stiff. To minimize these effects, set up your work environment
carefully, using the guidelines that follow, and take frequent breaks to rest tired muscles. To
make working with your computer more comfortable, allow enough space in your work area
so that you can change position frequently and maintain a relaxed posture.
Another type of musculoskeletal concern is repetitive stress injuries (RSIs), also known as
cumulative trauma disorders (CTDs). These problems can occur when a certain muscle or
tendon is repeatedly overused and forced into an unnatural position. The exact causes of
RSIs are not totally understood, but in addition to awkward posture, such factors as the
amount of repetition, the force used in the activity, the individual’s physiology, workplace
stress level, and lifestyle may affect the likelihood of experiencing an RSI.86 Appendix
RSIs did not suddenly arise when computers were invented; tennis elbow and writer’s cramp,
for example, are two RSIs that have been with us for a long time. Although less common than
other RSIs, one serious RSI discussed more often today is a wrist problem called carpal
tunnel syndrome, which may be aggravated by improper use of computer keyboards. This
nerve disorder results from excessive pressure on the median nerve as it passes through the
wrist to the hand.
This section offers advice on setting up your work area to enhance your comfort while you
use your computer. Since the effects of repetitive movements associated with using a
computer can be compounded by those of other work and leisure activities to produce or
aggravate physical problems, proper use of your computer system must be considered as just
one element of a healthy lifestyle.
No one, of course, can guarantee that you won’t have problems even when you follow the
most expert advice on using computer equipment. You should always check with a qualified
health specialist if muscle, joint, or eye problems occur.
Eye Fatigue
Eye fatigue can occur whenever the eyes are focused on a nearby object for a long time. This
problem occurs because the eye muscles must work harder to view an object that’s closer
than about 20 feet (6 meters). Improper lighting can hasten the development of eye fatigue.
Although eye fatigue is annoying, there’s no evidence that it leads to permanent damage.
Whenever you’re engaged in an activity that involves close-up work—such as reading a
magazine, doing craft work, or using a computer—be sure to have sufficient glare-free
lighting and give your eyes frequent rest breaks by looking up and focusing on distant
objects. Remember to have your eyes examined regularly.
To prevent discomfort and eye fatigue:
m Arrange your work space so that the furniture is properly adjusted for you and doesn’t
contribute to an awkward working posture.
m Take frequent short breaks to give your muscles and eyes a chance to rest.Health, Safety, and Maintenance Tips 87
Arranging Your Work Area and Equipment
The suggestions in this section can help you work more comfortably with you computer.
Chair
m An adjustable chair that provides firm, comfortable support is best. Adjust the height of
the chair so your thighs are horizontal and your feet flat on the floor.
The back of the chair should support your lower back (lumbar region). Follow the
manufacturer’s instructions for adjusting the backrest to fit your body properly.
Keyboard and Trackpad
m When you use the keyboard and trackpad, your shoulders should be relaxed. Your upper
arm and forearm should form an approximate right angle, with your wrist and hand in
roughly a straight line.
m You may have to raise your chair so your forearms and hands are at the proper angle to
the keyboard. If this makes it impossible to rest your feet flat on the floor, you can use a
footrest with adjustable height and tilt to make up for any gap between the floor and your
feet. Or you may lower the desktop to eliminate the need for a footrest. Another option is
to use a desk with a keyboard tray that’s lower than the regular work surface.
m Use a light touch when typing or using the trackpad and keep your hands and fingers
relaxed. Avoid rolling your thumbs under your palms.
Some computer users may develop discomfort in their hands, wrists, or arms after intensive
work without breaks. If you begin to develop chronic pain or discomfort in your hands,
wrists, or arms, consult a qualified health specialist.
m Change hand positions often to avoid fatigue.
This Not this
This Not this88 Appendix
Mouse
If you use an external mouse, position the mouse at the same height as your keyboard. Allow
adequate space to use the mouse comfortably.
Built-In Display
m Adjust the angle of the display to minimize glare and reflections from overhead lights and
windows.
m You may need to adjust the brightness and contrast of the screen when you take the
computer from one work location to another, or if the lighting in your work area changes.
External Monitor
If you use an external monitor, this suggestion may be helpful.
m If possible, arrange the monitor so the top of the screen is slightly below your eye level
when you’re sitting at the keyboard. The best distance from your eyes to the screen is up
to you, although most people seem to prefer 18 to 28 inches (45 to 70 cm).
Avoiding Fatigue
m Change your seated position, stand up, or stretch whenever you start to feel tired.
Frequent short breaks are helpful in reducing fatigue.
m Allow adequate work space so that you can work comfortably. Place papers or other items
so you can view them easily while using your computer. A document stand may make
reading papers more comfortable.
m Eye muscles must work harder to focus on nearby objects. Occasionally focus your eyes
on a distant object, and blink often while you work.
m Clean your screen regularly. Keeping the screen clean helps reduce unwanted reflections.
What About Electromagnetic Emissions?
There has been recent public discussion of the possible health effects of prolonged exposure
to extremely low frequency (ELF) and very low frequency (VLF) electromagnetic fields. Such
fields are associated with electromagnetic sources such as television sets, electrical wiring,
and some household appliances—as well as computer monitors.
Apple has reviewed scientific reports and sought the counsel of government regulatory
agencies and respected health organizations. Based on the prevailing evidence and opinions,
Apple believes that the electric and magnetic fields produced by computer monitors do not
pose a health risk. In response to those customers who wish to reduce their exposure to
electromagnetic fields, Apple has lowered the emission levels of its products. Health, Safety, and Maintenance Tips 89
Important Care and Safety Instructions
For your own safety and that of your equipment, always take the following precautions.
Disconnect the power plug (by pulling the plug, not the cord) and remove the expansion bay
battery if any of the following conditions exists:
m you want to remove any parts (leave the cord disconnected as long as the keyboard is
open)
m the power cord or plug becomes frayed or otherwise damaged
m you spill something into the case
m your PowerBook G3 Series computer is exposed to rain or any other excess moisture
m your PowerBook G3 Series computer has been dropped or the case has been otherwise
damaged
m you suspect that your PowerBook G3 Series computer needs service or repair
m you want to clean the case (use only the recommended procedure described later)
Important The only way to disconnect power completely is to unplug the power cord and
remove the batteries. Make sure at least one end of the power cord is within easy reach so
that you can unplug the PowerBook G3 Series computer when you need to.
Be sure that you always do the following:
m Keep your PowerBook G3 Series computer away from sources of liquids, such as
washbasins, bathtubs, shower stalls, and so on.
m Protect your PowerBook G3 Series computer from dampness or wet weather, such as rain,
snow, and so on.
m Read all the installation instructions carefully before you plug your PowerBook G3 Series
computer into a wall socket.
m Keep these instructions handy for reference by you and others.
m Follow all instructions and warnings dealing with your system.
To clean the case, do the following:
1 Disconnect the power plug. (Pull the plug, not the cord.)
2 Wipe the surfaces lightly with a clean, soft cloth dampened with water. Clean the screen with
soft, lint-free paper.
Warning Electrical equipment may be hazardous if misused. Operation of this product,
or similar products, must always be supervised by an adult. Do not allow children access
to the interior of any electrical product and do not permit them to handle any cables.90 Appendix
Caution
m If you have a problem with your computer and nothing in the computer manual solves
the problem, take the computer to your Apple-authorized dealer or service provider.
Attempting to repair the computer yourself may void the limited warranty.
m Do not move the computer when you can hear its hard disk spinning. When you put the
computer to sleep, wait until the screen is blank before moving the computer.
m Never force a connector into a port. Make sure that the connector matches the port and
that it’s right side up. If the connector and port do not join easily, they do not match.
m Do not use the computer in wet or dusty environments.
m Keep dirt and liquids away from the ports on the back panel, the keyboard, and the
trackpad. If you spill any food or liquid onto the computer, shut it down immediately,
unplug it, and remove the expansion bay modules before cleaning up the spill.
Depending on what you spilled and how much got into the computer, you may have to
bring the computer to an Apple-authorized service provider for cleaning.
m Do not touch the screen with any sharp or pointed objects.
m Use only the battery supplied with your computer, or an identical model. Batteries
designed for other portable computers may look similar, but they may not work with your
computer and may damage it.
m Use only the power adapter supplied with your computer, or an identical model. Adapters
designed for other electronic devices may not work with your equipment and may
damage it.
m When using your PowerBook or when charging the battery, it is normal for the bottom of
the case to get warm. The bottom of the PowerBook case functions as a cooling surface
that transfers heat from inside the computer to the cooler air outside. The bottom of the
case is raised slightly to allow airflow that keeps the unit within normal operating
temperatures.
Important
m Use the computer only in environments where the temperature range is between
50°F/10°C and 95°F/35°C.
m Do not expose the computer to very low (less than –13°F/–25°C) or very high (more
than 140°F/60°C) temperatures.
m If the computer has been in a cold place for several hours, let it warm up to room
temperature before you use it.Health, Safety, and Maintenance Tips 91
Caring for Batteries
m Always handle batteries carefully.
m Do not short-circuit the battery terminals (that is, do not touch both terminals with a
metal object). Do not carry loose batteries in a pocket or purse where they may mix with
coins, keys, or other metal objects. Doing so may cause an explosion or a fire.
m Do not drop, puncture, disassemble, mutilate, or incinerate the battery.
m Recharge batteries only as described in this manual and only in ventilated areas.
m Do not leave batteries in hot locations (such as the trunk of a car) for more than a day or
two. Intense heat can shorten battery life.
m Do not leave a battery in storage for longer than 6 months without recharging it.
Handling Floppy Disks
125° F (52° C)
50° F (10° C)
Do not use a
pencil or an
eraser on a disk
or disk label.
Store disks at
temperatures
between 50° F
and 125° F.
Do not touch the
exposed part of the
disk behind the
metal shutter.
Keep disks away
from magnets.92 Appendix
Handling CD and DVD Discs
Traveling With the Macintosh PowerBook
Always bring the system software CD that came with your computer when you travel. If you
experience system software problems while traveling, you may need it to correct any
problems.
Take the necessary plug adapters if you’re traveling overseas. (You may need to use them
with the power cord.) You do not need a voltage transformer. The power adapter can handle
100 volts to 240 volts AC (50 Hz to 60 Hz).
Check the following diagrams to determine which plug adapters you’ll need, or ask your
travel agent.
Do not put tape
on discs.
Do not scratch
discs.
Do not write
on discs.
Do not spill liquids
on discs.
Do not get
dust on discs.
Do not expose discs
to direct sunlight.
Outlet Type Locations
United States, Canada, parts of Latin America, Japan,
Korea, the Philippines, Taiwan
Russia and the Commonwealth of Independent States
(CIS), most of Europe, parts of Latin America, the Middle
East, parts of Africa, Hong Kong, India, most of South Asia
Mexico, United Kingdom, Ireland, Malaysia, Singapore,
parts of Africa
China, Australia, New ZealandHealth, Safety, and Maintenance Tips 93
Airplanes and Airports
Some airlines have reported that use of portable electronic devices may have interfered with
the aircraft’s flight navigation or communications systems. Many airlines restrict or manage
the use of electronic equipment during flights. Please respect the regulations of the airlines.
A properly tuned X-ray machine or metal detector should cause no damage to your
Macintosh PowerBook. But the motors that drive the belts on some security machines have
magnets that can damage your information. To avoid problems, place the Macintosh
PowerBook close to the entrance of the machine and remove it as soon as possible. At most
airports you can also have the computer hand-inspected by security personnel.
Security officials may require you to turn the Macintosh PowerBook on. Make sure you have
a charged battery on hand. To speed up the security process, have your PowerBook in sleep
instead of shut down.
Handling Your Macintosh PowerBook
The safety instructions earlier in this appendix also apply when you are traveling. In addition,
note these precautions:
m Do not transport your Macintosh PowerBook while it is turned on. Put your computer to
sleep or shut it down before you move it.
m Do not check your computer as baggage. Carry it with you.
International Repair and Service
Apple’s limited warranty covers your Macintosh PowerBook for one year, regardless of where
it is purchased. The Apple-authorized service providers in more than 80 countries can handle
most repairs (unless the repair involves a component specific to another area of the world).
Bring a copy of your proof of purchase with you.
Storing the Macintosh PowerBook
1 Save your work on a hard disk or floppy disks.
2 Press the Power button and click Shut Down, or choose Shut Down from the Special menu.
3 Close the display.
4 Store the computer in a cool, dry place.
Storage temperatures should remain between –25°C and 60°C (between –13°F and 140°F).
Avoid leaving the computer where temperatures may be extreme or unpredictable—in the
trunk of a car, for example.94 Appendix
Service and Support
If your computer is malfunctioning but does not appear to be physically damaged, shut it
down (and leave the power adapter plugged in, if possible) until you can get help.
If you know or suspect that your computer is physically damaged, disconnect the power
adapter, remove the battery, and do not use the computer until it can be repaired.
Modem and Fax Safety
If you’re planning to install telephone wiring or telephone jacks, follow these precautions:
m Never install telephone wiring during a lightning storm.
m Never install telephone jacks in wet locations unless the jacks are specifically designed for
wet locations.
m Never touch uninsulated telephone wires or terminals unless the telephone line has been
disconnected at the network interface.
m Use caution when installing or modifying telephone lines.
m Avoid using a telephone, other than a cordless type, during an electrical storm. There may
be a remote risk of shock from lightning.
m Never use a telephone to report a gas leak while in the vicinity of the leak.
Important See the service and support information that came with your computer for
information about customer assistance.
Important Disconnect the telephone line from the PowerBook before removing the
keyboard to access the internal components.
Pages
Guide de
l’utilisateur
F2644.book Page 1 Thursday, January 13, 2005 5:18 PMK Apple Computer, Inc.
© 2005 Apple Computer, Inc. Tous droits réservés.
Ce manuel est soumis aux lois sur le copyright et ne
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Tous les efforts ont été déployés afin de garantir
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Apple
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www.apple.com
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F2644.book Page 2 Thursday, January 13, 2005 5:18 PM3
Table des matières
7 Préface: Bienvenue dans Pages
8 Vue d’ensemble des fonctionnalités de Pages
12 Pour en savoir plus
15 Chapitre 1: Présentation de Pages
16 La fenêtre Pages
22 Le tiroir Styles
23 Outils Pages
26 Raccourcis
26 Le document Pages
29 Chapitre 2: Création d’un document à l’aide des modèles de Pages
30 Étape 1 : Sélectionnez un type de document
33 Étape 2 : Ajoutez du texte
36 Étape 3 : Ajoutez des graphismes et d’autres éléments
41 Étape 4 : Éditez le document
47 Étape 5 : Enregistrez et partagez le document
51 Chapitre 3: Mise en forme de texte et de paragraphes
51 Mise en forme de la taille et de l’apparence du texte
59 Définition de l’alignement et de l’espacement du texte
64 Définition de taquets de tabulation afin d’aligner le texte
69 Création de listes à puces ou numérotées et de structures
72 Création de renvois, de barres latérales et de texte en surbrillance
79 Chapitre 4: Utilisation de styles
81 Application de styles
F2644.book Page 3 Thursday, January 13, 2005 5:18 PM4 Table des matières
83 Substitutions de style
84 Recherche et remplacement de styles
85 Modification et création de styles de paragraphe
90 Modification et création de styles de caractère
93 Modification et création de styles de liste
99 Chapitre 5: Mise en forme de la disposition et de la table des matières d’un document
101 Configuration de l’orientation et de la taille des pages
102 Définition des marges de page
102 Création de colonnes
106 Création d’un document avec des pages opposées gauche et droite
107 Ajout d’en-têtes et de pieds de page, de numéros de page et de notes de bas de page
110 Modification de la mise en forme de documents à l’aide de sauts de section
114 Génération d’une table des matières
117 Chapitre 6: Utilisation de graphismes et autres médias
117 Utilisation de graphismes
119 Ajout d’objets fixes et d’objets en ligne
123 Utilisation de fichiers PDF en tant que graphismes
124 Rognage (masquage) d’images fixes
126 Utilisation du Navigateur de média
127 Redimensionnement, déplacement et superposition de texte ou de graphismes
132 Habillage d’un objet avec du texte
135 Ajout de son et de séquences
137 Ajout de liens et de signets
141 Chapitre 7: Modification de propriétés d’objets
141 Utilisation de remplissages par des couleurs et des images
147 Changement du style de trait
149 Ajout d’ombres
150 Ajustement de l’opacité
151 Modification de l’orientation
F2644.book Page 4 Thursday, January 13, 2005 5:18 PMTable des matières 5
153 Ajustement de la taille et de la position d’objets
155 Chapitre 8: Création de tableaux
156 Ajout d’un tableau
158 Sélection de cellules et de bordures d’un tableau
161 Mise en forme de tableaux
168 Ajout d’images ou de couleurs à l’arrière-plan
171 Chapitre 9: Création de graphiques
171 À propos des graphiques
174 Ajout d’un graphique
176 Modification de données dans un graphique
177 Mise en forme de graphiques
189 Chapitre 10: Impression et exportation d’un document vers d’autres formats
189 Impression de documents
195 Exportation vers d’autres formats de document
197 Chapitre 11: Conception de modèles de document
198 Étape 1 : Configuration de document
200 Étape 2 : Définition de styles
204 Étape 3 : Création de texte et de graphismes destinés aux espaces réservés
207 Étape 4 : Enregistrement d’un modèle personnalisé
209 Index
F2644.book Page 5 Thursday, January 13, 2005 5:18 PMF2644.book Page 6 Thursday, January 13, 2005 5:18 PM7
Préface
Bienvenue dans Pages
Pages est une application de traitement de texte
standard mais puissante ; elle permet de créer
facilement des documents de haute qualité, qu’il
s’agisse d’une lettre, d’une invitation, d’un bulletin
mensuel ou d’une brochure en tryptique. Cette
préface présente les fonctionnalités de Pages
ainsi que différentes ressources pour apprendre
à l’utiliser.
Pages facilite la composition et la conception de divers documents sur votre ordinateur, d’un simple mémo à des rapports scolaires bien structurés, en passant par une
brochure très stylisée et élégante. Avec les outils de Pages, vous pouvez facilement
changer la disposition et l’aspect de n’importe quel document à mesure que vous
travaillez. Présentez les données à l’aide des tableaux ou graphiques de Pages. Inté-
grez une multitude de types de texte et de graphisme ; vous pouvez même inclure
des séquences vidéo, des liens et des séquences audio si vous prévoyez de publier
votre document en ligne. Utilisez les modèles fournis avec Pages afin de créer des
documents professionnels et uniformes. Vous pouvez également créer vos modèles.
Avec Pages, vos mots sont un plaisir à lire.
Votre document Pages peut être exporté vers différents types de fichier, notamment
HTML pour l’affichage en ligne, PDF et Microsoft Word.
F2644.book Page 7 Thursday, January 13, 2005 5:18 PM8 Préface Bienvenue dans Pages
Vue d’ensemble des fonctionnalités de Pages
Simple d’utilisation
Grâce aux modèles fournis avec Pages, il est facile de créer des documents professionnels. Les espaces réservés pour le texte et les images permettent de personnaliser les
documents par simple glisser-déposer. Importez des documents à partir de Microsoft
Word et AppleWorks. Vous pouvez également créer vos modèles et les partager avec
vos collègues.
Insérez des renvois,
des tableaux et d’autres
éléments mis en forme
à la volée.
Ajoutez des graphismes
par simple glisser-déposer.
Insérez plusieurs dispositions
de colonne.
Utilisez les boutons des
barres d’outils pour mettre
en forme les pages et le
texte à mesure que vous
tapez.
F2644.book Page 8 Thursday, January 13, 2005 5:18 PMPréface Bienvenue dans Pages 9
Modèles de pages
Chaque modèle dispose de blocs de composition Pages vous permettant d’élaborer
un document à partir d’une sélection de dispositions de type professionnel.
F2644.book Page 9 Thursday, January 13, 2005 5:18 PM10 Préface Bienvenue dans Pages
Styles
Tapez simplement le texte en utilisant un modèle, et les styles sont appliqués automatiquement aux paragraphes, caractères et listes numérotées ou à puces. Vous pouvez
également sélectionner différents styles ou créer vos styles. Utilisez la fenêtre Inspecteur afin de mettre en forme la disposition des documents, du texte et des
graphismes pendant votre travail.
Utilisez le menu Styles afin
d’appliquer une mise en
forme de texte cohérente
dans tous vos documents.
Importez les photos
d’iPhoto à l’aide du
navigateur de média
iLife.
F2644.book Page 10 Thursday, January 13, 2005 5:18 PMPréface Bienvenue dans Pages 11
Traitement de texte puissant
Pages permet les dispositions à plusieurs colonnes, qui passent d’une page à l’autre
lorsque vous tapez, ainsi que les documents déjà mis en forme qui permettent la
création de documents exceptionnels. Il est également simple de configurer une table
des matières, des pieds de page, des en-têtes et des numéros de page afin de créer
des rapports professionnels ou universitaires.
Créez une table des
matières qui se met à
jour automatiquement.
Appliquez un style à
la table des matières.
Créez des listes à puces
ou numérotées.
F2644.book Page 11 Thursday, January 13, 2005 5:18 PM12 Préface Bienvenue dans Pages
Pour en savoir plus
Pour tirer le meilleur parti de Pages, consultez les ressources suivantes :
Guide de l’utilisateur
Le présent guide décrit les fonctionnalités de Pages et explique comment l’utiliser.
Pour lire ce guide au format PDF couleurs, choisissez Aide > Manuel de l’utilisateur
Pages.
Le chapitre 1 de ce guide décrit les outils disponibles dans Pages et le chapitre 2 illustre
la procédure pas à pas à suivre pour créer un document. Pour plus d’informations sur
chaque étape, reportez-vous aux chapitres 3 à 10. Si vous souhaitez découvrir comment
créer vos modèles, lisez le chapitre 11.
Aide en ligne
Pour afficher l’aide, choisissez Aide > Aide Pages. Vous pouvez parcourir la table des
matières afin de rechercher une rubrique spécifique, ou saisir une question dans le
champ de recherche afin de trouver une réponse concernant la façon d’effectuer
une tâche.
Vous pouvez ajouter le bouton Aide à la barre d’outils Pages afin de rendre l’aide
de Pages disponible d’un simple clic. Pour en savoir plus sur la personnalisation de
la barre d’outils, reportez-vous à la section “La barre d’outils” à la page 23.
Remarque : pour effectuer nombre des tâches décrites dans ce guide (et dans l’Aide
Pages), vous utilisez des commandes de menu. Les instructions se présentent ainsi :
m Choisissez Afficher > Zoom > Taille réelle.
Le premier terme après Choisissez est le menu sur lequel vous cliquez ; le terme
suivant est l’élément sélectionné dans le menu, comme illustré ci-après.
F2644.book Page 12 Thursday, January 13, 2005 5:18 PMPréface Bienvenue dans Pages 13
Les balises d’aide sont également disponibles pour de nombreux éléments à l’écran.
Pour afficher une balise d’aide, positionnez le pointeur sur un élément pendant quelques secondes.
Visite guidée de Pages
Pour obtenir une démonstration à l’écran de ce que vous pouvez faire avec Pages,
visualisez la visite guidée.
Pour visualiser la visite à l’écran :
m Choisissez Aide > Visite iWork, puis suivez les instructions à l’écran.
Modèles Pages
Pages est fourni avec des modèles qui illustrent les différents styles et dispositions
que vous pouvez créer. Tapez directement du texte en utilisant un modèle afin de
créer vos documents. Vous pouvez également utiliser les propriétés et éléments
de ces modèles afin d’améliorer votre document en copiant et en collant des puces,
des styles de graphique et des images d’arrière-plan, ou en utilisant les mêmes
dispositions et styles.
Pour plus d’informations, reportez-vous à la section “Étape 1 : Sélectionnez un type
de document” à la page 30.
Fascicule de référence rapide de Pages
Le fascicule de référence rapide répertorie les raccourcis clavier de Pages. Vous pouvez
également accéder aux raccourcis clavier en choisissant Aide > Raccourcis clavier Pages
ou en recherchant “raccourcis clavier” dans l’aide en ligne.
Ressources Web
Rendez-vous sur www.apple.com/pages afin d’obtenir les mises à jour logicielles et les
informations les plus récentes. Vous pouvez également acheter les produits Pages sur
le Web.
Pour afficher une balise
d’aide, positionnez le
pointeur sur un élément.
F2644.book Page 13 Thursday, January 13, 2005 5:18 PM14 Préface Bienvenue dans Pages
Pour en savoir plus sur les produits Pages et obtenir des informations à jour :
m Choisissez Aide > Pages sur le Web.
Support technique
Différentes options de support sont disponibles pour les utilisateurs de Pages.
Pour plus d’informations, reportez-vous au guide AppleCare des services
logiciels et de support fourni avec la documentation de Pages ou visitez le site
www.apple.com/fr/support.
F2644.book Page 14 Thursday, January 13, 2005 5:18 PM15
1
1 Présentation de Pages
Ce chapitre présente les fenêtres et outils que vous
utiliserez dans Pages.
Lorsque vous créez un document Pages, vous devez commencer par sélectionner un
modèle avec lequel démarrer. Choisissez celui qui correspond le mieux à vos besoins
et objectifs. Si vous souhaitez commencer avec un document brut, sans mise en forme
prédéfinie, utilisez le modèle Vide.
Vous pouvez faire glisser ou positionner des objets sur une page, notamment des
graphismes importés, des séquences et du son, ou encore des zones de texte, des
graphiques, des tables et des formes que vous créez dans Pages. De nouvelles pages
sont ajoutées automatiquement lorsque vous tapez des informations dans un document. Vous pouvez également ajouter des pages avec une mise en forme prédéfinie,
avant ou après des pages existantes, en sélectionnant parmi celles qui sont proposées
dans chaque modèle. Pour plus d’informations, reportez-vous à la section “Développement du modèle en ajoutant des pages” à la page 31.
Dans les modèles Pages, les pages contiennent des espaces réservésde texte et
d’image qui illustrent l’aspect du document final. Vous pouvez remplacer le texte
des espaces réservés par votre texte. Vous pouvez également remplacer les images
des espaces réservés en y faisant glisser une image. Pour plus d’informations sur
l’utilisation d’espaces réservés de texte et d’images, reportez-vous aux sections
“Étape 2 : Ajoutez du texte” à la page 33 et “Étape 5 : Enregistrez et partagez le document” à la page 47.
F2644.book Page 15 Thursday, January 13, 2005 5:18 PM16 Chapitre 1 Présentation de Pages
La fenêtre Pages
Lorsque vous ouvrez pour la première fois l’application Pages, le sélectionneur de
modèles présente différents types de document. Si vous ne souhaitez utiliser aucun
des modèles, vous pouvez créer un document vide. Pour commencer avec un document vide, sélectionnez-le et commencez à saisir le texte.
La fenêtre Pages affiche le document sur lequel vous travaillez. Vous pouvez faire
glisser des fichiers image, des séquences et des fichiers son vers la fenêtre afin de
les ajouter au document.
Lorsque vous travaillez dans le document, vous pouvez faire un zoom avant ou arrière
afin de mieux voir ce que vous faites.
Personnalisez la barre d’outils
afin d’inclure les outils que
vous utilisez le plus souvent.
Les espaces réservés du
texte indiquent où vous
devez saisir le texte.
Les espaces réservés
d’image indiquent la
taille et la position des
graphismes dans un
modèle de document.
Les zones de texte contiennent du texte “flottant” à
l’extérieur, au-dessus ou en
dessous de la zone de texte
principale.
La commande Prévisualiser
permet de faire un zoom avant
ou arrière afin d’agrandir ou de
réduire le document à l’écran.
F2644.book Page 16 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 17
Pour faire un zoom avant ou arrière sur le document, effectuez l’une des opérations suivantes :
 Choisissez Afficher > Zoom > [niveau de zoom].
 Cliquez sur la commande Prévisualiser dans le coin inférieur gauche de la fenêtre,
puis choisissez un niveau d’agrandissement dans le menu local.
 L’option Un vers le haut présente les pages dans un flux linéaire.
 L’option Deux vers le haut présente deux pages côte à côte à l’écran.
 L’option Ajuster la largeur adapte la largeur du document à celle de la fenêtre. Vous
pouvez agrandir la fenêtre Pages afin qu’elle occupe tout l’écran, ou bien la rétrécir.
 L’option Ajuster la page adapte la page du document à la taille de la fenêtre de
l’écran.
F2644.book Page 17 Thursday, January 13, 2005 5:18 PM18 Chapitre 1 Présentation de Pages
Mode Disposition
En mode disposition, vous pouvez afficher les contours des différentes zones de texte
du document, notamment les en-têtes, les pieds de page, les zones de texte fixes, les
largeurs de colonne et le corps du document, c’est-à-dire la zone de texte principale
du document. Avec le mode disposition activé, les règles et guides d’alignement du
document deviennent visibles.
Pour passer en mode disposition :
m Choisissez Afficher > Afficher la disposition.
Lorsque vous tapez du texte dans le corps du document, le texte passe automatiquement à la page suivante. Les autres zones de texte, telles que les en-têtes, les pieds de
page et les zones de texte, ne passent pas aux pages suivantes ; elles conservent leur
taille et leur largeur.
Dans l’exemple suivant, vous constatez que la disposition de la page comporte deux
colonnes en haut, deux sauts de disposition, puis trois colonnes, une image en ligne
et la zone de pied de page.
Pied de page
Deux colonnes de texte
Une image en ligne
Trois colonnes de texte
Deux sauts de
disposition
F2644.book Page 18 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 19
Texte d’espace réservé
Le texte d’espace réservé indique où le texte est positionné et comment il est mis
en forme dans un modèle. Un nouveau modèle contient du texte d’espace réservé,
des images d’espace réservé, des images d’arrière-plan ou d’autres éléments qui
représentent les éléments du document terminé. Si vous cliquez sur le texte d’espace
réservé, la totalité de la zone de texte est sélectionnée. Lorsque vous commencez la
saisie, le texte d’espace réservé disparaît et il est remplacé par ce que vous tapez.
Espaces réservés d’image
De la même façon que le texte d’espace réservé, les espaces réservés d’image servent
à indiquer la taille et la position des graphismes dans un modèle. Si vous cliquez une
fois, les poignées de sélection apparaissent. Faites glisser votre image vers l’espace
réservé afin de la remplacer.
Objets modèle
Certains objets apparaissent sur chaque page d’un document, à mesure que la longueur
du document augmente. Ces objets sont appelés “objets modèle”. Si vous ne pouvez pas
sélectionner un objet dans un modèle, il s’agit probablement d’un objet modèle. Pour
en savoir plus, reportez-vous à la section “Ajout d’une image répétée pour l’arrière-plan”
à la page 113.
Caractères de mise en forme (invisibles)
Lorsque vous travaillez dans un document Pages, vous pouvez afficher les marques
indiquant les espaces, les sauts de paragraphe, les sauts de section ou d’autres types
d’élément invisible, vous permettant ainsi de vérifier la mise en forme du document.
Dans Pages, ces marques de mise en forme sont appelées caractères invisibles.
F2644.book Page 19 Thursday, January 13, 2005 5:18 PM20 Chapitre 1 Présentation de Pages
Pour afficher les caractères invisibles :
m Choisissez Afficher > Afficher les caractères invisibles.
Le tableau ci-dessous illustre ce que représente chaque caractère de mise en forme.
Pour changer la couleur des caractères de mise en forme :
m Choisissez Pages > Préférences, cliquez sur la case de couleur Caractères invisibles,
puis sélectionnez une couleur.
Caractères invisibles
Espace
Espace insécable (Option + Barre espace)
Tab
Saut de ligne (Maj + Retour)
Saut de paragraphe (Retour)
Saut de page
Saut de colonne
Saut de disposition
Saut de section
Point d’ancrage (pour les objets en ligne avec l’habillage du texte)
F2644.book Page 20 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 21
Règles et guides d’alignement
Chaque fois que vous déplacez une image, une forme ou une zone de texte sur la
page, les guides d’alignement apparaissent automatiquement afin de vous aider à
positionner l’objet précisément à l’endroit où vous le souhaitez. Vous pouvez également utiliser les règles du document ou créer des guides d’alignement statiques
qui restent sur la page afin de marquer la position des différents objets lorsque vous
réorganisez les éléments sur la page. Pour savoir comment personnaliser le comportement des guides d’alignement, reportez-vous à la section “Guides d’alignement” à la
page 39.
Vous pouvez également utiliser des règles pour positionner les objets précisément
sur une page, et vous pouvez utiliser la règle horizontale pour définir les taquets de
tabulation, les marges des pages et les largeurs des colonnes. Pour plus d’informations
sur les taquets de tabulation, les marges des pages et les colonnes, reportez-vous
aux sections “Définition de taquets de tabulation afin d’aligner le texte” à la page 64,
“Définition des marges de page” à la page 102 et “Création de colonnes” à la page 102.
Vous pouvez remplacer les unités de mesure qui apparaissent sur les règles par des
pouces, des centimètres, des points ou des picas dans les Préférences Pages.
Vous pouvez également activer les règles sans les autres éléments de disposition.
Pour rendre les règles visibles sans les autres éléments de disposition :
m Choisissez Afficher > Afficher les règles, ou appuyez sur Commande + R.
Pour changer les valeurs des règles :
m Choisissez Pages > Préférences, puis choisissez une unité de mesure dans le menu
local Unités de la règle.
F2644.book Page 21 Thursday, January 13, 2005 5:18 PM22 Chapitre 1 Présentation de Pages
Le tiroir Styles
Lorsque vous créez un documen, vous pouvez utiliser un certain style de texte
pour chaque titre de chapitre, titre de section, liste à puces et paragraphe de corps
du texte. Chaque modèle est fourni avec une bibliothèque de styles prédéfinis parmi
lesquels vous pouvez choisir. Le tiroir Styles répertorie et fournit un aperçu de tous
les styles de texte du modèle que vous utilisez, ce qui vous permet de les créer, de
les personnaliser et de les gérer facilement.
Pour ouvrir le tiroir Styles :
m Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles).
Les règles vous aident à
définir les marges et les
tabulations à l’endroit
où vous en avez besoin.
Les guides d’alignement vous
aident à positionner avec
précision les objets sur la page.
Dans le cas présent, les guides
d’alignement sont bleus.
Les icônes bleues sur la règle du
haut indiquent les retraits du texte
et les tabulations. Faites-les glisser
afin demodifier la position du texte.
Les rectangles bleus sous
les règles indiquent les
marges des colonnes.
Faites-les glisser afin de
modifier la largeur des
gouttières des colonnes.
F2644.book Page 22 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 23
Outils Pages
La barre d’outils
La barre d’outils Pages permet d’accéder en un seul clic à nombre des actions que
vous utilisez lors de la création de documents dans Pages. Lorsque vous travaillez
dans Pages et que vous savez quelles commandes vous utilisez le plus souvent, vous
pouvez ajouter, supprimer et réorganiser les boutons de la barre d’outils afin de les
adapter à votre style de travail.
Le jeu par défaut de boutons de barre d’outils est illustré ci-dessous.
Sélectionnez un style de
paragraphe afin de l’appliquer
aux paragraphes sélectionnés.
Sélectionnez un style de
caractère afin de l’appliquer
au texte sélectionné.
Sélectionnez un style de liste
afin de l’appliquer au texte
du paragraphe sélectionné.
Cliquez afin d’afficher et de
masquer les styles de liste et
de caractère dans le tiroir.
Appuyez dessus et choisissez
une option afin de créer un style.
F2644.book Page 23 Thursday, January 13, 2005 5:18 PM24 Chapitre 1 Présentation de Pages
Pour personnaliser la barre d’outils :
1 Choisissez Afficher > Personnaliser la barre d’outils.
2 Pour ajouter un élément à la barre d’outils, faites glisser son icône vers la barre d’outils
en haut.
3 Pour supprimer un élément de la barre d’outils, faites-le glisser à l’extérieur de la barre
d’outils.
4 Pour réorganiser les éléments dans la barre d’outils, faites-les glisser à un autre endroit
sur la barre.
5 Pour réduire les icônes sur la barre d’outils, sélectionnez Petites icônes.
6 Pour n’afficher que les icônes ou le texte, choisissez une option dans le menu local
Afficher.
Si vous reconfigurez fréquemment la barre d’outils, vous pouvez y ajouter le bouton
Personnaliser.
Remarque : vous pouvez restaurer le jeu par défaut de boutons de barre d’outils en
faisant glisser celui-ci vers la barre d’outils. Pour savoir à quoi sert un bouton de la
zone de dialogue Personnaliser, faites-le glisser vers la barre d’outils, puis positionnez
le pointeur dessus jusqu’à ce qu’une balise d’aide apparaisse.
Ajoutez des zones de texte, des formes,
des tableaux et des graphiques.
Ouvrez la fenêtre
Inspecteur, le navigateur
de média, la fenêtre
Couleurs et le panneau
Police.
Créez des dispositions
de colonne à la volée.
Appliquez les styles
au texte et aux listes.
Changez la façon dont le texte
s’ajuste autour des objets.
Ajoutez des pages avec une mise en
forme prédéfinie à votre document.
F2644.book Page 24 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 25
La fenêtre Inspecteur
La fenêtre Inspecteur vous permet d’accéder facilement aux outils de mise en forme
pendant que vous travaillez. Vous pouvez mettre en forme la plupart des éléments de
votre document à l’aide des dix sous-fenêtres de la fenêtre Inspecteur, notamment la
disposition du document, l’apparence du texte, la taille et la position des graphismes,
et bien d’autres choses encore.
Pour ouvrir une fenêtre Inspecteur :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils).
Cliquez sur l’un des boutons du haut afin d’afficher la sous-fenêtre Inspecteur.
Par exemple, le fait de cliquer sur le quatrième bouton à partir de la gauche affiche
l’Inspecteur de texte. Plusieurs fenêtres de l’Inspecteur peuvent être ouvertes
simultanément.
Pour ouvrir une autre fenêtre Inspecteur :
m Choisissez Afficher > Nouvel Inspecteur (ou appuyez sur la touche Option tout
en cliquant sur Inspecteur dans la barre d’outils).
Le panneau Police
Pages utilise le panneau Police de Mac OS X, vous permettant d’utiliser n’importe
quelle police de l’ordinateur dans vos documents.
Pour ouvrir le panneau Police :
m Choisissez Format > Police > Fenêtre des polices (ou cliquez sur Polices dans la barre
d’outils).
Utilisez le panneau Police afin de sélectionner les polices, les tailles de police et d’autres
fonctionnalités de mise en forme (ombrage, barré, etc.) Pour plus de détails sur l’utilisation du panneau Police et sur la modification de l’aspect du texte, consultez chapitre 3,
“Mise en forme de texte et de paragraphes”.
Les boutons en haut de la
fenêtre Inspecteur ouvrent les
dix inspecteurs : Document,
Disposition, Habillage, Texte,
Graphismes, Mesures, Tableaux,
Graphiques, Liens et QuickTime.
F2644.book Page 25 Thursday, January 13, 2005 5:18 PM26 Chapitre 1 Présentation de Pages
La fenêtre Couleurs
Utilisez la fenêtre Couleurs de Mac OS X pour choisir les couleurs du texte, des objets
dessinés ou des ombres.
Pour ouvrir la fenêtre Couleurs :
m Choisissez Afficher > Afficher les couleurs (ou cliquez sur Couleurs dans la barre
d’outils).
Pour plus d’informations sur l’utilisation de la fenêtre Couleurs pour définir la couleur
des lignes, du texte et des formes, reportez-vous au chapitre 7, “Modification de
propriétés d’objets”.
Raccourcis
Vous pouvez utiliser le clavier pour exécuter nombre des commandes et tâches des
menus de Pages. Une liste complète de raccourcis clavier est disponible dans l’aide
en ligne.
Pour afficher la liste des raccourcis clavier :
m Dans Pages, choisissez Aide > Raccourcis clavier Pages.
De nombreuses commandes sont également disponibles par l’intermédiaire de
raccourcis clavier, auxquels vous pouvez accéder directement à partir de l’objet avec
lequel vous travaillez.
Pour ouvrir un menu contextuel :
m Appuyez sur la touche Contrôle en cliquant sur un objet.
Les menus contextuels sont particulièrement utiles pour travailler sur les tableaux et
les graphiques.
Le document Pages
Si vous créez un long document ou que l’aspect visuel est un élément important,
il peut être utile de réfléchir à l’aspect général du document avant de commencer
à travailler. Voici quelques éléments à prendre en considération lors de la création
d’un document.
F2644.book Page 26 Thursday, January 13, 2005 5:18 PMChapitre 1 Présentation de Pages 27
Disposition et style des documents
Pensez à l’aspect général du document, y compris sa disposition et l’utilisation de
l’espace. La plupart de ces questions sont traitées dans chapitre 5, “Mise en forme de
la disposition et de la table des matières d’un document”.
 Quel type de document créez-vous et quel modèle correspond le mieux à la disposition dont vous avez besoin ?
 Le document nécessite-t-il une orientation de type paysage ou portrait ? Prenez
soin de définir cette option dans la boîte de dialogue Format d’impression avant de
commencer. Reportez-vous à la section “Configuration de l’orientation et de la taille
des pages” à la page 101.
 Si vous concevez une disposition de page unique, les marges du document sontelles définies comme vous le souhaitez ? Reportez-vous à la section “Définition des
marges de page” à la page 102.
 Le document sera-t-il relié ? Si oui, tenez compte des numéros de page, des marges
et des sauts de section sur les pages recto et verso du document. Reportez-vous
à la section “Création d’un document avec des pages opposées gauche et droite” à
la page 106.
 Le document sera-t-il divisé en sections avec différentes dispositions, numérotations
des pages, en-têtes et pieds de page ou éléments de conception ? Déterminez
dans quels cas vous pouvez utiliser des sauts de disposition et des sauts de section.
Reportez-vous à la section “Ajout d’en-têtes et de pieds de page, de numéros de
page et de notes de bas de page” à la page 107.
 La disposition du document nécessite-t-elle des colonnes ? Reportez-vous à la
section “Création de colonnes” à la page 102.
 Le document sera-t-il suffisamment long pour nécessiter une table des matières ?
Si tel est le cas, prenez soin d’utiliser des styles d’en-tête cohérents dans l’ensemble
du document. Reportez-vous à la section “Génération d’une table des matières” à la
page 114.
Apparence du texte
Déterminez de façon globale la façon dont vous souhaitez utiliser le texte dans votre
document(façon dont il sera utilisé pour mettre l’accent sur l’organisation du contenu
et pour créer un design attrayant). La plupart de ces questions sont traitées dans
chapitre 3, “Mise en forme de texte et de paragraphes”.
F2644.book Page 27 Thursday, January 13, 2005 5:18 PM28 Chapitre 1 Présentation de Pages
 Quelles polices utiliserez-vous dans le document ?
 Existe-t-il des styles d’en-tête ou des polices que vous souhaitez utiliser de manière
cohérente dans l’ensemble du document ? Consultez chapitre 4, “Utilisation de styles”.
 Quelle forme ou image souhaitez-vous utiliser pour les puces ? Quels styles de
nombre pour les structures ? Reportez-vous à la section “Création de listes à puces
ou numérotées et de structures” à la page 69.
 Allez-vous utiliser des légendes, des barres latérales ou d’autre texte mis en
surbrillance dans votre document ? Reportez-vous à la section “Création de renvois,
de barres latérales et de texte en surbrillance” à la page 72.
Utilisation des graphismes et autres médias
Déterminez la façon dont vous allez utiliser les éléments graphiques dans votre
document, ainsi que la façon dont ils apparaîtront dans le flux du document, ainsi
que les types de graphisme que vous pouvez utiliser. Pages fournit des outils que vous
pouvez utiliser pour créer des tableaux et des graphiques afin d’organiser et d’afficher
les informations. Pour en savoir plus sur la création de tableaux et de graphiques,
consultez le chapitre 8, “Création de tableaux” et chapitre 9, “Création de graphiques”.
Pour en savoir plus sur les autres utilisations des graphismes, consultez chapitre 6,
“Utilisation de graphismes et autres médias”.
 Comment les images seront-elles utilisées dans le document ?
 Pouvez-vous utiliser des tableaux pour présenter clairement les informations ?
Consultez chapitre 8, “Création de tableaux”.
 Pouvez-vous utiliser des graphiques pour afficher les données de manière efficace ?
Consultez chapitre 9, “Création de graphiques”.
 Quel sera le format final du document (page imprimée, HTML, etc.) ? Reportez-vous
à la section “Exportation vers d’autres formats de document” à la page 195.
 Utiliserez-vous du son ou des séquences dans votre document ? Reportez-vous à la
section “Ajout de son et de séquences” à la page 135.
F2644.book Page 28 Thursday, January 13, 2005 5:18 PM29
2
2 Création d’un document à
l’aide des modèles de Pages
Ce chapitre fournit des informations de base
sur l’utilisation de Pages. Il explique également
comment utiliser les modèles de Pages pour créer
facilement vos documents professionnels, avec
une mise en page relativement complexe.
Avant de commencer à créer un document Pages, déterminez son utilisation. Si
votre document est destiné à l’impression, quelle sera la taille du papier ? Quelle sera
l’orientation de la page (portrait ou paysage) ? Comment sera-t-il plié ? Cela permet
également de déterminer si le document sera long et nécessitera une table des
matières et une numérotation des pages. Le fait de connaître ces paramètres vous
permettra de choisir le modèle approprié et de le configurer correctement avant de
commencer.
Importation d’un document Microsoft Word ou AppleWorks
Si vous avez déjà créé un document dans Microsoft Word ou dans AppleWorks,
vous pouvez l’importer dans Pages et continuer à travailler dessus. Faites simplement glisser l’icône du document Microsoft Word ou AppleWorks vers l’icône de
l’application Pages.
Vous pouvez également réexporter des documents Pages vers MS Word ou au
format PDF, RTF (Rich Text Format) ou HTML. Pour plus d’informations sur l’importation et l’exportation de documents Microsoft Word, reportez-vous à la section
“Exportation vers d’autres formats de document” à la page 195.
F2644.book Page 29 Thursday, January 13, 2005 5:18 PM30 Chapitre 2 Création d’un document à l’aide des modèles de Pages
Étape 1 : Sélectionnez un type de document
Pour commencer un nouveau document Pages, double-cliquez sur l’icône Pages.
Dans le sélectionneur de modèles, sélectionnez le modèle correspondant le mieux
au type de document que vous souhaitez créer. Si vous souhaitez commencer dans
un document ne contenant aucun espace réservé pour du texte ou des images,
sélectionnez Vide.
En utilisant un modèle avec des espaces réservés pour du texte ou des images,
vous pouvez facilement créer un document professionnel, tel qu’un rapport scolaire,
une lettre commerciale, un journal ou une brochure, sans avoir à concevoir la mise
en page. Chaque modèle comprend des styles prédéfinis pour les titres, les en-têtes,
les tableaux, les notes de bas de page, les puces et autres fonctionnalités de mise en
forme.
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Si vous ne voyez pas le sélectionneur de modèles lorsque vous ouvrez Pages pour
la première fois, vous pouvez l’afficher en définissant une préférence dans les Préfé-
rences Pages. Vous pouvez également configurer Pages afin d’ouvrir automatiquement
un document vide ou le modèle de votre choix chaque fois que vous le démarrez.
Pour afficher le sélectionneur de modèles ou pour configurer le modèle par défaut
pour les nouveaux documents :
m Sélectionnez Pages > Préférences, puis sélectionnez l’une des options suivantes :
 Pour que le sélectionneur de modèles apparaisse systématiquement lorsque vous
ouvrez Pages, sélectionnez “Pour les nouveaux documents : Afficher la zone de
dialogue du sélectionneur de modèles”.
 Pour que Pages ouvre toujours le même type de document lorsque vous le lancez,
sélectionnez “Pour les nouveaux documents : Utiliser le modèle : [nom du modèle]”,
puis cliquez sur Choisir. Sélectionnez le nom d’un modèle, puis cliquez sur Choisir.
Lorsque vous avez sélectionné un modèle, un document s’ouvre à l’écran.
Développement du modèle en ajoutant des pages
Chaque page d’un modèle Pages présente une mise en page unique (à l’exception
du modèle Vide). Vous pouvez choisir d’utiliser les mises en page qui s’affichent à la
première ouverture du document. Si les mises en page ne satisfont pas à vos besoins,
vous pouvez choisir parmi des mises en page supplémentaires qui s’intègrent au
modèle.
Pour ajouter une page de modèle à partir de la page actuelle :
m Sélectionnez Insérer > Pages > [modèle de page] (ou cliquez sur Pages dans la barre
d’outils et sélectionnez une page de modèle).
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La nouvelle page est ajoutée immédiatement à la suite de la page où vous avez placé
le point d’insertion.
Pages supplémentaires :
choisissez une page dans
le menu local Pages.
F2644.book Page 32 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 33
Étape 2 : Ajoutez du texte
Si vous ouvrez un document vide, vous pouvez commencer à taper du texte. À mesure
que vous tapez, le texte remplit la page. Lorsqu’une page est remplie, le texte passe
automatiquement à la page suivante.
Si vous travaillez avec un modèle incluant des espaces réservés pour du texte ou
des images, vous pouvez ajouter du texte et des graphismes aux zones des espaces
réservés, comme indiqué ci-dessous.
Ajout de texte à des zones de texte d’espace réservé
Les modèles contiennent du texte d’espace réservé, qui montre à quoi ressemblera le
texte et où il sera placé dans le document terminé. Le texte d’espace réservé est soit
un libellé (par exemple, “Nom du destinataire”), soit du texte utilisant des caractères
latins dans le corps document, dans les zones de texte, dans les en-têtes et ailleurs.
Zones de texte principales
Lorsque vous cliquez sur un texte d’espace réservé dans un modèle de document,
l’ensemble de la zone de texte est mis en surbrillance.
Lorsque vous tapez du texte, le texte de l’espace réservé disparaît et il est remplacé
par le texte que vous tapez. Celui-ci se comporte comme du texte standard.
Zones de texte
Une partie du texte d’espace réservé est contenue dans des zones de texte ou des
cellules de tableau, afin de préserver la mise en forme. Lorsque vous cliquez sur du
texte d’espace réservé qui se trouve dans une zone de texte, une bordure rectangulaire grise apparaît autour.
Texte d’espace réservé : l’ensemble
de la zone de texte est sélectionné
lorsque vous cliquez.
F2644.book Page 33 Thursday, January 13, 2005 5:18 PM34 Chapitre 2 Création d’un document à l’aide des modèles de Pages
Pour sélectionner le texte d’un espace réservé dans une zone de texte :
m Cliquez une fois pour sélectionner la zone de texte, puis double-cliquez pour
sélectionner le texte à l’intérieur de la zone.
En général, les bordures des zones de texte ne sont visibles que lorsque la zone de texte
ou le texte qu’elle contient est sélectionné, ou lorsque vous avez activé le mode page.
Pour savoir comment modifier l’aspect des zones de texte, reportez-vous à la section
“Création de renvois, de barres latérales et de texte en surbrillance” à la page 72.
Tableaux
Certains tableaux contiennent du texte d’espace réservé. Lorsque vous sélectionnez
du texte qui se trouve à l’intérieur d’une cellule de tableau, un rectangle jaune apparaît autour.
Pour sélectionner le texte d’un espace réservé dans un tableau :
1 Cliquez une fois pour sélectionner le tableau, puis cliquez une fois pour sélectionner
une cellule.
Le texte à l’intérieur de la cellule est sélectionné en vue de sa modification lorsque
vous sélectionnez la cellule. Vous pouvez savoir qu’il s’agit d’un texte d’espace réservé
s’il est mis en surbrillance en bleu ; dans le cas contraire, il s’agit de texte standard.
2 Appuyez sur la touche Tab pour passer à la cellule suivante, ou sur Maj + Tab pour
passer à la cellule précédente.
Pour en savoir plus sur l’utilisation de tableaux ou sur la modification de leur aspect,
consultez le chapitre 8, “Création de tableaux”.
Bordure de zone de texte
grise : bordure qui apparaît
lorsque vous sélectionnez
la zone de texte.
Cellule de tableau unique sélectionnée en vue de sa modification.
F2644.book Page 34 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 35
Important : les zones de texte et les tableaux contenant du texte d’espace réservé
font partie de la conception par défaut du modèle. Pour préserver la conception,
prenez soin de ne pas appuyer sur Suppr après avoir sélectionné la zone de texte ou
le tableau. Le fait d’appuyer sur Suppr entraîne la suppression de l’objet sélectionné
de la page. Si vous supprimez accidentellement une zone de texte ou un tableau,
vous pouvez immédiatement le récupérer en cliquant sur Édition > Annuler
Supprimer (ou en appuyant sur Commande + Z). De manière générale, si vous faites
une erreur ou que vous changez d’avis sur une opération que vous avez effectuée,
vous pouvez annuler immédiatement la dernière action via la commande Annuler.
Colonnes
Occasionnellement, les modèles peuvent contenir du texte d’espace réservé apparaissant dans des colonnes. Il peut être plus facile de travailler avec des colonnes de texte
si la disposition du document est visible, mais vous pouvez également masquer la
disposition afin de voir l’aspect du document terminé.
Pour afficher ou masquer la disposition du document :
m Cliquez sur Présentation > Afficher la disposition ou Masquer la disposition.
Il peut également être utile d’afficher les autres caractères de mise en forme (caractères invisibles) pendant votre travail, par exemple les tabulations et les sauts de
paragraphe.
Pour afficher ou masquer les caractères invisibles :
m Cliquez sur Présentation > Afficher les caractères invisibles ou Masquer les caractères
invisibles.
F2644.book Page 35 Thursday, January 13, 2005 5:18 PM36 Chapitre 2 Création d’un document à l’aide des modèles de Pages
Étape 3 : Ajoutez des graphismes et d’autres éléments
Vous pouvez utiliser divers types d’élément dans un document Pages, notamment
des images fixes, des séquences vidéo, du son, des formes dessinées, des graphiques
et des tableaux. Les séquences vidéo et le son peuvent être utiles si vous prévoyez
l’affichage du document final à l’écran au format HTML ou en tant que fichier Pages.
Pour obtenir une liste plus complète des types de fichier acceptés par Pages, consultez
le chapitre 6, “Utilisation de graphismes et autres médias”.
Placement d’images dans des espaces réservés d’image
Les images contenues dans les modèles Pages sont des espaces réservés d’image.
Ceux-ci représentent la taille et la disposition des images que vous allez ajouter à
votre document. Vous pouvez reconnaître un espace réservé d’image en y déplaçant
le curseur ; une balise d’aide apparaît, vous invitant à le remplacer par votre image.
Pour remplacer une image dans un espace réservé d’image :
m Faites glisser l’image du navigateur de média ou du Finder vers l’espace réservé
d’image.
Ajout d’images, de séquences vidéo et de fichiers son ailleurs
dans votre document
Vous pouvez ajouter des images, des séquences vidéo ou des fichiers son à un document Pages en les faisant simplement glisser du Finder vers la fenêtre du document,
ou en les faisant glisser à partir du navigateur de média. Celui-ci affiche les images
stockées dans votre bibliothèque iPhoto, les fichiers son stockés dans votre bibliothèque iTunes, ainsi que les séquences vidéo stockées dans le dossier Séquences
de votre dossier Départ.
Pour ouvrir le navigateur de média :
m Cliquez sur Présentation > Afficher le navigateur de média (ou cliquez sur Média dans
la barre d’outils), puis sélectionnez iPhoto, iTunes ou Séquences pour afficher le type
de fichier que vous souhaitez utiliser.
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Lorsque vous ajoutez un objet à un document, vous pouvez soit le placer dans une
position fixe sur la page (objet fixe), de sorte que le texte que vous tapez s’affiche
autour de l’objet, soit l’ancrer au texte (objet en ligne), de sorte qu’il se déplace avec le
texte situé autour. Si vous créez un objet fixe, vous pouvez ajuster la position du texte
autour de l’objet, en modifiant l’habillage. Pour en savoir plus sur la comparaison des
objets fixes et des objets en ligne, reportez-vous à la section “Comparaison des objets
fixes et des objets en ligne” à la page 117. Pour plus d’informations sur l’habillage de
texte, reportez-vous à la section “Habillage d’un objet avec du texte” à la page 132.
Pour ajouter une image en ligne avec le texte :
m Placez le point d’insertion là où vous souhaitez que l’image apparaisse, puis cliquez
sur Insérer > Choisir. Sélectionnez le fichier image et cliquez sur Insérer.
m Faites glisser une image de la sous-fenêtre iPhoto du navigateur de média vers la position où elle doit apparaître dans le texte. À mesure que vous faites glisser l’image sur
le texte, le point d’insertion indique à quel endroit l’image apparaît si vous la déposez.
m Faites glisser une image du Finder vers la position où elle doit apparaître dans le texte.
À mesure que vous faites glisser l’image sur le texte, le point d’insertion indique à quel
endroit l’image apparaît si vous la déposez.
Pour ajouter une image fixe :
m Cliquez à l’extérieur des zones de texte dans le document afin qu’aucun point d’insertion ne soit visible, cliquez sur Insérer > Choisir, puis cliquez sur le fichier image et
cliquez sur Insérer.
m Faites glisser une image de la sous-fenêtre iPhoto du navigateur de média vers une
zone de votre document ne contenant pas de texte.
m Faites glisser une image du Finder vers une zone du document ne contenant pas de
texte.
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Les images peuvent être rognées, redimensionnées et pivotées. Elles peuvent également être regroupées, ce qui facilite le repositionnement de plusieurs graphismes
que vous souhaitez conserver ensemble. Vous pouvez également superposer des
graphismes, ajuster leur opacité et ajouter des ombres afin de créer des effets visuels
saisissants. Les images fixes peuvent également être masquées (rognées) de sorte que
seule une partie de l’image soit visible sur la page. Pour plus d’informations sur l’utilisation d’images, consultez le chapitre 6, “Utilisation de graphismes et autres médias”.
Pour en savoir plus sur l’ajustement des ombres et de l’opacité, consultez le chapitre 7,
“Modification de propriétés d’objets”.
Pour en savoir plus sur l’ajout de formes, de tableaux et de graphiques simples, reportezvous à la section “Ajout de formes simples, de tableaux et de graphiques” à la page 121.
Ajout d’adresses Web et électroniques
Vous pouvez créer des liens actifs vers des adresses Web (URL) et des adresses électroniques. Lorsque vous cliquez sur un lien Web, il ouvre un navigateur Web et affiche la
page Web spécifiée. Lorsque vous cliquez sur une adresse électronique, elle ouvre un
programme de messagerie électronique et crée un nouveau message. Vous pouvez
également créer des signets qui vous permettent de passer directement à un mot ou
une phrase spécifique dans le document. Pour obtenir des instructions spécifiques
sur la création de liens et de signets, reportez-vous à la section “Ajout de liens et de
signets” à la page 137.
Positionnement du texte et des graphismes
Pages offre plusieurs outils qui permettent de positionner le texte, les images et les
autres objets sur la page, de façon à pouvoir obtenir la mise en page souhaitée. Des
guides d’alignement apparaissent dans certains modèles (ou vous pouvez créer vos
guides) afin d’aligner les objets fixes n’importe où dans une page. Les règles affichent
les mesures en pouces, en centimètres, en points ou en picas, de sorte que vous
pouvez facilement savoir où placer un objet.
Pages affiche également des balises de position qui indiquent les coordonnées X et Y
du coin supérieur gauche d’un objet lorsque vous le déplacez sur la page, ou l’angle
de l’objet lorsque vous le faites pivoter. Lorsque vous redimensionnez un objet, des
balises de taille apparaissent, affichant la hauteur et la largeur de l’objet.
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Règles
Vous pouvez afficher des règles afin de faciliter le positionnement des objets sur la
page. Les règles indiquent la distance d’un objet par rapport au bord supérieur et
au bord gauche de la page.
Pour afficher les règles :
m Choisissez Présentation > Afficher les règles.
Pour changer les unités de mesure dans les règles :
1 Cliquez sur Pages > Préférences.
2 Choisissez un élément dans le menu local Unités de la règle. Pour afficher les mesures
sous forme de pourcentage de la distance dans la page, sélectionnez Afficher en pourcentage les unités de la règle.
Pour placer le point d’origine horizontal de la règle au centre de la page :
m Dans les Préférences Pages, sélectionnez Placer l’origine au centre de la règle.
Lorsque vous modifiez les paramètres de la règle dans les Préférences Pages, les
nouveaux réglages s’appliquent à tous les documents affichés dans Pages, jusqu’à
ce que vous changiez de nouveau les réglages.
Guides d’alignement
À mesure que vous déplacez les zones de texte et les images fixes dans le document,
des guides d’alignement bleus apparaissent afin de vous aider à centrer et à aligner
les objets dans la page. Ils apparaissent lorsque le centre ou le bord d’un objet s’aligne
sur le centre ou le bord d’un autre objet ou encore sur le centre de la page, en fonction de vos préférences. Vous pouvez créer vos guides d’alignement afin d’aligner
précisément les objets sur une page. Les guides d’alignement (même ceux que vous
créez) n’apparaissent pas lorsque vous imprimez le document ; ils ne sont visibles que
lors de l’édition d’un document.
Pour placer les guides d’alignement sur une page :
1 Cliquez sur Présentation > Afficher les règles afin de faire apparaître les règles en haut
et à gauche de la page.
2 Cliquez à l’extérieur d’une zone quelconque de la page, afin que le point d’insertion
ne soit pas visible.
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3 Placez le pointeur sur une règle et faites-le glisser sur la page. Un guide d’alignement
bleu apparaît.
4 Faites glisser le guide à l’emplacement souhaité sur la page.
Pour supprimer les guides d’alignement que vous avez placés sur une page :
m Faites glisser le guide d’alignement à l’extérieur de la page.
Si les guides d’alignement vous gênent dans votre travail, vous pouvez les masquer
temporairement.
Pour masquer temporairement les guides d’alignement :
m Maintenez la touche Commande enfoncée lorsque vous faites glisser un objet.
Vous pouvez activer ou désactiver les guides d’alignement et les balises de taille et
de position dans les Préférences Pages. Vous pouvez également faire apparaître les
guides d’alignement uniquement lorsque les bords des objets sont alignés, ou lorsque
les centres des objets sont alignés.
Lorsque vous modifiez les réglages des guides d’alignement et des balises dans les
Préférences Pages, les nouveaux paramètres s’appliquent à tous les documents affichés dans Pages, jusqu’à ce que vous changiez de nouveau les réglages.
Pour modifier le comportement des guides d’alignement et des balises affichés
lorsque vous déplacez les objets :
1 Cliquez sur Pages > Préférences.
2 Pour désactiver les balises de taille et de position, désélectionnez “Édition : Afficher la
taille et la position des objets lors de leur déplacement”.
3 Pour désactiver les guides qui apparaissent lorsque le centre d’un objet est aligné sur un
autre objet ou sur le centre de la page, désélectionnez “Guides d’alignement : Afficher
les guides au centre de l’objet”.
4 Pour activer les guides d’alignement qui apparaissent lorsque les bords d’un objet
sont alignées sur un autre objet ou sur le centre de la page, désélectionnez “Guides
d’alignement : Afficher les guides sur les bords de l’objet”.
Pour changer la couleur des guides d’alignement :
m Dans les Préférences Pages, cliquez sur le cadre de couleur Guides d’alignement et
sélectionnez une couleur dans la fenêtre Couleurs.
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Verrouillage d’objets sur la page
Une fois que vous avez placé les graphismes exactement à l’emplacement souhaité
sur la page, vous pouvez les verrouiller à cette position afin d’empêcher leur déplacement accidentel pendant votre travail.
Pour verrouiller un objet à sa position sur la page :
m Sélectionnez un objet et choisissez Disposition > Verrouiller.
Vous ne pouvez pas modifier un objet qui a été verrouillé à sa position sur la page.
Pour déverrouiller un objet, cliquez sur Disposition > Déverrouiller.
Étape 4 : Éditez le document
Une fois que vous avez tapé du texte dans le document, vous pouvez en supprimer
ou en réorganiser (copier-coller) des parties, vérifier l’orthographe, ou encore rechercher et remplacer des mots ou phrases spécifiques.
Supprimer, copier et coller du texte
Si vous souhaitez copier ou déplacer une portion de texte d’une partie du document
vers une autre, le moyen le plus simple consiste à le copier (ou couper) de son emplacement d’origine, puis à le coller à son nouvel emplacement. Si vous copiez du texte,
vous ne le supprimez pas de son emplacement d’origine ; c’est le cas si vous coupez
du texte.
Pour copier (ou couper) et coller du texte :
1 Sélectionnez le texte à copier ou à déplacer.
2 Cliquez sur Édition > Couper ou Copier.
3 Placez le curseur de texte à l’emplacement vers lequel vous souhaitez déplacer le
texte, puis effectuez l’une des opérations suivantes :
 Cliquez sur Édition > Coller afin de préserver la mise en forme originale du texte
collé.
 Cliquez sur Édition > Coller le style et l’appliquer afin de modifier la mise en forme
du texte collé afin qu’elle corresponde à la mise en forme du texte situé autour.
Pour supprimer totalement le texte sélectionné :
m Cliquez sur Édition > Supprimer.
F2644.book Page 41 Thursday, January 13, 2005 5:18 PM42 Chapitre 2 Création d’un document à l’aide des modèles de Pages
Recherche et remplacement de texte
Vous pouvez rechercher chaque instance d’un mot ou d’une phrase dans votre document. Si vous souhaitez remplacer toutes les instances d’un mot ou d’une phrase de
votre document par autre chose (par exemple, si vous écrivez une lettre et que vous
devez remplacer chaque instance du nom “Rodriguez” par “M. Rodriguez”), vous
pouvez utiliser la fonctionnalité rechercher/remplacer.
Remarque : il est impossible de chercher et de remplacer le texte d’un espace réservé.
Pour cela, vous devez tout d’abord faire en sorte que le texte ne soit plus défini en
tant que texte d’espace réservé. Cliquez sur le texte pour le sélectionner et désélectionnez “Définir comme texte pour espace réservé” dans Format > Avancé.
Pour rechercher, ou rechercher et remplacer, un mot dans un document :
1 Cliquez sur Édition > Rechercher > Rechercher.
2 Tapez le mot dans le champ Rechercher.
3 Si vous souhaitez remplacer le mot par un autre, tapez le nouveau mot dans le champ
Remplacer.
4 Selon que vous souhaitez effectuer des changements délicats ou non, effectuez l’une
des opérations suivantes :
 Cliquez sur Suivant ou sur Précédent afin de mettre en surbrillance l’instance
suivante ou précédente du mot. Continuez de cliquer sur Suivant ou sur Précédent
jusqu’à ce que vous ayez localisé l’instance recherchée.
 Cliquez sur Remplacer pour remplacer l’instance sélectionnée du mot par le
nouveau mot, puis cliquez sur Suivant ou Précédent afin de rechercher l’instance
suivante.
 Cliquez sur Remplacer et rechercher afin de remplacer l’instance en surbrillance du
mot et de rechercher la suivante.
 Cliquez sur Remplacer tout afin de remplacer toutes les instances du mot par le
nouveau.
5 Pour fermer la fenêtre Rechercher et remplacer lorsque vous avez terminé, cliquez sur
le bouton Fermer dans le coin supérieur gauche.
Si vous souhaitez rechercher ou remplacer une phrase entière ou d’autres casses
spécifiques d’un mot, vous pouvez utiliser la sous-fenêtre Avancé de la fenêtre Rechercher et remplacer.
F2644.book Page 42 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 43
Pour remplacer un mot ou une phrase à l’aide des fonctionnalités avancées
de recherche :
1 Cliquez sur Édition > Rechercher > Rechercher, puis cliquez sur Avancé.
2 Tapez le texte ou la phrase dans le champ Rechercher.
3 Si vous souhaitez uniquement rechercher le texte lorsqu’il apparaît avec un style de
paragraphe particulier (par exemple, le style En-tête 1) choisissez le style dans le
menu local Style. Pour plus d’informations sur les styles, consultez le chapitre 4, “Utilisation de styles”.
Sélectionnez l’option
permettant de rendre la
recherche sensible à la casse.
Sélectionnez l’option permettant de rechercher des
mots entiers uniquement.
Tapez le texte que vous
recherchez.
Sélectionnez l’option permettant de
rechercher jusqu’à la fin du document, puis de reprendre au début.
Remplacez le texte
une instance à la
fois, ou toutes en
même temps.
Recherchez vers l’arrière
ou vers l’avant dans le
document.
Choisissez le style de
paragraphe dans lequel
le texte apparaît.
Choisissez le style de
paragraphe du nouveau
texte.
Choisissez de rechercher dans
l’ensemble du document ou uniquement dans le corps du texte principal.
F2644.book Page 43 Thursday, January 13, 2005 5:18 PM44 Chapitre 2 Création d’un document à l’aide des modèles de Pages
4 Choisissez Tout le document dans le menu local Dans si vous souhaitez lancer la
recherche dans tout le document, y compris les en-têtes, les pieds de page et les
zones de texte ; cliquez sur Corps du texte principal si vous souhaitez uniquement
rechercher dans le corps du texte principal du document.
5 Sélectionnez Respecter la casse si vous souhaitez uniquement rechercher les instances
du texte présentant la même casse que celle indiquée dans le champ Rechercher ; à
défaut, la recherche ne tient pas compte de la capitalisation.
6 Sélectionnez Mots entiers si vous souhaitez uniquement rechercher les instances où le
texte apparaît sous forme de mot distinct ; à défaut, les résultats incluent les instances
du texte apparaissant au sein de mots.
7 Si vous souhaitez remplacer le texte par un autre mot ou une autre phrase, tapez-le
dans le champ Remplacer.
8 Si vous souhaitez changer le style de paragraphe du nouveau mot ou de la nouvelle
phrase, choisissez un style dans le menu local Style.
9 Selon que vous souhaitez effectuer des changements délicats ou non, effectuez l’une
des opérations suivantes :
 Cliquez sur Suivant ou sur Précédent afin de mettre en surbrillance l’instance
suivante ou précédente du texte. Continuez de cliquer sur Suivant ou sur Précédent
jusqu’à ce que vous ayez localisé l’instance recherchée.
 Cliquez sur Remplacer pour remplacer l’instance sélectionnée du texte par le
nouveau texte, puis cliquez sur Suivant ou Précédent afin de rechercher l’instance
suivante.
 Cliquez sur Remplacer et rechercher afin de remplacer l’instance en surbrillance du
texte et de rechercher la suivante.
 Cliquez sur Remplacer tout afin de remplacer toutes les instances du texte par le
nouveau mot ou la nouvelle phrase.
10 Pour fermer la fenêtre Rechercher et remplacer lorsque vous avez terminé, cliquez sur
le bouton Fermer dans le coin supérieur gauche.
Si vous utilisez fréquemment la fenêtre Rechercher et remplacer, vous pouvez ajouter
le bouton Rechercher à la barre d’outils de Pages afin qu’elle soit disponible d’un
simple clic. Pour en savoir plus sur la personnalisation de la barre d’outils, reportezvous à la section “La barre d’outils” à la page 23.
F2644.book Page 44 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 45
Vérification d’orthographe lors de la frappe
Pages utilise le correcteur orthographique de Mac OS X pour détecter les erreurs
d’orthographe du document. Vous pouvez configurer le correcteur orthographique
afin qu’il indique les erreurs lors de la saisie, ou vous pouvez à tout moment vérifier
l’ensemble du document ou du texte sélectionné.
Pour mettre en évidence les mots mal orthographiés lors de la saisie :
m Cliquez sur Édition > Orthographe > Vérifier l’orthographe lors de la frappe.
Lors de la frappe, les mots mal orthographiés apparaissent soulignés avec une ligne
pointillée rouge. Si vous n’êtes pas certain de l’orthographe du mot, vous pouvez
afficher une liste des orthographes possibles.
Pour afficher une liste de suggestions d’orthographe :
1 Maintenez la touche Contrôle enfoncée et cliquez sur le mot mal orthographié. Une
liste d’orthographes possibles apparaît (il est possible qu’aucune suggestion ne soit
proposée si le mot n’est pas reconnu).
2 Choisissez l’orthographe correcte si elle s’affiche dans la liste.
Si vous êtes certain que le mot est correctement orthographié et que vous souhaitez
l’ajouter au dictionnaire utilisé pour tous les documents, choisissez Mémoriser l’orthographe dans le menu local.
Si vous ne souhaitez pas que ce mot soit désigné comme mal orthographié, mais
que vous ne souhaitez pas l’ajouter au dictionnaire utilisé pour tous les documents,
choisissez Ignorer l’orthographe dans le menu local.
Une fois que vous avez corrigé le mot mal orthographié, la ligne rouge disparaît.
Pour vérifier mot par mot l’orthographe dans votre document :
m Placez le curseur dans un mot à vérifier, ou n’importe où dans le document, puis
effectuez l’une des opérations suivantes :
 Choisissez Édition > Orthographe > Vérifier l’orthographe.
Le correcteur orthographique commence la vérification de chaque mot du document, en commençant là où se trouve le curseur. Le premier mot mal orthographié
est mis en surbrillance. Vous pouvez le corriger ou choisir de nouveau la même
commande de menu, afin de continuer à vérifier le document. Pour parcourir le
document plus rapidement, appuyez sur Commande + point-virgule (;) afin de
poursuivre la vérification du document.
F2644.book Page 45 Thursday, January 13, 2005 5:18 PM46 Chapitre 2 Création d’un document à l’aide des modèles de Pages
 Choisissez Édition > Orthographe > Orthographe.
La fenêtre Orthographe s’ouvre avec une liste d’orthographes suggérées. Si aucune
ne semble correcte, vous pouvez retaper le mot et cliquer sur Proposition afin d’afficher une nouvelle liste de suggestions. Sélectionnez-en une et cliquez sur Corriger
afin de l’appliquer au mot mal orthographié. Cliquez sur Rechercher le suivant afin
de passer au mot mal orthographié suivant.
Utilisez le menu local Dictionnaire de la fenêtre Orthographe afin d’utiliser un dictionnaire d’une autre langue pour un mot sélectionné. Le changement de dictionnaire
dans la fenêtre Orthographe ne change pas le dictionnaire pour le document entier,
mais uniquement pour des mots individuels.
Le mot mal orthographié du document apparaît ici. Vous pouvez
le resaisir ici, afin de rechercher
d’autres orthographes suggérées.
Sélectionnez parmi la liste
des orthographes suggérées.
Vous pouvez corriger ou ignorer
le mot mal orthographié, puis
rechercher le mot suivant, ou
resaisir le mot et cliquer sur
Proposition afin d’afficher une
nouvelle liste de suggestions.
Ajoutez ou supprimez
du dictionnaire le mot
sélectionné.
Choisissez Tout le document si
vous souhaitez également vérifier
l’orthographe des en-têtes, des
pieds de page, des légendes, etc.
Si nécessaire, choisissez un
dictionnaire d’une autre
langue pour un mot
sélectionné.
F2644.book Page 46 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 47
Si vous utilisez fréquemment la fenêtre Orthographe, vous pouvez ajouter le bouton
Orthographe à la barre d’outils de Pages afin qu’elle soit disponible d’un simple clic.
Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la
section “La barre d’outils” à la page 23.
Pour désactiver le correcteur orthographique :
m Choisissez Édition > Orthographe > Vérifier l’orthographe lors de la frappe afin
de le désélectionner (assurez-vous que la coche n’est pas présente en regard de
la commande de menu).
Étape 5 : Enregistrez et partagez le document
Lorsque vous travaillez dans Pages, vous créez un document Pages. Tous les
graphismes et les données graphiques sont contenus dans ce document, lequel peut
être déplacé d’un ordinateur vers un autre. Cependant, les polices ne sont pas incluses
dans le document, de sorte que si vous transférez un document Pages vers un autre
ordinateur, assurez-vous que les polices utilisées dans le document ont été installées
dans le dossier Polices de l’autre ordinateur.
Si vous ajoutez des séquences vidéo ou audio à un document, vous pouvez les
enregistrer avec le document Pages afin de ne pas avoir à transférer ces fichiers
séparément.
Il est judicieux d’enregistrer régulièrement le document pendant votre travail.
Pour enregistrer un document :
1 Choisissez Fichier > Enregistrer, ou appuyez sur Commande + S.
2 Attribuez un nom au document.
3 Cliquez sur le triangle d’affichage à droite du champ Enregistrer sous.
4 Choisissez l’emplacement où enregistrer le document.
5 Si vous prévoyez de partager le document entre des ordinateurs ou avec d’autres
utilisateurs, effectuez une ou plusieurs des opérations suivantes :
 Sélectionnez la case Copier l’audio et les séquences dans le document si votre
document contient des séquences vidéo ou audio.
F2644.book Page 47 Thursday, January 13, 2005 5:18 PM48 Chapitre 2 Création d’un document à l’aide des modèles de Pages
Si vous ne sélectionnez pas cette case, tous les fichiers audio ou vidéo que vous
avez inclus dans le document ne sont pas associés au document si vous le transférez vers un autre ordinateur ou que vous l’envoyez à quelqu’un d’autre. Les
documents contenant des médias peuvent présenter des tailles de fichier élevées.
 Sélectionnez la case Copier les images de modèle dans le document si vous avez
créé le document à partir d’un modèle de page contenant une image.
Si vous ne sélectionnez pas cette case, tout fichier image faisant partie du modèle
n’est pas conservé avec le document si vous le transférez vers un autre ordinateur
ou que vous l’envoyez à quelqu’un d’autre. Les documents contenant des médias
peuvent présenter des tailles de fichier élevées.
6 Cliquez sur Enregistrer.
Pour en savoir plus sur l’exportation d’un document vers d’autres formats de fichier
(notamment Microsoft Word, HTML, RTF, texte brut, PDF), reportez-vous à la section
“Exportation vers d’autres formats de document” à la page 195.
Pendant que vous travaillez dans le document, vous pouvez l’enregistrer fréquemment en appuyant sur Commande + S. Vous pouvez également enregistrer une copie
de sauvegarde de la dernière version enregistrée du document. De cette façon, si vous
changez d’avis quant aux modifications que vous avez effectuées, vous pouvez revenir
à la dernière version enregistrée.
Pour enregistrer une copie de sauvegarde du document :
m Choisissez Pages > Préférences, puis sélectionnez la case Créer une copie de sauvegarde de la version précédente à chaque enregistrement.
Lorsque vous enregistrez le document, la version précédente est enregistrée dans le
même emplacement que le document avec “Copie de sauvegarde de” placé avant le
nom du fichier. Une seule version (la dernière version enregistrée) est sauvegardée.
F2644.book Page 48 Thursday, January 13, 2005 5:18 PMChapitre 2 Création d’un document à l’aide des modèles de Pages 49
Pour enregistrer une version de votre document sous un autre nom ou à un autre
emplacement :
1 Choisissez Fichier > Enregistrer sous.
2 Attribuez un nom à votre document.
3 Sélectionnez un emplacement pour l’enregistrement du document. Si vous ne pouvez
pas accéder à l’emplacement souhaité, cliquez sur le bouton fléché en regard du
champ Enregistrer sous, puis recherchez l’emplacement souhaité.
4 Cliquez sur Enregistrer.
Vous pouvez imprimer tout ou partie du document. Vous pouvez également afficher
un aperçu du document avant de l’imprimer. Il s’agit là d’un bon moyen de vérifier
que l’ensemble du texte et des graphismes se trouvent dans la zone imprimée de la
page.
Pour afficher un aperçu avant impression :
m Choisissez Fichier > Imprimer, puis cliquez sur le bouton Aperçu dans la zone de
dialogue Imprimer.
Pour imprimer un document :
1 Choisissez Fichier > Imprimer
2 Si vous souhaitez plusieurs copies du document, tapez le nombre d’exemplaires
souhaité ; vous pouvez également sélectionner De et taper une plage de pages afin
d’imprimer seulement une partie du document.
3 Cliquez sur Imprimer.
Si vous imprimez fréquemment, vous pouvez ajouter le bouton Imprimer à la barre
d’outils de Pages. Pour en savoir plus sur la personnalisation de la barre d’outils,
reportez-vous à la section “La barre d’outils” à la page 23.
Pour plus d’informations sur l’impression, reportez-vous à la section “Impression de
documents” à la page 189.
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3
3 Mise en forme de texte et de
paragraphes
Ce chapitre décrit en détail comment modifier
l’apparence des caractères du texte et des paragraphes, notamment la création de listes et la mise en
surbrillance de sections de texte.
Mise en forme de la taille et de l’apparence du texte
Vous pouvez effectuer toutes les opérations de mise en forme du texte à l’aide des
menus de Pages et de la fenêtre Inspecteur, ou via le panneau Police. Vous pouvez
effectuer les opérations élémentaires de mise en forme à l’aide des commandes des
menus de Pages. Les commandes du sous-menu Police du menu Format permettent
d’appliquer les caractéristiques suivantes au texte :
 Gras ou italique
 Souligné ou relief
 Plus grand ou plus petit
 Espacé plus largement ou plus étroitement
 En indice ou en exposant
Pour appliquer au texte sélectionné les caractéristiques gras, italique, souligné,
relief, plus grand ou plus petit :
m Choisissez Format > Police > [Gras, Italique, Souligné, Relief, Plus grand ou Plus petit].
Pour placer le texte sélectionné en exposant ou en indice :
m Choisissez Format > Police > Ligne de base > [Valeur par défaut, Exposant, Indice].
Pour convertir le texte sélectionné en majuscules :
m Choisissez Format > Police > Majuscules > [Aucun, Tout en majuscule, Petites
majuscules].
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Vous pouvez également effectuer plusieurs de ces opérations d’un seul clic à l’aide
des boutons de barre d’outils. Vous pouvez ajouter les boutons suivants à la barre
d’outils de Pages :
 Exposant : cliquez afin de convertir le texte sélectionné en exposant.
 Indice : cliquez afin de convertir le texte sélectionné en indice.
 Plus petit : cliquez de manière répétée afin de rendre le texte plus petit.
 Plus grand : cliquez de manière répétée afin de rendre le texte plus grand.
Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la
section “La barre d’outils” à la page 23.
Si vous souhaitez passer à une autre police, ou si vous modifiez fréquemment la mise
en forme du texte, il peut être plus simple d’utiliser le panneau Police et l’Inspecteur
du texte afin de mettre en forme le texte. Ces outils sont décrits dans les sections
suivantes.
Vous pouvez également créer des effets graphiques attrayants avec le texte en modifiant la couleur de l’ombre, l’opacité et l’orientation sur la page. Pour en savoir plus
sur ces options, consultez le chapitre 7, “Modification de propriétés d’objets”.
Utilisation du panneau Police pour mettre en forme du texte
Le panneau Police de Mac OS X vous permet d’accéder à toutes les polices installées
sur votre ordinateur. Il offre un aperçu des caractéristiques disponibles (telles que gras
et italique) ainsi que de la taille de chaque police. Les boutons du panneau Police
permettent de souligner ou de barrer le texte, d’ajouter de la couleur et des ombres
au texte. Vous pouvez même modifier la couleur de la page d’arrière-plan dans le
panneau Police.
Pour ouvrir le panneau Police :
m Choisissez Format > Police > Fenêtre des polices (ou cliquez sur Polices dans la barre
d’outils).
F2644.book Page 52 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 53
Vous pouvez modifier l’apparence de n’importe quel texte d’un document en le
sélectionnant, puis en sélectionnant des options dans le panneau Police. Lorsque
vous effectuez des modifications de mise en forme dans le panneau Police, vous
pouvez prévisualiser la police mise en forme.
Pour changer l’aspect et la taille du texte :
1 Dans le panneau Police, sélectionnez un style de police dans la colonne Famille,
puis sélectionnez le style dans la colonne Style.
Si vous ne voyez pas toutes les familles de police installées sur l’ordinateur, sélectionnez
Toutes les polices dans la colonne Collections ou tapez le nom de la police recherchée
dans le champ de recherche en bas du panneau Police.
Un aperçu de la police sélectionnée apparaît dans la sous-fenêtre d’aperçu en haut du
panneau Police. Si la sous-fenêtre d’aperçu ne s’affiche pas, choisissez Afficher l’aperçu
dans le menu local Action dans le coin inférieur gauche du panneau Police.
Créez des effets
intéressants à l’aide
de ces boutons.
Prévisualisez la caracté-
ristique sélectionnée.
Recherchez des polices
en tapant un nom de
police dans le champ
de recherche.
Sélectionnez un style dans la
liste afin de l’appliquer au texte
sélectionné dans le document.
Sélectionnez une taille de police
afin de l’appliquer au texte sélectionné dans votre document.
Le menu local
Action.
F2644.book Page 53 Thursday, January 13, 2005 5:18 PM54 Chapitre 3 Mise en forme de texte et de paragraphes
Remarque : si vous avez trop de polices à parcourir pour trouver celles que vous
utilisez souvent, vous pouvez les organiser en collections en cliquant sur le bouton
Ajouter (+) afin de créer une collection de polices, puis en faisant glisser un style vers
la nouvelle collection. En outre, si vous devez souvent changer de police, vous pouvez
laisser le panneau Police ouvert. S’il occupe trop d’espace à l’écran, vous pouvez le
réduire en faisant glisser le contrôle de redimensionnement (dans l’angle inférieur
droit du panneau), de sorte que seuls les familles et styles de police de la collection
sélectionnée soient visibles. Pour le fermer, choisissez Format > Police > Masquer les
polices ou cliquez à nouveau sur le bouton Polices.
2 Ajustez la taille de police à l’aide du curseur ou du menu local.
3 Ajustez les réglages de typographie de la police sélectionnée en choisissant Typographie dans le menu local Action. Dans la fenêtre Typographie, cliquez sur les triangles
d’affichage afin de visualiser et de sélectionner les différents effets typographiques
disponibles pour la police sélectionnée. Les effets typographiques disponibles dépendent de la police.
Pour modifier le soulignement du texte sélectionné :
1 Cliquez sur le bouton Soulignement de texte dans le panneau Police (premier bouton
à gauche) et choisissez Simple ou Double dans le menu local.
2 Pour changer la couleur de soulignement, choisissez Couleur dans le menu local
Soulignement de texte, puis sélectionnez une couleur dans la fenêtre Couleurs.
Pour modifier les lignes barrées du texte sélectionné :
1 Cliquez sur le bouton Texte barré dans le panneau Police (deuxième bouton à partir
de la gauche), puis choisissez Aucun, Simple ou Double dans le menu local.
2 Pour changer la couleur des lignes barrées, choisissez Couleur dans le menu local
Texte barré, puis sélectionnez une couleur dans la fenêtre Couleurs.
Pour modifier la couleur du texte sélectionné :
m Cliquez sur le menu local Couleur du texte dans le panneau Police (troisième bouton
à partir de la gauche), puis sélectionnez une couleur dans la fenêtre Couleurs.
Remarque : vous pouvez également modifier la couleur du texte dans l’Inspecteur du
texte, comme décrit dans la section “Définition de la couleur d’un texte dans l’Inspecteur du texte” à la page 64.
F2644.book Page 54 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 55
Pour modifier la couleur d’arrière-plan d’un paragraphe sélectionné :
m Cliquez sur le bouton Couleur du document dans le panneau Police (quatrième bouton
à partir de la gauche), puis sélectionnez une couleur dans la fenêtre Couleurs.
Remarque : vous pouvez également modifier la couleur d’arrière-plan dans l’Inspecteur du texte, comme décrit dans la section “Définition des couleurs de remplissage
des paragraphes” à la page 76.
Pour ajouter des ombres au texte sélectionné :
1 Cliquez sur le bouton Ombre du texte dans le panneau Police (cinquième bouton
à partir de la gauche).
2 Faites glisser le curseur Opacité de l’ombre (premier curseur à gauche) vers la droite
afin de rendre l’ombre plus foncée.
3 Faites glisser le curseur Flou de l’ombre (curseur du milieu) vers la droite afin de
rendre l’ombre plus floue.
4 Faites glisser le curseur Décalage de l’ombre (troisième curseur) vers la droite afin
de séparer l’ombre du texte.
5 Faites tourner la molette Angle de l’ombre afin de définir la direction de l’ombre.
Remarque : vous pouvez également définir les ombres du texte dans l’Inspecteur
des graphismes, comme décrit dans la section “Ajout d’ombres” à la page 149.
Accents et caractères spéciaux
Si vous devez taper des caractères avec des accents, des symboles mathématiques,
des flèches ou d’autres caractères spéciaux, vous pouvez utiliser les préférences International ou la palette de caractères. Vous pouvez également voir où se trouvent les
caractères sur les claviers utilisés dans d’autres langues en utilisant le Visualiseur de
clavier (vous pouvez par exemple voir la disposition des touches d’un clavier italien).
Il s’agit là d’outils intégrés de Mac OS X.
Pour ajouter des accents aux caractères :
1 Choisissez Pomme > Préférences Système et cliquez sur International.
2 Cliquez sur Menu Saisie, puis sélectionnez la case en regard de Visualiseur de clavier.
3 Choisissez Afficher le Visualiseur de clavier dans le menu Saisie à droite de la barre de
menus (celle qui ressemble à un drapeau ou à un symbole alphabétique).
F2644.book Page 55 Thursday, January 13, 2005 5:18 PM56 Chapitre 3 Mise en forme de texte et de paragraphes
Le Visualiseur de clavier affiche les caractères de votre clavier. Si vous avez sélectionné
une disposition différente ou une méthode d’entrée différente pour le clavier dans le
menu Saisie, les caractères de la configuration du clavier sélectionnée s’affichent. Par
exemple, si vous choisissez Américain dans le menu Saisie, vous voyez dans le Visualiseur de clavier les caractères qui s’affichent sur un clavier américain.
4 Pour mettre en surbrillance dans le Visualiseur de clavier les différents accents que
vous pouvez taper, appuyez sur Option, ou sur les touches Option + Maj.
Les touches accentuées sont entourées en blanc. En fonction du clavier, vous pouvez
ne pas avoir à appuyer sur les touches de modification pour afficher les caractères
accentués.
5 Placez le point d’insertion dans le document à l’endroit où vous souhaitez taper.
6 Appuyez sur la touche de modification sur laquelle vous avez appuyé à l’étape 4
(Maj, Option, Option + Maj ou aucune) et appuyez sur la touche qui se trouve à la
même position que l’accent affiché dans le Visualiseur de clavier. Relâchez ensuite
la touche de modification et appuyez sur la touche correspondant au caractère que
vous souhaitez accentuer.
La touche accentuée modifie la touche que vous tapez ensuite. Par exemple, sur un
clavier US, pour afficher le caractère “é”, appuyez sur Option et E (touche d’accent),
puis appuyez sur E (touche à accentuer).
Pour afficher les configurations de clavier pour les autres langues :
1 Choisissez Pomme > Préférences Système et cliquez sur International.
2 Cliquez sur Menu Saisie, puis sélectionnez la case en regard de Visualiseur de clavier.
3 Pour afficher la disposition des caractères sur les claviers utilisés dans différents pays,
sélectionnez la case Sur en regard de la configuration du clavier du pays ou de la
méthode de saisie
Remarque : des polices doivent être installées pour la langue que vous souhaitez voir
dans le Visualiseur de clavier.
4 Choisissez Afficher le Visualiseur de clavier dans le menu Saisie à droite de la barre de
menus (celle qui ressemble à un drapeau ou à un caractère alphabétique).
F2644.book Page 56 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 57
Le Visualiseur de clavier affiche les caractères de la configuration du clavier ou de la
méthode de saisie sélectionnée dans le menu Saisie. Par exemple, si vous choisissez
Américain dans le menu Saisie, vous voyez dans le Visualiseur de clavier les caractères
qui s’affichent sur un clavier américain.
5 Pour afficher la configuration du clavier d’un autre pays, choisissez sa configuration
dans le menu Saisie.
Pour saisir des caractères et symboles spéciaux :
1 Placez le point d’insertion à l’endroit où le caractère ou symbole spécial doit apparaître.
2 Choisissez Édition > Caractères spéciaux afin d’ouvrir la palette de caractères (ou choisissez Caractères dans le menu local Action dans le coin inférieur gauche du panneau
Police).
3 Choisissez le type de caractères à afficher dans le menu local Afficher dans la partie
supérieure de la Palette de caractères.
Si le menu local ne s’affiche pas, cliquez sur le bouton dans le coin supérieur droit
de la fenêtre afin d’afficher la partie supérieure de la fenêtre. Cliquez de nouveau sur
ce bouton afin de masquer la partie supérieure de la fenêtre.
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4 Cliquez sur un élément de la liste de gauche afin de voir les caractères disponibles
dans chaque catégorie.
5 Double-cliquez sur le caractère ou le symbole de droite que vous souhaitez insérer
dans votre document, ou sélectionnez le caractère et cliquez sur Insérer. Si le caractère ou le symbole présente des variantes, elles apparaissent en bas de la fenêtre ;
double-cliquez sur l’une d’elles afin de l’insérer dans le document.
Vous pouvez également activer les guillemets courbes dans le document, de sorte
que les guillemets de début et de fin soient différents.
Pour utiliser des guillemets courbes :
m Choisissez Pages > Préférences, puis sélectionnez la case Utiliser les guillemets
courbes.
Sélectionnez une catégorie
de caractères.
Choisissez le type de
caractère à afficher.
Sélectionnez un symbole.
Double-cliquez sur un
symbole afin de l’insérer
dans votre document.
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Fonctions typographiques avancées
Certaines polices, telles que Zapfino et Hoefler, présentent des fonctions typographiques avancées, qui vous permettent de créer différents effets. Si vous utilisez une telle
police, vous pouvez modifier nombre de ces effets via le sous-menu Police du menu
Format. Par exemple, vous pouvez ajuster les éléments suivants :
 Suivi : placer les caractères plus près ou plus loin
 Ligature : utiliser ou non des traits de plume stylisés entre les lettres ou à la fin ou
au début de lignes
 Ligne de base : déplacer le texte plus haut ou plus bas que le texte qui l’entoure
 Majuscules : convertir tous les caractères en majuscules ou en petites majuscules
Davantage de fonctions typographiques avancées sont disponibles dans la fenêtre
Typographie.
Pour ouvrir la fenêtre Typographie :
m Dans le panneau Police, choisissez Typographie dans le menu local Action (dans le
coin inférieur gauche).
Définition de l’alignement et de l’espacement du texte
Pour ajuster l’alignement horizontal du texte dans le corps du document principal,
utilisez le sous-menu Texte du menu Format. Ces commandes de menu alignent le
texte de différentes façons :
 Aligner à gauche : aligne chaque ligne de texte le long de la marge gauche d’une
page ou d’une colonne, ou du bord gauche d’un objet
 Centrer : définit le centre de chaque ligne de texte au centre d’une page, d’une
colonne ou d’un objet
 Aligner à droite : aligne chaque ligne de texte le long de la marge droite d’une
page ou d’une colonne, ou du bord droit d’un objet
 Justifier : espace les caractères de chaque ligne, de sorte que les lignes atteignent
les marges gauche et droite d’une page ou d’une colonne, ou les bords d’un objet
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Pour aligner le corps du texte à gauche, au centre ou à droite, ou pour le justifier :
m Choisissez Format > Texte > [Aligner à gauche, Centrer, Aligner à droite, Justifier].
Remarque : si vous souhaitez appliquer un retrait à la première ligne de texte d’un
paragraphe, ou pour savoir comment annuler un retrait, reportez-vous à la section
“Définition de retraits de paragraphe” à la page 68.
Ajustement de l’alignement du texte dans des zones de texte,
des cellules de tableau ou des figures
Si vous souhaitez ajuster l’espacement entre des caractères ou des lignes, ou aligner
le texte verticalement dans une zone de texte, une figure ou une cellule d’un tableau,
vous devez utiliser l’Inspecteur du texte, décrit ci-dessous. L’Inspecteur du texte est
également utile si vous devez fréquemment changer l’alignement et l’espacement
du texte parce que vous pouvez le conserver ouvert à l’écran pendant votre travail.
Utilisation de l’Inspecteur du texte
Dans la sous-fenêtre Texte de l’Inspecteur du texte, vous pouvez changer la couleur et
l’alignement du texte. Vous pouvez également ajuster l’espacement entre des caractères et des lignes.
F2644.book Page 60 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 61
Pour ouvrir la sous-fenêtre Texte de l’Inspecteur du texte :
1 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils).
2 Cliquez sur le bouton Inspecteur du texte, puis sur Texte.
Pour aligner le texte à gauche, au centre, à droite ou pour le justifier :
1 Placez le curseur dans le paragraphe que vous souhaitez changer, ou sélectionnez
plusieurs paragraphes.
2 Cliquez sur les boutons d’alignement horizontal en haut de l’Inspecteur du texte.
Vous pouvez aligner le texte d’une zone de texte fixe à gauche, à droite, au centre ou
le justifier (aligné sur les bords droit et gauche). Le texte dans une zone de texte fixe,
un tableau de cellule ou une forme peut également commencer à partir du haut, du
centre ou du bas de la zone de texte.
Faites glisser afin d’ajuster la quantité
d’espace entre le texte et les bordures
intérieures des zones de texte, des
cellules de tableau et des figures.
Cliquez afin de modifier la
couleur du texte sélectionné.
Le bouton Inspecteur du texte.
Boutons d’alignement horizontal :
cliquez afin d’aligner le texte sélectionné
gauche, à droite, au centre ou à gauche
et à droite.
Boutons d’alignement vertical : cliquez
afin d’aligner le texte en haut, au centre
ou en bas d’une zone de texte, d’une
figure ou d’une cellule de tableau fixe.
Espacement de caractères et de lignes :
faites glisser afin d’ajuster l’espacement
des caractères, des lignes et des paragraphes du texte sélectionné.
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Pour commencer du texte à partir du haut, du centre ou du bas d’une zone de
texte, d’une cellule de tableau ou d’une figure :
1 Sélectionnez la zone de texte, la cellule de tableau ou la figure que vous souhaitez
modifier.
2 Cliquez sur les boutons d’alignement vertical en haut de l’Inspecteur du texte.
Pour ajuster l’interligne dans un paragraphe :
1 Placez le curseur dans le paragraphe que vous souhaitez changer, ou sélectionnez
plusieurs paragraphes.
2 Dans l’Inspecteur du texte, faites glisser le curseur Ligne afin d’ajuster l’interligne.
Faites glisser le curseur vers la gauche pour rapprocher les lignes sélectionnées ;
faites-le glisser vers la droite afin de les éloigner. Vous pouvez également choisir
Simple, Double ou Multiple dans le sous-menu Interligne. L’option Multiple vous
permet de définir des valeurs d’interligne entre simple et double, ou supérieures
à double.
Pour définir des valeurs précises pour d’interligne dans un paragraphe :
1 Placez le curseur dans le paragraphe que vous souhaitez changer, ou sélectionnez
plusieurs paragraphes.
2 Dans l’Inspecteur du texte, choisissez une interligne standard (Simple, Double, Multiple),
ou l’option Au moins ou Entre dans le menu local Interligne (sous le champ Ligne).
 Interligne standard : l’espacement entre les lignes est proportionnel à la taille de la
police. Utilisez cette option lorsque la distance relative entre les hampes montantes
(parties des lettres situées au-dessus du haut de la ligne) et les hampes descendantes
(parties situées sous le bas de la ligne) doit rester fixe.
Cliquez sur le texte sous le champ
Interligne et choisissez une option
d’interligne.
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 Au moins : la distance d’une ligne à la suivante ne sera jamais inférieure à la valeur
définie, mais elle peut être supérieure pour les polices plus grandes, afin d’empêcher
les lignes qui se chevauchent. Utilisez cette option lorsque la distance entre les
lignes doit rester fixe, mais le chevauchement n’est pas souhaitable si le texte doit
être plus large.
 Entre : la valeur que vous définissez est ajoutée à la taille de la police (ou en est
soustraite). À mesure que la taille de la police change, la distance entre les lignes
change également. Utilisez cette option pour définir une distance spécifique entre
les hampes montantes et descendantes, quelle que soit la taille de la police.
3 Tapez une valeur dans le champ Ligne, ou cliquez sur les flèches vers le haut ou vers
le bas en regard du champ.
Pour ajuster la quantité d’espace avant ou après un paragraphe :
1 Placez le curseur dans le paragraphe que vous souhaitez changer, ou sélectionnez
plusieurs paragraphes.
2 Dans l’Inspecteur du texte, faites glisser le curseur Avant le paragraphe ou Après le
paragraphe. Vous pouvez également saisir une quantité spécifique (par exemple 5
points).
Remarque : l’espacement avant un paragraphe n’apparaît pas si le paragraphe est le
premier après un saut de disposition, ou s’il s’agit du premier paragraphe d’une zone
de texte, d’une figure ou d’une cellule de tableau. L’espacement après un paragraphe
n’apparaît pas s’il s’agit du dernier paragraphe avant un saut de disposition. Pour
définir l’espacement autour du texte dans des zones, des figures et des cellules de
tableau, utilisez la commande Marge intérieure, décrite dans la section “Mise en forme
d’une zone de texte ou d’une figure” à la page 77.
Pour ajuster l’espace entre les caractères :
1 Placez le curseur sur le mot que vous souhaitez modifier, ou sélectionnez un bloc
de texte.
2 Dans l’Inspecteur du texte, faites glisser le curseur Caractère.
Faites glisser le curseur vers la gauche pour rapprocher les lettres sélectionnées ;
faites-le glisser vers la droite afin de les éloigner.
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Définition de la couleur d’un texte dans l’Inspecteur du texte
Vous pouvez également utiliser la sous-fenêtre Texte de l’Inspecteur du texte pour
changer la couleur du texte. Les modifications apportées à la couleur du texte dans
l’Inspecteur du texte remplacent les modifications de la couleur du texte apportées
dans le panneau Police, et inversement. Pour en savoir plus sur le panneau Police,
reportez-vous à la section “Utilisation du panneau Police pour mettre en forme du
texte” à la page 52.
Pour changer la couleur du texte :
1 Sélectionnez le ou les mots à modifier.
2 Dans l’Inspecteur du texte, cliquez sur le cadre de couleur.
3 Dans la fenêtre Couleurs, sélectionnez une couleur.
Pour en savoir plus sur l’utilisation de la fenêtre Couleurs, reportez-vous à la section
“Utilisation de remplissages par des couleurs et des images” à la page 141.
Définition de taquets de tabulation afin d’aligner le texte
Si vous souhaitez ajouter, supprimer ou modifier des taquets de tabulation dans le
corps du document ou dans une zone de texte fixe, une cellule de tableau ou une
figure, vous pouvez utiliser la sous-fenêtre Onglets de l’Inspecteur du texte, ou manipuler directement les icônes d’onglet sur les règles. Il peut être plus rapide de mettre
en forme quelques taquets de tabulation à l’aide des règles, mais si vous souhaitez
créer de nombreux taquets positionnés précisément, l’Inspecteur du texte facilite
l’opération. Ces deux méthodes sont décrites ci-dessous.
Remarque : n’utilisez pas ces instructions pour définir des taquets de tabulation dans
une liste ordonnée (structure). Pour savoir comment modifier les niveaux de retrait
des listes, reportez-vous à la section “Création de listes à puces ou numérotées et de
structures” à la page 69.
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Définition des taquets de tabulation à l’aide des règles
Des tabulations par défaut sont définies pour certains styles de texte. Les taquets
apparaissent sur la règle horizontale lorsque vous choisissez Afficher > Afficher les
règles et que vous sélectionnez du texte sur une page.
Vous pouvez placer des taquets lorsque vous souhaitez les insérer dans le corps
du document ou dans des zones de texte.
Pour définir un nouveau taquet :
m Cliquez sur la règle horizontale sur laquelle vous souhaitez définir le taquet.
Pour modifier les tabulations :
1 Sélectionnez le texte à mettre en forme.
2 Sur la règle horizontale, faites glisser les taquets de tabulation bleus afin d’en modifier
l’emplacement.
Pour remplacer une tabulation par un autre type :
m Cliquez sur l’icône de tabulation en appuyant sur la touche Contrôle et choisissez une
option dans le menu contextuel. Vous pouvez également double-cliquer de manière
répétée sur l’icône de tabulation dans la règle jusqu’à ce que le type de tabulation
souhaité apparaisse.
Voici une description de ce que fait chaque type de tabulation :
 Tabulation de gauche : aligne le bord gauche du texte avec le taquet.
 Tabulation centrale : place le centre du texte sur le taquet.
 Tabulation de droite : aligne le bord droit du texte avec le taquet.
 Tabulation décimale : aligne la virgule des nombres avec le taquet (vous pouvez
définir un caractère différent comme séparateur décimal ; reportez-vous à la section
“Définition de taquets de tabulation à l’aide de l’Inspecteur du texte” ci-dessous).
Des taquets tabulations bleus apparaissent sur la règle horizontale
lorsque vous sélectionnez du texte
avec des tabulations sur une page.
Choisissez parmi ces
types de tabulation.
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Pour supprimer une tabulation de la règle :
m Faites-la glisser à l’extérieur de la règle.
Définition de taquets de tabulation à l’aide de l’Inspecteur du
texte
Chaque document comporte par défaut des taquets de tabulation, généralement
espacés d’un demi pouce sur la page. Dans la sous-fenêtre Tabulations de l’Inspecteur
du texte, vous pouvez modifier l’espacement par défaut des tabulations ou le caractère de tabulation décimale de l’ensemble du document. Vous pouvez également
définir des taquets supplémentaires dans n’importe quel paragraphe, ou ajouter une
ligne pointillée, de sorte que lorsque vous appuyez sur la touche Tab, une ligne pointillée s’affiche pour la tabulation. Cela s’avère utile, par exemple, pour l’insertion de
lignes pointillées entre un titre de chapitre et son numéro de page dans une table
des matières.
Pour ouvrir la sous-fenêtre Tabulations de l’Inspecteur du texte :
1 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils).
2 Cliquez sur le bouton Inspecteur du texte, puis sur Tabulations.
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Pour changer la distance des tabulations par défaut :
m Dans la sous-fenêtre Onglets de l’Inspecteur du texte, tapez une valeur dans le champ
Tabulations par défaut.
Pour créer des taquets de tabulation :
1 Placez le point d’insertion dans le paragraphe (ou sur la première ligne) où vous
souhaitez définir les taquets.
2 Cliquez sur le bouton Ajouter (+) dans le coin inférieur gauche de la sous-fenêtre
Tabulations de l’Inspecteur du texte. Un taquet apparaît dans la colonne Taquets
de tabulation.
3 Pour modifier l’espacement des tabulations, double-cliquez sur le taquet dans la
colonne et tapez une nouvelle valeur.
Définissez la valeur du
retrait de la première ligne
de chaque paragraphe.
Si vous souhaitez appliquer un
retrait à un paragraphe par
rapport aux marges des pages,
indiquez la valeur du retrait.
Ajoutez ou supprimez des taquets
de tabulation dans la colonne.
Choisissez une ligne pointillée pour
les taquets sélectionnés dans le
paragraphe Taquets de tabulation.
Dans le cas d’un taquet de tabulation
sélectionné dans la colonne Taquets
de tabulation, sélectionnez la façon
dont le texte doit être aligné.
Tapez un nouveau caractère afin
de modifier le caractère de tabulation décimale.
Définissez la distance par défaut
entre les tabulations.
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4 Une fois le taquet sélectionné, choisissez la façon dont le texte doit être aligné
sur le taquet (Alignement gauche, centré, droit ou décimal).
5 Si vous souhaitez ajouter une ligne pointillée à la tabulation, choisissez un style
de ligne (ou choisissez Aucun) dans le menu local Tirets.
Pour utiliser un autre caractère de tabulation décimale dans le document :
m Tapez un nouveau caractère dans le champ Caractère de tabulation décimal.
Pour supprimer un taquet de tabulation :
m Sélectionnez-le dans la colonne Taquets de tabulation, puis cliquez sur le bouton
Supprimer (-).
Définition de retraits de paragraphe
Les paragraphes peuvent être mis en forme de sorte que la première ligne soit en
retrait (ou dépasse) aussi loin que vous le souhaitez. Vous pouvez faire cela dans la
sous-fenêtre Tabulations de l’Inspecteur du texte.
Pour définir le premier retrait de ligne (ou dépassement) d’un paragraphe :
1 Sélectionnez le ou les paragraphes à modifier.
2 Dans la sous-fenêtre Tabulations de l’Inspecteur du texte, tapez une valeur dans le
champ Première ligne, sous Retraits du paragraphe. Si vous souhaitez que la première
ligne soit en retrait par rapport à la deuxième ligne, la valeur Première ligne doit être
supérieure à la valeur du champ Gauche. Si vous souhaitez que la première ligne
dépasse le côté gauche de la marge du paragraphe, la valeur du champ Première
ligne doit être inférieure à la valeur du champ Gauche.
Vous pouvez mettre en retrait un paragraphe en lui affectant différents retraits que le
reste du document. Cela peut par exemple être utile lorsque vous incluez une longue
citation dans le texte. Vous pouvez pour cela définir des retraits de paragraphe dans la
sous-fenêtre Tabulations de l’Inspecteur du texte, ou faire glisser les icônes de marge
dans la règle du document.
Pour définir des retraits de paragraphe à l’aide de la sous-fenêtre Tabulations de
l’Inspecteur du texte :
1 Sélectionnez le ou les paragraphes à modifier.
2 Tapez une valeur dans le champ Gauche, sous Retraits du paragraphe.
3 Tapez une valeur dans le champ Droite, sous Retraits du paragraphe.
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Pour changer les retraits de paragraphe à l’aide des règles :
1 Choisissez Afficher > Afficher les règles.
2 Pour changer le retrait de droite, faites glisser l’icône de retrait de droite (triangle bleu
pointant vers le bas du côté droit de la règle horizontale) jusqu’à la position où vous
souhaitez que le bord droit du corps du texte se termine.
3 Pour changer la marge de gauche, faites glisser l’icône de retrait de gauche (triangle
bleu pointant vers le bas du côté gauche de la règle) vers l’emplacement où le bord
gauche du corps du texte doit commencer. Pour changer la marge gauche indépendamment du retrait du paragraphe, maintenez enfoncée la touche Option lorsque
vous faites glisser la souris.
4 Pour changer le retrait de la première ligne, faites glisser le retrait de première ligne
(rectangle bleu) jusqu’à l’emplacement où la première ligne doit commencer. Si vous
souhaitez que la première ligne reste alignée sur la marge de gauche, assurez-vous
que le rectangle est aligné avec l’icône de retrait de gauche. Si vous souhaitez créer
un retrait suspendu, faites glisser le rectangle vers la gauche de l’icône de retrait à
gauche.
Création de listes à puces ou numérotées et de structures
Pages fournit des styles de puces et de numérotation prédéfinis permettant de créer
des listes simples ou ordonnées).
Création de listes à puces ou numérotées
Les listes à puces et numérotées sont de simples listes sans hiérarchies d’informations
imbriquées comme il en existe dans une structure.
Pour créer une liste à puces ou numérotées :
1 Placez le curseur sur la première ligne où doit commencer le texte de la liste.
2 Cliquez sur Liste dans la barre d’outils, puis choisissez le style de liste à utiliser.
Retrait de première ligne Retrait de droite
Retrait de gauche
F2644.book Page 69 Thursday, January 13, 2005 5:18 PM70 Chapitre 3 Mise en forme de texte et de paragraphes
Vous pouvez également choisir un style de liste dans le tiroir Styles. Choisissez
Afficher > Afficher le tiroir Styles, puis sélectionnez le style de liste souhaité. Si les
styles de liste ne s’affichent pas dans le tiroir Styles, cliquez sur le bouton dans le
coin inférieur droit du tiroir.
Chaque modèle peut comporter différents styles de liste. La plupart des modèles
fournissent au moins les styles de liste suivants pour les listes à puces ou numérotées :
 Puces : puces élémentaires rondes
 Listes numérotées : chiffres arabes
3 Tapez le texte et appuyez sur Retour chaque fois que vous souhaitez commencer une
nouvelle ligne à puce ou numérotée.
4 Pour inclure du sous-texte sous une ligne à puce ou numérotée, appuyez sur Maj +
Retour (saut de ligne) afin de démarrer la nouvelle ligne sans puce ou sans numéro.
Appuyez de nouveau sur Retour à la fin de la ligne afin d’insérer une nouvelle ligne
à puce ou numérotée.
5 Lorsque vous avez terminé de saisir la liste, cliquez sur Liste dans la barre d’outils et
choisissez Aucune, ou cliquez sur Aucune dans le tiroir Styles.
Vous pouvez créer vos styles de liste à l’aide d’autres puces de texte ou d’image fournies par Pages, ou en utilisant une image comme puce. Les listes numérotées peuvent
également comporter divers styles de numérotation, ou utiliser des lettres à la place.
Pour en savoir plus sur la modification ou la création de votre style de liste, reportezvous à la section “Modification et création de styles de liste” à la page 93.
Cliquez afin d’afficher
les styles de liste dans
le tiroir Styles.
Sélectionnez un style de
liste afin de l’appliquer
au texte sélectionné.
F2644.book Page 70 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 71
Création de listes ordonnées (structures)
Certains styles de liste sont définis afin de créer des listes ordonnées (ou structures).
Par exemple, le style de liste I. A. 1. a) offre différents styles de numérotation pour
chaque niveau de retrait de la liste, ce qui vous permet de créer une hiérarchie
d’informations.
Pour créer des listes ordonnées (structures), utilisez le style de liste I. A. 1. a)
ou 1. 1.1. 1.1.1.
Pour créer une structure :
1 Placez le curseur sur la première ligne où doit commencer le texte de la liste.
2 Cliquez sur Liste dans la barre d’outils, puis choisissez I. A. 1. a) ou 1. 1.1. 1.1.1. Vous
pouvez également choisir Afficher > Afficher le tiroir Styles et sélectionner un style.
Si aucun style de liste ne s’affiche dans le tiroir Styles, cliquez sur le bouton dans le
coin inférieur droit du tiroir Styles. Pour plus d’informations, reportez-vous à la section
“Modification et création de styles de liste” à la page 93.
3 Pour mettre du texte vers le niveau de retrait suivant, choisissez Format > Texte >
Augmenter le niveau du retrait de la liste (ou cliquez sur le bouton fléché Niveau
de retrait sous l’onglet Liste de l’Inspecteur du texte).
4 Pour revenir au niveau de retrait de liste précédent, choisissez Format > Texte >
Diminuer le niveau du retrait de la liste (ou cliquez sur le bouton fléché Niveau
de retrait sous l’onglet Liste de l’Inspecteur du texte).
Remarque : pour mettre rapidement du texte sélectionné en retrait à un niveau supé-
rieur ou inférieur, vous pouvez utiliser des raccourcis clavier :
 Commande + crochet droit (]) : augmente le niveau de retrait du texte sélectionné
 Commande + crochet gauche ([) : diminue le niveau de retrait du texte sélectionné
Vous pouvez également ajouter les boutons suivants à la barre d’outils Pages :
 Augmenter : augmente le niveau de retrait du texte sélectionné
 Diminuer : diminue le niveau de retrait du texte sélectionné
Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la
section “La barre d’outils” à la page 23.
5 Pour inclure du sous-texte sous un élément de structure, appuyez sur Maj + Retour
afin de démarrer la ligne suivante sans la numéroter. Appuyez de nouveau sur Retour
à la fin de la ligne afin de démarrer une nouvelle ligne numérotée.
F2644.book Page 71 Thursday, January 13, 2005 5:18 PM72 Chapitre 3 Mise en forme de texte et de paragraphes
Remarque : si vous tapez des paragraphes standard entre des éléments de structure,
ou que vous ajoutez ou supprimez du texte entre des éléments de structure, et que
la numérotation est perdue, sélectionnez le texte avec la numérotation incorrecte,
puis sélectionnez Continuer à partir de la précédente dans la sous-fenêtre Tabulations
de l’Inspecteur du texte afin de rendre la numérotation continue. Si vous avez besoin
d’une numérotation discontinue, sélectionnez Première note et tapez le numéro
auquel la numérotation doit commencer, puis appuyez sur Retour. Pour plus d’informations, reportez-vous à la section “Modification et création de styles de liste” à la
page 93.
6 Pour revenir à du texte de paragraphe standard à la fin de la liste, cliquez sur Liste dans
la barre d’outils et choisissez Aucune, ou sélectionnez Aucune dans le tiroir Styles. Si le
point d’insertion du texte est en retrait, appuyez sur Commande + crochet gauche ([)
afin de revenir au niveau de retrait 1, où vous pouvez commencer à taper le texte des
paragraphes standard.
Création de renvois, de barres latérales et de texte en
surbrillance
Les renvois et les barres latérales font ressortir le corps du texte principal dans un
document. Pages offre au moins trois moyens simples mettre en surbrillance du texte:
 Ajout de texte à des zones de texte
 Ajout d’un arrière-plan (ou d’une couleur de remplissage) à des paragraphes
 Saisie de texte dans les figures
Vous pouvez également utiliser des cellules de tableau pour les renvois. Pour en savoir
plus sur l’utilisation de tableaux, consultez le chapitre 8, “Création de tableaux”.
Ajout de zones de texte
Vous pouvez ajouter des zones de texte afin de créer des blocs rectangulaires de texte
n’importe où sur votre page. Vous pouvez mettre en forme du texte dans une zone de
texte comme vous le feriez avec n’importe quel autre texte, en modifiant des couleurs,
en ajoutant des ombres, en appliquant des styles, etc.
F2644.book Page 72 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 73
Les zones de texte sont créées sous forme de zones de texte fixes, ce qui signifie
qu’elles sont ancrées à une position dans la page. Le texte du corps de la page se
positionne autour de ces zones.
Pour ajouter une zone de texte fixe :
1 Cliquez n’importe où en dehors des zones de texte du document de sorte que le point
d’insertion ne soit pas visible.
2 Choisissez Insérer > Texte (ou cliquez sur Objets dans la barre d’outils, puis sélectionnez
Texte). Une zone de texte apparaît sur la page.
3 Appuyez sur Commande + Retour afin de sélectionner la zone de texte, puis faites-la
glisser afin de la positionner à l’emplacement souhaité sur la page.
4 Cliquez à l’intérieur de la zone de texte afin de positionner le point d’insertion et
commencez à taper du texte. La zone de texte ne s’étend pas automatiquement si
vous tapez trop de texte.
5 Faites glisser les poignées de sélection afin de redimensionner la zone de texte et
d’afficher le texte caché. (Vous pouvez également créer des zones de texte liées, de
sorte que le texte qui dépasse s’insère de manière continue dans une autre zone
de texte. Pour en savoir plus sur les zones de texte liées, reportez-vous à la section
“Zones de texte liées” plus loin.)
Remarque : pour verrouiller la zone de texte sur la page afin qu’elle ne soit pas
déplacée accidentellement pendant votre travail, choisissez Disposition > Verrouiller.
Pour en savoir plus sur la modification de l’espacement entre le texte et l’intérieur
de la zone de texte, reportez-vous à la section “Mise en forme d’une zone de texte ou
d’une figure” à la page 77. Pour en savoir plus sur la modification de l’aspect d’une
zone de texte, reportez-vous à la section “Mise en forme d’une zone de texte ou d’une
figure” à la page 77.
Si vous avez copié du texte à partir de votre document et que vous souhaitez le placer
dans une zone de texte, vous pouvez en créer une à la volée.
Pour créer une zone de texte à partir du texte copié à partir d’un document :
1 Sélectionnez le texte souhaité, puis choisissez Édition > Copier.
2 Cliquez n’importe où à l’extérieur des zones de texte du document, puis choisissez
Édition > Coller. Une zone de texte est créée, que vous pouvez mettre en forme
comme vous le souhaitez.
F2644.book Page 73 Thursday, January 13, 2005 5:18 PM74 Chapitre 3 Mise en forme de texte et de paragraphes
Zones de texte liées
Si le texte que vous tapez ne tient pas dans une zone de texte fixe, vous pouvez créer
une zone de texte liée, de sorte que le texte passe d’une zone à l’autre. Chaque fois
que vous éditez ou mettez en forme le texte de la première zone de texte, la zone de
texte liée est également modifiée. Les zones de texte liées peuvent être positionnées
séparément les unes des autres dans le document.
Pour créer une zone de texte liée :
1 Créez une zone de texte fixe selon la procédure décrite précédemment (reportez-vous
à la section “Pour ajouter une zone de texte fixe :” à la page 73).
2 Positionnez et redimensionnez la zone de texte en fonction de vos besoins, puis
tapez-y le texte.
Lorsque la zone de texte est trop pleine, appuyez sur Commande + Retour afin de
la sélectionner. Un indicateur de découpage apparaît en bas de la zone de texte,
indiquant que le texte s’étend au-delà du bas de la zone.
3 Cliquez sur le carré bleu du côté droit de la zone afin de créer une zone de texte liée.
La nouvelle zone de texte comporte un carré bleu plein du côté gauche. Celui-ci
indique que cette zone de texte est liée à une précédente.
Un carré bleu ouvert à
gauche indique qu’il n’y a
pas de zones de texte liées
avant celle-ci.
Un indicateur de découpage
indique que le texte s’étend
au-delà de la zone de texte.
Un carré bleu ouvert à droite
indique qu’il n’y a pas de zones
de texte liées après celle-ci.
Cliquez dessus afin de créer
une zone de texte liée.
F2644.book Page 74 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 75
4 Faites glisser les zones de texte afin de les repositionner. L’enchaînement du texte
à l’intérieur des zones suit toujours l’ordre dans lequel les zones ont été créées, quel
que soit l’emplacement où vous les positionnez dans le document.
Pour déplacer des zones de texte liées :
1 Sélectionnez-les toutes, puis choisissez Édition > Copier.
2 Sélectionnez la destination et choisissez Édition > Coller.
Remarque : si vous copiez et collez une zone liée unique, vous créez une zone de
texte non liée unique, identique à celle que vous avez copiée.
Pour sélectionner uniquement le texte dans toutes les zones de texte liées :
m Sélectionnez le texte dans la première zone, puis appuyez sur Commande + A.
Un carré bleu rempli à
droite indique que cette
zone de texte est liée
avant une autre.
Un carré bleu ouvert
indique que cette zone
de texte est la dernière
Un carré bleu rempli à
de cette série.
gauche indique que cette
zone de texte est liée à
une zone précédente.
F2644.book Page 75 Thursday, January 13, 2005 5:18 PM76 Chapitre 3 Mise en forme de texte et de paragraphes
Définition des couleurs de remplissage des paragraphes
Dans certains cas, il peut s’avérer plus simple de mettre le texte en surbrillance en
incluant une couleur de remplissage de paragraphe derrière le texte. Lorsque vous
placez une couleur de remplissage de paragraphe derrière le texte, la couleur s’étend
entre les marges de disposition et se déplace avec le texte.
Pour placer une couleur de remplissage de paragraphe derrière le texte :
1 Sélectionnez le ou les paragraphes auxquels vous souhaitez ajouter la couleur de
remplissage.
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), cliquez sur le bouton Inspecteur du texte, puis cliquez sur Plus.
3 Dans la sous-fenêtre Plus de l’Inspecteur du texte, sélectionnez la case Remplissage
de paragraphe afin d’inclure une couleur de remplissage derrière le texte.
4 Cliquez sur le cadre Couleur de remplissage et sélectionnez une couleur dans la
fenêtre Couleurs (pour plus d’informations sur la fenêtre Couleurs, reportez-vous à la
section “Utilisation de remplissages par des couleurs et des images” à la page 141).
Ajout de texte dans une figure
Si vous souhaitez créer des renvois ou des barres latérales qui ne sont pas rectangulaires, vous pouvez placer du texte à l’intérieur de l’une des figures dessinées fournies
par Pages. Toutes les figures, à l’exception des lignes, peuvent contenir du texte.
Pour ajouter du texte à une figure :
1 Placez une figure à l’emplacement souhaité sur la page. Pour en savoir plus sur l’ajout
de figures, reportez-vous à la section “Ajout de formes simples, de tableaux et de
graphiques” à la page 121.
2 Double-cliquez sur la figure et tapez le texte souhaité. Si le texte s’étend au-delà de
la bordure de la figure, un indicateur de découpage apparaît.
Sélectionnez l’option permettant de placer
une couleur de remplissage derrière le texte.
Sélectionnez une couleur de remplissage.
F2644.book Page 76 Thursday, January 13, 2005 5:18 PMChapitre 3 Mise en forme de texte et de paragraphes 77
3 Pour redimensionner la figure, sélectionnez-la et faites glisser les poignées de
sélection. Si le point d’insertion se trouve à l’intérieur de la figure, appuyez sur
Commande + Retour afin de quitter le mode édition de texte et sélectionnez la
figure.
Vous pouvez mettre en forme le texte d’une figure, mais vous ne pouvez pas lier
des figures.
Mise en forme d’une zone de texte ou d’une figure
Utilisez l’Inspecteur des graphismes pour mettre en forme les bordures, les ombres et
l’opacité des zones de texte ou des figures. Pour plus d’informations sur la définition
des propriétés des objets, consultez le chapitre 7, “Modification de propriétés d’objets”.
Utilisez l’Inspecteur d’habillage pour définir la façon dont le texte doit habiller une
zone de texte ou une figure sur la page. Pour plus d’informations sur la définition de
l’habillage du texte autour d’un objet, reportez-vous à la section “Habillage d’un objet
avec du texte” à la page 132.
Vous pouvez mettre en forme des zones de texte ou des rectangles en colonnes en
sélectionnant la zone de texte ou le rectangle et en choisissant le nombre de colonnes
souhaité, comme vous le feriez pour définir les colonnes dans le corps du document.
Pour plus d’informations sur la création et le mise en forme de colonnes, reportezvous à la section “Création de colonnes” à la page 102. Vous pouvez également placer
des figures, des images et des graphiques dans des zones de texte et des figures, et
vous pouvez ajouter des tableaux dans des zones de texte. Les objets ajoutés dans
des zones de texte et des figures peuvent uniquement être ajoutés sous forme
d’objets en ligne. Pour en savoir plus sur l’ajout d’objets en ligne, reportez-vous à la
section “Utilisation de graphismes” à la page 117.
L’indicateur de découpage
indique que le texte s’étend
au-delà des bordures d’une
figure.
F2644.book Page 77 Thursday, January 13, 2005 5:18 PM78 Chapitre 3 Mise en forme de texte et de paragraphes
Vous pouvez modifier l’espace entre le texte et la bordure intérieure de la zone
de texte, de la figure ou de la cellule du tableau. Cette mesure est appelée la marge
intérieure. La quantité d’espace que vous indiquez est appliquée de manière uniforme
autour du texte de chaque côté.
Pour définir l’espacement entre le texte et l’intérieur d’une zone de texte, d’une
figure ou d’une cellule de tableau :
1 Sélectionnez la zone de texte, la figure ou la cellule de tableau. Si le point d’insertion
se trouve à l’intérieur de l’objet, appuyez sur Commande + Retour afin de quitter le
mode d’édition et sélectionnez l’objet.
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), cliquez sur le bouton Inspecteur du texte, puis cliquez sur Texte.
3 Dans la sous-fenêtre Texte de l’Inspecteur du texte, faites glisser le curseur Marge
intérieure vers la droite afin d’augmenter l’espace entre le texte et la bordure inté-
rieure de l’objet, ou tapez un nombre dans la zone Marge intérieure et appuyez sur
Retour.
Spécifiez la quantité
d’espace autour du texte
dans une zone de texte,
une figure ou une cellule
de tableau.
F2644.book Page 78 Thursday, January 13, 2005 5:18 PM79
4
4 Utilisation de styles
Ce chapitre explique comment appliquer des styles
aux paragraphes, aux caractères et aux listes afin
de modifier rapidement et de manière cohérente
l’apparence du texte. Il décrit également comment
créer ou modifier des styles.
Lorsque vous rédigez et mettez en forme un document, vous pouvez créer différents
aspects pour différents types de texte et de paragraphe, puis les utiliser de manière
cohérente dans le document. Par exemple, vous pouvez utiliser la même police, la
même couleur et le même interligne pour tous les en-têtes de premier niveau, ou
utiliser le même aspect pour toutes les légendes de texte ou de photo. L’application
de styles cohérents est également importante si vous créez une table des matières
(pour en savoir plus sur la création d’une table des matières, reportez-vous à la section
“Génération d’une table des matières” à la page 114).
Le moyen le plus simple de vous assurer que les styles de texte sont utilisés de
manière cohérente consiste à créer des styles, que vous pouvez ensuite appliquer à
n’importe quel texte. Les modèles incluent divers styles qui sont adaptés au type de
document sur lequel vous travaillez. Les noms des styles, tels que En-tête, Corps ou
Légende, suggèrent dans quels cas le style doit être utilisé. Si vous utilisez un modèle,
vous pouvez appliquer les styles prédéfinis à l’endroit où vous en avez besoin.
Lorsque vous importez un document à partir de Microsoft Word, tous les styles qu’il
contient sont importés dans le document Pages et peuvent être utilisés comme
n’importe quel autre style créé dans Pages.
F2644.book Page 79 Thursday, January 13, 2005 5:18 PM80 Chapitre 4 Utilisation de styles
À propos des styles de paragraphe, de caractère et de liste
Pages offre trois types différents de style prédéfinis, que vous pouvez appliquer
au texte pour différents besoins.
 Styles de paragraphe : ces styles peuvent être appliqués uniquement à des
paragraphes entiers (portions de texte se terminant par un retour chariot), mais
pas à des mots d’un paragraphe. Il s’agit des styles pour les titres, le corps du
texte, les renvois, les légendes, les en-têtes et les pieds de page. Les styles de
paragraphe peuvent inclure des spécifications de police, de taille, de couleur de
texte, d’espacement des caractères et des lignes, d’ombrage du texte, de couleur
d’arrière-plan, de retrait et de marge, de tabulation, etc. Si vous souhaitez créer
une table des matières pour un document, vous devez utiliser des styles de
paragraphe lors de la création de titres dans votre document. La plupart des
documents utilisent plus de styles de paragraphe que de styles de caractère ou
de liste.
 Styles de caractère : vous pouvez appliquer un style de caractère à un groupe
quelconque de caractères, y compris des mots ou des groupes de mots, ou des
lettres dans un paragraphe. Des couleurs ou des tailles de police différentes pour
mettre en évidence des mots ou des phrases sont des exemples courants de
style de caractère. Des styles de caractère peuvent être appliqués au texte d’un
paragraphe sans qu’il soit nécessaire de changer le style du paragraphe.
 Styles de liste : lorsque vous souhaitez créer des listes simples ou une structure,
vous pouvez appliquer des styles de liste à votre texte. Celles-ci mettent en forme
automatiquement le texte avec des puces ou des numéros, selon le type de liste
que vous choisissez. Vous pouvez également appliquer un retrait aux paragraphes
en tant que blocs en modifiant leur niveau de retrait de liste (reportez-vous à la
section “Création de listes à puces ou numérotées et de structures” à la page 69).
Certains styles de liste sont élémentaires, pour les listes simples, tandis que d’autres,
tels que I. A. 1. a) et 1. 1.1. 1.1.1., permettent de créer des structures.
Ces trois types de style se trouvent dans le tiroir Styles. Pour plus d’informations
sur le tiroir Styles, reportez-vous à la section “Le tiroir Styles” à la page 22.
F2644.book Page 80 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 81
Application de styles
Le moyen le plus simple d’appliquer des styles de paragraphe et de liste consiste à
utiliser les boutons Style et Liste de la barre d’outils Pages. Pour appliquer des styles
de caractère, utilisez le tiroir Styles.
Vous pouvez ajouter le bouton Caractère à la barre d’outils afin de permettre l’ajout
ou la modification de styles de caractère à partir de la barre d’outils Pages. Pour en
savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la section “La
barre d’outils” à la page 23.
Pour appliquer un style à un paragraphe :
m Sélectionnez le ou les paragraphes à modifier, ou sélectionnez une zone de texte ou une
forme entière contenant du texte. Ensuite, effectuez l’une des opérations suivantes :
 Cliquez sur le bouton Style dans la barre d’outils et choisissez le style que vous
souhaitez appliquer.
 Choisissez Afficher > Afficher le tiroir Styles afin d’ouvrir le tiroir correspondant (ou
cliquez sur Style dans la barre d’outils et choisissez Afficher le tiroir Styles). Dans le
tiroir Styles, sélectionnez le style à appliquer.
Dans le tiroir Styles,
sélectionnez le style
à appliquer.
F2644.book Page 81 Thursday, January 13, 2005 5:18 PM82 Chapitre 4 Utilisation de styles
Pour appliquer un style de caractère :
1 Sélectionnez le ou les mots à modifier.
2 Choisissez Afficher > Afficher le tiroir Styles afin d’ouvrir le tiroir correspondant
(ou cliquez sur Style dans la barre d’outils et choisissez Afficher le tiroir Styles).
3 Dans le tiroir Styles, sélectionnez le style de caractère à appliquer. Si vous ne voyez
pas les styles de caractère, cliquez sur le bouton dans le coin inférieur droit.
Vous pouvez ajouter le bouton Caractère à la barre d’outils et l’utiliser afin de changer
rapidement les styles de caractère. Pour en savoir plus sur la personnalisation de la
barre d’outils, reportez-vous à la section “La barre d’outils” à la page 23.
Pour appliquer un style de liste :
1 Placez le curseur là à l’endroit où vous souhaitez commencer la saisie dans la liste,
puis effectuez l’une des opérations suivantes :
 Cliquez sur le bouton Liste dans la barre d’outils et choisissez le style que vous
souhaitez appliquer.
 Choisissez Afficher > Afficher le tiroir Styles afin d’ouvrir le tiroir correspondant
(ou cliquez sur Style dans la barre d’outils et choisissez Afficher le tiroir Styles).
Dans le tiroir Styles, sélectionnez le style de liste à appliquer. Si les styles de liste
ne s’affichent pas, cliquez sur le bouton dans le coin inférieur droit.
2 Tapez la liste en appuyant sur Retour afin de commencer chaque nouvel élément de
la liste à puces ou numérotée.
Importation de styles à partir d’un autre document Pages
Vous pouvez importer des styles qui ont été définis dans un autre document Pages
sans importer le contenu du document.
Pour importer des styles :
1 Choisissez Format > Importer des styles.
2 Sélectionnez le document contenant les styles à importer, puis cliquez sur Ouvrir.
Cliquez afin d’afficher les styles de liste.
Cliquez afin d’afficher les
styles de caractère.
F2644.book Page 82 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 83
3 Sélectionnez les styles à importer dans la zone de dialogue. Maintenez enfoncée la
touche Commande en cliquant sur le nom des styles afin d’en sélectionner plusieurs,
ou cliquez sur Sélectionner tout.
4 Pour remplacer dans un document des styles qui portent le même nom que ceux que
vous importez, sélectionnez la case Remplacer les éléments dupliqués. Le remplacement d’un style affecte tout le texte qui utilise ce style, y compris celui qui se trouve
dans des objets verrouillés.
Si un style importé porte le même nom qu’un style du document ouvert alors que
vous ne cochez pas la case Remplacer les éléments dupliqués, un numéro est adjoint
au nom du style importé. Par exemple, si vous copiez un style nommé “Corps” vers un
document contenant déjà un style Corps, le style importé est nommé “Corps 2”.
5 Cliquez sur OK.
Les styles importés sont disponibles via le menu local Style de la barre d’outils et le
tiroir Styles du document.
Substitutions de style
Lorsque vous apportez des modifications à des attributs de texte individuels, par
exemple en utilisant la commande Police du menu Format pour mettre en italique un
paragraphe de texte mis en forme avec le style Corps, sans sélectionner un nouveau
style, vous avez créé une substitution de style. Autrement dit, la mise en forme du texte
reste dans son style d’origine (Corps), mais vous avez appliqué des modifications
(italique) au-dessus des attributs par défaut du style. Lorsque vous sélectionnez du
texte auquel vous avez appliqué des substitutions de style, la flèche en regard du nom
du style dans le tiroir Styles est rouge. La flèche en regard du nom d’un style de paragraphe s’affiche également en rouge si vous avez sélectionné du texte auquel un style
de caractère ou de liste est appliqué.
Lorsque la flèche en regard du
nom d’un style est rouge, cela
signifie que vous avez appliqué
des modifications à ce style dans
le texte sélectionné.
F2644.book Page 83 Thursday, January 13, 2005 5:18 PM84 Chapitre 4 Utilisation de styles
Des substitutions peuvent se produire lorsque vous modifiez la police, le type, la
taille ou la couleur du texte, ou lorsque vous appliquez les options de mise en forme
du texte dans le sous-menu Texte du menu Format, dans le panneau Police ou dans
l’Inspecteur du texte.
Si vous appliquez des substitutions de style à du texte, puis que vous changez d’avis,
vous pouvez facilement rétablir les attributs par défaut du style de paragraphe.
Pour supprimer des substitutions de style :
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles).
2 Sélectionnez le texte à modifier.
3 Dans le tiroir Styles, cliquez sur la flèche à droite du style sélectionné et choisissez
Rétablir le style original (ou double-cliquez sur le nom du style). Le texte sélectionné
reprend les attributs par défaut du style sélectionné.
Recherche et remplacement de styles
Si vous souhaitez modifier l’aspect d’un document en remplaçant toutes les instances
d’un style par un autre, vous pouvez rechercher et remplacer le style dans tout le
document sans avoir à rechercher du texte spécifique.
Pour rechercher et remplacer un style :
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles).
2 Dans le tiroir Styles, positionnez le pointeur sur le nom du style que vous souhaitez
remplacer et cliquez sur la flèche à droite de son nom.
3 Choisissez Sélectionner toutes les versions de [nom du style]. Toutes les instances du
style sont sélectionnées dans le document.
4 Sélectionnez le nom du style qui doit remplacer celui du texte sélectionné.
Vous pouvez également modifier un style de texte en copiant le style d’une instance
du texte et en le collant sur un autre texte. Cela fonctionne pour les styles de paragraphe et de caractère.
F2644.book Page 84 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 85
Pour copier et coller un style de paragraphe ou de caractère :
1 Positionnez le point d’insertion dans un paragraphe ou un mot dont vous souhaitez
copier le style, puis choisissez Format > Copier le style de paragraphe ou Copier le
style de caractère.
2 Placez le point d’insertion dans un paragraphe ou un mot que vous souhaitez modifier,
puis choisissez Format > Coller le style de paragraphe ou Coller le style de caractère.
Le texte reprend le nouveau style, mais le contenu n’est pas modifié.
Si vous copiez et collez fréquemment des styles, vous pouvez ajouter à la barre d’outils
les boutons Copier le style et Coller le style. Pour en savoir plus sur la personnalisation
de la barre d’outils, reportez-vous à la section “La barre d’outils” à la page 23.
Modification et création de styles de paragraphe
Un paragraphe est un bloc de texte suivi d’un retour chariot. Pour ces blocs de texte,
notamment les titres, le corps du texte, les pieds de page, les renvois, etc. vous pouvez
définir l’apparence, l’espacement des tabulations, les marges, la couleur d’arrière-plan,
les sauts de page, etc.
Si vous ne trouvez pas de style de paragraphe avec exactement le même aspect que
celui souhaité dans les modèles Pages, vous pouvez modifier un style ou en créer un.
Pour modifier un style de paragraphe :
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles). Sélectionnez le style de paragraphe qui correspond le mieux au style que vous souhaitez créer, ou sélectionnez Format libre.
2 Tapez du texte et mettez-le en forme comme vous le souhaitez. Pour plus d’informations
sur la mise en forme de l’aspect du texte, reportez-vous à la section “Mise en forme de la
taille et de l’apparence du texte” à la page 51.
3 Définissez l’alignement du texte, l’espace des caractères et des lignes, ainsi que l’espacement avant et après le paragraphe dans la sous-fenêtre Texte de l’Inspecteur du
texte. Pour plus d’informations, reportez-vous à la section “Définition de l’alignement
et de l’espacement du texte” à la page 59.
F2644.book Page 85 Thursday, January 13, 2005 5:18 PM86 Chapitre 4 Utilisation de styles
4 Si le style de paragraphe nécessite des taquets de tabulation spéciaux, définissez-les
dans la sous-fenêtre Tabulations de l’Inspecteur du texte. Pour plus d’informations,
reportez-vous à la section “Définition de taquets de tabulation afin d’aligner le texte”
à la page 64.
5 Si vous souhaitez que le style de paragraphe soit en retrait par rapport aux marges
de la page, définissez les retraits de paragraphe dans la sous-fenêtre Tabulations de
l’Inspecteur du texte.
Définissez le retrait de la première ligne.
Définissez le retrait de
droite du paragraphe.
Définissez le retrait de
gauche du paragraphe.
F2644.book Page 86 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 87
6 Cliquez sur Plus dans l’Inspecteur du texte afin de sélectionner davantage d’options
de mise en forme, comme décrit ci-dessous :
a Style de paragraphe suivant : si vous souhaitez qu’un style de paragraphe
particulier suive toujours le style actuel lorsque vous appuyez sur la touche
Retour, choisissez le style dans le menu local. Par exemple, vous pouvez créer
un style de légende de photo qui doit toujours être suivi d’un style particulier.
b Pagination et saut : sélectionnez la façon dont le paragraphe peut être réparti entre
les pages. Vous pouvez spécifier que les lignes de ce paragraphe doivent toujours
rester ensemble sur la même page, doivent rester avec le paragraphe suivant ou
peuvent uniquement apparaître en haut d’une page. Les deux dernières options sont
particulièrement utiles pour les styles de titre. Sélectionnez la case “Éviter les lignes
veuves et orphelines” afin d’éviter de laisser des lignes seules sur la page suivante ou
précédente.
Choisissez un style de paragraphe
devant suivre l’actuel lorsque vous
appuyez sur la touche Retour.
Sélectionnez des options afin
de déterminer les sauts de
paragraphe entre les pages.
Choisissez une langue à
utiliser par le dictionnaire.
Ajoutez une couleur
d’arrière-plan au
Supprimez les césures ou
ligatures automatiques, si
elles sont sélectionnées
pour le document.
Définissez le texte au-dessus ou
au-dessous du texte situé autour.
F2644.book Page 87 Thursday, January 13, 2005 5:18 PM88 Chapitre 4 Utilisation de styles
c Langue : choisissez une langue dans le menu local afin de spécifier la langue
utilisée pour vérifier l’orthographe dans ce paragraphe. Si votre document inclut
des citations ou des sections dans une autre langue, vous pouvez spécifier une
langue pour le dictionnaire utilisé dans ces paragraphes. Le dictionnaire détermine
la façon dont les mots sont orthographiés et coupés.
d Supprimer la césure pour un style de paragraphe : sélectionnez la case si vous
souhaitez désactiver la césure automatique pour ce style de paragraphe dans un
document pour lequel la césure automatique est activée. Pour l’activer dans le
document, utilisez l’Inspecteur des documents Reportez-vous à la page 99.
e Supprimer les ligatures : sélectionnez la case si vous ne souhaitez pas utiliser de
ligatures dans ce style de paragraphe dans un document pour lequel les ligatures
sont activées. Pour l’activer dans le document, utilisez l’Inspecteur des documents
(voir la page 99). Si du texte est sélectionné lorsque vous supprimez les ligatures,
la modification s’applique au texte sélectionné en tant que substitution de style,
jusqu’à ce que vous ayez effectué l’étape 7.
f Décalage de la ligne de base : tapez un nombre dans le champ. Un nombre négatif
place le texte plus bas que celui qui l’entoure. Un nombre positif place le texte plus
haut que celui qui l’entoure. Si du texte est sélectionné lorsque vous définissez le
décalage de la ligne de base, la modification s’applique au texte sélectionné en tant
que substitution de style, jusqu’à ce que vous ayez effectué l’étape 7.
g Remplissage du paragraphe : sélectionnez la case et cliquez sur le cadre de couleur
afin de faire apparaître un arrière-plan en couleur derrière le paragraphe. Par exemple,
vous pouvez créer un style de titre qui présente du texte blanc sur un arrière-plan
foncé. La couleur s’étend de la marge de gauche du paragraphe jusqu’à la droite.
7 Dans le tiroir Styles, cliquez sur la flèche à droite du nom du style de paragraphe, puis
choisissez l’une des options suivantes :
a Redéfinir le style à partir de la sélection : redéfinit le style de paragraphe de
l’ensemble du document.
Si vous choisissez cette option, les changements de mise en forme s’appliquent à
toutes les autres instances de ce style dans l’ensemble du document. Cependant,
les éventuels styles de caractère qui ont été appliqués ne sont pas modifiés.
F2644.book Page 88 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 89
b Créer un style de paragraphe à partir de la sélection : cette option ne modifie
pas le style en cours, mais crée un style à partir de la mise en forme que vous avez
effectuée au cours des étapes précédentes.
Si vous sélectionnez cette option, attribuez un nom au nouveau style, puis cliquez
sur OK.
Pour créer un style de paragraphe de toutes pièces :
1 Sélectionnez un paragraphe de texte.
2 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles). Dans le tiroir Styles, sélectionnez Format libre en
haut de la liste Styles de paragraphe.
3 Mettez en forme le texte du paragraphe sélectionné, de sorte qu’il se présente comme
vous le souhaitez. Pour en savoir plus sur la mise en forme de texte, consultez le
chapitre 3, “Mise en forme de texte et de paragraphes”.
4 Cliquez sur le bouton Ajouter (+) en bas du tiroir Styles et choisissez Créer un style de
paragraphe à partir de la sélection.
5 Attribuez un nom au nouveau style.
6 Si vous ne souhaitez pas appliquer le nouveau style au texte sélectionné, désélectionnez
la case Appliquer ce nouveau style à la création.
7 Cliquez sur OK.
Les styles que vous modifiez ou créez sont disponibles uniquement dans le document
sur lequel vous travaillez. Ils peuvent cependant être importés dans d’autres documents
ou modèles. Pour savoir comment procéder, reportez-vous à la page 82.
Cliquez afin de créer un style.
F2644.book Page 89 Thursday, January 13, 2005 5:18 PM90 Chapitre 4 Utilisation de styles
Modification et création de styles de caractère
Les styles de caractère sont des attributs de mise en forme qui sont appliqués à un
ensemble de caractères de texte (tels qu’un mot ou un groupe de mots ou de lettres)
sans modifier le style du paragraphe entier. Les styles de caractère définissent l’aspect
du texte, notamment la police, la taille, la couleur, l’espacement des caractères, l’utilisation des ligatures, le décalage de la ligne de base et la langue. Si vous ne trouvez
pas de style de caractère correspondant à vos besoins, vous pouvez modifier l’un des
styles ou en créer un.
Pour modifier un style de caractère :
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles), puis sélectionnez le style de caractère qui correspond le mieux au style que vous souhaitez définir, ou sélectionnez Aucun.
Si les styles de caractère ne sont pas visibles dans le tiroir Styles, cliquez sur le bouton
avec le caractère souligné dans le coin inférieur droit du tiroir.
2 Tapez du texte et sélectionnez une police et une taille. Pour plus d’informations,
reportez-vous à la section “Utilisation du panneau Police pour mettre en forme du
texte” à la page 52.
3 Définissez la couleur du texte. Pour plus d’informations sur la modification de la
couleur du texte, reportez-vous à la section “Définition de la couleur d’un texte dans
l’Inspecteur du texte” à la page 64.
4 Définissez l’espacement des caractères. Pour plus d’informations sur la définition de
l’espacement des caractères, reportez-vous à la section “Définition de l’alignement et
de l’espacement du texte” à la page 59.
5 Définissez le décalage de la ligne de base, la ligature et la langue dans la sous-fenêtre
Plus de l’Inspecteur du texte. Pour plus d’informations, reportez-vous à la section
“Modification et création de styles de paragraphe” à la page 85.
Cliquez afin d’afficher les styles de liste.
Cliquez afin d’afficher les
styles de caractère.
F2644.book Page 90 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 91
6 Dans le tiroir Styles, cliquez sur la flèche à droite du nom du style de caractère, puis
choisissez l’une des options suivantes :
a Redéfinir le style à partir de la sélection : redéfinissez le style de caractère existant
pour le document entier.
Si vous choisissez cette option, les changements de mise en forme s’appliquent à
toutes les autres instances de ce style dans l’ensemble du document.
b Créer un style de caractère à partir de la sélection : cette option ne modifie pas
le style en cours, mais crée un style à partir de la mise en forme que vous avez effectuée au cours des étapes précédentes.
Si vous sélectionnez cette option, vous pouvez choisir les attributs à inclure dans le
cadre du nouveau style de caractère. Cliquez sur le triangle d’affichage sous le champ
Nom dans la zone de dialogue Nouveau style de caractère, puis sélectionnez les attributs souhaités. Attribuez un nom au nouveau style, puis cliquez sur OK.
Cliquez sur le triangle d’affichage
afin d’afficher les attributs des
caractères.
Cliquez afin de sélectionner
uniquement les attributs
qui remplacent le style de
paragraphe sélectionné.
Sélectionnez les attributs à
inclure dans le nouveau style
de caractère.
F2644.book Page 91 Thursday, January 13, 2005 5:18 PM92 Chapitre 4 Utilisation de styles
Pour créer un style de caractère de toutes pièces :
1 Sélectionnez du texte.
2 Mettez en forme le texte sélectionné, de sorte qu’il se présente comme vous le souhaitez.
Vous pouvez définir la police, la taille du texte, sa couleur, la mise en forme (gras, italique,
etc.), l’espacement des caractères et le décalage de la ligne de base. Pour en savoir plus
sur la mise en forme de texte, consultez le chapitre 3, “Mise en forme de texte et de
paragraphes”.
3 Cliquez sur le bouton Ajouter (+) en bas du tiroir Styles et choisissez Créer un nouveau
style de caractère à partir de la sélection dans le menu local.
4 Attribuez un nom au nouveau style.
5 Si vous souhaitez inclure uniquement certains des attributs définis dans le nouveau
style de caractère, cliquez sur le triangle d’affichage sous le champ Nom, puis sélectionnez les attributs souhaités.
6 Si vous ne souhaitez pas appliquer le nouveau style au texte sélectionné, désélectionnez la case Appliquer ce nouveau style à la création.
7 Cliquez sur OK.
F2644.book Page 92 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 93
Modification et création de styles de liste
Les styles de liste sont utilisés pour créer des listes à puces et des listes numérotées.
Vous pouvez également créer des listes ordonnées (structures) en utilisant un style de
liste à numérotation progressive, tel que I. A. 1. a) ou 1. 1.1. 1.1.1. Si vous ne trouvez pas
de style de liste correspondant à vos besoins, vous pouvez modifier l’un des styles ou
en créer un.
Utilisez la sous-fenêtre Liste de l’Inspecteur du texte pour modifier ou créer des styles
de liste. L’Inspecteur vous permet de choisir différents styles de puce ou de numérotation (par exemple des chiffres arabes ou romains). Concernant les puces, vous pouvez
choisir parmi différents symboles de texte ou images proposés par Pages, utiliser une
image vous appartenant ou n’afficher aucune puce.
Pour ouvrir la sous-fenêtre Liste de l’Inspecteur du texte :
1 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur le bouton Inspecteur dans la
barre d’outils).
2 Cliquez sur le bouton Inspecteur du texte, puis cliquez sur Liste.
Cliquez afin de passer au niveau
de retrait suivant de la liste.
Ajustez la taille et la position
des puces par rapport au texte.
Choisissez des puces ou une
numérotation.
Sélectionnez une image
pour les puces.
Ajustez le retrait des puces
par rapport au premier retrait
de paragraphe.
Définissez le niveau de retrait
du texte par rapport aux puces.
F2644.book Page 93 Thursday, January 13, 2005 5:18 PM94 Chapitre 4 Utilisation de styles
Pour modifier un style de liste à puces ou numérotée :
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles), puis sélectionnez le style de liste à puces ou
numérotée qui correspond le mieux à vos besoins. Assurez-vous que le point d’insertion est visible sur la page afin de sélectionner un style de liste.
Si les styles de liste ne sont pas visibles dans le tiroir Styles, cliquez sur le bouton avec
la liste à puces en bas du tiroir.
2 Choisissez l’un des styles de puce ou de numérotation suivants dans le menu local
Puces et numérotation de la sous-fenêtre Liste de l’Inspecteur du texte :
 Aucune puce : choisissez cette option si vous ne souhaitez pas de puces visibles,
mais plutôt spécifier le retrait des niveaux dans une liste ordonnée.
 Puce de texte : choisissez cette option pour utiliser un caractère de texte comme
puce. Vous pouvez en sélectionner un dans la liste ou taper vos propres caractères
dans le champ de texte. Certaines polices comportent des symboles pouvant être
utilisés comme puces. Pour les utiliser, ouvrez la palette de caractères (choisissez
Format > Police > Afficher les polices, puis choisissez Caractères dans le menu local
Action). Sélectionnez le symbole de la puce dans l’Inspecteur du texte, puis doublecliquez sur le symbole de votre choix dans la palette de caractères. Appuyez ensuite
sur la touche Retour.
 Puce d’image : Choisissez cette option pour utiliser l’une des puces d’image disponibles dans Pages puis sélectionnez-en une dans la liste.
Cliquez afin d’afficher les styles de liste.
Sélectionnez une couleur
de puce de texte.
En ce qui concerne les puces de texte,
choisissez un caractère disponible ou tapez
un caractère dans le champ de texte.
F2644.book Page 94 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 95
 Image personnalisée : choisissez cette option pour utiliser votre image comme
puce. Localisez et sélectionnez le fichier image à utiliser dans la zone de dialogue
Ouvrir. Pour changer d’image, cliquez sur Choisir ou faites glisser une nouvelle
image dans le cadre.
 Numéro : choisissez cette option pour créer une liste numérotée. Vous devez également choisir un style de numérotation. Vous pouvez choisir des nombres arabes ou
romains, ou des lettres.
 Numérotation progressive : pour en savoir plus sur la numérotation progressive,
reportez-vous à la section “Pour modifier un style de liste à numérotation progressive pour les listes ordonnées” à la page 96.
3 Mettez en forme les puces.
a Pour augmenter ou réduire la taille d’une puce, tapez un nombre dans le champ
Taille. Le fait de sélectionnez la case Adapter au texte permet de préserver le rapport
de taille image/texte des puces, même si vous modifiez par la suite la taille de la
police.
b Pour positionner le symbole de la puce plus haut ou plus bas par rapport au texte,
tapez un nombre dans la zone Aligner (ou cliquez sur les flèches).
Sélectionnez une puce
d’image dans la liste.
Pour les listes numérotées, choisissez un style de numérotation.
Redémarrez la numérotation
ou poursuivez la numérotation
précédente.
Ajustez le retrait des numéros par
rapport à la marge de la page.
F2644.book Page 95 Thursday, January 13, 2005 5:18 PM96 Chapitre 4 Utilisation de styles
c Pour définir la distance du retrait des puces par rapport à la marge, tapez un nombre
dans le champ Retrait des puces. Une valeur plus élevée correspond à un retrait de la
liste plus à droite.
d Pour définir le retrait du texte par rapport à la puce, tapez un nombre dans le champ
Retrait du texte. Une valeur plus élevée correspond à un retrait du texte plus à
droite.
4 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles).
L’un des styles de liste est mis en surbrillance. Il s’agit du style qui a été appliqué au
texte sélectionné. Si les styles de liste ne sont pas visibles, cliquez sur le bouton en bas
du tiroir Styles. Le triangle à droite du nom du style est rouge, indiquant que vous
avez appliqué des substitutions au style en le modifiant.
5 Cliquez sur la flèche rouge à droite du style sélectionné dans le tiroir Styles et choisissez
l’une des options suivantes :
a Redéfinir le style à partir de la sélection : redéfinit le style de liste dans l’ensemble
du document.
Si vous choisissez cette option, les changements de mise en forme s’appliquent à
toutes les autres instances de ce style dans l’ensemble du document.
b Créer un style de liste à partir de la sélection : cette option ne modifie pas le style
en cours, mais elle crée un style à partir de vos choix de mise en forme.
Si vous sélectionnez cette option, attribuez un nom au nouveau style, puis cliquez
sur OK.
Pour modifier un style de liste à numérotation progressive pour les listes ordonnées
1 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles), puis sélectionnez la liste ordonnée (structure) qui
correspond le mieux à ce que vous souhaitez. Assurez-vous que le point d’insertion
est visible sur la page afin de sélectionner un style de liste.
2 Choisissez Numérotation progressive dans le menu local Puces et numérotation, dans
la sous-fenêtre Liste de l’Inspecteur du texte.
Cliquez afin d’afficher les styles de liste.
F2644.book Page 96 Thursday, January 13, 2005 5:18 PMChapitre 4 Utilisation de styles 97
3 Choisissez le style de numérotation que vous souhaitez dans le deuxième menu local.
4 Cliquez sur la flèche de retrait à droite afin de passer au deuxième niveau de retrait
de la liste.
5 Choisissez le style de numérotation souhaité pour le deuxième niveau de retrait de
la liste.
6 Répétez les étapes 4 et 5 jusqu’à ce que vous ayez défini les styles de numérotation
(neuf niveaux de retrait maximum).
7 Choisissez Afficher > Afficher le tiroir Styles (ou cliquez sur Style dans la barre d’outils
et choisissez Afficher le tiroir Styles).
L’un des styles de liste est mis en surbrillance. Il s’agit du style qui a été appliqué au
texte sélectionné. Si les styles de liste ne sont pas visibles, cliquez sur le bouton en bas
à droite du tiroir Styles. La flèche à droite du nom du style est rouge, ce qui indique
que vous avez appliqué des substitutions au style en le modifiant.
8 Cliquez sur la flèche à droite du nom du style de liste, et choisissez l’une des options
suivantes :
a Redéfinir le style à partir de la sélection : redéfinit le style de liste dans l’ensemble
du document.
Si vous choisissez cette option, les changements de mise en forme s’appliquent à
toutes les autres instances de ce style dans l’ensemble du document.
Cliquez afin de passer au niveau
de retrait suivant de la liste.
Choisissez Numérotation
progressive afin de créer
un style de liste ordonnée.
Pour chaque niveau de
retrait de la liste, choisissez
un style de numérotation.
Pour chaque niveau de
retrait de la liste, définissez
la distance de retrait du
nombre et du texte associé.
F2644.book Page 97 Thursday, January 13, 2005 5:18 PM98 Chapitre 4 Utilisation de styles
b Créer un style de liste à partir de la sélection : cette option ne modifie pas le style
en cours, mais crée un style à partir de la mise en forme que vous avez effectuée au
cours des étapes précédentes.
Si vous sélectionnez cette option, attribuez un nom au nouveau style, puis cliquez
sur OK.
Pour créer un style de liste de toutes pièces :
1 Sélectionnez du texte.
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), cliquez sur Texte afin d’ouvrir l’Inspecteur du texte, puis cliquez sur Liste
afin d’ouvrir la sous-fenêtre Liste.
3 Mettez en forme le texte de la liste sélectionnée, de sorte qu’il se présente comme
vous le souhaitez. Vous pouvez sélectionner un symbole ou une image à utiliser en
tant que puce, ainsi qu’un style de numérotation. Vous pouvez également définir la
quantité de retrait pour chaque niveau de retrait de la liste, comme décrit ci-dessus.
4 Pour utiliser différents styles de puce ou de numérotation pour différents niveaux
de retrait de liste, reportez-vous à la procédure de modification d’un style de liste
ordonnée (ci-dessus).
5 Cliquez sur le bouton Ajouter (+) en bas à gauche du tiroir Styles et choisissez Créer
un nouveau style de liste à partir de la sélection dans le menu local.
6 Attribuez un nom au nouveau style.
7 Si vous ne souhaitez pas appliquer le nouveau style au texte sélectionné, désélectionnez
la case Appliquer ce nouveau style à la création.
8 Cliquez sur OK.
F2644.book Page 98 Thursday, January 13, 2005 5:18 PM99
5
5 Mise en forme de la disposition et de la table des matières
d’un document
Ce chapitre décrit comment configurer la disposition
générale d’un document, notamment les marges, la
disposition des colonnes et les sauts de section, ainsi
que comment générer une table des matières et des
pieds de page.
Il est judicieux de configurer dès le début la mise en page des documents, notamment
l’orientation et la taille de la page, les marges de la page, les graphismes en arrière-plan
(filigranes), ainsi que les éventuelles différences entre les pages paires et impaires. Vous
modifiez la plupart de ces réglages dans l’Inspecteur des documents et dans l’Inspecteur de disposition.
Pour ouvrir l’Inspecteur des documents :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des documents.
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La mise en forme définie dans l’Inspecteur des documents s’applique à l’ensemble
du document. Si vous divisez le document en sections (par exemple en chapitres),
vous pouvez appliquer différentes mises en forme à différentes sections. Vous pouvez
également créer une mise en page différente pour la première page, la page de gauche
et la page de droite de chaque section, ou utiliser différentes dispositions de colonnes
de texte en fonction de l’emplacement dans le document. Ces réglages sont configurés
dans l’Inspecteur de disposition. Pour en savoir plus sur la création de sections dans un
document, reportez-vous à la section “Modification de la mise en forme de documents à
l’aide de sauts de section” à la page 110. Pour en savoir plus sur la création de colonnes,
reportez-vous à la section “Création de colonnes” à la page 102.
Le bouton Inspecteur des documents
Vous pouvez configurer la table des matières d’un document dans
la sous-fenêtre T. des matières. Reportez-vous à la page 114.
Pour afficher les statistiques du document, par
exemple le nombre de mots, la date et les motsclés, ouvrez la sous-fenêtre Info.
Pour spécifier la taille et l’orientation du papier,
ouvrez la zone de dialogue Format d’impression.
Configurez des marges pour les bords
gauche, droit, haut et bas de la page. Vous
pouvez les définir séparément pour les documents avec des pages opposées gauche et
droite.
Choisissez un style de note de bas
de page.
Utilisez la césure automatique
dans le document.
Utilisez n’importe quelle
ligature de police disponible dans le document.
F2644.book Page 100 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 101
Configuration de l’orientation et de la taille des pages
Par défaut, la plupart des modèles de page sont créés pour des tailles de papier standard, le texte étant imprimé avec une orientation verticale (portrait). Si le document
nécessite une taille de papier différente ou que vous souhaitez l’imprimer avec une
orientation horizontale (paysage), vous devez définir la taille et l’orientation du papier
dès le début. De cette façon, lorsque vous travaillez dans le document, vous avez une
idée plus précise de ce à quoi il ressemblera.
Si vous commencez avec un document vide, il est réglé par défaut sur l’orientation
portrait.
Pour définir l’orientation et la taille de la page :
1 Choisissez Fichier > Format d’impression (ou cliquez sur Format d’impression dans
l’Inspecteur des documents).
2 Cliquez sur un bouton dans la zone de dialogue Format d’impression pour définir
l’orientation du papier.
3 Choisissez une taille de papier dans le menu local Taille de papier. Si la taille souhaitée
n’est pas disponible dans le menu local Taille de papier, effectuez les opérations
suivantes :
a Choisissez Taille de papier personnalisée dans le menu local Réglages.
b Cliquez sur Nouveau et attribuez un nom à la nouvelle taille de papier.
Orientation paysage avec
le haut de la page du côté
gauche du papier
Orientation portrait
(par défaut pour la
plupart des modèles)
Orientation paysage avec
le haut de la page du
côté droit du papier
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c Spécifiez la hauteur et la largeur du papier dans les champs Taille de papier, puis
spécifiez les marges de la zone imprimable à utiliser dans les champs Marges
d’impression.
d Cliquez sur Enregistrer.
e Choisissez Attributs des pages dans le menu local Réglages.
f Choisissez dans le menu local Taille de papier la nouvelle taille de papier que vous
avez nommée, puis cliquez sur OK. Elle apparaît vers le bas de la liste.
Définition des marges de page
Les marges par défaut de la plupart des modèles de Pages, y compris le modèle vide,
sont définies sur un pouce (2,54 cm) à partir des bordures gauche, droite, du haut et
du bas de la page. Cela signifie que le texte du corps du document ne s’étendra pas
au-delà de ces marges.
Pour changer les marges des pages :
m Dans la sous-fenêtre Document de l’Inspecteur des documents, saisissez des valeurs
dans les champs Gauche, Droit, Haut et Bas.
Si vous souhaitez définir différentes marges dans différentes sections d’un document,
vous devez utiliser l’Inspecteur de disposition. Pour en savoir plus sur la définition des
marges, reportez-vous à la section “Modification de la disposition des colonnes et des
pages” à la page 105.
Si vous créez un document à relier, vous pouvez faire en sorte que la marge des documents tienne compte du côté de la page qui sera relié (marge intérieure) et quel côté
ne sera pas relié (marge extérieure). Pour cela, vous devez créer un document avec
des pages opposées gauche et droite. Pour en savoir plus, reportez-vous à la section
“Création d’un document avec des pages opposées gauche et droite” à la page 106.
Création de colonnes
Dans Pages, vous pouvez modifier la mise en page des différentes pages du document
en créant des dispositions, séparées par des sauts de disposition. Une disposition est une
partie d’un document dans laquelle vous avez défini des marges et des colonnes de
disposition. Vous pouvez utiliser plusieurs dispositions dans une section de votre document, voire sur une même page.
F2644.book Page 102 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 103
Vous pouvez organiser le texte en un maximum de dix colonnes, en ajustant la taille
relative des colonnes et l’espacement entre les colonnes.
Pour créer de une à quatre colonnes de même largeur :
m Cliquez sur Colonnes dans la barre d’outils et sélectionnez le nombre de colonnes
souhaité, jusqu’à quatre.
Si le bouton Colonnes ne se trouve pas dans la barre d’outils, ou que vous souhaitez
plus de quatre colonnes, vous devez utiliser l’Inspecteur de disposition. Vous devez
également l’utiliser pour créer des colonnes de différentes largeurs.
Pour créer plus de quatre colonnes :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur de disposition.
2 Cliquez sur Disposition dans l’Inspecteur de disposition.
3 Tapez le nombre de colonnes souhaité dans le champ Colonnes. Par défaut, les colonnes
présentent la même largeur.
4 Pour redimensionner les colonnes :
a Sélectionnez la case Largeurs identiques.
b Sélectionnez une largeur de colonne ou de gouttière dans le tableau et tapez une
nouvelle valeur, à l’aide des unités des règles de document.
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Une fois que vous avez créé le nombre de colonnes souhaité, vous pouvez les redimensionner à la volée à l’aide des règles du document, plutôt que de saisir la largeur
des colonnes et des gouttières dans l’Inspecteur de disposition.
Pour ajuster la largeur des colonnes à l’aide des règles :
m Faites glisser les bords gauche et droit des zones de gouttière grises juste sous la règle
horizontale.
Le bouton Inspecteur
de disposition
Sélectionnez une largeur de colonne ou
de gouttière et tapez une nouvelle valeur.
Définissez l’espace entre la disposition
actuelle et les dispositions précédente
et suivante.
Désélectionnez l’option afin de définir des
largeurs de colonne différentes.
Définissez le nombre de colonnes.
Activez la disposition actuelle
en haut d’une page.
Définissez les marges pour la disposition actuelle.
Les zones blanches sous la
règle indiquent la zone de
texte dans les colonnes.
Les zones grises indiquent les gouttières
des colonnes.
F2644.book Page 104 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 105
Modification de la disposition des colonnes et des pages
Vous pouvez utiliser des sauts de colonne et de disposition afin de créer différentes
dispositions de texte sur une page. Les sauts de colonne terminent l’enchaînement du
texte dans une colonne (en laissant le reste de la colonne vide) et le poursuivent dans
la suivante. Les sauts de disposition terminent une disposition et en commencent une
nouvelle avec un nombre de colonnes différent, des marges de colonne différentes ou
un espace vide avant ou après la disposition.
L’utilisation de sauts de colonne ou de sauts de disposition n’a aucun effet sur les
en-têtes, les pieds de page, la numérotation des pages ou les autres fonctionnalités
de mise en forme propres au document ou à la section. Pour en savoir plus sur les
fonctionnalités de mise en forme des sections, reportez-vous à la section “Modification
de la mise en forme de documents à l’aide de sauts de section” à la page 110.
Vous pouvez appliquer les fonctionnalités de mise en forme décrites ici aux dispositions
à une seule colonne ou à plusieurs colonnes.
Pour créer un saut de colonne :
1 Placez le curseur après le mot où vous souhaitez terminer l’enchaînement du texte.
2 Choisissez Insérer > Saut de colonne.
Le texte est interrompu à l’endroit où le curseur a été inséré et se poursuit dans la
colonne de texte suivante. Si vous insérez un saut de colonne dans une disposition
à une seule colonne, le texte se poursuit en haut de la page suivante.
Lorsque vous affichez des caractères de mise en forme invisibles dans un document,
un symbole de saut de colonne apparaît de la façon suivante :
Pour changer le nombre de colonnes :
1 Placez le point d’insertion à la suite du mot où vous souhaitez terminer le nombre
actuel de colonnes et passer à une autre disposition.
2 Choisissez Insérer > Saut de disposition.
Un saut de disposition est inséré et le point d’insertion est déplacé en haut de la
disposition suivante. Lorsque vous affichez les caractères invisibles dans votre document, un symbole de saut de disposition apparaît comme suit :
F2644.book Page 105 Thursday, January 13, 2005 5:18 PM106 Chapitre 5 Mise en forme de la disposition et de la table des matières d’un document
3 Définissez le nombre de colonnes souhaité, puis mettez-les en forme dans la sousfenêtre Disposition de l’Inspecteur de disposition.
Pour changer les marges de disposition des colonnes :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur de disposition.
2 Cliquez sur Disposition dans l’Inspecteur de disposition.
3 Pour changer les marges extérieures de la disposition de colonne, saisissez des valeurs
dans les champs Gauche et Droite sous Marges de disposition.
4 Pour créer un espace au-dessus et en dessous de la disposition de colonne actuelle,
saisissez des valeurs dans les champs Avant et Après sous Marges de disposition.
Remarque : les nouvelles marges ne peuvent pas s’étendre en dehors des marges
de page définies pour le document.
Pour déplacer une disposition vers le haut d’une page :
m Sélectionnez la case La disposition commence sur une nouvelle page dans la sousfenêtre Disposition de l’Inspecteur de disposition.
Création d’un document avec des pages opposées gauche
et droite
Si vous prévoyez d’imprimer un document recto-verso et de le relier, il comportera
des pages opposées gauche et droite. Dans ce cas, vous pouvez utiliser des marges
et une disposition différentes pour les pages de gauche et de droite. Par exemple,
vous pouvez souhaiter que les marges associées à la reliure soient plus larges que
les marges extérieures (comme dans ce livre, par exemple), ou vous pouvez placer
des numéros de page sur les coins extérieurs de chaque page. Pour cela, vous devez
indiquer à Pages que ce document comporte des pages opposées.
Pour créer différentes marges pour des pages opposées gauche et droite :
1 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des documents.
2 Cliquez sur Document.
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3 Sélectionnez la case Pages opposées.
Pour en savoir plus sur les autres options de mise en forme de documents disponibles
avec les pages opposées, reportez-vous à la section “Modification de la mise en forme
de documents à l’aide de sauts de section” à la page 110.
Ajout d’en-têtes et de pieds de page, de numéros de page
et de notes de bas de page
Pages comporte des outils qui facilitent l’ajout de texte d’identification sur chaque
page, ainsi que l’insertion et la mise en forme automatiques de notes de bas de page.
En-têtes et pieds de page
Les en-têtes et pieds de page apparaissent dans les marges du haut et du bas d’un
document. En général, ils identifient le document, l’auteur, le numéro de page, etc.
Pour ajouter un en-tête ou un pied de page à votre document :
1 Choisissez Présentation > Afficher la disposition. Les zones d’en-tête et de pied de
page s’affichent en haut et en bas de la page.
2 Placez le point d’insertion dans l’en-tête ou le pied de page et saisissez le texte, en
le mettant en forme comme vous le feriez avec du texte normal. Pour plus d’informations sur la mise en forme de texte, reportez-vous à la section “Mise en forme de la
taille et de l’apparence du texte” à la page 51.
Définissez les marges des pages
opposées gauche et droite de
façon. indépendante.
Tapez une valeur pour
la marge sur les bords
extérieurs des pages.
Tapez une valeur de
marge de reliure.
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Tout ce que vous saisissez dans un en-tête ou un pied de page est répété sur chaque
page. Si vous souhaitez changer le texte de l’en-tête ou du pied de page dans diffé-
rentes sections du document, reportez-vous à la section “Modification de la mise en
forme de documents à l’aide de sauts de section” à la page 110. Pour générer automatiquement le numéro de page sur chaque page, utilisez des champs de texte au format
mis à jour automatiquement, décrits plus loin.
Utilisation des champs de texte au format mis à jour automatiquement pour les numéros de page, la date et l’heure
Les champs de texte au format mis à jour automatiquement permettent d’insérer du
texte pouvant être mis à jour automatiquement. Par exemple, l’insertion du champ de
la date affiche la date actuelle chaque fois que vous ouvrez le document. De la même
façon, les champs de numéro de page conservent le suivi des numéros lorsque vous
ajoutez ou supprimez des pages. Pages fournit des champs de texte au format mis à
jour automatiquement pour les dates, les numéros de page et le nombre de pages
(nombre total de pages du document). Cela s’avère utile par exemple si vous souhaitez
numéroter les pages “page 1 sur 4”.
Pour ajouter des numéros de page :
m Placez le point d’insertion à l’endroit où le numéro de page doit apparaître, puis
cliquez sur Insérer > Numéro de page.
Pour ajouter le nombre de pages :
m Placez le point d’insertion à l’endroit où le nombre de pages doit apparaître, puis
cliquez sur Insérer > Nombre de pages.
Pour ajouter et mettre à jour le format de la date et l’heure :
1 Placez le point d’insertion à l’endroit où la date et l’heure doivent apparaître, puis
cliquez sur Insérer > Date et heure.
2 Sélectionnez un format de date et d’heure dans la zone de dialogue.
3 Si vous souhaitez que le document affiche toujours la date et l’heure actuelles,
sélectionnez la case à cocher Mettre automatiquement à jour la date et l’heure
quand le document est ouvert.
4 Cliquez sur Insérer.
F2644.book Page 108 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 109
Pour modifier le format de la date et d’heure inséré :
m Cliquez sur le texte de la date et de l’heure en maintenant la touche Contrôle enfoncée,
puis sélectionnez Modifier la date et l’heure dans le menu contextuel. Sélectionnez un
nouveau format dans la zone de dialogue, puis cliquez sur Modifier.
Ajout des notes de bas de page
Lorsque vous marquez des éléments comme devant faire l’objet de notes de bas
de page, Pages génère et met à jour automatiquement le format des notes de bas
de page qui apparaissent en bas de la page. Vous pouvez choisir le style numérique
Arabe (1, 2, 3) ou Romain (i, ii, iii). Vous pouvez également numéroter les notes de bas
de page en continu dans le document, ou redémarrer la numérotation pour chaque
section ou page du document.
Pour ajouter une note de bas de page :
1 Placez le point d’insertion à la fin du mot où vous souhaitez faire apparaître le numéro
de la note de bas de page.
2 Choisissez Insérer > Note de bas de page.
Un numéro de note de bas de page apparaît et le point d’insertion se déplace vers le
champ de note de bas de page correspondant en bas de la page.
3 Tapez les informations relatives aux notes de bas de page.
Vous pouvez mettre en forme le texte des notes de bas de page et leur numéro indé-
pendamment l’un de l’autre. Cependant, quel que soit le style de note de bas de page
que vous choisissez (Arabe ou Romain), il sera appliqué à l’ensemble du document.
Pour sélectionner des nombres arabes ou romains pour toutes les notes de bas de
page :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des documents. Cliquez ensuite sur
Document.
2 Choisissez “1,2,3” ou “i, ii, ii” dans le menu local Format.
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Pour redémarrer la numérotation des notes de bas de page :
m Choisissez Redémarre à chaque page ou Redémarre à chaque section dans le menu
local Numérotation de la sous-fenêtre Document de l’Inspecteur des documents.
Pour en savoir plus sur la division d’un document en sections, reportez-vous à la
section “Modification de la mise en forme de documents à l’aide de sauts de section”
à la page 110.
Pour mettre en forme le texte et les numéros des notes de bas de page :
m Sélectionnez le texte et mettez-le en forme comme n’importe quel autre texte en utilisant le panneau Police, l’Inspecteur du texte et le tiroir Styles. Pour plus d’informations
sur la mise en forme du texte, consultez le chapitre 3, “Mise en forme de texte et de
paragraphes”.
Modification de la mise en forme de documents à l’aide de
sauts de section
Utilisez des sauts de section dans le document chaque fois que vous souhaitez scinder
le document en sections avec différentes dispositions, numérotations ou autres mises
en forme de documents. Vous pouvez utiliser des sauts de section pour rendre les
éléments de mise en forme suivants différents d’une partie du document à l’autre :
 En-têtes
 Pieds de page
 Numérotation des pages
 Objets modèle (images d’arrière-plan répétées)
Pour créer un saut de section :
m Choisissez Insérer > Saut de section.
Lorsque vous affichez les caractères invisibles dans votre document, un symbole
de saut de section s’affiche ressemblant à ceci :
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Lorsque vous insérez un saut de section, la nouvelle section du document “hérite”
automatiquement de tous les attributs de mise en forme et de disposition de la
section précédente. Pour changer ces attributs, utilisez l’Inspecteur de disposition
pour reconfigurer la numérotation des pages, les en-têtes et pieds de page, ainsi
que les marges.
Une fois que vous avez créé un saut de section, les modifications apportées aux objets
modèle, en-têtes, pieds de page ou numéros de page s’appliquent uniquement à la
section à laquelle vous apportez les modifications.
Pour définir des en-têtes et pieds de page différents dans une section d’un
document :
1 Placez le point d’insertion dans la section du document que vous souhaitez modifier.
2 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur de disposition.
3 Cliquez sur Section.
4 Désélectionnez la case Utiliser les en-têtes et pieds de page précédents.
5 Tapez le nouvel en-tête ou pied de page dans la zone d’en-tête ou de pied de page
du document.
Pour redémarrer la numérotation des pages dans une section de document :
m Sélectionnez le bouton “Démarrer à” dans la sous-fenêtre Section de l’Inspecteur des
documents, puis tapez le numéro de la première page de la section.
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Pour configurer différentes premières pages, sur les pages opposées de gauche et
de droite, pour une section de document :
1 Pour rendre les en-têtes et les pieds de page de la première page uniques, sélectionnez
la case “La première page est différente” dans la sous-fenêtre Section de l’Inspecteur de
disposition, puis modifiez les en-têtes et les pieds de page.
2 Pour placer des en-têtes et des pieds de page différents d’une page sur l’autre, effectuez
les opérations suivantes :
a Sélectionnez la case “Recto et verso différents” dans la sous-fenêtre Section de
l’Inspecteur de disposition.
b Si vous souhaitez que la première page de la section commence toujours au recto
ou au verso, choisissez Page verso ou Page recto dans le menu local “La section
commence”. Dans le cas contraire, choisissez “N’importe quelle page”.
Rendez la numérotation des
pages continue par rapport à
la section précédente ou tapez
un numéro afin de redémarrer
la numérotation des pages.
Rendez les en-têtes et pieds
de page différents sur la page
première page ou les pages
alternées, ou continuez à partir
de la section précédente.
Faites en sorte que la nouvelle
section commence sur une page
de gauche ou de droite.
F2644.book Page 112 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 113
Ajout d’une image répétée pour l’arrière-plan
Vous pouvez ajouter des filigranes, des logos ou d’autres images d’arrière-plan qui
s’affichent au même endroit sur chaque page du document. Ces graphismes répétés
sont appelés objets modèle.
Important : il se peut que les objets modèle n’apparaissent pas sur chaque page, selon
que le document est divisé en sections et en fonction des réglages sélectionnés dans
la sous-fenêtre Section de l’Inspecteur de disposition. Si vous souhaitez afficher diffé-
rents objets modèle pour différentes parties du document, vous pouvez diviser le
document en sections.
Pour ajouter un objet modèle :
1 Cliquez à l’extérieur de l’enchaînement du texte du document, de sorte que le point
d’insertion ne soit pas visible.
2 Ajoutez un graphisme. Vous pouvez ajouter une image importée, une forme dessinée,
un tableau, un graphique ou une zone de texte. Pour savoir comment ajouter un
graphisme, consultez le chapitre 6, “Utilisation de graphismes et autres médias”.
Assurez-vous que le graphisme est un objet fixe (c’est-à-dire qu’il n’est pas placé en
ligne avec le texte).
3 Positionnez le graphisme à l’emplacement souhaité sur la page.
4 Choisissez Format > Avancé > Déplacer l’objet vers le modèle de section. Les poignées
de sélection disparaissent de l’objet, de sorte que vous ne pouvez plus le sélectionner.
Pour modifier ou déplacer un objet modèle, vous devez d’abord rendre les objets
modèle sélectionnables pour l’ensemble du document. Les objets modèle se présentent différemment des autres objets, car ils comportent des poignées de sélection
bleues.
Pour rendre les objets modèle sélectionnables :
m Choisissez Format > Avancé > Rendre les objets modèle sélectionnables.
Les objets modèle comportent
des poignées de sélection bleues.
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Génération d’une table des matières
Pages peut automatiquement générer une table des matières pour un document.
Pour créer une table des matières, vous devez associer une mise en forme appropriée
aux en-têtes du document. Pour en savoir plus sur le texte stylisé, consultez le
chapitre 4, “Utilisation de styles”.
Pour créer et mettre à jour une table des matières :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des documents.
2 Cliquez sur Table des matières.
3 Sélectionnez les cases en regard des styles de paragraphe dont le texte doit apparaître
dans la table des matières. Par exemple, si vous souhaitez que tous les en-têtes de
premier niveau et les sous-en-têtes apparaissent dans la table des matières, sélectionnez
le style de paragraphe que vous avez utilisé pour les en-têtes de premier niveau et pour
les sous-en-têtes.
Cliquez afin de mettre à jour la
table des matières après avoir
apporté des modifications à
votre document.
Sélectionnez la case dans
la colonne “nº” si vous
souhaitez que des numéros
de page apparaissent avec
chaque entrée.
Sélectionnez les styles de
paragraphe dont le texte
doit apparaître dans la
table des matières.
F2644.book Page 114 Thursday, January 13, 2005 5:18 PMChapitre 5 Mise en forme de la disposition et de la table des matières d’un document 115
Remarque : si les styles que vous sélectionnez ne sont pas utilisés ailleurs dans le
document, un message indique que la table des matières est vide lorsque vous la
créez. Si vous sélectionnez des styles qui sont utilisés pour une grande quantité de
texte dans le document, la table des matières sera trop longue. Prenez soin de sélectionner les styles qui désignent des en-têtes de rubriques, des sous-titres ou d’autres
éléments à inclure dans la table des matières.
4 Dans la colonne “nº”, sélectionnez les cases des styles dont les entrées doivent
présenter un numéro de page associé.
5 Placez le point d’insertion au début de la ligne où la table des matières doit apparaître,
puis choisissez Insérer > Table des matières.
Remarque : chaque table des matières que vous créez répertorie uniquement le
contenu qui suit, jusqu’à la prochaine table des matières. Si vous souhaitez une table
des matières principale pour l’ensemble du document, il doit s’agir de la seule table
des matières et elle doit se trouver au début du document.
Pour mettre à jour la table des matières après avoir modifié un document :
m Cliquez sur n’importe quelle entrée dans la table des matières, ou cliquez sur Mettre
à jour dans la sous-fenêtre Table des matières de l’Inspecteur des documents.
Définition du style d’une table des matières
Vous pouvez modifier l’aspect du texte de la table des matières comme pour tout
autre texte. Vous pouvez également ajouter une ligne pointillée entre l’entrée de la
table des matières et le numéro de page associé. Pour définir le style de la table des
matières, créez de nouveaux styles de table des matières, comme décrit ci-dessous.
Pour modifier l’aspect d’une entrée de table des matières :
1 Sélectionnez le type d’entrée que vous souhaitez modifier (par exemple, toutes les
entrées correspondant aux en-têtes de premier niveau). Toutes les entrées de même
type sont automatiquement sélectionnées. Elles ne peuvent pas être sélectionnées
séparément.
2 Choisissez Présentation > Afficher le tiroir Styles (ou cliquez sur Style dans la barre
d’outils et choisissez Afficher le tiroir Styles). Notez que le tiroir Styles affiche à présent
une liste de styles de table des matières. Le style de table des matières correspondant
à l’entrée sélectionnée est également sélectionné.
F2644.book Page 115 Thursday, January 13, 2005 5:18 PM116 Chapitre 5 Mise en forme de la disposition et de la table des matières d’un document
3 Pour modifier l’aspect du texte de l’entrée, effectuez les opérations suivantes :
a Utilisez le panneau Police, l’Inspecteur de texte et la fenêtre Couleurs afin de modifier
l’aspect du texte comme pour n’importe quel texte de paragraphe. Pour en savoir
plus sur la modification de l’aspect du texte, consultez le chapitre 3, “Mise en forme
de texte et de paragraphes”.
b Pour créer des lignes pointillées d’une entrée jusqu’au numéro de page associé,
sélectionnez l’entrée de la table des matières, cliquez sur l’onglet dans la colonne
Taquets de tabulation de la sous-fenêtre Tabulations de l’Inspecteur de texte, puis
choisissez un style de ligne dans le menu local Tirets.
c Pour changer le style dans le tiroir Styles afin qu’il corresponde à l’entrée, cliquez
sur la flèche à droite du nom du style et choisissez Redéfinir le style à partir de la
sélection.
d Pour créer un style de table des matières, cliquez sur la flèche à droite du nom du
style et choisissez Créer un style de table des matières à partir de la sélection, puis
attribuez un nom au nouveau style.
4 Pour renommer le style dans le tiroir Styles afin qu’il corresponde à l’entrée, cliquez
sur la flèche en regard du nom du style, puis choisissez Renommer le style. Attribuez
un nouveau nom au style.
5 Pour ajouter un nouveau style, cliquez sur le bouton Ajouter (+) dans le coin inférieur
gauche du tiroir Styles, choisissez Créer un style de table des matières à partir de la
sélection, puis attribuez un nom au nouveau style. Sélectionnez Appliquer ce nouveau
style à la création si vous souhaitez qu’il soit appliqué immédiatement au texte
sélectionné.
Cliquez sur la flèche et déterminez si vous devez redéfinir le
style sélectionné, créer un style
ou simplement le renommer.
Lorsqu’une entrée de table
des matières est sélectionnée,
le tiroir Styles affiche les styles
de table des matières.
F2644.book Page 116 Thursday, January 13, 2005 5:18 PM117
6
6 Utilisation de graphismes et
autres médias
Ce chapitre décrit comment ajouter et modifier
divers médias dans vos documents.
Il existe plusieurs types de graphisme et d’autres médias que vous pouvez inclure dans
les documents Pages, notamment les images (telles que les photos ou les fichiers PDF),
des formes dessinées simples, des tableaux et des graphiques. Pour les documents
présentés sur un écran, vous pouvez également ajouter des séquences vidéo et du son.
Utilisation de graphismes
Pages accepte tous les formats pris en charge par QuickTime, notamment les types de
fichier image suivants :
 TIFF
 GIF
 JPEG
 PDF
 PSD
 EPS
 PICT
En outre, Pages offre les outils permettant de créer des formes simples telles que
des triangles, des rectangles et des flèches, ainsi que des tableaux et des graphiques.
Pour plus d’informations sur le positionnement de formes simples, de tableaux et de
graphiques, reportez-vous à la section “Ajout de formes simples, de tableaux et de
graphiques” à la page 121.
Comparaison des objets fixes et des objets en ligne
Il est important de se rappeler qu’il existe deux moyens de placer des objets dans un
document Pages : en ligne ou fixe.
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À propos des objets en ligne
Les objets en ligne sont intégrés dans l’enchaînement du texte. Si vous tapez
davantage de texte au-dessus, ils sont déplacés. Les poignées de sélection en haut
des objets en ligne sont inactives. Vous ne pouvez pas faire glisser ces poignées
pour redimensionner l’objet ; vous pouvez uniquement le redimensionner en faisant
glisser les poignées actives.
Pour les objets en ligne, une icône d’ancrage est également visible dans le conteneur
de l’objet lorsqu’il est sélectionné.
Si vous placez un graphisme ou une forme à l’intérieur d’une autre forme, d’une zone
de texte ou d’une cellule d’un tableau, il ne peut être placé qu’en ligne avec le texte.
Les images en ligne sont automatiquement redimensionnées afin de s’adapter aux
marges de disposition du document. Pour déplacer un objet en ligne vers une autre
position dans le texte, sélectionnez-le et faites-le glisser jusqu’à ce que le point
d’insertion apparaisse à l’endroit où vous souhaitez déposer l’objet.
Les poignées de sélection
du haut sont inactives
pour les objets en ligne.
Faites glisser les poignées de sélection actives vers le bas ou vers la
droite pour les redimensionner.
Vue rapprochée de la
poignée de sélection
inactive (haut) et de la
poignée de sélection
active (bas).
Icône d’ancrage
F2644.book Page 118 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 119
Vous pouvez convertir des objets en ligne en objets fixes, et inversement. Pour savoir
comment procéder, reportez-vous à la section “Conversion entre objets fixes et en
ligne” à la page 122.
Le texte est organisé différemment autour des objets fixes et des objets en ligne. Pour
en savoir plus sur l’habillage du texte, reportez-vous à la section “Habillage d’un objet
avec du texte” à la page 132.
Ajout d’objets fixes et d’objets en ligne
Lorsque vous insérez des graphismes dans un document Pages à partir d’une source
externe ou que vous créez une forme, un tableau, un graphique ou une zone de texte
dans Pages, vous pouvez positionner les graphismes de l’une des deux façons décrites
ci-dessus : en position fixe sur la page ou en ligne avec le texte. Les sections qui suivent
décrivent en détail comment effectuer chacune de ces opérations.
Importation d’un graphisme ou d’un fichier multimédia
Les fichiers multimédia importés peuvent être des images, des fichiers PDF, des
séquences QuickTime ou des animations Flash.
À propos des objets fixes
Les objets fixes sont ancrés à une position sur une page dans une section du document. Le fait de saisir davantage de texte sur la page n’a aucun effet sur pas la position
d’un objet fixe, mais vous pouvez le faire glisser afin de le repositionner à l’endroit où
vous le souhaitez, ou le redimensionner.
Faites glisser l’une ou l’autre
des poignées de sélection afin
de repositionner ou de redimensionner des objets fixes.
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Pour ajouter un fichier importé en ligne avec le texte, procédez de la façon suivante :
m Faites glisser l’image du Finder ou du navigateur de média vers la fenêtre du document jusqu’à ce que le point d’insertion s’affiche à l’endroit où l’image doit apparaître.
Un contour bleu fin apparaît également autour de la zone de texte, indiquant que le
graphique sera positionné en ligne. Relâchez l’image une fois que vous l’avez positionnée à l’endroit souhaité.
m Placez le point d’insertion à l’endroit où vous souhaitez que l’image apparaisse,
choisissez Insérer > Choisir, puis sélectionnez le fichier et cliquez sur Insérer.
Pour ajouter un fichier importé en tant qu’objet fixe, effectuez l’une des opérations
suivantes :
m Faites glisser le fichier du Finder ou du navigateur de média vers la fenêtre du document afin de l’insérer dans le document, en restant à l’extérieur de la zone de texte du
corps principal. Ensuite, faites glisser le fichier afin de le positionner à l’emplacement
souhaité.
m Cliquez à l’extérieur des zones de texte du document de sorte qu’aucun point d’insertion ne soit visible, puis choisissez Insérer > Choisir. Sélectionnez le fichier et cliquez
sur Insérer.
Faites glisser l’image vers
une position à l’intérieur de
la zone de texte (indiquée
par la fine bordure bleue).
L’image est positionnée
au point d’insertion
lorsque vous la relâchez.
Faites glisser l’icône de l’image
vers l’extérieur de la zone de
texte. Une épaisse bordure
bleue apparaît autour des
bords de la page.
F2644.book Page 120 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 121
Les images importées peuvent être redimensionnées et pivotées, ce qui permet
de modifier leur apparence sur une page. Les images fixes peuvent également être
rognées (masquées). Vous pouvez également superposer des graphismes, ajuster
leur opacité et ajouter des ombres afin de créer des effets visuels saisissants. Pour
plus d’informations sur l’utilisation des graphismes, reportez-vous aux sections appropriées de ce chapitre. Pour en savoir plus sur l’ajustement des propriétés d’ombrage
et d’opacité, consultez le chapitre 7, “Modification de propriétés d’objets”.
Ajout de formes simples, de tableaux et de graphiques
Pages fournit des outils permettant de créer des tableaux et des graphiques dans le
document. Pages vous permet également de dessiner des formes simples (rectangles,
cercles, triangles, flèches, etc.) que vous pouvez utiliser comme simples images dans
un document.
Pour ajouter une forme, un tableau ou un graphique en ligne avec le texte :
1 Placez le point d’insertion à l’endroit où vous souhaitez que l’objet apparaisse dans
le texte.
2 Sélectionnez l’objet à ajouter :
 Pour les formes, choisissez Insérer > Forme > [type de forme] (ou cliquez sur Objets
dans la barre d’outils et choisissez une forme).
 Pour les tableaux, choisissez Insérer > Tableau (ou cliquez sur Objets dans la barre
d’outils et choisissez Tableau).
 Pour les graphiques, choisissez Insérer > Graphique (ou cliquez sur Objets dans la
barre d’outils et choisissez Graphique), puis sélectionnez un type de graphique dans
l’Inspecteur des graphiques.
Pour placer une zone de texte, une forme, un tableau ou un graphique fixe :
1 Cliquez n’importe où en dehors des zones de texte du document, de sorte qu’aucun
point d’insertion ne soit visible.
2 Sélectionnez l’objet à ajouter :
 Pour les zones de texte, choisissez Insérer > Texte (ou cliquez sur Objets dans la
barre d’outils et choisissez Texte).
 Pour les formes, choisissez Insérer > Forme > [type de forme] (ou cliquez sur Objets
dans la barre d’outils et choisissez une forme).
F2644.book Page 121 Thursday, January 13, 2005 5:18 PM122 Chapitre 6 Utilisation de graphismes et autres médias
 Pour les tableaux, choisissez Insérer > Tableau (ou cliquez sur Objets dans la barre
d’outils et choisissez Tableau).
 Pour les graphiques, choisissez Insérer > Graphique (ou cliquez sur Objets dans la
barre d’outils et choisissez Graphique), puis sélectionnez un type de graphique dans
l’Inspecteur des graphiques.
Une zone de texte, une forme, un tableau ou un graphique apparaît sur la page.
3 Faites glisser l’objet à l’endroit où vous souhaitez qu’il apparaisse sur la page.
Remarque : vous pouvez également cliquer sur le bouton Objets de la barre d’outils
en maintenant la touche Option enfoncée. Relâchez la touche Option, puis choisissez
Forme, Texte, Tableau ou Graphique. Faites glisser le pointeur en croix sur la fenêtre du
document afin de dessiner l’objet à l’endroit où vous souhaitez le placer. Il en résulte
un objet fixe.
Vous pouvez modifier les couleurs, l’opacité, le contour et les ombres des formes et
des zones de texte à l’aide de l’Inspecteur des graphismes. Pour plus d’informations
sur la configuration des attributs d’une forme, consultez le chapitre 7, “Modification de
propriétés d’objets”. Pour en savoir plus sur l’ajout de texte dans une forme, reportezvous à la section “Ajout de texte dans une figure” à la page 76.
Vous pouvez modifier le nombre de rangs et de colonnes d’un tableau, ainsi que
modifier la conception et la mise en forme du tableau en utilisant l’Inspecteur des
tableaux. Pour plus d’informations sur la conception de tableaux, consultez
le chapitre 8, “Création de tableaux”.
Vous ajoutez les données au graphique à l’aide de l’Éditeur de graphiques. Vous
pouvez modifier le style, les axes, les étiquettes et autres attributs des graphiques
à l’aide de l’Inspecteur de graphiques. Pour plus d’informations sur la création de
graphiques, consultez le chapitre 9, “Création de graphiques”.
Conversion entre objets fixes et en ligne
Une image importée en ligne avec du texte peut facilement être convertie en objet
fixe sur la page, et inversement. Pour effectuer une conversion entre objets fixes et en
ligne, utilisez l’Inspecteur d’habillage.
Pour la conversion entre des objets fixes et en ligne :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur d’habillage.
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2 Sélectionnez l’objet que vous souhaitez convertir dans le document, puis effectuez
l’une des opérations suivantes :
a Pour placer l’objet en ligne, sélectionnez “Se déplace” avec le texte dans l’Inspecteur
d’habillage.
b Pour rendre l’objet fixe, sélectionnez “Fixé sur la page” dans l’Inspecteur d’habillage.
Pour changer la façon dont le texte s’ajuste autour de l’objet, utilisez les contrôles
d’habillage dans l’Inspecteur d’habillage. Pour plus d’informations sur l’habillage de
texte, reportez-vous à la section “Habillage d’un objet avec du texte” à la page 132.
Utilisation de fichiers PDF en tant que graphismes
Si vous prévoyez d’augmenter ou de réduire fortement les dimensions d’un graphisme,
envisagez de le convertir au format PDF avant de l’insérer dans Pages. Les fichiers PDF
ne perdent pas leur précision lorsqu’ils sont redimensionnés. Les autres types de fichier
peuvent ne pas conserver leur clarté aussi bien lorsqu’ils sont agrandis ou réduits.
Les fichiers PDF offrent également un bon moyen de déplacer des données tabulaires
de documents Excel ou AppleWorks dans Pages. Si vous possédez des tableaux avec
beaucoup de mises en forme sous Excel ou une feuille de calcul AppleWorks et que
vous souhaitez les afficher dans un document, vous pouvez enregistrer la feuille de
calcul au format PDF, puis placer ce fichier PDF sur une page, comme vous le feriez
avec n’importe quel autre fichier graphisme externe.
Pour convertir un fichier Excel ou AppleWorks en fichier PDF :
1 Dans votre feuille de calcul Excel ou AppleWorks, sélectionnez la plage de tableaux
que vous souhaitez afficher dans votre document.
2 Choisissez Fichier > Imprimer
3 Dans la zone de dialogue Imprimer, choisissez Options de sortie dans le menu local
Copies et pages.
4 Sélectionnez la case Enregistrer comme fichier.
5 Choisissez PDF dans le menu local Format.
F2644.book Page 123 Thursday, January 13, 2005 5:18 PM124 Chapitre 6 Utilisation de graphismes et autres médias
6 Cliquez sur Enregistrer comme PDF.
7 Dans la zone de dialogue Enregistrer, attribuez un nom au fichier PDF, sélectionnez un
emplacement, puis cliquez sur enregistrer.
Rognage (masquage) d’images fixes
Vous pouvez rogner des images sans modifier réellement les fichiers en masquant
des parties d’images. Cela permet d’importer des images complètes, tout en affichant
uniquement une partie de ces images dans le document. Vous pouvez cependant
repositionner et redimensionner des images masquées.
Pour rogner une image :
1 Importez le fichier que vous souhaitez masquer. L’image doit être positionnée en tant
qu’objet fixe (pour plus d’informations, reportez-vous à la section “Comparaison des
objets fixes et des objets en ligne” à la page 117).
2 Sélectionnez l’objet et choisissez Format > Masque. Un masque apparaît sur l’image,
avec une “fenêtre” redimensionnable au centre.
3 Faites glisser la fenêtre afin de la centrer sur la partie de l’image à afficher. Faites
glisser ses poignées de sélection afin de la redimensionner.
 Pour conserver les proportions de la fenêtre, maintenez la touche Maj enfoncée
à mesure que vous faites glisser les poignées de sélection.
 Pour faire pivoter la fenêtre, maintenez la touche Commande enfoncée à mesure
que vous faites glisser les poignées de sélection. Pour plus d’informations sur la
manipulation d’objets à l’aide des poignées de sélection, reportez-vous à la section
“Sélection, glissement et redimensionnement d’objets” à la page 128.
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4 Double-cliquez sur la fenêtre afin de rendre invisible la zone masquée. L’image
masquée comporte une ligne pointillée autour de ses bordures visibles.
5 Faites glisser les poignées de sélection afin de redimensionner ou de faire pivoter la
partie visible de l’image, ou faites glisser l’image entière afin de la repositionner sur
la page. La partie visible de l’image peut également être convertie en une image en
ligne via l’option Se déplace avec le texte dans l’Inspecteur d’habillage (pour plus
d’informations, voir la section “Ajout d’objets fixes et d’objets en ligne” à la page 119).
Faites glisser les poignées
de sélection afin de redimensionner la partie
visible d’une image.
Faites glisser les poignées
de sélection afin de redimensionner ou faire pivoter la
partie visible de l’image.
F2644.book Page 125 Thursday, January 13, 2005 5:18 PM126 Chapitre 6 Utilisation de graphismes et autres médias
Pour changer la zone à afficher d’une image masquée :
1 Double-cliquez sur l’image masquée.
2 Cliquez sur la bordure pointillée de la fenêtre redimensionnable afin de la sélectionner.
3 Faites glisser les poignées de sélection afin de redimensionner ou faire pivoter la
partie visible de l’image, ou faites glisser la fenêtre afin d’afficher une autre partie de
l’image.
Pour ne plus masquer une image :
m Faites de l’image un objet fixe, sélectionnez-la, puis choisissez Format > Ne plus
masquer. L’image complète est de nouveau visible.
Si vous masquez fréquemment des images, vous pouvez ajouter le bouton Masquer à la
barre d’outils afin de travailler plus efficacement. Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la section “La barre d’outils” à la page 23.
Utilisation du Navigateur de média
Les images de votre bibliothèque iPhoto, la musique de votre bibliothèque iTunes et
les séquences vidéo de votre dossier Séquences sont facilement accessibles à l’aide
du navigateur de média. Vous pouvez faire glisser des images, de la musique et des
séquences directement à partir du navigateur de média vers le document ou vers un
cadre d’image dans l’un des inspecteurs.
Pour ajouter une image à partir d’iPhoto :
1 Choisissez Présentation > Afficher le navigateur de média (ou cliquez sur Média dans
la barre d’outils).
2 Choisissez iPhoto dans le menu local Navigateur de média et sélectionnez l’album
souhaité.
3 Faites glisser une image miniature directement vers la fenêtre du document Pages afin
de placer l’image en ligne avec le texte ou en position fixe sur la page, ou faites-la glisser
vers un cadre d’image dans l’Inspecteur du texte ou l’Inspecteur des graphismes afin de
l’utiliser comme remplissage d’image ou comme puce personnalisée (reportez-vous aux
sections “Utilisation de remplissages par des couleurs et des images” à la page 141 et
“Modification et création de styles de liste” à la page 93 pour plus d’informations).
F2644.book Page 126 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 127
Pour ajouter de la musique à partir d’iTunes :
1 Choisissez iTunes dans le menu local Navigateur de média, puis sélectionnez la liste
de lecture souhaitée.
2 Faites glisser un fichier son vers la fenêtre du document.
Pour ajouter une séquence :
1 Choisissez Séquences dans le menu local Navigateur de média.
2 Faites glisser une miniature de séquence directement vers la fenêtre du document.
Remarque : pour visualiser les séquences répertoriées dans la sous-fenêtre Séquences
du navigateur de média, vous devez les placer dans le dossier Séquences du Finder.
Redimensionnement, déplacement et superposition de
texte ou de graphismes
Une fois que le texte et les graphismes se trouvent sur la page, ils se comportent
sensiblement de la même façon. Ils peuvent être déplacés vers l’avant ou vers l’arrière
l’un par rapport à l’autre, et mis en forme ou manipulés de façon similaire.
Sélectionnez l’album où se trouve
l’image.
Choisissez iPhoto, iTunes ou
Séquences.
Faites glisser une miniature vers
la fenêtre du document ou vers
un cadre d’image dans l’un des
inspecteurs.
Recherchez un fichier par nom.
F2644.book Page 127 Thursday, January 13, 2005 5:18 PM128 Chapitre 6 Utilisation de graphismes et autres médias
Sélection, glissement et redimensionnement d’objets
Utilisez les poignées de sélection afin de redimensionner rapidement des objets. Pour
conserver les proportions d’un objet ou pour définir des valeurs précises de taille et
d’emplacement, utilisez l’Inspecteur des mesures. Pour en savoir plus sur l’utilisation
de l’Inspecteur des mesures pour une manipulation précise des objets, reportez-vous
aux sections “Modification de l’orientation” à la page 151 et “Ajustement de la taille et
de la position d’objets” à la page 153.
Pour déplacer un objet fixe :
m Cliquez sur l’objet afin de le sélectionner (la poignée de sélection apparaît), puis
faites-le glisser.
Évitez de faire glisser l’objet avec la poignée de sélection, car vous risqueriez de le
redimensionner par inadvertance.
Pour déplacer un objet en ligne, effectuez l’une des opérations suivantes :
 Cliquez sur l’objet afin de le sélectionner, puis faites-le glisser jusqu’à ce que le point
d’insertion apparaisse à l’endroit où vous souhaitez placer l’objet dans le texte.
 Sélectionnez l’objet et cliquez sur Édition > Couper. Placez le point d’insertion à
l’endroit où vous souhaitez que l’objet apparaisse, puis cliquez sur Édition > Coller.
Pour redimensionner un objet :
1 Cliquez sur l’objet afin de le sélectionner.
Si du texte est sélectionné à l’intérieur de l’objet, vous pouvez sélectionner l’objet
entier en appuyant sur Commande + Retour.
2 Déplacez le pointeur près d’une poignée de sélection jusqu’à ce qu’il se transforme en
une double flèche. Pour les objets en ligne, seules les poignées de sélection des coins
inférieur gauche et droit peuvent être utilisées pour le redimensionnement.
3 Faites glisser une poignée de sélection afin de développer ou de réduire l’objet.
 Pour redimensionner l’objet à partir du centre, appuyez sur la touche Option tout
en faisant glisser la souris.
 Pour conserver les proportions de l’objet à mesure qu’il est agrandi ou réduit,
appuyez sur la touche Maj tout en faisant glisser la souris.
F2644.book Page 128 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 129
Pour faire pivoter un objet :
1 Sélectionnez l’objet.
2 Maintenez enfoncée la touche Commande et déplacez le pointeur vers une poignée
de sélection active jusqu’à ce qu’elle devienne une double flèche courbe.
3 Faites glisser une poignée de sélection afin de faire pivoter l’objet.
Pour retourner des objets horizontalement ou verticalement :
m Sélectionnez l’objet, puis cliquez sur Disposition > Miroir horizontal ou Miroir vertical.
Si vous retournez fréquemment des objets, vous pouvez ajouter les boutons Miroir
horizontal et Miroir vertical à la barre d’outils. Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la section “La barre d’outils” à la page 23.
Pour déplacer un objet fixe à l’avant ou à l’arrière de texte ou d’un autre objet
de la page :
1 Sélectionnez l’objet à déplacer.
2 Cliquez sur Disposition > Avancer d’un plan ou Reculer d’un plan.
3 Répétez l’étape 2 jusqu’à ce que l’objet se trouve dans la couche souhaitée.
4 Pour ramener l’objet en bas ou en haut de la pile, choisissez Disposition > Mettre à
l’arrière-plan ou Mettre au premier plan.
Si vous superposez fréquemment des objets sur la page, vous pouvez ajouter les
boutons Devant, Derrière, Plan sup. et Plan inf. à la barre d’outils afin de travailler plus
efficacement. Pour en savoir plus sur la personnalisation de la barre d’outils, reportezvous à la section “La barre d’outils” à la page 23.
Pour sélectionner un objet fixe situé derrière du texte :
m Placez le pointeur à l’extérieur de la zone de texte et faites-le glisser sur la page
jusqu’à ce que la poignée de sélection de l’objet apparaisse.
Remarque : si le fait de cliquer sur un objet ne le sélectionne pas, ou s’il comporte
des poignées de sélection bleues, il s’agit d’un objet modèle. Pour en savoir plus sur
les objets modèle, reportez-vous à la section “Positionnement d’objets modèle” à la
page 199.
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Pour sélectionner tous les objets d’un document :
 Pour sélectionner tous les objets fixes d’un document (à l’exclusion des objets
de la section modèle), cliquez à l’extérieur de la zone de texte et appuyez sur
Commande + A.
 Pour sélectionner tous les objets en ligne et le texte d’une zone de texte, placez le
point d’insertion dans la zone de texte et appuyez sur Commande + A.
Regroupement et verrouillage d’objets fixes
Vous pouvez regrouper des objets fixes afin de les déplacer, les copier et les orienter
comme un objet unique (il n’est en revanche pas possible de redimensionner un
groupe d’objets). Vous pouvez verrouiller les objets fixes afin d’éviter de les déplacer
par inadvertance pendant votre travail. Les objets en ligne ne peuvent pas être
regroupés ou verrouillés.
Pour regrouper des objets :
1 Maintenez la touche Commande (ou Maj) enfoncée en sélectionnant les objets que
vous souhaitez regrouper sur la page.
2 Choisissez Disposition > Grouper. Une zone avec des poignées de sélection grises
apparaît autour des objets.
Une fois que vous avez regroupé ou verrouillé des objets, vous ne pouvez pas modifier les objets du groupe séparément tant que vous ne les avez pas dissociés ou
déverrouillés.
Pour dissocier un objet groupé :
m Sélectionnez l’objet et choisissez Disposition > Dissocier.
Pour verrouiller des objets :
1 Maintenez enfoncée la touche Commande (ou Maj) en sélectionnant les objets à
verrouiller.
2 Choisissez Disposition > Verrouiller.
Pour déverrouiller un objet :
m Sélectionnez l’objet et choisissez Disposition > Déverrouiller.
F2644.book Page 130 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 131
Si vous regroupez et verrouillez fréquemment des objets sur la page, vous pouvez
ajouter à la barre d’outils les boutons Regrouper, Dissocier, Verrouiller et Déverrouiller.
Pour en savoir plus sur la personnalisation de la barre d’outils, reportez-vous à la
section “La barre d’outils” à la page 23.
Utilisation de graphismes à canal Alpha
Les graphismes à canal Alpha contiennent une zone transparente qui laisse transparaître le texte ou les autres images. Vous pouvez également utiliser des canaux Alpha
pour créer de la transparence autour d’images de formes irrégulières, de sorte que
l’image ne soit pas entourée d’une zone rectangulaire.
Lorsque vous insérez une image à canal Alpha dans Pages, vous n’avez rien d’autre à
faire pour que la transparence fonctionne. Il vous suffit de la positionner, de la manipuler, puis de la ramener vers l’avant ou vers l’arrière comme n’importe quelle autre
image.
De nombreux fichiers PDF, TIFF et PSD contiennent des graphismes à canal Alpha.
Vous pouvez créer vos images à canal Alpha à l’aide d’applications telles que Adobe
Photoshop, Corel Draw, Adobe Illustrator et Adobe Acrobat. Reportez-vous aux
instructions fournies avec l’application afin de savoir comment créer des images à
canal Alpha.
Cette image d’une loupe
comporte un canal Alpha
qui permet de voir le texte
à travers la loupe.
La forme irrégulière
de l’image est entourée
d’un canal Alpha qui
permet l’affichage du
texte via le rectangle.
F2644.book Page 131 Thursday, January 13, 2005 5:18 PM132 Chapitre 6 Utilisation de graphismes et autres médias
Habillage d’un objet avec du texte
Lorsque vous placez un objet (image, forme, graphique, etc.) en position fixe ou en
ligne avec le texte, vous pouvez décider de la façon dont le texte doit s’ajuster autour
de l’objet. Vous pouvez choisir de placer le texte étroitement ou non autour de l’objet,
ou faire en sorte que le texte s’affiche uniquement au-dessus et au-dessous de l’objet,
ou d’un côté de l’objet. Pour définir ces options, utilisez l’Inspecteur d’habillage.
Pour ouvrir l’Inspecteur d’habillage :
m Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur d’habillage.
Les effets des réglages de l’Inspecteur d’habillage sont différents selon qu’il s’agit
d’objets fixes et d’objets en ligne.
Le bouton Inspecteur
d’habillage
Choisissez de placer un objet
en ligne avec le texte ou en
position fixe sur la page.
Habillez l’objet avec le texte à
l’aide des boutons ci-dessous.
Définissez la quantité d’espace
à conserver autour de l’objet
et du texte qui l’entoure.
Cliquez afin que le texte
habille l’objet plus ou
moins étroitement.
Configurez le pourcentage
de transparence de l’objet
permettant de rendre le texte
plus ou moins visible.
F2644.book Page 132 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 133
Pour ajuster l’habillage du texte autour d’un objet fixe :
1 Sélectionnez l’objet.
2 Sélectionnez la case “L’objet provoque un retour automatique” dans l’Inspecteur
d’habillage.
3 Cliquez sur un bouton dans l’Inspecteur d’habillage afin de sélectionner le côté
de l’objet autour duquel le texte doit s’ajuster.
4 Pour ajuster le texte plus étroitement autour d’un objet avec un canal Alpha, cliquez
sur le bouton “Faire tenir le texte” de droite. Pour qu’il s’ajuste de façon moins étroite,
cliquez sur le bouton “Faire tenir” le texte de gauche.
Le texte s’ajuste à la
gauche de l’objet.
Le texte s’ajuste au-dessus
et au-dessous de l’objet.
Le texte s’ajuste à
la droite de l’objet.
Le texte s’ajuste uniquement
autour du côté droit ou
gauche, en fonction du côté
qui dispose du plus d’espace.
Le texte s’ajuste autour
de l’objet.
Le texte s’ajuste autour
des limites rectangulaires
d’un objet.
Le texte s’ajuste plus étroitement autour d’un objet avec
un canal Alpha.
F2644.book Page 133 Thursday, January 13, 2005 5:18 PM134 Chapitre 6 Utilisation de graphismes et autres médias
5 Tapez une valeur dans le champ Espace supplémentaire afin de spécifier l’espace
minimum que vous souhaitez laisser entre l’objet et le texte qui l’entoure.
6 Si l’objet comporte des zones transparentes (un canal Alpha), configurez le pourcentage du canal Alpha auquel le texte doit apparaître via la transparence (une illustration
est disponible dans la section “Utilisation de graphismes à canal Alpha” à la page 131).
Pour ajuster l’habillage du texte autour d’un objet en ligne :
1 Sélectionnez l’objet.
2 Sélectionnez la case “L’objet provoque un retour automatique” dans l’Inspecteur
d’habillage.
3 Cliquez sur un bouton dans l’Inspecteur d’habillage afin de sélectionner la façon dont
l’objet doit être positionné dans le texte.
4 Pour ajuster le texte plus étroitement autour d’un objet avec un canal Alpha, cliquez
sur le bouton “Faire tenir le texte” de droite. Pour qu’il s’ajuste de façon moins étroite,
cliquez sur le bouton “Faire tenir” le texte de gauche.
5 Tapez une valeur dans le champ “Espace supplémentaire” afin de spécifier l’espace
minimum que vous souhaitez laisser entre l’objet et le texte qui l’entoure.
Alignez l’objet à gauche
et ajustez le texte du
côté droit.
L’objet est centré entre
les lignes de texte.
Alignez l’objet à droite et
ajustez le texte du côté
gauche.
L’objet est aligné à gauche
entre les lignes de texte.
L’objet est aligné à droite
entre les lignes de texte.
Centrez l’objet et ajustez
le texte de chaque côté.
F2644.book Page 134 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 135
6 Si l’objet comporte des zones transparentes (un canal Alpha), configurez le pourcentage du canal Alpha auquel le texte doit apparaître via la transparence (une illustration
est disponible dans la section “Utilisation de graphismes à canal Alpha” à la page 131).
Ajout de son et de séquences
Vous pouvez ajouter du son, des séquences et des fichiers Flash à votre document
s’il sera affiché à l’écran sous forme de fichier HTML ou en tant que fichier Pages.
Le fichier de séquence ou de son est lu lorsque l’utilisateur double-clique sur l’icône
correspondante dans une page du document.
Pages accepte n’importe quel type de fichier QuickTime ou iTunes, notamment :
 MOV
 FLASH
 MP3
 MP4
 AIFF
 AAC
Important : lorsque vous ajoutez un fichier multimédia à un document, le fichier
ne fait pas partie du document Pages. Si vous transférez le document sur un autre
ordinateur sans transférer le fichier multimédia, il n’apparaîtra pas dans le document.
Prenez soin de transférer tous les fichiers multimédia vers l’ordinateur ou le serveur
à partir duquel le document sera affiché ou incluez-les lors de l’enregistrement du
document (dans la zone de dialogue Enregistrer, cliquez sur le triangle d’affichage à
droite du champ Enregistrer, puis sélectionnez la case Copier l’audio et les séquences
dans le document).
F2644.book Page 135 Thursday, January 13, 2005 5:18 PM136 Chapitre 6 Utilisation de graphismes et autres médias
Ajustement des réglages de lecture multimédia
Dans l’Inspecteur QuickTime, vous pouvez définir le volume du son et des séquences
dans le document, ainsi que spécifier si les fichiers multimédia doivent être lus une
seule fois, ou être répétés en boucle.
Pour définir les préférences de lecture :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils).
2 Cliquez sur le bouton Inspecteur QuickTime.
3 Cliquez sur la séquence afin de la sélectionner, puis faites glisser le curseur Volume
vers la droite afin d’augmenter le volume de lecture, ou vers la gauche afin de le
réduire.
4 Choisissez une option de répétition dans le menu local Répétition :
 Aucune : une seule lecture.
 Boucle : lecture en continu.
 Lecture en boucle dans les 2 sens : lecture en continu vers l’avant et vers l’arrière.
Vous pouvez également spécifier l’image de la séquence à afficher sur la page
(appelée “affiche”) jusqu’à la lecture de la séquence.
Définissez le volume de lecture.
Définissez les options de
répétition de lecture.
Sélectionnez l’image de la
séquence qui s’affiche jusqu’à
ce que la lecture commence.
Utilisez ces commandes afin de
visualiser la séquence lorsque
vous modifiez le document.
Le bouton Inspecteur
QuickTime
F2644.book Page 136 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 137
Pour définir l’affiche de la séquence :
1 Cliquez sur la séquence afin de la sélectionner.
2 Dans l’Inspecteur QuickTime, faites glisser le curseur Affiche jusqu’à ce que la
séquence affiche l’image souhaitée.
Ajout de liens et de signets
Les liens et les signets sont utilisés dans les documents qui seront affichés à l’écran,
soit sous forme de fichiers HTML, soit en tant que documents Pages. Vous pouvez
ajouter des liens afin de passer à une autre page ou d’ouvrir un message électronique
ou une URL sur Internet. Utilisez des signets pour marquer les passages du document
auxquels vous souhaitez faire référence pendant votre travail.
Pour ajouter des liens vers un message électronique ou une page Web :
1 Sélectionnez le texte que vous souhaitez convertir en lien.
2 Choisissez Insérer > Lien > [Message électronique ou Page Web].
3 Tapez les informations requises, comme illustré ci-dessous.
 PageWeb : indiquez l’URL à afficher lorsque l’utilisateur clique sur le lien. La page
Web apparaît dans le navigateur Web par défaut lorsque l’utilisateur clique sur le
lien.
Utilisez ce type de lien Pour ouvrir Remarques
Page Web Une page dans un navigateur
Web
Indiquez l’URL de la page
que vous souhaitez ouvrir.
Message électronique Un nouveau message électronique avec l’objet et le
destinataire spécifiés
Tapez l’adresse du destinataire
et un objet.
Signet Une autre page du même
document
Utilisez cette fonctionnalité
pour naviguer rapidement
dans le document pendant
votre travail.
F2644.book Page 137 Thursday, January 13, 2005 5:18 PM138 Chapitre 6 Utilisation de graphismes et autres médias
 Message électronique : spécifiez l’objet du message et l’adresse électronique du
destinataire. Lorsque l’utilisateur clique sur le lien, un message vide s’ouvre dans
l’application de messagerie par défaut.
Pages détecte automatiquement les URL et les adresses électroniques lors de la
saisie et il les convertit en liens. Vous pouvez désactiver cette fonctionnalité si vous
le souhaitez.
Pour désactiver la détection automatique des URL et des adresses électroniques
lors de la saisie :
m Choisissez Pages > Préférences, puis sélectionnez la case Détecter automatiquement
les adresses électroniques et de page Web.
Tapez l’URL vers laquelle
le lien doit renvoyer.
Le bouton Inspecteur
des liens
Vous pouvez éditer le
texte du lien qui s’affiche
dans le document.
Sélectionnez l’option permettant
de désactiver tous les liens, afin
de pouvoir les éditer facilement.
Tapez l’objet du message.
Tapez l’adresse électronique du
destinataire du message.
Vous pouvez éditer le texte du lien qui
s’affiche dans le document.
F2644.book Page 138 Thursday, January 13, 2005 5:18 PMChapitre 6 Utilisation de graphismes et autres médias 139
Pour ajouter des signets à un document :
1 Sélectionnez le texte pour lequel vous souhaitez créer le signet.
2 Choisissez Insérer > Signet.
Pour éditer et utiliser des signets :
1 Cliquez sur Signet dans l’Inspecteur des liens.
2 Cliquez sur un signet de la liste afin d’y accéder dans le document.
3 Double-cliquez sur un signet de la liste afin de changer son nom.
4 Cliquez sur l’en-tête de la colonne Nom ou Page afin de trier les signets par nom
ou par numéro de page.
5 Cliquez sur le bouton Ajouter (+) afin d’ajouter de nouveaux signets.
6 Sélectionnez un signet dans la liste et cliquez sur le bouton Supprimer (-) afin de
le supprimer.
Pour ajouter un lien vers un signet :
1 Choisissez Insérer > Lien > Signet, ou créez un signet dans la sous-fenêtre Signet de
l’Inspecteur des liens.
2 Ouvrez la sous-fenêtre Lien dans l’Inspecteur des liens.
3 Sélectionnez le texte que vous souhaitez convertir en lien, puis sélectionnez la case
Activer comme lien.
4 Choisissez Signet dans le menu local Relier à.
Cliquez sur Nom ou sur Page afin
de trier la liste des signets.
Cliquez sur un signet afin d’y accéder
dans le document ; double-cliquez
dessus pour modifier son nom.
Cliquez sur Ajouter ou sur Supprimer
afin d’ajouter de nouveaux signets ou
de supprimer un signet sélectionné
dans la liste.
F2644.book Page 139 Thursday, January 13, 2005 5:18 PM140 Chapitre 6 Utilisation de graphismes et autres médias
5 Choisissez le signet à lier dans le menu local Nom.
Pour désactiver les liens en vue de les modifier :
m Sélectionnez la case Désactiver tous les liens dans la sous-fenêtre Lien de l’Inspecteur
des liens.
Choisissez le nom du signet.
Vous pouvez éditer le texte du lien
qui s’affiche dans le document.
Sélectionnez l’option permettant
de désactiver tous les liens, afin
de pouvoir les éditer facilement.
F2644.book Page 140 Thursday, January 13, 2005 5:18 PM141
7
7 Modification de propriétés
d’objets
Ce chapitre décrit les fonctions plus avancées
permettant d’améliorer les graphismes et autres
objets d’un document.
Vous pouvez manipuler directement les propriétés des objets, telles que la couleur,
le style et l’épaisseur du trait, l’ombre, l’opacité et l’orientation à l’aide des inspecteurs
et de la fenêtre Couleurs, comme décrit dans les sections suivantes.
Utilisation de remplissages par des couleurs et des images
Vous pouvez créer des effets intéressants par le biais des couleurs dans Pages. Une
forme peut être remplie avec une couleur fixe, des dégradés de couleurs et même
une image, par exemple une photo ou autre graphisme.
Vous pouvez également ajuster l’opacité (transparence) d’un objet. Vous pouvez
même utiliser des effets de remplissage et d’opacité afin de modifier des barres
individuelles ou des secteurs dans des graphiques.
Sélection de couleurs
Vous pouvez utiliser la fenêtre Couleurs afin de sélectionner une couleur pour le texte,
les formes, les arrière-plans et les ombres dans Pages.
Pour ouvrir la fenêtre Couleurs :
 Choisissez Afficher > Afficher les couleurs (ou cliquez sur Couleurs dans la barre
d’outils).
 Vous pouvez également cliquer sur un cadre de couleur dans l’une des sous-fenê-
tres de l’inspecteur.
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Vous pouvez utiliser la roue des couleurs dans la fenêtre Couleurs afin de sélectionner
des couleurs. La couleur que vous sélectionnez apparaît dans la zone en haut de la
fenêtre Couleurs. Vous pouvez enregistrer cette couleur afin de l’utiliser ultérieurement, en la plaçant dans la palette de couleurs.
Pour sélectionner une couleur :
1 Cliquez n’importe où dans la roue des couleurs. La couleur sélectionnée s’affiche dans
la zone des couleurs en haut de la fenêtre Couleurs.
2 Pour rendre la couleur plus claire ou plus sombre, faites glisser le curseur du côté
droit de la fenêtre Couleurs.
3 Pour rendre la couleur plus transparente, faites glisser le curseur Opacité vers la
gauche ou tapez un pourcentage dans le champ Opacité.
La couleur sélectionnée dans la roue
des couleurs s’affiche dans cette zone.
Les deux couleurs de cette zone indiquent que l’opacité est inférieure à
100 %.
Utilisez le curseur pour définir des
teintes plus claires ou plus sombres
dans la roue des couleurs.
Faites glisser les couleurs à partir
de la zone Couleurs afin de les stocker
dans la palette de couleurs.
Cliquez afin de sélectionner une
couleur dans la roue des couleurs.
Faites glisser le curseur Opacité vers
la gauche afin de rendre la couleur
plus transparente.
Cliquez sur l’icône représentant une
loupe, puis cliquez sur n’importe
quel élément à l’écran afin d’utiliser
sa couleur.
F2644.book Page 142 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 143
Pour ouvrir la palette de couleurs :
m Faites glisser la poignée en bas de la fenêtre Couleurs.
Pour enregistrer une couleur dans la palette de couleurs :
m Faites glisser une couleur de la zone des couleurs vers la palette de couleurs.
Pour appliquer à un objet de la page les couleurs que vous avez sélectionnées dans
la fenêtre Couleurs, vous devez placez la couleur dans le cadre de couleur approprié
d’une sous-fenêtre de l’inspecteur.
Pour appliquer une couleur à un objet de la page :
 Sélectionnez un cadre de couleurs dans l’une des sous-fenêtres de l’inspecteur, puis
cliquez sur une couleur dans la roue des couleurs.
 Vous pouvez également faire glisser une couleur de la palette de couleurs ou de la
zone des couleurs vers un cadre de couleur dans l’une des sous-fenêtres de
l’inspecteur.
Pour utiliser la couleur d’un autre élément à l’écran :
1 Cliquez sur la loupe à gauche de la zone des couleurs dans la fenêtre Couleurs.
2 Cliquez sur l’élément de l’écran dont vous souhaitez utiliser la couleur. La couleur
apparaît dans la zone des couleurs.
3 Sélectionnez l’élément auquel vous souhaitez appliquer la couleur dans la fenêtre
du document, puis faites glisser la couleur de la zone des couleurs vers l’élément.
F2644.book Page 143 Thursday, January 13, 2005 5:18 PM144 Chapitre 7 Modification de propriétés d’objets
Remplissage d’un objet avec de la couleur
Les objets peuvent être remplis avec une couleur unie ou avec un dégradé de couleurs,
dans lequel deux couleurs s’intègrent progressivement l’une à l’autre. Pour changer la
couleur d’un objet, utilisez l’Inspecteur des graphismes.
Pour ouvrir l’Inspecteur des graphismes :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des graphismes.
Pour définir la couleur de remplissage unie d’un objet :
1 Sur la page, sélectionnez l’objet dont vous souhaitez modifier la couleur.
2 Dans l’Inspecteur des graphismes, choisissez Remplissage couleur dans le menu local
Remplir.
3 Cliquez sur le cadre de couleur sous le menu local Remplir afin d’ouvrir la fenêtre
Couleurs.
4 Dans cette fenêtre, sélectionnez une couleur.
Pour remplir un objet avec un dégradé de couleurs :
1 Sur la page, sélectionnez l’objet dont vous souhaitez modifier la couleur.
2 Dans l’Inspecteur des graphismes, choisissez Remplissage dégradé dans le menu local
Remplir.
3 Cliquez sur chaque cadre de couleur et choisissez chaque couleur dans la fenêtre
Couleurs.
Choisissez une couleur unie,
un dégradé de couleurs, une
image teintée ou pas afin de
remplir un objet dessiné.
F2644.book Page 144 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 145
4 Pour configurer une direction pour le dégradé, utilisez la molette ou le champ Angle.
Pour le retourner horizontalement ou verticalement, cliquez sur les boutons fléchés
Angle.
5 Pour inverser le dégradé, cliquez sur la double flèche en regard des cadres de couleur.
Remplissage d’un objet avec une image
Vous pouvez placer une image ou une image teintée à l’intérieur d’une forme dessinée,
d’une zone de texte, d’un élément de graphique ou d’une cellule de tableau.
Pour définir un remplissage d’image pour un objet :
1 Sélectionnez l’objet dans lequel vous souhaitez placer une image.
2 Dans l’Inspecteur des graphismes, choisissez Remplissage image dans le menu local
Remplir, puis sélectionnez une image.
3 Pour changer l’image, cliquez sur Choisir, sélectionnez l’image, puis cliquez sur Ouvrir
(ou faites glisser le fichier image du Finder ou du navigateur de média vers le cadre
d’image dans l’Inspecteur des graphismes).
Cliquez sur chaque cadre de couleur
afin de sélectionner les couleurs.
Inversez l’orientation du
dégradé ou définissez sa
direction en utilisant les
boutons fléchés, la molette
Angle ou en tapant une
valeur.
Cliquez sur la double
flèche afin d’inverser
le dégradé.
F2644.book Page 145 Thursday, January 13, 2005 5:18 PM146 Chapitre 7 Modification de propriétés d’objets
4 Choisissez une échelle d’image dans le menu local.
 L’option Ajuster redimensionne au mieux l’image en fonction des dimensions de
l’objet. Si la forme de l’objet est différente de celle de l’image d’origine, il se peut
que des parties n’apparaissent pas ; un espace vide peut également apparaître
autour de l’image.
 Avec l’option Remplir, l’image paraît plus grande ou plus petite, en la dimensionnant
afin de laisser le minimum d’espace autour de l’image, même si l’objet et l’image
présentent des formes différentes.
 L’option Étirer dimensionne l’image en fonction des dimensions de l’objet, mais elle
présente une distorsion si l’objet présente une forme différente de celle de l’image
d’origine.
 L’option Dimensions d’origine place l’image dans l’objet sans modifier ses dimensions d’origine. Si l’image est plus grande que l’objet, vous ne voyez qu’une partie
de l’image dans l’objet. Si l’image est plus petite que l’objet, elle est entourée
d’espace vide.
 L’option Mosaïque répète l’image à l’intérieur de l’objet si celle-ci est plus petite que
l’objet. Si l’image est plus grande que l’objet, vous ne voyez qu’une partie de l’image
dans l’objet.
Définissez la taille de
l’image dans l’objet via
le menu local.
Pour changer l’image,
faites glisser une image
vers le cadre d’image.
Dimensions d’origine
Ajuster Étirer
Mosaïque
(grande image)
Remplir
F2644.book Page 146 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 147
Un remplissage avec image teintée place un masque transparent et coloré sur l’image
de remplissage.
Pour définir un remplissage d’image teintée pour un objet :
1 Sélectionnez l’objet dans lequel vous souhaitez placer une image.
2 Dans l’Inspecteur des graphismes, choisissez Remplissage image teintée dans le menu
local Remplir, puis sélectionnez une image.
3 Cliquez sur le cadre de couleur en regard du bouton Choisir, puis sélectionnez une
couleur dans la fenêtre Couleurs. Faites glisser le curseur Opacité dans la fenêtre
Couleurs afin de rendre la teinte plus foncée ou plus claire. Si vous faites glisser le
curseur Opacité dans l’Inspecteur des graphismes, l’opacité de la teinte et de l’image
change.
4 Choisissez l’échelle de couleurs dans le menu local, comme décrit ci-dessus.
5 Pour changer l’image, cliquez sur Choisir, sélectionnez l’image, puis cliquez sur Ouvrir
(ou faites glisser le fichier image du Finder ou du navigateur de média vers le cadre
d’image dans l’Inspecteur des graphismes).
Changement du style de trait
Pour les objets dessinés (formes), les éléments graphiques et les cellules de tableau,
vous pouvez choisir un style et une couleur pour la bordure de l’objet, ou vous
pouvez spécifier aucune bordure. Vous pouvez également placer une bordure autour
des images importées. Vous pouvez définir un style et une couleur pour la bordure
dans l’Inspecteur des graphismes et la fenêtre Couleurs.
Mosaïque (petite image)
Mosaïque (grande image)
Cliquez pour sélectionner une
couleur de teinte pour l’image.
F2644.book Page 147 Thursday, January 13, 2005 5:18 PM148 Chapitre 7 Modification de propriétés d’objets
Pour définir le style et la couleur du trait de la bordure d’un objet :
1 Sélectionnez l’objet que vous souhaitez modifier.
2 Dans l’Inspecteur des graphismes, choisissez un style de trait (ou Aucun) dans le menu
local Trait. Pour les tableaux, seul un trait plein ou Aucun est disponible.
3 Pour modifier l’épaisseur du trait, tapez une valeur dans le champ Trait (ou cliquez sur
les flèches).
4 Pour changer la couleur du trait, cliquez sur le cadre de couleur et sélectionnez une
couleur.
5 Pour affecter des points de terminaison à la ligne, notamment une flèche ou un cercle,
choisissez des points de terminaison gauche et droit dans les menus locaux.
Remarque : le menu Insérer et le menu local Formes (dans la barre d’outils) incluent
des lignes avec des flèches.
Vous pouvez définir la position des lignes et des objets dans l’Inspecteur des mesures.
Reportez-vous à la section “Ajustement de la taille et de la position d’objets” à la page 153.
Tapez l’épaisseur du
trait dans ce champ.
Choisissez les points de
terminaison de la ligne
Choisissez un trait plein, une
ligne pointillée, une ligne
discontinue ou aucun trait.
Cliquez sur le cadre de couleurs
afin de choisir une couleur de trait.
F2644.book Page 148 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 149
Ajout d’ombres
Les ombres confèrent une profondeur à la page. L’ombre d’un objet apparaît sur
n’importe quel objet situé derrière. Vous pouvez créer divers effets d’ombre, ou
supprimer l’ombre d’un objet.
Pour créer ou supprimer une ombre d’un objet :
1 Sélectionnez l’objet à modifier.
2 Dans l’Inspecteur des graphismes, sélectionnez la case Ombre afin d’ajouter une
ombre à l’objet. Désélectionnez la case Ombre afin de faire disparaître l’ombre.
3 Définissez l’angle de l’ombre à l’aide de la molette Angle.
4 Ajustez le décalage de l’ombre en tapant un nombre dans la zone Décalage.
Une valeur élevée de décalage de l’ombre fait apparaître l’ombre de l’objet plus
longue et légèrement séparée de l’objet.
5 Définissez le flou de l’ombre en tapant un nombre dans la zone Flou.
Une valeur de flou plus élevée fait apparaître l’ombre de l’objet plus diffuse ; une
valeur plus faible confère à l’ombre des bords mieux définis.
6 Définissez l’opacité de l’ombre en tapant un nombre dans la zone Opacité. L’opacité
de l’ombre est distincte de celle de l’objet, laquelle est définie à l’aide du curseur
Opacité en bas de l’Inspecteur des graphismes.
7 Pour changer la couleur de l’ombre, cliquez sur le cadre des couleurs et sélectionnez
une couleur.
Changez la couleur de l’ombre dans
le cadre des couleurs.
Sélectionnez la case afin d’ajouter
une ombre à un objet sélectionné.
Changez l’angle de l’ombre
à l’aide de la molette Angle.
Les champs Décalage, Flou et
Opacité permettent de modifier
l’aspect de l’ombre.
F2644.book Page 149 Thursday, January 13, 2005 5:18 PM150 Chapitre 7 Modification de propriétés d’objets
Ajustement de l’opacité
Vous pouvez créer des effets intéressants en rendant les objets plus ou moins
opaques. Ainsi, lorsque vous placez un objet de faible opacité sur un autre objet,
l’objet situé dessous transparaît via l’objet situé dessus. En fonction de la valeur
définie pour l’opacité, les objets situés en dessous peuvent être facilement visibles,
partiellement obscurcis ou totalement invisibles (opacité de 100 %). Vous pouvez
modifier les réglages d’opacité de n’importe quel objet graphique de la page, notamment des formes dessinées, des photos et d’autres fichiers image, ainsi que des films.
Définissez l’opacité des objets à l’aide de l’Inspecteur des graphismes.
Pour changer l’opacité d’un objet :
1 Sélectionnez l’objet.
2 Dans l’Inspecteur des graphismes, faites glisser le curseur Opacité.
Cet objet présente les propriétés
d’ombre par défaut.
L’ombre de cet objet est définie
avec un angle différent.
L’ombre de cet objet présente
une valeur de décalage élevée.
L’ombre de cet objet présente
le facteur de flou le plus faible.
Cet objet présente une
couleur d’ombre différente.
L’ombre de cet objet présente
un facteur de flou élevé.
F2644.book Page 150 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 151
Remarque : pour les objets dessinés, vous pouvez définir l’opacité des couleurs du
remplissage et du trait séparément de l’opacité de l’objet. Si vous déplacez le curseur
Opacité dans la fenêtre Couleurs afin de modifier la couleur du remplissage ou du
trait, cette valeur d’opacité devient l’opacité maximale de l’objet. Ensuite, lorsque vous
modifiez l’opacité de l’objet dans l’Inspecteur des graphismes, vous la modifiez par
rapport à l’opacité définie dans la fenêtre Couleurs.
Modification de l’orientation
Vous pouvez retourner ou faire pivoter n’importe quel objet en utilisant l’Inspecteur
des mesures. Par exemple, si vous possédez une image d’une flèche que vous souhaitez
utiliser dans un document, mais que vous souhaitez qu’elle pointe dans une autre
direction, vous pouvez inverser sa direction verticalement ou horizontalement, ou la
faire pointer dans n’importe quel angle.
Pour ouvrir l’Inspecteur des mesures :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des mesures.
Ce cercle est défini sur une opacité
de 100 %. La couleur de remplissage a été définie sur une opacité
de 50 % dans la fenêtre Couleurs.
Le contour du cercle a été défini
sur une opacité de 100 % dans la
fenêtre Couleurs.
Ce cercle est défini sur
une opacité de 100 %.
Ce cercle est défini sur
une opacité de 50 %.
F2644.book Page 151 Thursday, January 13, 2005 5:18 PM152 Chapitre 7 Modification de propriétés d’objets
Pour retourner ou faire pivoter un objet :
1 Sélectionnez l’objet que vous désirez faire pivoter.
2 Dans l’Inspecteur des mesures, utilisez la molette ou le champ Angle afin de définir la
direction de l’objet, ou cliquez sur les boutons de retournement horizontal ou vertical.
Redimensionnez les images
et les films aux dimensions
exactes en spécifiant la
hauteur et la largeur.
Retournez une image latéralement ou horizontalement
à l’aide de ces boutons.
Recherchez le nom de l’image ou
du film sélectionné. Faites glisser
son icône vers la page ou le
Bureau afin d’en faire une copie.
Faites pivoter un objet à l’aide de
cette molette ou de ce champ.
Placez un objet sur la page
en indiquant les coordonnées X et Y.
F2644.book Page 152 Thursday, January 13, 2005 5:18 PMChapitre 7 Modification de propriétés d’objets 153
Ajustement de la taille et de la position d’objets
En plus de faire glisser les objets et leurs rectangles de sélection afin de les redimensionner ou de les repositionner sur la page, vous pouvez utiliser l’Inspecteur des
mesures afin d’apporter des ajustements précis à leur taille et à leur position.
Pour définir la taille précise d’un objet :
1 Sélectionnez l’objet à redimensionner.
2 Dans l’Inspecteur des mesures, tapez un nombre dans les champs Largeur et Hauteur.
Pour préserver le rapport largeur/hauteur lorsque vous redimensionnez un objet :
m Sélectionnez la case Conserver les proportions dans l’Inspecteur des mesures, ou
maintenez enfoncée la touche Maj en faisant glisser une poignée de sélection.
Pour rétablir la taille d’origine d’une image ou d’un film :
m Sélectionnez l’image ou le film et cliquez sur Dimensions d’origine dans l’Inspecteur
des mesures.
Pour définir la position précise d’un objet fixe :
1 Sélectionnez l’objet que vous souhaitez positionner.
2 Dans l’Inspecteur des mesures, tapez les valeurs X et Y dans les champs Position.
Les coordonnées spécifiées déterminent la position du coin supérieur gauche du
conteneur de l’objet.
 La valeur X est mesurée à partir du bord gauche de la page.
 La valeur Y est mesurée à partir du bord supérieur de la page.
Si vous faites pivoter un objet, les coordonnées X et Y spécifient le coin supérieur
gauche du conteneur qui a pivoté.
Lignes
Pour les lignes, la taille et la position peuvent uniquement être ajustées dans l’Inspecteur des mesures si les lignes sont des objets fixes, qui ne sont pas placés en ligne
avec le texte. Pour en savoir plus sur la comparaison des objets fixes et des objets en
ligne, reportez-vous à la section “Comparaison des objets fixes et des objets en ligne”
à la page 117.
F2644.book Page 153 Thursday, January 13, 2005 5:18 PM154 Chapitre 7 Modification de propriétés d’objets
Lorsque vous tapez les coordonnées X et Y de la ligne dans l’Inspecteur des mesures,
les coordonnées de départ correspondent au point de terminaison de la ligne du côté
supérieur gauche la première fois que la ligne apparaît sur la page. Même si vous
retournez ou faites pivoter la ligne par la suite, les coordonnées de départ correspondent toujours au même point de terminaison de la ligne.
Positionnez une ligne fixe sur la
page en spécifiant les coordonnées
X et Y pour le point de terminaison
inférieur droit.
Positionnez une ligne fixe sur la
page en spécifiant les coordonnées
X et Y pour le point de terminaison
supérieur gauche.
F2644.book Page 154 Thursday, January 13, 2005 5:18 PM155
8
8 Création de tableaux
Les tableaux sont utiles pour organiser les informations et pour créer des dispositions intéressantes.
Ce chapitre traite des notions élémentaires liées à
la conception de tableaux.
Pages offre de puissantes fonctions permettant de créer des tableaux attrayants contenant du texte ou des graphismes. Utilisez des tableaux pour organiser et comparer les
données. En remplissant les cellules d’un tableau avec des graphismes, vous pouvez
également créer et mettre en forme facilement des dispositions de graphismes. En
fusionnant et en fractionnant des cellules, vous pouvez facilement mettre en forme des
formulaires à remplir (par exemple des formulaires de commande).
Ce formulaire de
données, inclus dans
le modèle Lab Notes,
est un ensemble de
tableaux comprenant
des cellules remplies
avec des couleurs et
des images.
F2644.book Page 155 Thursday, January 13, 2005 5:18 PM156 Chapitre 8 Création de tableaux
Ajout d’un tableau
Les tableaux peuvent être ajoutés en ligne avec le texte ou en position fixe sur la
page. Pour en savoir plus sur les objets fixes et en ligne, reportez-vous à la section
“Comparaison des objets fixes et des objets en ligne” à la page 117. Les tableaux fixes
ne peuvent pas s’étendre sur plusieurs pages, contrairement aux tableaux en ligne.
Pour ajouter un tableau en ligne avec du texte :
1 Placez le point d’insertion à l’endroit où vous souhaitez que le tableau apparaisse
dans l’enchaînement du texte.
2 Choisissez Insérer > Tableau (ou cliquez sur Objets dans la barre d’outils et choisissez
Tableau). L’Inspecteur des tableaux apparaît.
3 Faites glisser les poignées de sélection disponibles pour redimensionner le tableau.
Pour positionner un tableau fixe :
1 Cliquez n’importe où en dehors des zones de texte du document, de sorte qu’aucun
point d’insertion ne soit visible.
2 Choisissez Insérer > Tableau (ou cliquez sur Objets dans la barre d’outils et cliquez sur
Tableau). Un tableau apparaît sur la page.
3 Faites glisser l’objet à l’endroit où vous souhaitez qu’il apparaisse sur la page.
Cette disposition, incluse
dans le modèle de Photo
Journal, a été créée via le
remplissage de certaines
cellules du tableau avec
des images et d’autres
avec des couleurs et du
texte.
F2644.book Page 156 Thursday, January 13, 2005 5:18 PMChapitre 8 Création de tableaux 157
Vous pouvez également dessiner vous-même un tableau.
Pour dessiner un tableau sur la page :
1 Maintenez la touche Option enfoncée tout en cliquant sur Objets dans la barre
d’outils puis choisissez Tableau.
2 Libérez la touche Option et déplacez le pointeur sur la page jusqu’à ce qu’il se
transforme en réticule.
3 Faites-le glisser sur la page afin de créer un tableau de la taille souhaitée. Lorsque
vous faites glisser le pointeur, le nombre de rangs et de colonnes augmente ou
diminue avec la taille du tableau.
Remarque : un tableau occupe au moins un rang entier d’un document. Vous ne
pouvez pas habiller les côtés d’un tableau avec du texte. Pour en savoir plus sur
l’habillage d’objets avec du texte, reportez-vous à la section “Habillage d’un objet
avec du texte” à la page 132.
Pour redimensionner un tableau :
 Faites glisser les poignées de sélection disponibles.
 Si un tableau s’étend sur plusieurs pages, utilisez l’Inspecteur des mesures pour le
redimensionner. Pour en savoir plus sur le redimensionnement d’objets à l’aide de
l’Inspecteur des mesures, reportez-vous à la section “Ajustement de la taille et de la
position d’objets” à la page 153.
 Si un tableau en ligne s’étend sur plusieurs colonnes, vous devez redimensionner
la colonne afin de redimensionner le tableau. Pour en savoir plus sur le redimensionnement d’objets à l’aide de l’Inspecteur des mesures, reportez-vous à la section
“Ajustement de la taille et de la position d’objets” à la page 153. Pour en savoir plus
sur l’utilisation de colonnes, reportez-vous à la section “Création de colonnes” à la
page 102.
F2644.book Page 157 Thursday, January 13, 2005 5:18 PM158 Chapitre 8 Création de tableaux
Sélection de cellules et de bordures d’un tableau
Vous pouvez saisir du texte dans une cellule d’un tableau en sélectionnant la cellule
et en tapant le texte. Vous pouvez insérer des graphismes dans des tableaux en les
insérant dans des cellules, de la même façon que vous remplissez un objet avec
une image. Pour plus d’informations sur l’ajout de graphismes ou sur la définition
de couleurs d’arrière-plan dans les cellules d’un tableau, reportez-vous à la section
“Ajout d’images ou de couleurs à l’arrière-plan” à la page 168.
Vous pouvez appliquer les modifications à un tableau entier simultanément (en le
sélectionnant) ou à certaines cellules. Pour placer du texte ou des graphismes dans
des cellules d’un tableau ou dans des groupes de cellules, sélectionnez uniquement
les cellules avec lesquelles vous souhaitez travailler. Vous pouvez sélectionner les
cellules et bordures d’un tableau à l’aide des raccourcis suivants, ou en utilisant les
boutons de sélection de l’Inspecteur des tableaux. Pour en savoir plus sur l’Inspecteur
des tableaux, reportez-vous à la section “Mise en forme de tableaux” à la page 161.
Pour sélectionner le tableau entier, effectuez l’une des opérations suivantes :
 Cliquez sur le tableau.
 Si une cellule du tableau est sélectionnée, appuyez sur Commande + Retour afin
de sélectionner le tableau entier.
Des poignées de sélection apparaissent sur les bords du tableau.
Sélection de cellules d’un tableau
Lorsqu’une cellule unique est sélectionnée, vous pouvez vous déplacer entre des
cellules en appuyant sur les touches fléchées du clavier. Si vous tapez du texte dans
ce mode, il remplace le texte présent dans la cellule. Vous pouvez également utiliser
la touche Tab pour naviguer entre les cellules. Lorsque vous appuyez sur la touche
Tab lorsque la cellule inférieure droite du tableau est sélectionnée, un nouveau rang
est ajouté au tableau. Si vous appuyez sur la touche Tab lorsque la cellule inférieure
droite du tableau est sélectionnée, un nouveau rang est ajouté au tableau.
Pour sélectionner une cellule unique d’un tableau :
m Cliquez sur une cellule tout en maintenant la touche Commande enfoncée.
La bordure de la cellule sélectionnée est mise en surbrillance en jaune et un point
d’insertion apparaît. Vous pouvez alors taper du texte dans la cellule.
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Pour sélectionner un groupe contigu de cellules d’un tableau :
m Double-cliquez sur une cellule puis faites glisser le pointeur vers les cellules adjacentes
ou maintenez la touche Maj enfoncée lorsque vous sélectionnez les cellules adjacentes.
Pour sélectionner un groupe discontinu de cellules d’un tableau :
m Maintenez enfoncée la touche Commande en sélectionnant les cellules.
Pour sélectionner un rang ou une colonne entière :
1 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des tableaux.
2 Sélectionnez une cellule dans le rang ou dans la colonne que vous souhaitez
sélectionner.
3 Cliquez sur le bouton Rang ou Colonne en bas de l’Inspecteur des tableaux.
Sélection des bordures des cellules d’un tableau
Si un tableau s’étend sur plusieurs pages ou colonnes, le fait de sélectionner la
bordure en bas d’une page ou d’une colonne peut également avoir un effet sur
la bordure en haut de la page ou colonne suivante.
Pour sélectionner plusieurs bordures :
1 Sélectionnez les cellules du tableau dont vous souhaitez sélectionner les bordures.
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des tableaux.
3 Cliquez sur l’un des boutons Bordures afin de sélectionner toutes les bordures, ou
uniquement les bordures intérieures, extérieures, horizontales ou verticales des
cellules sélectionnées.
Cliquez sur Rang afin de sélectionner
un rang entier du tableau.
Cliquez sur Colonne pour sélectionner
une colonne entière du tableau.
Cliquez sur un bouton pour sélectionner les bordures d’une cellule.
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Pour sélectionner une seule bordure :
 Si le tableau n’est pas sélectionné, double-cliquez sur la bordure.
 Si le tableau est sélectionné, cliquez sur la bordure.
Pour sélectionner un segment d’une bordure d’une cellule :
1 Sélectionnez le tableau.
2 Cliquez en maintenant la touche Option enfoncée afin de sélectionner un segment
de bordure unique.
3 Pour sélectionner des segments de bordure supplémentaires, appuyez sur les touches
Option et Maj lorsque vous cliquez.
Saisie et modification de texte dans les cellules d’un tableau
Pour taper du texte dans une cellule d’un tableau :
 Si la cellule est vide, sélectionnez-la et commencez la saisie.
 Pour remplacer du texte présent dans la cellule, sélectionnez la cellule, puis doublecliquez sur son contenu. Commencez la saisie.
 Pour placer le point d’insertion dans le texte d’une cellule, sélectionnez le tableau
puis cliquez afin de positionner le point d’insertion où vous le souhaitez.
Commencez la saisie.
Pour permuter le contenu de deux cellules :
m Sélectionnez la cellule et faites-la glisser vers une autre. Une bordure bleue apparaît
lorsque vous commencez à faire glisser la cellule ; le contenu des cellules est permuté.
Pour copier le contenu d’une cellule dans une autre cellule :
m Sélectionnez la cellule et commencez à la faire glisser. Une bordure bleue apparaît.
Maintenez la touche Option enfoncée tout en faisant glisser la cellule dans la cellule
souhaitée.
Pour supprimer le contenu (ainsi que le remplissage en arrière-plan) de cellules
d’un tableau :
m Sélectionnez les cellules et appuyez sur la touche Suppr.
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Mise en forme de tableaux
Vous pouvez concevoir l’aspect des tableaux de différentes façons, en modifiant
l’épaisseur et la couleur des bordures des cellules, en supprimant de manière sélective des bordures de cellules, ou en fusionnant et en fractionnant des cellules afin
de créer des dissymétries utiles dans le tableau.
Ajout de rangs et de colonnes à un tableau
Pour spécifier l’emplacement où ajouter un rang ou une colonne dans un tableau,
utilisez les commandes du menu Format.
Pour ajouter un rang à un tableau :
m Sélectionnez une cellule ou un rang de tableau, puis choisissez Format > Tableau >
Insérer un rang au-dessus ou Insérer un rang en dessous.
Pour ajouter une colonne à un tableau :
m Sélectionnez une cellule ou une colonne de tableau, puis choisissez Format > Tableau
> Insérer une colonne avant ou Insérer une colonne après.
Mise en forme de rangs et de colonnes
Vous pouvez effectuer des opérations élémentaires de mise en forme de tableau,
notamment fusionner et fractionner des cellules, ajouter et supprimer des rangs et
des colonnes, ou encore ajouter ou supprimer le rang et la colonne d’en-tête, en
utilisant la commande Tableau du menu Format (Format > Tableau) ou les menus
contextuels, comme décrit ci-dessous. Cependant, si vous apportez de nombreuses
modifications à un tableau, il peut être plus judicieux d’utiliser l’Inspecteur des
tableaux.
Pour ouvrir le menu contextuel d’un tableau :
m Sélectionnez le tableau, puis maintenez enfoncée la touche Contrôle en cliquant de
nouveau sur le tableau.
Pour ouvrir l’Inspecteur des tableaux :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des tableaux.
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Pour changer le nombre de rangs ou decolonnes d’un tableau :
1 Dans l’Inspecteur des tableaux, tapez le nombre de rangs souhaité dans le champ
Rangs. Les rangs sont ajoutés en bas du tableau (sélectionnez la dernière cellule du
tableau et appuyez sur Tab).
2 Tapez le nombre de colonnes souhaité dans le champ Colonnes. Les colonnes sont
ajoutées à droite du tableau.
Pour supprimer les rangs ou les colonnes d’un tableau :
1 Sélectionnez le rang ou la colonne.
2 Choisissez Format > Tableau > Supprimer le rang ou Supprimer la colonne.
Remarque : si vous sélectionnez des cellules et que vous appuyez sur Supprimer,
seul le contenu de ces cellules est supprimé.
Fusionnez des cellules adjacentes ou
fractionnez des rangs et des colonnes.
Sélectionnez l’option pour ajouter
un rang ou une colonne d’en-tête.
Le bouton Inspecteur des tableaux
Tapez le nombre de rangs
et de colonnes de tableaux.
Sélectionnez puis redimensionnez
les rangs pour afficher tout le contenu.
Spécifiez la largeur des colonnes
et la hauteur des rangs.
Sélectionnez les colonnes, les rangs
et les bordures.
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Création d’un en-tête de rang ou d’une colonne de tableau
Vous pouvez ajouter un rang ou une colonne d’en-tête au début du tableau sur chaque
page, si le tableau s’étend sur plusieurs pages (ou au début de chaque colonne ou zone
de texte liée, si le tableau s’étend sur plusieurs colonnes ou zones de texte liées).
Les rangs et colonnes d’en-tête présentent un aspect différent des autres cellules
du tableau, mais leur style peut être modifié comme celui de n’importe quelle autre
cellule. Cependant, vous ne pouvez pas fractionner un rang d’en-tête en plusieurs
rangs, ou des colonnes d’en-tête en plusieurs colonnes.
Si un tableau s’étend sur plusieurs pages, colonnes ou zones de texte, la modification
du texte ou de l’aspect de l’en-tête de rang ou de la colonne à un endroit entraîne la
même modification dans l’ensemble du tableau.
Pour ajouter un rang ou une colonne d’en-tête :
1 Sélectionnez le tableau.
2 Choisissez Format > Tableau > Insérer un en-tête de rang ou Insérer un en-tête de
colonne, ou dans l’Inspecteur des tableaux, sélectionnez les cases En-tête de rang
ou En-tête de colonne.
Fusionner, fractionner et redimensionner des cellules de tableau
La fusion de cellules d’un tableau entraîne celle des cellules adjacentes en une seule
cellule, ce qui a pour effet de supprimer la bordure, de sorte que les cellules se
comportent comme une cellule unique. En ce qui concerne les cellules horizontalement contiguës, la fusion entraîne celle du texte des deux cellules d’origine, séparé
par une tabulation. La fusion des cellules verticalement contiguës entraîne la fusion
du texte des deux cellules d’origine, séparé par un retour chariot. Dans les deux cas,
l’arrière-plan de la cellule reprend l’image ou la couleur de la cellule la plus en haut
ou la plus à gauche.
Le fractionnement de cellules divise chaque cellule sélectionnée en deux parts égales,
horizontalement (rangs) ou verticalement (colonnes). Les deux nouvelles cellules
présentent des couleurs ou images d’arrière-plan identiques. Tout texte présent dans
la cellule d’origine reste dans la cellule la plus en haut ou la plus à gauche.
Vous pouvez fractionner et fusionner des cellules à l’aide de commandes de menu, de
menus contextuels ou de l’Inspecteur des tableaux. Pour redimensionner des cellules
d’un tableau, utilisez l’Inspecteur des tableaux.
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Pour fusionner des cellules d’un tableau :
1 Sélectionnez un groupe de deux cellules adjacentes ou plus. Le groupe de cellules
que vous choisissez doit former un rectangle.
2 Choisissez Format > Tableau > Fusionner les cellules.
Vous pouvez également fusionner des cellules en cliquant sur Fusionner les cellules
dans l’Inspecteur des tableaux.
Pour fusionner des cellules horizontalement ou verticalement :
1 Sélectionnez une ou plusieurs cellules du tableau. Pour fractionner une colonne ou
un rang entier, sélectionnez toutes les cellules de la colonne ou du rang.
2 Choisissez Format > Tableau > Diviser en rangs ou Diviser en colonnes.
Il est également possible de diviser les cellules en rangs ou en colonnes en cliquant
sur Diviser en rangs ou sur Diviser en colonnes dans l’Inspecteur des tableaux. Vous
pouvez répéter l’opération de fractionnement afin de créer des unités de plus en plus
petites dans une cellule du tableau. Pour fusionner à nouveau les cellules divisées,
sélectionnez-les et choisissez Format > Tableau > Fusionner les cellules.
Pour redimensionner les cellules d’un tableau :
 Sélectionnez les cellules et tapez des valeurs dans les champs Largeur de colonne et
Hauteur de colonne dans l’Inspecteur des tableaux, puis appuyez sur Retour.
 Sélectionnez les bordures des cellules et faites-les glisser pour les redimensionner.
Pour faire en sorte que toutes les cellules du tableau présentent la même taille :
m Sélectionnez le tableau et choisissez Format > Tableau > Répartir les rangs uniformé-
ment et Répartir les colonnes uniformément.
S’il y a trop de texte dans une cellule d’un tableau, un indicateur de découpage apparaît en bas de la cellule.
L’indicateur de découpage
apparaît lorsqu’une cellule
d’un tableau contient plus
de texte qu’elle ne peut en
afficher.
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Pour éviter le découpage, vous pouvez faire glisser les bordures de la cellule afin de
la redimensionner ou faire glisser une poignée de sélection afin de redimensionner
l’ensemble du tableau. Vous pouvez également faire en sorte que la hauteur des rangs
du tableau diminue ou augmente en fonction du texte qu’ils contiennent.
Pour agrandir ou diminuer automatiquement les rangs d’un tableau afin de les
adapter à leur contenu :
m Sélectionnez le tableau puis cochez la case Ajuster automatiquement au contenu
dans l’Inspecteur des tableaux.
Si vous sélectionnez cette option, les cellules s’agrandissent automatiquement lorsque
le texte saisi dépasse les limites des cellules. L’ajout de rangs ou de colonnes augmente
les dimensions externes du tableau. À mesure que du texte est supprimé d’une cellule,
la hauteur des rangs peut diminuer (si la cellule détermine la hauteur des rangs). Si
l’option “Ajuster automatiquement au contenu” n’est pas sélectionnée, Pages tente de
conserver les dimensions extérieures du tableau lorsque vous ajoutez des rangs et des
colonnes.
Remarque : les cellules des tableaux ne peuvent pas s’étendre sur plusieurs pages,
colonnes ou zones de texte.
Alignement de texte dans une cellule de tableau
Vous pouvez aligner le texte horizontalement et verticalement dans une cellule d’un
tableau. Pour aligner du texte, utilisez la sous-fenêtre Texte de l’Inspecteur du texte.
Pour ouvrir la sous-fenêtre Texte de l’Inspecteur du texte :
m Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur le bouton Inspecteur dans
la barre d’outils), puis cliquez sur le bouton Inspecteur du texte. Cliquez ensuite sur
Texte.
Pour plus d’informations sur la sous-fenêtre Texte de l’Inspecteur du texte, reportezvous à la section “Utilisation de l’Inspecteur du texte” à la page 60.
Pour aligner le texte horizontalement dans une cellule d’un tableau :
m Sélectionnez la cellule et cliquez sur l’un des boutons d’alignement horizontal dans
la sous-fenêtre Texte de l’Inspecteur du texte.
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Pour aligner le texte verticalement dans une cellule :
m Sélectionnez la cellule et cliquez sur l’un des boutons d’alignement vertical dans la
sous-fenêtre Texte de l’Inspecteur du texte.
Vous pouvez spécifier l’espace entre le texte et la bordure de sa cellule en utilisant le
curseur ou le champ Marge intérieure. La quantité indiquée est appliquée de manière
uniforme des quatre côtés du texte.
Pour ajuster l’espace autour du texte dans une cellule du tableau :
1 Cliquez sur la cellule (ou sélectionnez le tableau entier pour appliquer le même
réglage à toutes les cellules).
2 Dans la sous-fenêtre Texte de l’Inspecteur du texte, faites glisser le curseur Marge
intérieure vers la droite afin d’augmenter l’espace, ou entrez une valeur dans le champ
et appuyez sur Retour.
Mise en forme des bordures de cellules
Vous pouvez modifier l’épaisseur et la couleur des bordures des cellules d’un tableau.
Vous pouvez également masquer la bordure de n’importe quelle cellule.
Pour définir l’épaisseur et la couleur :
1 Sélectionnez une bordure ou un ensemble de bordures (pour plus d’informations,
reportez-vous à la section “Sélection des bordures des cellules d’un tableau” à la page
159).
Alignez le texte à droite.
Justifiez le texte (alignez le
texte à droite et à gauche).
Alignez le texte à gauche.
Centrez le texte.
Faites commencer le texte
en bas de la cellule.
Placez le texte en haut de
la cellule.
Faites commencer le texte
au centre de la cellule.
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2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des graphismes.
3 Saisissez une valeur dans le champ Trait.
4 Cliquez sur le cadre Couleur de trait et sélectionnez une couleur dans la fenêtre
Couleurs.
Pour masquer une bordure de cellule :
1 Sélectionnez une bordure de cellule ou un ensemble de bordures de cellule.
2 Dans l’Inspecteur des graphismes, choisissez Aucun dans le menu local Trait.
Pour créer un tableau sans bordure extérieure :
1 Sélectionnez le tableau.
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des tableaux.
3 Cliquez sur le deuxième bouton Bordures dans l’Inspecteur des tableaux afin de
sélectionner les bordures extérieures.
4 Cliquez sur le bouton Inspecteur des graphismes, puis choisissez Aucun dans le menu
local Trait.
Choisissez d’afficher ou de masquer
les bordures de cellule sélectionnées.
Choisissez la couleur des bordures
de cellules sélectionnées.
Tapez une épaisseur de rang pour
les bordures de cellule sélectionnées.
F2644.book Page 167 Thursday, January 13, 2005 5:18 PM168 Chapitre 8 Création de tableaux
Ajout d’images ou de couleurs à l’arrière-plan
Vous pouvez ajouter des graphismes ou des couleurs à une cellule d’un tableau
via le menu local Remplir de l’Inspecteur des graphismes. Vous pouvez ajouter des
images ou des couleurs à des cellules d’un tableau, ou à l’ensemble du tableau.
Pour ajouter une image à une cellule d’un tableau :
1 Sélectionnez une cellule, un groupe de cellules ou l’ensemble du tableau (pour plus
d’informations, reportez-vous à la section “Sélection de cellules et de bordures d’un
tableau” à la page 158).
2 Choisissez Afficher > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton Inspecteur des graphismes.
3 Choisissez Remplissage image dans le menu local Remplir. Si la cellule contient déjà
une image, cliquez sur Choisir.
4 Sélectionnez une image et cliquez sur Ouvrir.
5 Utilisez le menu local Échelle afin de remplir la cellule de la façon souhaitée.
Si vous ajoutez une image au tabelau entier, lorsque vous sélectionnez une cellule
individuelle, le menu local Remplir de l’Inspecteur des graphismes affiche Aucun.
Pour plus d’informations sur l’utilisation de remplissages image, reportez-vous à la
section “Remplissage d’un objet avec une image” à la page 145.
Définissez la dimension de l’image
dans la cellule ou le tableau.
Pour changer d’image, faites
glisser une nouvelle image dans
le cadre ou cliquez sur Choisir.
Choisissez un remplissage image, un remplissage couleur,
un remplissage d’image teintée ou un remplissage
dégradé pour la cellule qui vous intéresse.
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Pour ajouter une couleur d’arrière-plan ou un remplissage dégradé :
1 Sélectionnez une cellule, un groupe de cellules ou l’ensemble du tableau (pour plus
d’informations, reportez-vous à la section “Sélection de cellules et de bordures d’un
tableau” à la page 158).
2 Dans l’Inspecteur des graphismes, choisissez Remplissage couleur ou Remplissage
dégradé dans le menu local Remplir.
3 Cliquez sur le ou les cadre(s) de couleur et sélectionnez une ou plusieurs couleurs
dans la fenêtre Couleurs.
Si vous ajoutez une couleur à l’ensemble du tableau, lorsque vous sélectionnez une
cellule, le menu local Remplir de l’Inspecteur des graphismes affiche Aucun. Pour plus
d’informations sur l’utilisation des remplissages couleur et dégradé, reportez-vous à la
section “Utilisation de remplissages par des couleurs et des images” à la page 141.
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9
9 Création de graphiques
Vous pouvez transformer des données de feuilles
de calcul en graphiques attrayants. Ce chapitre
décrit les notions élémentaires de la création de
graphiques dans Pages.
Pages fournit des outils permettant de créer des graphiques attrayants afin de présenter
des données numériques. Vous pouvez copier et coller les données à partir d’une feuille
de calcul ou les saisir directement dans l’Éditeur de graphiques et créer puis modifier les
graphiques directement sur la page.
À propos des graphiques
Les graphiques illustrent la relation entre deux types de données. Par exemple, si vous
représentez sous forme graphique la croissance de l’activité, vous affichez la relation
entre la taille de l’entreprise et les années. Si vous représentez les résultats d’un vote
parmi différents groupes démographiques, vous illustrez la relation entre le nombre
de suffrages et le groupe démographique. Lorsque vous entrez des données pour
un graphique, les deux types de données sont représentés sous forme de séries de
données et de jeux de données.
Dans un graphique représentant l’activité d’une entreprise, une série de données
peut par exemple représenter les bénéfices d’une région sur quatre années successives ; les jeux de données peuvent être les bénéfices de toutes les régions pour une
seule de ces années. Dans l’illustration ci-dessous, les séries de données (bénéfices
de chaque région) sont indiquées dans les rangs, les jeux de données (les bénéfices
de chaque année) dans les colonnes. Chaque valeur (par exemple 17 pour la région
1 en 2004) est un point-image.
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Les carrés de couleur en regard des étiquettes des rangs (région 1 et région 2) illustrent la couleur qui représente chaque série de données du graphique.
L’illustration ci-dessous montre sous forme graphique l’aspect de ces données.
Dans ce graphique, les séries de données sont représentées sous forme de rangs dans
l’Éditeur de graphiques. Les points-images sont représentés sous forme d’une série de
barres de couleur sombre et d’une série de barres de couleur claire.
Transposition de séries de données et d’ensembles de données
Vous pouvez facilement permuter les séries de données et les jeux de données dans
les graphiques, sans avoir à resaisir les données, en utilisant le bouton Rang / colonne
dans l’Éditeur de graphiques.
Ces carrés indiquent la couleur
qui représente chaque série de
données.
Les jeux de données contiennent
un point-image (une barre) de
chacune des séries de données.
Ces quatre barres représentent une série de données.
La légende du graphique désigne
les deux séries de données.
F2644.book Page 172 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 173
L’illustration ci-dessous montre les mêmes données, mais avec les jeux de données
et les séries de données transposés.
Pour ce graphique, les séries de données sont représentées sous forme de colonnes
dans l’Éditeur de graphiques illustré précédemment. Il y a désormais quatre séries
de données représentées sous forme de quatre barres de couleurs différentes.
Les séries de données sont représentées différemment dans les différents types de
graphique fournis par Pages.
 Dans les graphiques à colonnes et les graphiques à barres, une série de données
est représentée par une série de barres de même couleur (comme illustré ci-dessus).
 Dans un graphique à rangs (également appelé graphique), une série de données est
représentée par un rang unique.
 Dans un graphique à couches, une série de données est représentée par une
couche.
Ce bouton fait des rangs de données
de l’Éditeur de graphiques la série de
données.
Ce bouton fait des colonnes de
données de l’Éditeur de graphiques
la série de données.
Ces deux barres représentent
une série de données.
Les jeux de données contiennent un point-image (une barre)
de chacune des quatre séries de
données.
F2644.book Page 173 Thursday, January 13, 2005 5:18 PM174 Chapitre 9 Création de graphiques
 Dans un graphique sectoriel, un seul jeu de données (le premier point-image de
chaque série) est représenté sur le graphique (quel que soit le jeu répertorié en
premier dans l’Éditeur de graphiques).
Ajout d’un graphique
Des graphiques peuvent être ajoutés en ligne avec le texte ou en position fixe sur
la page. Pour en savoir plus sur les objets fixes et en ligne, reportez-vous à la section
“Comparaison des objets fixes et des objets en ligne” à la page 117. Une fois que vous
avez ajouté le graphique à la page, vous pouvez changer le type de graphique et le
mettre en forme à l’aide de l’Inspecteur des graphiques, illustré plus loin dans ce
chapitre.
Pour ajouter un graphique en ligne avec le texte :
1 Placez le point d’insertion à l’endroit où vous souhaitez que le graphique apparaisse
dans le texte.
2 Choisissez Insérer > Graphique (ou cliquez sur Objets dans la barre d’outils et sélectionnez Graphique). Un graphique contenant des données d’espace réservé s’affiche
sur la page. L’Inspecteur des graphiques et l’Éditeur de graphiques s’ouvrent.
Pour positionner un graphique fixe :
1 Cliquez n’importe où en dehors des zones de texte du document, de sorte qu’aucun
point d’insertion ne soit visible.
2 Choisissez Insérer > Graphique (ou cliquez sur Objets dans la barre d’outils et sélectionnez Graphique). Un graphique contenant des données d’espace réservé s’affiche
sur la page. L’Inspecteur des graphiques et l’Éditeur de graphiques s’ouvrent.
3 Faites glisser le graphique à l’endroit où vous souhaitez qu’il apparaisse sur la page.
Vous pouvez également dessiner un graphique sur la page.
Pour dessiner un graphique sur la page :
1 Maintenez la touche Option enfoncée tout en cliquant sur Objets dans la barre
d’outils puis choisissez Graphique.
2 Relâchez la touche Option et déplacez le pointeur sur la page jusqu’à ce qu’il se transforme en réticule.
3 Faites-le glisser sur la page afin de créer un graphique de la taille souhaitée.
F2644.book Page 174 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 175
Pour redimensionner le graphique sur la page :
m Sélectionnez le graphique dans la page et faites glisser les poignées de sélection
actives.
Sélection d’un type de graphique
Pages fournit huit types de graphique parmi lesquels vous pouvez choisir, notamment des graphiques à barres, à rangs, à couches et sectoriels. Une fois que vous avez
placé un graphique sur une page, vous pouvez modifier son type et le mettre en
forme à l’aide de l’Inspecteur des graphiques.
Pour ouvrir l’Inspecteur des graphiques :
m Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton de l’Inspecteur des graphiques.
Pour sélectionner un type de graphique, effectuez l’une des opérations suivantes :
 Choisissez Format > Graphique > [type de graphique].
 Dans l’Inspecteur des graphiques, sélectionnez un graphique dans le menu local
Type de graphique.
Choisissez parmi huit types
de graphique différents dans
l’Inspecteur des graphiques.
Le bouton Inspecteur des
graphiques
F2644.book Page 175 Thursday, January 13, 2005 5:18 PM176 Chapitre 9 Création de graphiques
Modification de données dans un graphique
Pour modifier des données graphiques, ouvrez l’Éditeur de graphiques et saisissez
les données en les tapant ou en copiant et collant à partir d’Excel, d’AppleWorks ou
d’autres applications de feuille de calcul.
Pour ouvrir l’Éditeur de graphiques :
1 Sélectionnez le graphique à modifier.
2 Choisissez Format > Graphique > Afficher l’Éditeur de graphiques (ou cliquez sur
Modifier données dans l’Inspecteur des graphiques).
Pour copier des données à partir d’une autre feuille de calcul vers l’Éditeur
de graphiques :
1 Ouvrez la feuille de calcul avec les données souhaitées, puis sélectionnez toutes
les cellules appropriées.
2 Choisissez Édition > Copier (ou appuyez sur Commande + C).
3 Sélectionnez la cellule supérieure dans la première colonne de l’Éditeur de graphiques.
4 Choisissez Édition > Coller (ou appuyez sur Commande + V).
Pour modifier les noms des rangs et des colonnes, ou les données d’une cellule :
m Double-cliquez sur une cellule ou sur une étiquette de rang ou de colonne, puis tapez
les informations.
Pour réorganiser les rangs ou les colonnes dans l’Éditeur de graphiques :
m Faites glisser une étiquette de rang ou de colonne à un nouvel emplacement.
Cliquez sur ces boutons afin
d’ajouter un autre rang ou une
autre colonne de données.
Tapez les données graphiques
directement dans les cellules
de la feuille de calcul.
Faites glisser les étiquettes
afin de les réorganiser.
F2644.book Page 176 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 177
Pour ajouter des rangs ou des colonnes dans l’Éditeur de graphiques, effectuez
l’une des opérations suivantes :
 Cliquez sur Insérer un rang ou sur Insérer une colonne afin de placer un rang audessus du rang sélectionné, ou une colonne à gauche de celle sélectionnée. Si aucun
rang ni aucune colonne n’est sélectionné, le nouveau rang ou la nouvelle colonne
apparaît en bas ou à droite du tableau (pour visualiser le nouveau rang ou la nouvelle
colonne, vous devez appuyer sur la touche Retour ou Tab ou agrandir la fenêtre de
l’Éditeur de graphiques).
 Sélectionnez n’importe quelle cellule vide, saisissez vos données et appuyez sur
Retour. Un nouveau rang ou une nouvelle colonne est automatiquement créé.
Pour supprimer des rangs ou des colonnes :
m Sélectionnez l’étiquette du rang ou de la colonne et appuyez sur Suppr.
Mise en forme de graphiques
Vous pouvez redimensionner et repositionner des graphiques et des légendes comme
n’importe quel autre objet. Vous pouvez mettre en forme les éléments des graphiques
(polices, couleurs, étiquettes des axes et marques) en fonction de vos préférences. Vous
pouvez également masquer la légende du graphique. La plupart des tâches de mise en
forme des graphiques sont effectuées à l’aide de l’Inspecteur des graphiques. Vous
pouvez également effectuer de nombreuses opérations à l’aide de menus contextuels.
Pour ouvrir le menu contextuel d’un graphique :
m Maintenez la touche Contrôle enfoncée et cliquez sur un graphique.
Pour masquer la légende du graphique :
1 Choisissez Présentation > Afficher l’Inspecteur (ou cliquez sur Inspecteur dans la barre
d’outils), puis cliquez sur le bouton de l’Inspecteur des graphiques.
2 Sélectionnez le graphique.
3 Dans l’Inspecteur des graphiques, désélectionnez la case Afficher la légende.
Vous pouvez également sélectionner la légende et appuyer sur Suppr ; vous pouvez
toujours afficher de nouveau la légende en sélectionnant la case Afficher la légende.
F2644.book Page 177 Thursday, January 13, 2005 5:18 PM178 Chapitre 9 Création de graphiques
Définition des couleurs des graphiques
Vous pouvez mettre en forme les barres, les portions et les couches qui apparaissent
sur chaque type de graphique, de la même façon que vous mettez en forme tout
autre objet dessiné. Vous pouvez leur affecter des remplissages de couleur, des
remplissages dégradés, des remplissages d’image, des ombres, une opacité ou diffé-
rents styles de trait. Vous définissez ces attributs dans l’Inspecteur des graphismes.
Pour changer la couleur ou l’image d’une barre, d’une portion ou d’une couche :
1 Sélectionnez l’élément (barre, portion ou couche).
Si vous sélectionnez une barre d’un graphique à barres, toutes les barres de cette série
sont sélectionnées.
2 Vous pouvez modifier les propriétés de votre graphique comme vous le feriez avec
n’importe quel dessin à l’aide de l’Inspecteur des graphismes.
Pour plus d’informations sur la modification des propriétés des objets, consultez le
chapitre 7, “Modification de propriétés d’objets”.
Modification des polices d’un graphique
Vous pouvez modifier les polices et les couleurs de texte utilisées pour les étiquettes
des axes, les étiquettes des points-image et les légendes.
Pour modifier les polices d’un graphique :
1 Sélectionnez le texte à modifier.
Pour modifier la police de tous les éléments d’un graphique, cliquez sur le graphique
pour le sélectionner. Si vous sélectionnez le texte pour une étiquette de point-image
ou d’axe, tout le texte de ce type est également sélectionné. Vous devez modifier la
police des légendes séparément.
2 Choisissez Format > Police > Afficher les polices (ou cliquez sur Polices dans la barre
d’outils) afin d’ouvrir le panneau Police.
3 Sélectionnez une police.
Pour plus d’informations sur le changement des couleurs du texte, reportez-vous à la
section “Mise en forme de la taille et de l’apparence du texte” à la page 51.
F2644.book Page 178 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 179
Ajout d’étiquettes et de marques d’axe
Utilisez la sous-fenêtre Axe de l’Inspecteur des graphiques pour mettre en forme la
grille et l’aspect général des axes pour les graphiques à barres, les graphiques à lignes
et les graphiques à couches. Vous pouvez définir la plage des valeurs à afficher le long
de l’axe des valeurs, c’est-à-dire l’axe le long duquel vous lisez les valeurs des pointsimages. Pour les graphiques à colonnes (barres verticales), les graphiques à lignes et
les graphiques à couches, l’axe des Y est l’axe des valeurs. Pour les graphiques à barres
horizontales, l’axe des X est l’axe des valeurs. Les graphiques sectoriels ne comportent
pas d’axe des valeurs. Pour en savoir plus sur la mise en forme des graphiques sectoriels, reportez-vous à la section “Graphiques sectoriels” à la page 183.
Pour afficher ou masquer les axes et les bordures des graphiques :
1 Sélectionnez le graphique.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Axe s’il n’est pas sélectionné.
3 Sélectionnez un ou plusieurs éléments dans le menu local Axes et bordures.
Un élément sélectionné comporte en face une coche ; choisissez de nouveau
l’élément afin de le désélectionner.
Pour définir la plage des valeurs numériques qui s’affichent sur la grille
du graphique :
1 Sélectionnez le graphique.
Définissez des styles pour les
étiquettes et les marques le
long de la grille du graphique.
Sélectionnez des unités pour
les valeurs du graphique.
Affichez ou masquez les axes
et les bordures des graphiques.
Définissez la plage des valeurs
qui apparaissent sur la grille
du graphique.
F2644.book Page 179 Thursday, January 13, 2005 5:18 PM180 Chapitre 9 Création de graphiques
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Axe s’il n’est pas sélectionné.
3 Pour définir la valeur à l’origine du graphique, tapez un nombre dans le champ
Minimum (sous Format de l’axe des valeurs).
La valeur Minimum ne peut pas être supérieure à la valeur minimale de l’ensemble
du jeu de données.
4 Pour définir le nombre le plus élevé qui s’affiche sur l’axe des valeurs, tapez un
nombre dans le champ Maximum.
La valeur Maximum ne peut pas être inférieure à la valeur maximale de l’ensemble
du jeu de données.
5 Pour spécifier le nombre de marques sur l’axe entre les valeurs minimale et maximale,
tapez un nombre dans le champ Intervalles.
Pour afficher la valeur de donnée minimale sur l’axe des valeurs :
1 Sélectionnez le graphique.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Axe s’il n’est pas sélectionné.
3 Sélectionnez Afficher les étiquettes de valeur et Afficher la valeur minimale dans le
menu local Axes des valeurs (menu local de l’axe des X ou des Y en fonction du
graphique).
Un élément sélectionné est coché.
Pour spécifier des unités pour les valeurs des axes :
1 Sélectionnez le graphique.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Axe s’il n’est pas sélectionné.
3 Sous Format des nombres, tapez du texte dans le champ Préfixe ou Suffixe (ou choisissez un symbole dans les menus contextuels).
Placement d’étiquettes de grille et de marques
Les menus contextuels Axe des X et Axe des Y de la sous-fenêtre Axe de l’Inspecteur
des graphiques offrent différentes options pour le positionnement des marques,
des étiquettes et du quadrillage le long de l’axe des valeurs ou de l’axe des séries.
Les options de ces menus contextuels (illustrées ci-dessous) dépendent du type de
graphique que vous sélectionnez.
F2644.book Page 180 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 181
Pour les graphiques à barres verticales (graphiques à colonnes), les graphiques à
lignes et les graphiques à couches, l’axe des Y est l’axe des valeurs et l’axe des X est
l’axe des séries ; pour les graphiques à barres horizontales, l’axe des X est l’axe des
valeurs. Voici l’apparence des menus locaux lorsqu’un graphique à colonnes est
sélectionné.
Pour placer des étiquettes de grille et des marques le long d’un axe :
1 Sélectionnez le graphique.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Axe s’il n’est pas sélectionné.
3 Pour ajouter des étiquettes de grille et des marques le long de l’axe des séries,
sélectionnez une option dans le menu local Axe des X. Pour les graphiques à barres
horizontales, sélectionnez parmi les mêmes options dans le menu contextuel Axe
des Y.
4 Pour ajouter des étiquettes de grille et des marques à l’axe des valeurs, sélectionnez
une option dans le menu contextuel Axe des Y. Pour les graphiques à barres horizontales, sélectionnez parmi les mêmes options dans le menu contextuel Axe des X.
Placez des marques le long
de l’axe des X.
Affichez ou masquez le quadrillage
de l’axe des X.
Définissez la direction du
texte pour les étiquettes
des axes des séries.
Affichez ou masquez les étiquettes
des axes des séries.
Placez des marques le long
de l’axe des Y.
Affichez ou masquez le quadrillage
de l’axe des Y.
Affichez ou masquez les étiquettes
de l’axe des valeurs.
F2644.book Page 181 Thursday, January 13, 2005 5:18 PM182 Chapitre 9 Création de graphiques
Mise en forme des éléments d’une série de données
Vous pouvez afficher la valeur numérique de chaque point-image d’une série.
Pour ajouter des étiquettes de points-images :
1 Sélectionnez le graphique ou un élément dans une série de données.
Pour tous les types de graphiques sauf les graphiques sectoriels, sélectionner un
élément (barre) d’une série sélectionne automatiquement la série entière. Dans
les graphiques sectoriels, vous pouvez sélectionner des portions individuelles.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Série.
3 Choisissez Afficher la valeur dans le menu local Réglages de point-image.
4 Pour spécifier le nombre de décimales à afficher, tapez un nombre dans le champ
Décimales.
5 Pour changer la position des valeurs des points-images, choisissez une option dans
le menu local Réglages de point-image.
6 Utilisez le panneau Police (Format > Police > Afficher les polices) pour choisir une
police, une taille de police et un style pour les étiquettes de point-image.
Vous pouvez afficher les étiquettes des points-image des graphiques sectoriels sous
forme de pourcentage de l’ensemble ou de valeurs absolues en sélectionnant ou
désélectionnant Afficher les valeurs des portions en % dans le menu local Réglages
de point-image. Vous pouvez également afficher le nom des séries.
Certains styles de graphique offrent davantage d’options pour la mise en forme des
éléments des séries. Reportez-vous aux sections suivantes pour plus d’informations
sur les options de mise en forme spéciales des graphiques sectoriels, à barres, à lignes
et à couches.
F2644.book Page 182 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 183
Graphiques sectoriels
Pour les graphiques sectoriels, Pages ne représente que le premier jeu de données
dans l’Éditeur de graphiques (le premier point-image de chaque série de données).
Si les séries de données se trouvent dans des rangs dans l’Éditeur de graphiques,
seule la première colonne est représentée ; si les séries de données se trouvent dans
des colonnes dans l’Éditeur de graphiques, seul le premier rang est représenté. Par
conséquent, un graphique sectoriel représente un seul jeu de données et chaque
portion représente un élément de ce jeu. Les autres jeux de données de l’Éditeur
de graphiques sont conservés, mais ils ne s’affichent pas dans le graphique sectoriel.
Vous pouvez représenter n’importe quel jeu de données en le déplaçant vers la
première position dans le rang ou dans la colonne.
Pour sélectionner des portions individuelles :
1 Sélectionnez le graphique, puis cliquez afin de sélectionner une portion unique.
2 Pour sélectionner des portions supplémentaires, effectuez l’une des opérations
suivantes :
 Pour sélectionner toutes les portions, choisissez Édition > Sélectionner tout (ou
appuyez sur Commande + A).
 Pour sélectionner des portions non contiguës, maintenez la touche Commande
enfoncée lorsque vous sélectionnez chaque portion.
 Pour sélectionner une rangée de portions contiguës, sélectionnez la première
portion puis maintenez la touche Maj enfoncée tout en sélectionnant la dernière
portion.
Dans les graphiques sectoriels, en plus d’afficher les valeurs des portions, vous pouvez
afficher le nom des séries.
Pour afficher le nom d’une série dans un graphique sectoriel :
1 Sélectionnez le graphique ou des portions individuelles.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Série.
3 Sélectionnez Afficher le nom des séries dans le menu local Réglages de point-image
(un élément est sélectionné lorsqu’il est coché).
4 Choisissez À l’intérieur ou À l’extérieur dans le menu local Réglages de point-image.
Vous pouvez séparer tout ou partie des portions.
F2644.book Page 183 Thursday, January 13, 2005 5:18 PM184 Chapitre 9 Création de graphiques
Pour séparer des portions individuelles :
1 Sélectionnez les portions individuelles. Pour sélectionner plusieurs portions, maintenez enfoncée la touche Commande lorsque vous cliquez sur chaque portion.
2 Faites glisser les portions du graphique sectoriel ou le curseur Éloigner jusqu’à ce que
les portions du graphique soient placées à l’endroit où vous le souhaitez.
Vous pouvez également saisir un chiffre dans le champ Éloigner ou utiliser les flèches
pour augmenter ou réduire la valeur d’éloignement.
Vous pouvez placer des ombres sur des portions individuelles ou sur le graphique
entier. Si vous placez des ombres sur des portions individuelles, celles-ci semblent
se trouver sur des couches différentes.
Pour placer des ombres sur des portions individuelles :
1 Sélectionnez le graphique ou des portions individuelles.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Série.
3 Choisissez Individuelle dans le menu local Ombre.
4 Dans l’Inspecteur des graphiques, définissez les attributs des ombres. Pour plus
d’informations, reportez-vous à la section “Ajout d’ombres” à la page 149.
Ajoutez des ombres aux
portions individuelles ou
au graphique entier.
Séparez les portions
individuelles.
Éloignez une portion
en utilisant le curseur
Éloigner et en lui attribuant un nom de série.
F2644.book Page 184 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 185
Pour placer une ombre sur le graphique entier :
1 Sélectionnez le graphique.
2 Dans la sous-fenêtre Séries de l’Inspecteur des graphiques, sélectionnez Groupe
dans le menu local Ombre.
3 Dans l’Inspecteur des graphiques, définissez les attributs des ombres. Pour plus
d’informations, reportez-vous à la section “Ajout d’ombres” à la page 149.
Vous pouvez également modifier l’opacité du graphique et de ses différents éléments,
notamment la légende. Pour plus d’informations, reportez-vous à la section “Ajustement de l’opacité” à la page 150.
Pour faire pivoter un graphique sectoriel :
m Sélectionnez le graphique et faites glisser la molette Angle de rotation dans la sousfenêtre Séries de l’Inspecteur des graphiques, ou tapez une valeur dans le champ
Angle de rotation.
Graphiques à barres et à colonnes
Il est possible d’appliquer des ombres à une série de données spécifique ou à l’ensemble
du graphique. Vous pouvez ajuster l’opacité du graphique dans son ensemble ou pour
des séries individuelles (mais pas des barres individuelles). Vous pouvez également
ajuster l’espacement entre les jeux de données ou entre des barres individuelles.
Pour ajuster l’espacement entre des barres individuelles ou des jeux de données :
1 Sélectionnez le graphique.
2 Dans l’Inspecteur des graphiques, cliquez sur le bouton Séries s’il n’est pas
sélectionné.
3 Pour changer l’espacement entre les barres, tapez une valeur (ou cliquez sur les flèches)
dans le champ Espace entre les barres.
Séparez les barres individuelles
du graphique.
Séparez les jeux de
données du graphique.
Ajoutez des ombres aux barres
ou aux jeux de données.
F2644.book Page 185 Thursday, January 13, 2005 5:18 PM186 Chapitre 9 Création de graphiques
4 Pour changer l’espace entre les jeux de données, tapez une valeur dans le champ
Espace entre les jeux.
La valeur est le pourcentage de l’épaisseur des barres. Le fait de réduire l’espace entre
les barres les rend plus épaisses. Vous pouvez également déplacer le pointeur près du
bord d’une barre jusqu’à ce qu’il devienne une double flèche, puis faire glisser afin de
rendre les barres plus épaisses ou plus fines.
Pour placer une ombre sur chaque barre :
1 Sélectionnez le graphique ou une série de données.
2 Dans la sous-fenêtre Séries de l’Inspecteur des graphiques, sélectionnez Individuelle
dans le menu local Ombre.
Si vous sélectionnez une série de données et que vous choisissez un élément dans
le menu local Ombre, le choix s’applique à toutes les séries du graphique.
3 Dans l’Inspecteur des graphiques, définissez les attributs des ombres. Pour plus
d’informations, reportez-vous à la section “Ajout d’ombres” à la page 149.
Pour ajuster l’opacité d’un graphique :
m Sélectionnez le graphique et faites glisser le curseur Opacité dans l’Inspecteur des
graphismes. Pour plus d’informations, reportez-vous à la section “Ajustement de
l’opacité” à la page 150.
Graphiques à couches et à lignes
Dans les graphiques à couches et à lignes, vous pouvez utiliser des symboles (cercles,
triangles, carrés et losanges) pour représenter les points-images.
Les points-images de cette
série sont représentés à l’aide
de triangles.
Les points-images de cette
série sont représentés à l’aide
de cercles.
F2644.book Page 186 Thursday, January 13, 2005 5:18 PMChapitre 9 Création de graphiques 187
Pour utiliser un symbole pour les points-images d’une série :
1 Sélectionnez une série de données (couche ou ligne).
2 Dans la sous-fenêtre Séries de l’Inspecteur des graphiques, choisissez un symbole
dans le menu local Symbole de point-image.
3 Remplissez le symbole en choisissant l’une des options dans le menu local Remplissage
du symbole.
Pour définir la couleur et l’ombre des lignes :
m Utilisez les contrôles Trait et Ombre de l’Inspecteur des graphiques.
Pour en savoir plus sur l’utilisation de l’Inspecteur des graphismes dans le cadre du
réglage de la couleur et de l’ombre de la ligne ainsi que du remplissage des symboles
de points-image, consultez le chapitre 7, “Modification de propriétés d’objets”.
Choisissez un symbole à utiliser
pour les points-images.
Remplissez les symboles des
points-images avec de la couleur
ou des images.
F2644.book Page 187 Thursday, January 13, 2005 5:18 PMF2644.book Page 188 Thursday, January 13, 2005 5:18 PM189
10
10 Impression et exportation
d’un document vers d’autres
formats
Ce chapitre décrit les différents moyens permettant
d’imprimer, d’afficher et de partager un document
Pages.
En plus d’imprimer ou de faxer un document, vous pouvez le partager électroniquement. En l’exportant vers d’autres formats de document, vous pouvez collaborer avec
d’autres personnes qui utilisent AppleWorks ou Microsoft Word. Vous pouvez également rendre le document disponible sur le Web en le convertissant au format PDF
ou HTML.
Impression de documents
Pages et Mac OS X offrent des outils pouvant imprimer tout ou partie d’un document
dans diverses dispositions, ainsi qu’ajuster la couleur du document imprimé.
Définission de la taille et de l’orientation du papier
Avant d’imprimer, vous devez vous assurer que la taille et l’orientation du papier sont
configurées comme vous le souhaitez. Pour cela, ouvrez la zone de dialogue Format
d’impression.
Pour définir la taille et l’orientation du papier :
1 Choisissez Fichier > Format d’impression.
2 Dans la zone de dialogue Format d’impression, choisissez l’imprimante que vous allez
utiliser dans le menu local Pour.
F2644.book Page 189 Thursday, January 13, 2005 5:18 PM190 Chapitre 10 Impression et exportation d’un document vers d’autres formats
3 Choisissez une taille de papier standard dans le menu local Taille de papier. Si vous
souhaitez définir une taille de papier personnalisée, procédez de la façon suivante :
a Choisissez Taille de papier personnalisée dans le menu local Réglages.
b Cliquez sur Nouveau et attribuez un nom à la nouvelle taille de papier.
c Spécifiez la hauteur et la largeur du papier dans les champs Taille de papier,
puis spécifiez les marges de la zone imprimable à utiliser dans les champs Marges
d’impression.
d Cliquez sur Enregistrer.
e Choisissez Attributs des pages dans le menu local Réglages.
f Dans le menu local Taille de papier, sélectionnez la nouvelle taille de papier que
vous avez nommée. Elle apparaît vers le bas de la liste.
g Cliquez sur OK.
Cliquez afin de créer une taille
de papier personnalisée.
Attribuez un nom à la taille
de papier personnalisée.
Cliquez afin de dupliquer ou de
supprimer une taille de papier
sélectionnée.
Si vous éditez les options de taille
de papier personnalisée, cliquez
sur Enregistrer afin d’enregistrer
les modifications.
Définissez la hauteur et la
largeur du papier.
Définissez les marges de la page.
F2644.book Page 190 Thursday, January 13, 2005 5:18 PMChapitre 10 Impression et exportation d’un document vers d’autres formats 191
4 Sélectionnez une option d’orientation à l’aide d’un des boutons en bas de la zone de
dialogue Format d’impression.
Impression de tout ou partie d’un document
Vous pouvez imprimer un document entier, une plage de pages sélectionnée, ou
uniquement les pages paires ou impaires. Vous pouvez également imprimer plusieurs
pages sur une même feuille de papier, ou imprimer les pages dans l’ordre inverse.
Pour vous assurer que la disposition est conforme à vos besoins, il est judicieux d’afficher un aperçu du document avant de l’imprimer.
Pour afficher un aperçu du document avant l’impression :
1 Choisissez Fichier > Imprimer, puis cliquez sur le bouton Aperçu dans la zone de
dialogue Imprimer.
L’aperçu illustre l’aspect de chaque page d’un document lors de l’impression. Il
n’affiche pas les effets de certaines options de mise en forme, telles que les bordures.
Pour plus d’informations sur les options de mise en forme, reportez-vous à la section
“Configuration de la disposition d’impression et autres options” à la page 192.
2 Sélectionnez la case Épreuve-écran dans le coin inférieur gauche de la fenêtre
Aperçu afin de tenir compte des possibilités de votre imprimante. Par exemple,
si vous imprimez un document couleur sur une imprimante noir et blanc, l’option
Épreuve-écran affiche l’aperçu du document en noir et blanc.
3 Cliquez sur Imprimer afin d’imprimer votre document directement à partir de la
fenêtre Aperçu.
Pour plus d’informations sur l’utilisation de l’aperçu, reportez-vous à l’aide. Choisissez
Aide > Aperçu lorsque la fenêtre Aperçu est active.
Orientation paysage avec
le haut de la page du côté
gauche du papier
Orientation portrait (l’orientation par
défaut de la plupart des modèles)
Orientation paysage avec
le haut de la page du
côté droit du papier
F2644.book Page 191 Thursday, January 13, 2005 5:18 PM192 Chapitre 10 Impression et exportation d’un document vers d’autres formats
Pour imprimer le document complet ou une plage de pages :
1 Choisissez Fichier > Imprimer
2 Choisissez l’imprimante que vous souhaitez utiliser dans le menu local Imprimante.
Si l’imprimante que vous souhaitez utiliser n’apparaît pas dans la liste, choisissez
Modifier la liste des imprimantes et ajoutez-la.
Pour en savoir plus sur l’ajout d’une imprimante, recherchez “Ajouter une imprimante”
dans l’Aide Mac OS. Pour déterminer l’emplacement de l’imprimante que vous utilisez,
positionnez le pointeur sur le nom de l’imprimante lorsque vous la sélectionnez dans
le menu local Imprimante.
3 Tapez le nombre d’exemplaires que vous souhaitez imprimer dans le champ Copies,
puis sélectionnez la case Triées si vous souhaitez imprimer chaque groupe de pages
dans l’ordre avant d’imprimer le groupe suivant. Si vous souhaitez imprimer un lot de
pages 1, puis de pages 2, puis de pages 3, etc., désélectionnez la case.
4 Pour imprimer le document entier, sélectionnez Toutes en regard de Pages.
5 Pour imprimer une plage de pages, sélectionnez De, puis tapez le numéro de la
première page dans le champ De, et le numéro de la dernière page dans le champ “à”.
6 Cliquez sur Imprimer.
Configuration de la disposition d’impression et autres options
Le menu local Copies et pages de la zone de dialogue Imprimer offre plusieurs autres
options d’impression, permettant notamment d’utiliser ColorSync pour ajuster la
couleur (voir la page 194), d’imprimer un document dans l’ordre inverse, d’imprimer
uniquement les pages paires ou impaires, d’imprimer une page de garde (page de
séparation), etc. Une fois que vous avez défini vos options d’impression préférées,
vous pouvez enregistrer ces paramètres en tant que valeur prédéfinie afin de les réutiliser ultérieurement sans effectuer de nouveau toutes les étapes.
Pour imprimer les pages du document dans l’ordre inverse :
m Choisissez Gestion du papier dans le menu local Copies et pages, puis sélectionnez
la case Inverser l’ordre des pages.
F2644.book Page 192 Thursday, January 13, 2005 5:18 PMChapitre 10 Impression et exportation d’un document vers d’autres formats 193
Pour imprimer uniquement les pages paires ou impaires :
m Choisissez Gestion du papier dans le menu local Copies et pages, puis sélectionnez
Pages numérotées impaires ou Pages numérotées paires.
Pour imprimer plusieurs pages sur une même feuille de papier :
1 Choisissez Disposition dans le menu local sous le menu local Préréglages.
2 Choisissez le nombre de pages à afficher sur chaque feuille dans le menu local Page(s)
par feuille.
3 Sélectionnez le sens de la disposition.
4 Choisissez le style de trait devant séparer chaque page imprimée du menu local
Bordure.
Pour imprimer en recto verso :
m Choisissez Disposition dans le menu local sous le menu local Préréglages, puis sélectionnez l’une des options suivantes :
 Reliure côté long : imprime les pages à relier dans la longueur.
 Reliure côté court : imprime les pages à relier côté court du papier.
Remarque : toutes les imprimantes ne peuvent pas être utilisées en recto verso.
Reportez-vous à la documentation fournie avec l’imprimante.
Choisissez un style du trait afin
de séparer les pages imprimées
sur chaque feuille.
Imprimez d’abord de gauche
à droite, puis vers le bas.
Imprimez les pages
d’abord de droite à
gauche, puis vers le bas.
Imprimez les pages
d’abord de haut en bas,
puis vers la droite.
Imprimez les pages
d’abord de haut en bas,
puis vers la gauche.
Affichez un aperçu de la
disposition que vous avez
configurée.
Sélectionnez les options
d’impression recto verso.
F2644.book Page 193 Thursday, January 13, 2005 5:18 PM194 Chapitre 10 Impression et exportation d’un document vers d’autres formats
Pour enregistrer les options d’impression sous forme de préréglage :
m Choisissez Enregistrer sous dans le menu local Préréglages de la zone de dialogue
Imprimer et tapez un nom pour le préréglage.
Pour utiliser les mêmes paramètres ultérieurement, choisissez le nom du préréglage
dans le menu local Préréglages.
Ajustement de la couleur du document avec ColorSync
Vous pouvez rendre les documents imprimés plus clairs, plus foncés ou leur affecter
une teinte sépia, ou encore ajouter d’autres effets, via l’ajout d’un filtre Quartz à la
sortie de l’imprimante. Le filtre utilise la technologie ColorSync afin de modifier le
document imprimé sans modifier le document proprement dit. Vous pouvez également utiliser ColorSync pour modifier la résolution du document.
Remarque : toutes les imprimantes ne peuvent pas imprimer en couleur. Reportezvous à la documentation fournie avec l’imprimante.
Pour ajuster la couleur d’un document :
1 Choisissez Fichier > Imprimer
2 Choisissez ColorSync dans le menu local sous le menu local Préréglages dans la zone
de dialogue Imprimer.
3 Choisissez une option dans le menu local Conversion des couleurs :
 Standard : utilise les réglages par défaut dans Pages afin de contrôler la gestion des
couleurs du document imprimé.
 Dans Imprimante : permet à l’imprimante que vous utilisez de contrôler la gestion
des couleurs du document imprimé.
4 Choisissez une option dans le menu local Filtre Quartz.
Pour afficher un aperçu du document imprimé avec le filtre Quartz que vous avez
choisi, cliquez sur Aperçu.
Une fois que vous avez sélectionné le filtre Quartz souhaité, vous pouvez enregistrer
ce réglage dans le cadre du préréglage, comme décrit ci-dessus. Pour plus d’informations sur ColorSync et les filtres Quartz, reportez-vous à l’Aide Utilitaire ColorSync en
ouvrant l’application ColorSync (située dans Applications/Utilitaires), puis en choisissant Aide > Aide Utilitaire ColorSync.
L’icône de l’utilitaire
ColorSync
F2644.book Page 194 Thursday, January 13, 2005 5:18 PMChapitre 10 Impression et exportation d’un document vers d’autres formats 195
Exportation vers d’autres formats de document
Vous pouvez partager vos documents Pages entre différentes plates-formes en les
exportant vers d’autres formats, tels que Microsoft Word, PDF ou HTML.
Pour exporter un document vers un autre format de fichier :
1 Choisissez Fichier > Exporter.
2 Sélectionnez le type de document souhaité dans la zone de dialogue Exporter.
 PDF : peut être visualisé ou imprimé en mode Aperçu ou dans n’importe quel outil
d’affichage PDF, et peut être édité avec une application PDF
 Word : peut être ouvert et édité dans Microsoft Word sous Mac OS X, ou sous
Windows
 HTML : permet l’utilisation de fichiers son et de séquences, et peut être affiché dans
Safari ou d’autres applications qui affichent le code HTML
 RTF : conserve l’essentiel de la mise en forme du texte et des graphismes ; peut être
ouvert et édité dans un logiciel de traitement de texte
 Texte brut : supprime la mise en forme du texte ; peut être ouvert et édité dans une
application d’édition de texte, telle que TextEdit
3 Cliquez sur Suivant.
4 Tapez le titre du nouveau document et sélectionnez l’emplacement dans lequel
l’enregistrer.
Remarque : lorsque vous exportez un document vers d’autres formats, le nouveau
document n’est pas forcément identique au document Pages.
Lors de l’exportation vers Microsoft Word, l’interligne n’est pas forcément identique,
de sorte que le document Word peut comporter moins de pages que le document
Pages. En outre, il est possible que certaines fonctionnalités typographiques et
certains graphismes ne s’affichent pas, en particulier ceux qui utilisent la transparence
(canaux alpha). Il est possible que les dispositions des tableaux et des colonnes ne
soient pas exportées de manière identique, et que les graphiques créés dans Pages
apparaissent sous forme d’images statiques dans d’autres formats de document. Les
images n’apparaissent pas du tout dans le format Texte brut.
F2644.book Page 195 Thursday, January 13, 2005 5:18 PMF2644.book Page 196 Thursday, January 13, 2005 5:18 PM197
11
11 Conception de modèles de
document
Ce chapitre est destiné aux personnes qui souhaitent
créer leurs propres modèles de document.
Il suppose que vous êtes déjà familiarisé avec les fonctionnalités de conception et
de mise en forme de Pages décrites dans les chapitres précédents.
Les modèles fournis avec Pages fournissent des idées pour la mise en page, et définissent également l’aspect des graphiques, des tableaux et du texte. Dans chaque
modèle, les attributs suivants peuvent être définis :
 Orientation de la page
 Marges de la page
 Numérotation des pages
 Graphismes en arrière-plan (filigrane)
 Divers styles de texte, notamment le corps de texte, les en-têtes, les pieds de page,
les renvois, etc.
 Styles de table des matières
 Styles de puce et de numérotation
 Remplissages d’objet et styles de trait pour les objets dessinés
 Couleurs et styles des graphismes
 Aspect des tableaux
 Mises en pages de modèles supplémentaires
Vous pouvez modifier n’importe lequel de ces attributs afin de créer vos modèles.
La création de votre modèle peut également se résumer à la sélection d’un modèle
existant et à l’ajout du logo de votre entreprise sur la page.
F2644.book Page 197 Thursday, January 13, 2005 5:18 PM198 Chapitre 11 Conception de modèles de document
Si vous souhaitez personnaliser un modèle, par exemple en ajoutant des images,
en modifiant le texte d’un espace réservé ou en définissant de nouveaux styles
de texte, reportez-vous aux sections correspondantes de ce chapitre, puis lisez
“Étape 4 : Enregistrement d’un modèle personnalisé” à la page 207.
Si vous souhaitez créer un modèle de toutes pièces, commencez par un modèle vide.
Il peut être utile de parcourir toutes les sections de ce chapitre dans l’ordre.
Étape 1 : Configuration de document
Avant d’accéder aux niveaux plus détaillés de conception du document, vous devez
commencer par définir la taille et l’aspect général du document. Cela permettra de
garantir la cohérence dans le document. Pour configurer un document, commencez
par effectuer les tâches suivantes :
1 Définissez la taille et l’orientation du papier.
Déterminez la taille et l’orientation du papier qui seront utilisées pour le document
fini. Par exemple, si vous créez un modèle pour des enveloppes, prenez soin de sélectionner la taille d’enveloppe appropriée (ou de créer une taille personnalisée) avant de
poursuivre la conception du document. Pour en savoir plus sur la définition de la taille
et de l’orientation du papier, reportez-vous à la section “Configuration de l’orientation
et de la taille des pages” à la page 101.
2 Définissez les marges de la page.
Définissez la zone de texte du corps et les zones de texte des en-têtes et des pieds
de page. Si votre document sera relié, vous pouvez définir différentes marges pour
les pages recto et verso. Les marges du document sont définies dans l’Inspecteur
des documents. Pour plus d’informations, reportez-vous aux sections “Définition des
marges de page” à la page 102 et “Création d’un document avec des pages opposées
gauche et droite” à la page 106.
3 Insérez la numérotation des pages.
Si votre document nécessite une numérotation des pages ou des pieds de page,
configurez-les à l’aide de l’Inspecteur des documents. Pour plus d’informations,
reportez-vous à la section “Ajout d’en-têtes et de pieds de page, de numéros de page
et de notes de bas de page” à la page 107.
F2644.book Page 198 Thursday, January 13, 2005 5:18 PMChapitre 11 Conception de modèles de document 199
Positionnement d’objets modèle
Si vous souhaitez ajouter des images à l’arrière-plan de chaque page du document
(par exemple un filigrane), placez-les en premier. Si vous créez de nouvelles sections
dans votre document, elles héritent automatiquement des objets modèle que vous
avez positionnés. Vous pouvez supprimer ou repositionner les objets modèle dans les
sections suivantes, si vous le souhaitez.
Pour positionner un objet modèle :
1 Placez une image fixe n’importe où sur la page. Les objets en ligne ne peuvent pas
être utilisés comme objets modèle.
2 Définissez la taille de l’objet.
3 Définissez l’opacité de l’objet. Pour plus d’informations, reportez-vous à la section
“Ajustement de l’opacité” à la page 150.
4 Masquez toute partie de l’image qui ne doit pas apparaître. Pour plus d’informations,
reportez-vous à la section “Rognage (masquage) d’images fixes” à la page 124.
5 Définissez l’habillage souhaité pour le texte. Pour plus d’informations, reportez-vous
à la section “Habillage d’un objet avec du texte” à la page 132.
6 Si vous souhaitez que l’objet apparaisse derrière le texte, sélectionnez-le, puis choisissez Disposition > Placer à l’arrière-plan.
7 Choisissez Format > Avancé > Déplacer l’objet vers le modèle de section.
Une fois que l’objet a été placé dans la section modèle, il ne peut pas être sélectionné,
et par conséquent vous ne pouvez pas le déplacer accidentellement. Si vous souhaitez
le déplacer ou y apporter des modifications, vous pouvez le rendre sélectionnable.
Pour modifier un objet modèle :
m Choisissez Format > Avancé > Rendre les objets modèle sélectionnables, puis sélectionnez l’objet souhaité et modifiez-le.
Les objets modèle comportent des poignées de sélection bleues.
Les objets modèle comportent
des poignées de sélection bleues.
F2644.book Page 199 Thursday, January 13, 2005 5:18 PM200 Chapitre 11 Conception de modèles de document
Pour supprimer un objet modèle et le faire apparaître sur une seule page :
m Choisissez Format > Avancé > Déplacer l’objet vers la page. L’objet n’est plus répété
sur chaque page, mais il apparaît uniquement sur la page sélectionnée. Il peut être
manipulé comme n’importe quel autre objet fixe.
Ajout de guides d’alignement
Les guides d’alignement créés dans un modèle de page y restent afin d’aider toute
personne utilisant le modèle à positionner les éléments sur la page. Les guides apparaissent lorsque les règles ou la disposition sont affichées, et ils disparaissent lorsque
les règles ou la disposition sont masquées.
Pour créer des guides d’alignement sur une page :
1 Accédez à la page à laquelle vous souhaitez ajouter les guides d’alignement.
2 Cliquez à l’extérieur du corps principal du document, de sorte que le point d’insertion
ne soit pas visible.
3 Choisissez Afficher > Afficher les règles.
4 Placez le pointeur sur une règle et faites glisser le guide d’alignement bleu à l’emplacement souhaité sur la page. Vous pouvez changer la couleur des guides d’alignement
via les Préférences Pages.
Étape 2 : Définition de styles
Des styles par défaut doivent être définis pour les éléments suivants d’un document :
 Styles de paragraphe
 Styles de caractère
 Styles de liste
 Styles de table des matières
 Styles de zone de texte
 Styles de forme
 Styles de tableau
 Styles de graphique
 Habillage du texte autour des objets
F2644.book Page 200 Thursday, January 13, 2005 5:18 PMChapitre 11 Conception de modèles de document 201
Vous pouvez personnaliser ces différents éléments pour le modèle que vous créez,
ou bien utiliser les valeurs par défaut du modèle dont vous êtes parti (y compris le
modèle Vide).
Pour en savoir plus sur la création de styles de paragraphe, de styles de caractère et
de styles de liste, consultez le chapitre 4, “Utilisation de styles”. Pour en savoir plus sur
la création de styles pour la table des matières, reportez-vous à la section “Définition
du style d’une table des matières” à la page 115.
Définition de styles par défaut pour les formes, les tableaux et les
graphiques
Les styles par défaut des zones de texte, des formes, des tableaux et des graphiques
déterminent l’aspect de chacun de ces objets lorsqu’il s’affiche pour la première fois
sur la page (par exemple la couleur, la taille et l’orientation de la forme qui s’affiche
lorsque vous choisissez Insérer > Forme > [forme]).
Vous pouvez définir des attributs par défaut pour les zones de texte, les formes, les
tableaux et les graphiques en plaçant chacun de ces éléments sur une page, en les
mettant en forme comme vous le souhaitez, puis en utilisant les commandes du
menu Format afin de définir ces nouveaux attributs comme attributs par défaut.
Définition d’attributs pour les zones de texte et les formes
La définition des attributs par défaut pour les zones de texte et les formes est très
similaire. Créez les zones de texte et les formes telles que vous les souhaitez, notamment pour les polices, les couleurs, l’opacité, les ombres, etc. Étant donné que la
longueur et l’orientation du trait ne peuvent pas être définies dans un modèle, les
attributs du trait (tels que la couleur, l’épaisseur et l’opacité) doivent être définis
séparément.
Pour définir les styles par défaut des zones de texte et des formes :
1 Placez une zone de texte fixe et une forme sur la page. Pour en savoir plus sur le positionnement d’une zone de texte fixe, reportez-vous à la section “Création de renvois,
de barres latérales et de texte en surbrillance” à la page 72. Pour en savoir plus sur le
positionnement d’objets dessinés, reportez-vous à la section “Ajout de formes simples,
de tableaux et de graphiques” à la page 121.
F2644.book Page 201 Thursday, January 13, 2005 5:18 PM202 Chapitre 11 Conception de modèles de document
2 Tapez du texte dans la zone et dans la forme, puis sélectionnez le texte et configurez
ses attributs. Pour en savoir plus sur la configuration des attributs du texte, reportezvous à la section “Mise en forme de la taille et de l’apparence du texte” à la page 51.
3 Sélectionnez la zone de texte et la forme, puis définissez les attributs des deux (par
exemple, la couleur de remplissage et le style de contour). Pour en savoir plus sur la
définition des propriétés des objets, consultez le chapitre 7, “Modification de
propriétés d’objets”.
4 Définissez l’habillage du texte de la zone de texte et de la forme dans l’Inspecteur
d’habillage. Pour en savoir plus sur la définition de l’habillage du texte, reportez-vous
à la section “Habillage d’un objet avec du texte” à la page 132.
5 Sélectionnez la forme ou la zone de texte, puis choisissez Format > Avancé > Définir
un style de figure par défaut ou Définir un style de zone de texte par défaut.
6 Supprimez la zone de texte et la forme de la page.
Définition d’attributs de tableaux
Vous pouvez créer le tableau par défaut en fonction de vos préférences, en définissant
le nombre de rangs et de colonnes, le style et la couleur du trait, les styles de texte, les
ombres, etc.
Pour définir les attributs par défaut des tableaux :
1 Placez un tableau sur la page.
2 Sélectionnez le tableau et définissez ses attributs. Pour en savoir plus sur le positionnement et la mise en forme des tableaux, consultez le chapitre 8, “Création de
tableaux”.
3 Définissez l’habillage du texte autour du tableau.
4 Choisissez Format > Avancé > Définir un style de tableau par défaut.
5 Supprimez le tableau de la page.
Remarque : un tableau est constitué de plusieurs zones de mise en forme, notamment
d’un en-tête de rang, d’un en-tête de colonne, de bordures internes et de bordures
externes. Pour définir les attributs du tableau par défaut, vous devez appliquer chaque
attribut à l’ensemble d’une zone de mise en forme. Par exemple, si vous modifiez la
mise en forme d’une cellule d’un en-tête de rang, la modification n’est pas enregistrée
dans le style de tableau par défaut et vous devrez modifier la mise en forme de
l’ensemble des cellules de l’en-tête de rang.
F2644.book Page 202 Thursday, January 13, 2005 5:18 PMChapitre 11 Conception de modèles de document 203
Définition de styles de graphique par défaut
Vous pouvez définir le type par défaut des graphiques, c’est-à-dire le type de graphique
qui s’affiche lorsque vous choisissez Insérer > Graphique, ainsi que l’aspect par défaut
de chaque type de graphique. Les attributs par défaut doivent être définis séparément
pour chaque type de graphique.
Pour définir le style et la position par défaut des graphiques :
1 Positionnez un graphique sur la page.
2 Sélectionnez le graphique et définissez ses attributs. Pour en savoir plus sur le positionnement et la mise en forme des graphiques, consultez le chapitre 9, “Création de
graphiques”.
3 Définissez l’habillage du texte autour des graphiques.
4 Une fois que vous avez mis en forme et positionné tous les graphiques, sélectionnez
chacun d’eux, un par un, et choisissez Format > Avancé > Définir un style par défaut
pour graphique [type de graphique].
5 Sélectionnez le type de graphique à utiliser par défaut (celui qui apparaît en premier
lorsque vous choisissez Insérer > Graphique), puis choisissez Format > Avancé > Faire
de [type de graphique] le type de graphique par défaut.
6 Supprimez les graphiques de la page.
Définition d’attributs par défaut des graphismes importés
Vous pouvez définir les ombres, l’opacité et la couleur du contour (trait) par défaut des
graphismes importés.
Pour définir les attributs par défaut des images :
1 Positionnez une image sur la page.
2 Sélectionnez l’image et définissez ses attributs. Pour en savoir plus sur la définition
des attributs des objets, reportez-vous aux sections “Changement du style de trait” à
la page 147, “Ajout d’ombres” à la page 149 et “Ajustement de l’opacité” à la page 150.
3 Définissez l’habillage du texte autour de l’image.
4 Choisissez Format > Avancé > Définir un style d’image par défaut.
5 Supprimez l’image de la page.
F2644.book Page 203 Thursday, January 13, 2005 5:18 PM204 Chapitre 11 Conception de modèles de document
Étape 3 : Création de texte et de graphismes destinés aux
espaces réservés
Le texte et les graphismes d’espace réservé modélisent l’aspect du document fini.
Ils fournissent également des instructions pour la personne qui utilise le modèle.
Création de texte d’espace réservé
Si vous souhaitez modifier du texte d’espace réservé qui existe déjà dans un modèle,
vous devez le rendre modifiable.
Pour modifier du texte d’espace réservé :
1 Choisissez Format > Avancé > Activer la création de texte pour espace réservé.
2 Éditez le texte comme vous le feriez normalement.
3 Choisissez Format > Avancé > Désactiver la création de texte pour espace réservé.
Vous pouvez également définir votre texte comme texte d’espace réservé.
Pour créer du texte d’espace réservé :
1 Tapez du texte sur la page et mettez-le en forme de la façon souhaitée.
2 Sélectionnez le bloc de texte que vous souhaitez que les utilisateurs du modèle puissent modifier, puis choisissez Format > Avancé > Définir comme texte pour espace
réservé.
Important : lorsque vous sélectionnez des blocs de texte à définir comme texte
d’espace réservé, prenez soin de ne pas sélectionner le caractère de saut de paragraphe final. Ce faisant, vous provoqueriez la suppression du paragraphe entier
lorsque l’utilisateur commence à taper dans la zone de texte d’espace réservé, et
le nouveau texte utiliserait les attributs du paragraphe suivant. Pour voir le caractère
de saut de paragraphe, choisissez Afficher > Afficher les caractères invisibles.
Pour supprimer du texte d’espace réservé :
m Sélectionnez-le et appuyez sur Supprimer.
F2644.book Page 204 Thursday, January 13, 2005 5:18 PMChapitre 11 Conception de modèles de document 205
Création de graphismes d’espace réservé
Les graphismes d’espace réservé facilitent le dimensionnement et le positionnement
corrects des graphismes en les faisant simplement glisser sur les espaces réservés que
vous avez créés.
Pour créer un graphisme d’espace réservé :
1 Positionnez et dimensionnez une image d’espace réservé sur la page (il peut s’agir
d’une zone ombrée avec des instructions, par exemple).
2 Sélectionnez l’image et choisissez Format > Avancé > Définir comme espace réservé
d’image.
Pour faire d’une image d’espace réservé une image ordinaire :
m Sélectionnez-la puis désélectionnez Définir comme espace réservé d’image dans
le menu Format > Avancé. Un élément sélectionné comporte en face une coche ;
choisissez de nouveau l’élément afin de le désélectionner.
Pour supprimer un graphisme d’espace réservé :
m Sélectionnez l’image et appuyez sur Suppr.
Création de mises en page pour les modèles pouvant être
étendus
Vous pouvez rendre le modèle extensible, de sorte que les utilisateurs puissent
simplement insérer les mises en page supplémentaires que vous avez créées. Celles-ci
sont disponibles à l’aide de la commande Pages du menu Insérer (pour plus d’informations, reportez-vous à la section “Développement du modèle en ajoutant des
pages” à la page 31).
1 Créez une disposition d’une ou plusieurs pages, en insérant un saut de section au
début et à la fin de la disposition.
2 Choisissez Format > Avancé > Capturer les pages. Une zone de dialogue s’ouvre.
3 Attribuez un nom à la mise en page.
F2644.book Page 205 Thursday, January 13, 2005 5:18 PM206 Chapitre 11 Conception de modèles de document
4 Choisissez le nombre de pages à inclure dans la mise en page, à partir du menu local
Inclure.
5 Supprimez les pages du modèle si vous souhaitez qu’elles apparaissent uniquement
dans le sous-menu Pages, mais pas dans le modèle.
Pour gérer les dispositions de page que vous avez créées :
1 Choisissez Format > Avancé > Gérer les pages. Une zone de dialogue s’ouvre.
2 Sélectionnez un titre pour la page et cliquez sur les boutons fléchés vers le haut ou
vers le bas afin de modifier sa position dans la liste.
Cliquez sur le bouton Suppr afin de le supprimer de la liste.
3 Cliquez sur Terminé.
F2644.book Page 206 Thursday, January 13, 2005 5:18 PMChapitre 11 Conception de modèles de document 207
Étape 4 : Enregistrement d’un modèle personnalisé
Vous pouvez enregistrer votre nouveau modèle de façon à ce qu’il apparaisse dans
le sélectionneur de modèles. Lorsqu’un autre utilisateur ouvre le modèle, il s’ouvre
dans l’état dans lequel vous l’avez enregistré. Cela signifie que vous pouvez choisir
de laisser le tiroir Styles ouvert ou fermé, ou d’afficher les caractères invisibles, les
règles et les marques de disposition.
Pour enregistrer le modèle actuel comme modèle personnalisé :
1 Choisissez Fichier > Enregistrer comme modèle.
2 Attribuez un nom au modèle.
3 Votre modèle sera enregistré dans la sous-fenêtre Mes modèles du sélectionneur
de modèles. Si vous ne souhaitez pas que le modèle apparaisse ici, enregistrez-le à
un autre emplacement.
Vous pouvez créer une catégorie de modèle en créant un dossier à l’emplacement
suivant :
[dossier Départ]/Bibliothèque/Application Support/iWork/Pages/Templates
4 Cliquez sur Enregistrer.
F2644.book Page 207 Thursday, January 13, 2005 5:18 PMF2644.book Page 208 Thursday, January 13, 2005 5:18 PM209
Index
A
accents 55
adresses
électroniques 138
afficher
disposition 18
zoom avant/arrière 17
agrandissement de
l’affichage 17
aide, en ligne 12
ajout de pages 31
alignement
du texte 59, 64
texte à puces 96
alignement de texte 60
aperçu avant
impression 49
AppleWorks 29
à puces/numérotés
modification de
styles 94
B
balises de position 38
balises de taille 38
barre d’outils
personnaliser 23
barres latérales
définition de valeurs
par défaut 201
C
caractères
mettre en forme 52
saisie de caractères
spéciaux 57
caractères/symboles
spéciaux 57
caractères invisibles 19
affichage et
masquage 35
césure 88
champ de l’heure 108
champ de la date 108
champs de texte au format
mis à jour
automatiquement
108
colonnes 102
changement des
marges
extérieures 106
changement du
nombre 105
départ du haut d’une
page 106
mise en forme 103
ColorSync 194
commande Annuler 35
configurations de clavier
afficher 56
copiage de texte 41
couleur
dégradé 144
du texte 54, 64
opacité 142
remplissage d’un
objet 144
selectionner 142
coupage de texte 41
D
décalage de la ligne de
base 88
détection des URL 138
dictionnaire
changer 46
langue 88
dimensionnement d’une
image 146
Dimensions d’origine 153
disposition 102
afficher et masquer 35
départ du haut d’une
page 106
disposition des documents
afficher et masquer 35
dispositions de page
création et capture 205
gérer 205
document
enregistrer 47
imprimer 49, 189
Index
F2644.book Page 209 Thursday, January 13, 2005 5:18 PM210 Index
planifier 26
E
Éditeur de graphiques 176
ajout/suppression de
rangs/
colonnes 177
modification des rangs
et des
colonnes 176
enregistrement de
documents 47
en-têtes et pieds de page
discontinus 111
espacement des
caractères 63
espacement du texte 59
espaces réservés d’image.
Voir images
d’espace réservé
espaces réservés du texte.
Voir texte d’espace
réservé
exportation de
documents 195
exposant 51
F
fenêtre Couleurs 26, 141
fenêtre Typographie 59
fichier
enregistrer 47
figures
alignement de texte 60
insertion de texte
dans 76
filigranes 113, 199
Format d’impression 101,
189
format texte enrichi 195
formes
placer 121
G
graphique. Voir
graphiques. Voir
aussi images
graphiques
afficher/masquer
légende 177
ajouter 174
définition de styles par
défaut 203
mise en forme d’axes et
d’étiquettes 179
mise en forme de
l’aspect 178
modification de
données 176
placer 121
transposition de séries/
d’ensembles de
données 171
graphiques à barres 185
graphiques à
colonnes 185
graphiques à couches 186
graphiques à lignes 186
graphiques sectoriels 183
graphismes
importation de
fichiers 119
graphismes d’espace
réservé 205
graphismes modèle 113,
199
guides d’alignement 21
guillemets courbes 58
H
habillage de texte 132
HTML 195
I
icône d’espace 20
Icône d’espace
insécable 20
icône de point
d’ancrage 20
icône de saut de ligne 20
icône de saut de page 20
icône de saut de
paragraphe 20
icône de tabulation 20
icône Tabulation
centrale 65
icône Tabulation
décimale 65
icône Tabulation de
droite 65
icône Tabulation de
gauche 65
images
masquer 124
remplissage 145
images d’espace
réservé 15, 19, 36
images en ligne
ajout 37
images fixes
ajout 37
iMovie 126
F2644.book Page 210 Thursday, January 13, 2005 5:18 PMIndex 211
importation
AppleWorks 29
Microsoft Word 29
impression
ajustement de la
couleur 194
imprimer
création de
préréglages 194
document 49, 189
ordre inverse 192
page de garde 192
pages paires/impaires
uniquement 192
recto verso 193
taille du papier 189
indicateur de
découpage 74,
76, 164
indice 51
Inspecteur d’habillage 132
Inspecteur des
mesures 151
Inspecteur des
tableaux 161
Inspecteur du texte
sous-fenêtre Liste 93
sous-fenêtre
Tabulations 66,
67
sous-fenêtre Texte 60
inspecteurs
à propos 25
interligne
avant/après les
paragraphes 63
définir 62
iPhoto 126
iTunes 126
L
langue 88
changer 46
liens
créer 137
désactivation en vue de
la
modification 140
types 137
vers des signets 139
vers une page Web 137
vers un message
électronique 137
ligature 59, 88
ligne de base 59
lignes orphelines 87
lignes pointillées 68
lignes veuves 87
listes
à puces 69
mise en retrait 71
numérotées 69
saut de ligne 70
listes à puces
créer 69
listes ordonnées 71
créer 71
M
majuscules 59
marge intérieure 78
marges
page 102
paragraphe 68
marges d’un document
configuration 100
marques de mise en forme
Voir caractères
invisibles
masquage d’images 124
menu contextuel 26, 161
Microsoft Word 29, 195
exportation vers 195
mise en forme des
paragraphes
utilisation des
césures 100
utiliser les ligatures 100
mise en retrait des
éléments d’une
liste 71
mode Disposition 18
modèle par défaut 31
modèle personnalisé 207
multimédia
importation de
fichiers 119
N
navigateur de média 126
à propos 36
notes de bas de page
insérer 109
mettre en forme 110
numérotation de
pages 107, 108
numérotation des
pages 107, 108
discontinue 110, 111
numérotation
progressive 96
O
objet
F2644.book Page 211 Thursday, January 13, 2005 5:18 PM212 Index
habillage du texte 134
verrouiller/
déverrouiller 130
objet en ligne
ajout 37
à propos 118
convertir 122
redimensionner 128
objet fixe 37
ajout 37
à propos 119
convertir 122
redimensionner 128
objet modèle 110, 113
objets
conserver les
proportions 153
déplacement vers
l’arrière/vers
l’avant 129
faire pivoter 129
fixes 37
habillage de texte 133
ombres 149
opacité 150
redimensionnement 15
3
regrouper/dissocier 130
repositionnement 153
retournement et
pivot 152
retourner
horizontalement/
verticalement 129
sélection de tous 130
verrouiller/
déverrouiller 41
objets derrière le texte
sélection 129
objets en ligne
déplacement 128
objets fixes
déplacement 128
objets modèle 199
à propos 19
ombres 149
texte 55
opacité 150
orientation, page 101
orientation portrait 101
orthographe 45
P
page
définition des
marges 102
orientation 101, 189
pages,
supplémentaires
31
pages alternées
différents en-têtes/
pieds de page 112
pages opposées
configuration 100, 106
nouvelle section de
document 112
panneau Police
à propos 25
mise en forme de
texte 52
paragraphe
bordures 76
couleur d’arrièreplan 55
couleur de
remplissage 76
marges 68
retrait 69
paysage 101
PDF 123, 195
pieds de page
ajouter 107
numérotation 100, 109
polices 53
couleur 54
style 53
taille 53
première page
définition en tant
qu’unique 112
préréglages 194
puces
modifier 94
R
raccourcis
clavier 26
menus 26
recherche de texte 42
recherche et
remplacement de
texte 42
réglages de
typographie 54,
59
règles 21
affichage 39
changement des
unités 21, 39
remplissage d’image
teintée 147
F2644.book Page 212 Thursday, January 13, 2005 5:18 PMIndex 213
remplissage du
paragraphe 88
renvois
définition de valeurs
par défaut 201
retrait
suspendu 69
rogner. Voir masquage
d’images
RTF 195
S
saut de colonne 105
symbole 105
saut de disposition 18, 105
symbole 105
saut de ligne
listes 70
saut de section 110
sauts
colonnes 105
disposition 18, 105
section 110
sélection d’un nouveau
document 31
Sélectionneur de
modèles 31
signets
ajout et utilisation 139
à propos 137
soulignement du texte 54
sous-fenêtre Info 100
structures
créer 69
structures Voir listes
ordonnées
style de caractère
créer 92
modifier 90
style de liste
modifier 94, 96
style de paragraphe
création 89
modifier 85
style de structure
modifier 96
styles
appliquer 81
copie et collage 85
importer 82
modification d’un
paragraphe 85
modification de
caractères 90
modification de listes à
numérotation
progressive
(structure) 96
substitutions 83
suivi 59
suppression du texte 41
symbole > (dans les
commandes de
menu) 12
symboles
insertion dans le
texte 57
T
tableau
ajout de rangs et de
colonnes 161
cellules, adaptation
automatique au
contenu 165
cellules, alignement de
texte 60, 165
cellules, fractionner 164
cellules, fusionner 164
cellules, marge
intérieure 166
cellules, mise en forme
de bordures 166
cellules,
redimensionner 1
64
cellules, sélection de
bordures 159
cellules,
sélectionner 158
cellules, suppression de
contenu 160
définition des attributs
par défaut 202
modification de
texte 160
nombre de rangs et de
colonnes 162
placer 121, 156
rangs et colonnes d’entête 163
supprimer des rangs et
des colonnes 162
table des matières
générer 114
mise en forme 115
sous-fenêtre 100
tabulation décimale
changement de
caractère 68
tabulations
F2644.book Page 213 Thursday, January 13, 2005 5:18 PM214 Index
changement du
caractère
décimal 68
modification des
tabulations par
défaut 66
taquets de tabulation
régler 64, 67
supprimer 68
texte
alignement 60
alignement et
espacement 59
copier 41
couleur 54
couper 41
lignes barrées 54
majuscules 51
mettre en forme 52
ombres 55
placement vers le haut
ou vers le bas 51
soulignements 54
supprimer 41
taille 53
texte barré 54
texte brut 195
texte d’espace réservé
à propos 19, 33
créer 204
modifier 204
utilisation 33
tiroir Styles
à propos 22
types de fichier
liste des types de
fichiers vidéo/
audio 135
types de fichier image
liste 117
V
vérification
d’orthographe 45
verrouillage d’objets 41
Z
zone de texte
alignement de texte 60
définition de valeurs
par défaut 201
liée 74
mettre en forme 77
zones de texte liées 74
zoom avant/arrière dans
un document 17
F2644.book Page 214 Thursday, January 13, 2005 5:18 PMF2644.book Page 215 Thursday, January 13, 2005 5:18 PMF2644.book Page 216 Thursday, January 13, 2005 5:18 PM
1
1 Installation de votre logiciel
Ce fascicule a été conçu pour vous présenter Logic Studio et vous permettre de l’utiliser
le plus rapidement possible. Les rubriques suivantes seront traitées :
 « À propos du coffret Logic Studio » à la page 2.
 « À propos de l’Aide à l’écran » à la page 4.
 « Mise à niveau de Mac OS X et de QuickTime » à la page 5.
 « Installation de Logic Studio » à la page 6.
 « Installation du contenu » à la page 10.
 « Enregistrement de Logic Studio » à la page 12.
 « Contacter le service d’assistance AppleCare » à la page 13.
Veuillez lire également le document Avant d’installer Logic Studio (se trouvant sur le DVD
d’installation de Logic Studio). Pour obtenir les dernières informations sur Logic Studio,
rendez-vous le site web de Logic Studio à l’adresse www.apple.com/fr/logicstudio.2
À propos du coffret Logic Studio
Logic Studio inclut tous les disques d’installation et de contenu nécessaires à l’installation de Logic Pro 8, de MainStage, de WaveBurner 1.5, de Soundtrack Pro 2 et de
Compressor 3. Logic Studio est également livré avec de la documentation imprimée
et au format PDF vous présentant ces applications.
DVD d’installation et de contenu
Les DVD suivants contiennent des logiciels, de la documentation et des données
supplémentaires.
 DVD d’installation de Logic Studio :il s’agit de votre disque d’installation. Utilisez ce
DVD pour installer tous les composants logiciels dont l’application, les modules ainsi
que l’aide à l’écran.
 DVD des Jam Packs 1 à 3 et DVD de contenu audio 1 à 3 :ces disques contiennent une
bibliothèque étendue d’effets sonores, de fonds musicaux et de boucles au format
Apple Loops. Ils proposent également un ensemble complet d’instruments logiciels
échantillonnés.
Important :les boucles Apple Loops sur ces disques sont proposées au format CAF
(Core Audio Format). Ces fichiers utilisent la compression Apple Lossless pour conserver une qualité audio optimale tout en occupant un espace minimal sur le disque
dur. Les fichiers des boucles Apple Loops plus anciens exploitaient le format AIFF.
 DVD compilant des morceaux de démonstration et des guides d’initiation de Logic Studio:
ce DVD contient un ensemble de morceaux de démonstration et de guides d’initiation
vidéo pour vos applications Logic Studio. Ce disque constitue aussi un DVD vidéo afin
que vous puissiez visionner les guides d’initiation à l’aide de l’application Lecteur DVD
ou tout autre lecteur de DVD autonome compatible.
Remarque :pour utiliser les morceaux de démonstration, copiez simplement le dossier
Demo Songs du DVD sur votre disque dur. Ne lisez pas de morceau de démonstration
directement à partir du DVD car il est fort possible que cela ne fonctionne pas.
Documentation imprimée
En plus de ce document, vous trouverez dans votre coffret Logic Studio les supports
imprimés suivants :
 Manuel de l’utilisateur de Logic Pro 8 : cet ouvrage est le document incontournable sur
tout ce qui a trait à Logic Pro et couvre en détail toutes les fonctionnalités du programme, à l’exception des modules.
 Instruments et effets Logic Studio : ce guide porte sur l’utilisation de tous les modules
d’effets et d’instruments de Logic Studio. Ce guide est commun à toutes les applications Logic Studio pouvant accéder aux instruments ou aux effets. Il ne traite pas
d’un usage des modules propre à chaque application mais se concentre plutôt sur
leurs fonctions, leurs paramètres et leur utilisation.3
 Premiers contacts avec Logic Pro 8 :ce manuel a été rédigé pour vous présenter
Logic Pro et vous permettre de l’utiliser le plus rapidement possible. Vous y trouverez la description des principaux aspects de l’interface, des commandes et des menus
de Logic Pro.
 Premiers contacts avec Soundtrack Pro 2 :présente une vue d’ensemble de l’application et explique les principes de base du montage audio à l’aide de Soundtrack Pro.
 Manuel de l’utilisateur de MainStage :ce manuel détaille l’utilisation de MainStage
pour les représentations en direct.
Documentation au format PDF
La documentation suivante est disponible au format PDF. Elle se trouve dans le dossier
Documentation du DVD d’installation de Logic Studio.
 Tous les documents imprimés mentionnés ci-dessus sont également inclus sous
forme de fichiers.
 Nouvelles fonctionnalités de Logic Pro 8 : ce document propose une vue d’ensemble
succincte des améliorations et autres modifications apportées à Logic Pro 8 (depuis
Logic Pro 7).
 Prise en charge des surfaces de contrôle Logic Pro 8 : ce document traite de l’utilisation
des surfaces de contrôle dans Logic Pro 8.
 Guide TDM de Logic Pro 8 et Utilisation de matériel Apogee :ces documents abordent
des aspects clé de l’utilisation de matériel TDM ou Apogee dans Logic Pro 8.
 Manuel de l’utilisateur de Soundtrack Pro :ce manuel fournit des informations
détaillées sur l’utilisation de Soundtrack Pro dans le processus de post-production
audio.
 Manuel de l’utilisateur de WaveBurner :ce document explique comment utiliser de
WaveBurner pour compiler, mastériser et graver des CD audio.
 Manuel de l’utilisateur de Compressor :cet ouvrage fournit des informations complè-
tes sur l’utilisation de Compressor pour procéder à l’encodage rapide de fichiers,
et ce dans de nombreux formats standard.
 Manuel de l’utilisateur de l’Utilitaire de réponses d’impulsion :ce document traite de
la création de réponses d’impulsion mono, stéréo et Surround personnalisées pour
Space Designer, l’effet de réverbération à convolution de Logic Studio à l’aide de
l’Utilitaire de réponses d’impulsion.
 Manuel de l’utilisateur de l’Utilitaire de boucles Apple Loops :il propose des informations sur l’utilisation de l’Utilitaire de boucles Apple Loops permettant de créer des
boucles audio dans ce format.4
À propos de l’Aide à l’écran
L’aide à l’écran et les Informations de dernière minute sont accessibles à partir des
menus d’Aide des applications Logic Studio.
Aide à l’écran
L’Aide à l’écran (disponible à partir du menu Aide) vous permet d’accéder directement
aux informations relatives à ce que vous manipulez dans les applications. Le contenu
de l’aide à l’écran est identique à celui des manuels mais ce format bénéficie de recherches effectuables dans ce contenu.
Pour accéder à l’Aide à l’écran :
m Sélectionnez le nom du manuel souhaité dans le menu Aide.
Parcourez le contenu ou lancez des recherches pour accéder aux informations voulues
ou à la rubrique appropriée.
Informations de dernière minute
Ce document est publié en ligne et fait l’objet de mises à jour au fur et à mesure que
de nouvelles versions des applications Logic Studio sont commercialisées ou que des
informations inédites sont mises à disponibilité.
Pour vérifier la présence de mises à jour récentes, effectuez l’une des opérations
suivantes :
m Sélectionnez « Informations de dernière minute » dans le menu Aide de l’application.
Si Safari est le navigateur web par défaut de votre système, le fichier s’affiche directement dans Safari. Il se peut que d’autres navigateurs web ne soient pas prévus pour
assurer cette fonctionnalité, auquel cas le fichier est téléchargé à l’emplacement de
téléchargement par défaut.5
Mise à niveau de Mac OS X et de QuickTime
Avant d’installer Logic Studio, vous devez passer en revue la configuration minimale
requise indiquée dans le document Avant d’installer Logic Studio, accessible à partir du
disque d’installation de Logic Studio. Le cas échéant, vous devez mettre à jour votre
logiciel système pour vous assurer de bien disposer de la toute dernière version de
Mac OS X. Vous devez aussi mettre à niveau QuickTime à la version la plus récente.
Pour mettre votre logiciel système à jour :
1 Choisissez Pomme > Mise à jour de logiciels.
La fenêtre de mise à jour de logiciels s’affiche, indiquant les nouveaux logiciels ou
les mises à jour disponibles pour votre ordinateur.
2 Au besoin, suivez les instructions à l’écran pour mettre à jour Mac OS X avec
la dernière version.
Installer Logic Studio et saisir le numéro de série déverrouille automatiquement
les fonctionnalités multimédia étendues de QuickTime Pro.
Important :la procédure décrite brièvement ci-dessus n’est valable que pour les mises
à jour de logiciels gratuites. Elle part également du principe que vous disposez d’une
connexion à Internet. Les mises à jour payantes peuvent être achetées auprès de votre
détaillant Apple habituel. C’est le cas si vous devez mettre à jour votre logiciel système
d’une version principale de Mac OS X à l’autre, par exemple de la version 10.3 à la version 10.4.6
Installation de Logic Studio
Lorsque vous installez Logic Studio, ses composants se placent dans le dossier Applications de votre disque de démarrage. Vous pouvez choisir à votre gré l’emplacement
d’installation pour les paquets dont le contenu occupe plus d’espace.
Une installation complète de Logic Studio requiert l’insertion de chaque disque, en
commençant par le disque d’installation de Logic Studio. Une fois le contenu de ce
disque installé, vous êtes invité à insérer les disques restants (selon leur nom) pour
continuer l’installation des autres composants de Logic Studio.
Remarque :avant de pouvoir installer Logic Studio, vous devez ouvrir une session sur
votre ordinateur en tant qu’administrateur à l’aide du mot de passe d’administrateur.
Reportez-vous à l’Aide Mac pour en savoir plus.
Pour installer et autoriser l’accès à Logic Studio :
1 Insérez le DVD d’installation de Logic Studio dans votre lecteur de DVD.
2 Lancez l’installation en double-cliquant sur l’icône d’installation de Logic Studio,
puis suivez les instructions à l’écran.
3 Le programme d’installation effectue alors une vérification de la conformité à la configuration requise pour savoir si l’application Logic Studio peut être installée. Cliquez sur
Continuer.
4 Lisez les Informations de bienvenue, puis cliquez sur Continuer.
5 Lisez les informations reprises dans le document Avant d’installer, puis cliquez sur
Continuer.
6 Lisez le Contrat de licence du logiciel, puis cliquez sur Continuer.
7 Une zone de dialogue vous demandant si vous acceptez les termes du contrat de
licence s’affiche alors. Cliquez sur Accepter pour continuer.
8 Sélectionnez le disque de destination pour l’installation de Logic Studio, puis cliquez
sur Continuer.7
9 Dans la sous-fenêtre « Informations sur l’utilisateur », tapez vos prénom et nom. Saisir
le nom de votre entreprise est facultatif.
10 Pour le champ Numéro de série, le numéro de Logic Studio en question se trouve sur
l’étiquette du numéro de série du logiciel, celle collée sur la couverture de ce document.
Cliquez ensuite sur Continuer.
La sous-fenêtre d’installation personnalisée apparaît alors.
11 Sélectionnez les éléments à installer, puis cliquez sur Installer.
12 Un triangle d’affichage se trouve en regard de certains éléments. Cliquez dessus pour
révéler des éléments complémentaires pouvant être sélectionnés à leur tour.
Tapez votre nom
(obligatoire).
Tapez le nom de votre
entreprise (facultatif).
Saisissez votre numéro
de série, en incluant les
tirets (obligatoire).8
13 L’option de choisir un emplacement personnalisé vous est proposée pour certains
fichiers de contenu supplémentaire. Cliquez sur les icônes représentant des dossiers
dans la colonne Emplacement et choisissez Autre dans le menu local pour indiquer
un emplacement personnalisé.
Important :veuillez lire l’intégralité de la rubrique « Installation du contenu » à la
page 10 pour tout savoir sur ce type d’installation, particulièrement si vous mettez à
niveau Soundtrack Pro ou si vous avez installé auparavant des bibliothèques de Jam
Packs facultatives.
14 Après avoir configuré les éléments de la sous-fenêtre d’installation personnalisée,
le cas échéant, cliquez sur Installer.
15 Une zone de dialogue vous demandant vos nom et mot de passe apparaît alors.
Assurez-vous d’indiquer le nom et le mot de passe correspondant à un compte
d’utilisateur disposant d’autorisations d’administrateur. Cliquez sur OK une fois terminé.
Le programme affiche une barre de progression du processus d’installation et vous
invite à insérer des disques spécifiques pour continuer l’installation.
Une fois l’installation terminée, vous pouvez commencer à utiliser les applications
Logic Studio.
Avertissement :certains des disques de Logic Studio incluent quelques programmes
d’installation, dont l’icône est accessible à partir du Finder. Ne cliquez sur aucun
fichier d’un des disques depuis une fenêtre du Finder. Vous devez uniquement suivre
les messages qu’affiche le programme d’installation de Logic Studio. Lancer un de ces
programmes d’installation alors que celui de Logic Studio est toujours en cours d’exé-
cution peut entraîner une installation incomplète de Logic Studio, ce qui peut vous
obliger à reprendre tout le processus.9
Un mot sur la structure des dossiers
Pour éviter d’entraver le bon fonctionnement de Logic Studio, veillez à ne pas modifier
la structure des dossiers créés pendant l’installation du logiciel. Pour mémoire, les dossiers suivants se trouvent ainsi installés sur votre système :
 /Bibliothèque/Applications Support/Logic et ~/Bibliothèque/Applications Support/
Logic
 /Bibliothèque/Applications Support/Soundtrack Pro et ~/Bibliothèque/Applications
Support/Soundtrack Pro
 /Bibliothèque/Applications Support/WaveBurner et ~/Bibliothèque/Applications
Support/WaveBurner
Ceux-ci ne doivent jamais êtres déplacés ou renommés. Veuillez utiliser des alias si vous
souhaitez travailler avec un dossier (le dossier Sampler Instruments par exemple) figurant à un autre emplacement.
Installation de Logic Node
Le dossier Node Installer (à la racine du DVD d’installation de Logic Studio) contient
tous les fichiers nécessaires à l’installation de Logic Node pour pouvoir utiliser l’application avec Logic Studio.
Pour installer Logic Node :
1 Copiez le dossier Node Installer du DVD d’installation de Logic Studio sur votre
ordinateur nœud.
2 Montez l’image disque LogicNode 8.0 du dossier en double-cliquant dessus.
3 Lancez l’installation en double-cliquant sur l’icône de LogicNode dans le volume
LogicNode 8.0 monté, puis suivez les instructions à l’écran.10
Installation du contenu
Logic Studio inclut du contenu supplémentaire, tel que des réponses d’impulsion
Surround, des boucles et des modèles, que vous pouvez installer ou non.
À propos du contenu pour Logic Studio
Voici une description succincte du contenu inclus avec Logic Studio, ainsi que les
emplacements d’installation par défaut. Dans certains cas, vous pouvez indiquer
des emplacements personnalisés pour ce contenu, tel qu’un autre disque dur ou
un dossier spécifique.
L’installation des éléments suivants est facultative :
 Les fichiers de réponses d’impulsion Surround pour Logic Studio : ces fichiers sont nécessaires si vous comptez utiliser les capacités Surround de l’effet Space Designer.
Remarque :ces fichiers s’installent invariablement dans le dossier /Bibliothèque/
Audio/Impulse Response/Apple.
 Jam Packs :fournit un ensemble complet de boucles Apple Loops, ainsi que des instruments logiciels à échantillons et des réglages de tranche de console, organisés par
genre musical. Les Jam Packs sont vendus séparément mais ils proposent des fichiers
de réglages et de modèles de tranches de console supplémentaires.
 Effets sonores et fonds musicaux : inclut un ensemble complet d’effets sonores et de
boucles Apple Loops musicales. Ce supplément reprend également le contenu Apple
Loop des versions antérieures de Soundtrack Pro (voir aussi « Que se passe-t-il avec le
contenu Soundtrack Pro ? » à la page 12).
Remarque :l’emplacement par défaut du contenu Apple Loop est /Bibliothèque/
Audio/Apple Loops/Apple. Utiliser le dossier par défaut vous permet d’accéder aux
boucles Apple Loops à travers d’autres applications prenant en charge le format
Apple Loops, telles que GarageBand.
 Extreme Analog :installe la bibliothèque Extreme Analog de l’EXS24 mkII, laquelle
propose une panoplie riche en sons de synthétiseur analogique pour l’échantillonneur EXS24 mkII.
 Extreme Digital :installe la bibliothèque Extreme Digital de l’EXS24 mkII, complétant
l’EXS24 mkII d’une gamme étendue de sons de synthétiseur numérique.
 Contenu GarageBand :installe les boucles Apple Loops et les réglages de tranche de
console inclus avec GarageBand.
 Contenu du patrimoine Logic Pro :installe le contenu livré avec Logic Pro 7 mais qui
n’est plus inclus dans Logic Pro 8. Vous devrez installer ce contenu pour ouvrir des
projets Logic Pro 7 dans Logic Pro 8.11
Installation personnalisée de contenu
Le programme d’installation de Logic Studio prévoit une sous-fenêtre d’installation
personnalisée qui vous permet d’indiquer les applications et le contenu à installer.
Vous pouvez aussi utiliser cette sous-fenêtre pour installer ultérieurement le contenu
sélectionné, si vous choisissez de ne pas les installer avec les applications.
Si vous décidez d’installer les éléments sélectionnés du contenu plus tard, en utilisant
le programme d’installation de Logic Studio, le processus suit exactement ce qui est
décrit dans « Installation de Logic Studio » à la page 6, sauf que vous n’avez pas besoin
de taper votre numéro de série.
Les éléments de contenu que vous pouvez placer dans un emplacement personnalisé
sont différenciés par une icône représentant un dossier, reprise dans la colonne Emplacement de la sous-fenêtre d’installation personnalisée. Vous pouvez indiquer l’emplacement en cliquant sur le dossier approprié, puis en choisissant Autre dans le menu local.
Cliquez sur l’icône représentant un dossier, puis choisissez
Autre dans le menu local afin
d’indiquer un emplacement
personnalisé pour le contenu.
Cliquez sur le triangle
d’affichage pour
révéler des éléments
complémentaires.12
Installation de contenu pendant la mise à niveau
Si vous mettez à niveau Soundtrack Pro ou si vous avez installé auparavant des bibliothèques Jam Pack, vous devez être conscient de certains cas pouvant se présenter.
Que se passe-t-il avec les Jam Packs ?
Si vous choisissez d’installer des Jam Packs qui sont déjà sur votre ordinateur, seul
le contenu complémentaire inclus avec Logic Studio (à savoir les réglages de tranche
de console et les modèles) s’installent dans ce cas.
Que se passe-t-il avec le contenu Soundtrack Pro ?
Si vous avez opté pour l’emplacement par défaut ou un emplacement personnalisé
déjà utilisé (reprenant le contenu audio de Soundtrack Pro au format AIFF), le contenu
sur votre disque dur est alors conservé. Tout nouveau contenu audio, au format CAF,
s’installe à l’emplacement choisi (qu’il soit par défaut ou personnalisé).
Enregistrement de Logic Studio
Au premier démarrage d’une des applications Logic Studio, vous êtes invité à indiquer
les informations d’enregistrement. Par défaut, les données issues de votre fiche du Carnet d’adresses sont reprises automatiquement dans les champs appropriés.
Pour enregistrer Logic Studio pour un utilisateur présentant d’autres données que
celles tirées de votre fiche du Carnet d’adresses :
1 Remplissez les champs Nom, Adresse, Entreprise et Adresse électronique.
2 Si vous voulez recevoir des informations sur l’actualité des produits et sur les mises à
jour de logiciels Apple sur votre compte de messagerie, cochez la case.
3 Si vous voulez passer en revue les mentions légales Apple, cliquez sur Confidentialité.
4 Une fois terminé, cliquez sur S’enregistrer.
Logic Studio est à présent enregistré.
Remarque :si vous décidez de cliquer sur le bouton S’enregistrer plus tard, vous êtes
alors invité à nouveau à vous enregistrer toutes les cinq ouvertures d’une des applications Logic Studio.Contacter le service d’assistance AppleCare
Apple offre plusieurs types de service et d’assistance pour Logic Studio et votre maté-
riel Apple. Quel que soit votre problème, il est préférable d’avoir les informations suivantes à portée de main. Plus les informations fournies aux agents de l’assistance Apple
seront nombreuses, plus vite votre question pourra être répondue.
 Le numéro d’identifiant d’assistance pour Logic Studio.
Remarque :ce numéro de onze chiffres figure sur la couverture de ce document.
 La version de Mac OS X installée. Pour connaître la version de Mac OS X, choisissez
le menu Pomme > À propos de ce Mac.
 La version de l’application installée à propos de laquelle vous avez une question.
Pour connaître la version de l’application installée sur votre ordinateur, choisissez
[Nom de l’application] > À propos de [Nom de l’application].
Vous pouvez également cliquer, tout en maintenant la touche Contrôle enfoncée,
sur l’icône de l’application dans le Finder, puis choisir Lire les informations dans
le menu contextuel.
 Le modèle de l’ordinateur que vous utilisez.
 La quantité de RAM installée sur votre ordinateur. Pour le savoir, choisissez Pomme >
À propos de ce Mac.
 Une liste de tout matériel de tierce partie branché à l’ordinateur ou qui y est installé.
Veuillez préciser les données du fabricant et du numéro du modèle. Pensez également aux disques durs ainsi qu’aux interfaces audio et MIDI.
 Une liste répertoriant les modules de tierce partie ou autres logiciels audio, MIDI ou
vidéo installés en plus de Logic Studio.
 Une description exhaustive de la situation à l’origine de l’erreur. Précisez les messages d’erreur, les codes d’erreur et le texte exact des avertissements, le cas échéant.
Le service d’assistance AppleCare est disponible en ligne sur
http://www.apple.com/fr/support. Vous pouvez sélectionner l’application
pour retrouver des informations spécifiques la concernant.
Il existe également un élément dans le menu Aide de chaque application vous permettant d’accéder directement au site web AppleCare.
Pour accéder au site web AppleCare depuis l’application :
m Choisissez Aide > Assistance [Nom de l’application].
© 2007 Apple Inc. Tous droits réservés.
Apple, le logo Apple, Jam Pack, Logic, Mac, Mac OS, QuickTime et Soundtrack sont des marques d’Apple Inc. déposées aux
États-Unis et dans d’autres pays. Finder, GarageBand, MainStage et Safari sont des marques d’Apple Inc. AppleCare est une
marque de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays.
F019-0870-A
Congratulations, you and your MacBook Pro
were made for each other.Say hello to your MacBook Pro.
www.apple.com/macbookpro
finder
Pinch and
expand
Click anywhere Rotate
Scroll Swipe
Multi-Touch trackpad
Scroll through files, adjust
images, and enlarge text
using just your fingers.
Mac Help
Built-in iSight camera and iChat
Video chat with friends and
family anywhere in the world.
Mac Help
Finder
Browse your files
like you browse
your music with
Cover Flow.
Mac Help
isight
MacBook Pro
trackpadMac OS X Leopard
www.apple.com/macosx
iLife ’09
www.apple.com/ilife
Time Machine
Automatically
back up and
restore your files.
Mac Help
Spotlight
Find anything
on your Mac.
Mac Help
time machine
spotlight
Safari
Experience the web
with the fastest
browser in the world.
Mac Help
safari
Quick Look
Instantly preview
your files.
Mac Help
quick look
iPhoto
Organize and
search your
photos by faces,
places, or events.
iPhoto Help
photos
iMovie
Make a greatlooking movie in
minutes or edit
your masterpiece.
iMovie Help
movie
GarageBand
Learn to play.
Start a jam session.
Record and mix
your own song.
GarageBand Help
record
iWeb
Create custom
websites and publish
them anywhere with
a click.
iWeb Help
website
iPhoto
Organize and
search your
photos by faces,
places, or events.
iPhoto Help
photos
iMovie
Make a greatlooking movie in
minutes or edit
your masterpiece.
iMovie Help
movie
GarageBand
Learn to play.
Start a jam session.
Record and mix
your own song.
GarageBand Help
record
iWeb
Create custom
websites and publish
them anywhere with
a click.
iWeb Help
websiteContents 5
Contents
Chapter 1: Ready, Set Up, Go
9 What’s in the Box
9 Setting Up Your MacBook Pro
16 Putting Your MacBook Pro to Sleep or Shutting It Down
Chapter 2: Life with Your MacBook Pro
20 Basic Features of Your MacBook Pro
22 Keyboard Features of Your MacBook Pro
24 Ports on Your MacBook Pro
26 Using the Multi-Touch Trackpad
30 Using the MacBook Pro Battery
32 Getting Answers
Chapter 3: Boost Your MacBook Pro
37 Replacing the Hard Disk Drive
44 Installing Additional Memory
Chapter 4: Problem, Meet Solution
51 Problems That Prevent You from Using Your MacBook Pro
55 Using Apple Hardware Test6 Contents
56 Problems with Your Internet Connection
58 Problems with AirPort Extreme Wireless Communication
59 Keeping Your Software Up to Date
60 Reinstalling the Software That Came with Your MacBook Pro
61 Learning More, Service, and Support
64 Locating Your Product Serial Number
Chapter 5: Last, but Not Least
66 Important Safety Information
69 Important Handling Information
72 Understanding Ergonomics
74 Apple and the Environment
76 Regulatory Compliance Information
Looking for Something?
82 Index1
1 Ready, Set Up, Go
www.apple.com/macbookpro
Mac Help Migration Assistant8 Chapter 1 Ready, Set Up, Go
Your MacBook Pro is designed so that you can set it up quickly and start using it right
away. If you have never used a MacBook Pro or are new to Macintosh computers, read
this chapter for help getting started.
Important: Read all the installation instructions (and the safety information starting on
page 66) carefully before you first use your computer.
If you are an experienced user, you may already know enough to get started. Make
sure you look over the information in Chapter 2, “Life with Your MacBook Pro,” to find
out about the new features of this MacBook Pro.
Many answers to questions can be found on your computer in Mac Help. For
information about using Mac Help, see “Getting Answers” on page 32. Apple may
release new versions and updates to its system software, so the images shown in this
book may be slightly different from what you see onscreen.Chapter 1 Ready, Set Up, Go 9
What’s in the Box
Setting Up Your MacBook Pro
Your MacBook Pro is designed so that you can set it up quickly and start using it right
away. The following pages take you through the setup process, including these tasks:
 Plugging in the 85W MagSafe Power Adapter
 Connecting cables and accessing a network
 Turning on your MacBook Pro and using the trackpad
 Configuring a user account and other settings using Setup Assistant
 Setting up the Mac OS X desktop and preferences
85W MagSafe Power Adapter AC power cord
®10 Chapter 1 Ready, Set Up, Go
Important: Remove the protective film around the 85W MagSafe Power Adapter before
setting up your MacBook Pro.
Step 1: Plug in the 85W MagSafe Power Adapter to provide power to the
MacBook Pro and charge the battery.
Make sure the AC plug is fully inserted into the power adapter and the electrical
prongs on your AC plug are in their completely extended position. Insert the AC plug
of your power adapter into a power outlet and the MagSafe connector into the
MagSafe power port. As the MagSafe connector gets close to the port, you’ll feel a
magnetic pull drawing it in.
To extend the reach of your power adapter, replace the AC plug with the AC power
cord. First pull the AC plug up to remove it from the adapter, and then attach the
included AC power cord to the adapter, making sure it is seated firmly.
When disconnecting the power adapter from an outlet or from the computer, pull the
plug, not the cord.
®
MagSafe connector
AC power cord
AC plug ¯ MagSafe power portChapter 1 Ready, Set Up, Go 11
Note: When you first connect the power adapter to your MacBook Pro, an indicator
light on the MagSafe connector starts to glow. An amber light indicates the battery
is charging. A green light indicates that the battery is fully charged. If you don’t see a
light, make sure the connector is seated properly and the power adapter is plugged in.
Step 2: Connect to a wireless or wired network.
 To use a wireless network with the built-in AirPort Extreme technology, make sure the
wireless base station is turned on and that you know the name of the network. After
you turn on your MacBook Pro, Setup Assistant guides you through the connection
process. For troubleshooting tips, see page 58.
 To use a wired connection, connect one end of an Ethernet cable to your
MacBook Pro and the other end to a cable modem, DSL modem, or network.
Gigabit Ethernet port
(10/100/1000Base-T)
G
®
Ethernet
cable12 Chapter 1 Ready, Set Up, Go
 To use a dial-up connection, you need the external Apple USB Modem, available from
the online Apple Store at www.apple.com/store or from an Apple Authorized Reseller.
Connect the Apple USB Modem to a USB port on your MacBook Pro, and then
connect a phone cord (not included) from the modem into a phone wall jack.
Step 3: Press the power (®) button briefly to turn on your MacBook Pro.
You hear a tone when you turn on the computer.
It takes the MacBook Pro a few moments to start up. After it starts up, Setup Assistant
opens automatically.
If your MacBook Pro doesn’t turn on, see “If your MacBook Pro doesn’t turn on or start
up” on page 53.
®
® Power buttonChapter 1 Ready, Set Up, Go 13
Step 4: Configure your MacBook Pro with Setup Assistant.
The first time you turn on your MacBook Pro, Setup Assistant starts. Setup Assistant
helps you enter your Internet and email information and set up a user account on your
MacBook Pro. If you already have a Mac, Setup Assistant can help you automatically
transfer files, applications, and other information from your previous Mac. See the next
section, “Migrating Information to Your MacBook Pro,” for more information.
If you don’t intend to keep or use your other Mac, it’s best to deauthorize it from
playing music, videos, or audiobooks that you’ve purchased from the iTunes Store.
Deauthorizing a computer prevents any songs, videos, or audiobooks you’ve purchased
from being played by someone else and frees up another authorization for use. For
information about deauthorizing, in iTunes, open Help > iTunes Help.14 Chapter 1 Ready, Set Up, Go
Migrating Information to Your MacBook Pro
You can follow the prompts in Setup Assistant to migrate existing user accounts, files,
applications, and other information from another Mac computer. You can do this with
one of the following methods:
 Using a FireWire cable to connect the two computers together and transfer the
information
 Using an Ethernet cable connected directly between both computers, or connecting
both computers to the same network
 Wirelessly, directly between both computers, or with both computers on the same
wireless network
Before performing migration, use Software Update on your other Mac to ensure you
have the latest version of Mac OS X software—either Mac OS X v10.4.11 or Mac OS X
v10.5.6 (or later).
You can choose the items (user accounts, documents, movies, music, photos, and so
on) that you want to migrate to your MacBook Pro.
Important: Don’t use the other Mac for anything else until the migration is complete.
If you don’t use Setup Assistant to transfer information when you first start up your
computer, you can do it later using Migration Assistant. If the connection is terminated
during migration, you can resume the migration at a later time using Migration
Assistant on your MacBook Pro and your other Mac. Go to the Applications folder, open
Utilities, and double-click Migration Assistant. Chapter 1 Ready, Set Up, Go 15
Step 5: Customize the Mac OS X desktop and set preferences.
Menu bar
Dock System Preferences icon
Help menu Spotlight search icon
Finder icon16 Chapter 1 Ready, Set Up, Go
You can quickly customize the desktop using System Preferences. Choose Apple () >
System Preferences from the menu bar or click the System Preferences icon in the
Dock. System Preferences is your command center for most settings on your
MacBook Pro. For more information, open Mac Help and search for “System
Preferences” or for the specific preference you want to change.
Putting Your MacBook Pro to Sleep or Shutting It Down
When you finish working with your MacBook Pro, you can put it to sleep or shut
it down.
Putting Your MacBook Pro to Sleep
If you’ll be away from your MacBook Pro for only a short time, put it to sleep. When the
computer is in sleep, you can quickly wake it and bypass the startup process.
To put your MacBook Pro to sleep, do one of the following:
 Close the display.
 Choose Apple () > Sleep from the menu bar.
 Press the power (®) button and click Sleep in the dialog that appears.
 Choose Apple () > System Preferences, click Energy Saver, and set a sleep timer.
NOTICE: Wait a few seconds until the sleep indicator light starts pulsing (indicating
that the computer is in sleep and the hard disk has stopped spinning) before moving
your MacBook Pro. Moving your computer while the disk is spinning can damage the
hard disk, causing loss of data or the inability to start up from the hard disk.Chapter 1 Ready, Set Up, Go 17
To wake your MacBook Pro:
 If the display is closed, simply open it to wake up your MacBook Pro.
 If the display is already open, press the power (®) button or any key on the keyboard.
When your MacBook Pro wakes from sleep, your applications, documents, and
computer settings are exactly as you left them.
Shutting Down Your MacBook Pro
If you aren’t going to use your MacBook Pro for a couple of days or longer, it’s best to
shut it down. The sleep indicator light goes on briefly during the shutdown process.
To shut down your MacBook Pro, do one of the following:
m Choose Apple () > Shut Down from the menu bar.
m Press the power (®) button and click Shut Down in the dialog that appears.
If you plan to store your MacBook Pro for an extended period of time, see “Important
Handling Information” on page 69 for information about how to prevent the battery
from draining completely.2
2 Life with Your MacBook Pro
www.apple.com/macosx
Mac Help Mac OS X20 Chapter 2 Life with Your MacBook Pro
Basic Features of Your MacBook Pro
®
® Power button
Camera indicator light
iSight camera
Built-in stereo
speakers
Battery indicator
lights (side)
Microphone
Sleep
indicator light
Infrared (IR)
receiver
Trackpad
Slot-loading
SuperDrive
Security slotChapter 2 Life with Your MacBook Pro 21
Built-in iSight camera and indicator light
Videoconference using the iChat application, take pictures with Photo Booth, or capture
video with iMovie. The indicator light glows when the camera is operating.
Built-in stereo speakers
Listen to music, movies, games, and other multimedia files.
Built-in microphone
Capture sounds with the microphone (located above the Esc key on your keyboard) or
talk with friends live over broadband using the included iChat application.
Built-in battery and battery indicator lights
Use battery power when you are away from a power outlet. Press the battery button to
activate indicator lights that show the remaining battery charge.
Trackpad
Click or double-click anywhere on the trackpad. Touch the trackpad with one or more
fingers to move the pointer and use Multi-Touch gestures (described on page 26).
Sleep indicator light
A white light pulses when the MacBook Pro is in sleep.
Infrared (IR) receiver
Use an optional Apple Remote (available separately) with the IR receiver to control
Front Row and Keynote on your MacBook Pro from up to 30 feet (9.1 meters) away.
Security slot
Attach a lock and cable (available separately) to prevent theft.
Slot-loading SuperDrive
This optical drive reads and writes to standard-size CDs and DVDs.
® Power button
Turn your MacBook Pro on and off, or put it to sleep.22 Chapter 2 Life with Your MacBook Pro
Keyboard Features of Your MacBook Pro
®
Function (fn) key
esc
F1 F2 F3 F4 F5 F6 F7 F8 F9 F10 F11 F12
—
C
- Volume
keys
Brightness
keys
Media
Eject key
Mute
key
Exposé Dashboard Media
keys
Keyboard illumination
keys
’Chapter 2 Life with Your MacBook Pro 23
Function (fn) key
Press and hold this key to activate customized actions assigned to the function keys
(F1 to F12). To learn how to customize function keys, choose Help > Mac Help from the
menu bar and search for “function keys.”
¤ Brightness keys (F1, F2)
Increase ( ) or decrease ( ) the brightness of your MacBook Pro display.
Exposé key (F3)
Open Exposé for quick access to all your open windows.
Dashboard key (F4)
Open Dashboard to access your widgets.
o Keyboard illumination keys (F5, F6)
Increase (o) or decrease (ø) the brightness of the keyboard illumination.
’ Media keys (F7, F8, F9)
Rewind ( ), play or pause (’), or fast-forward ( ) a song, movie, or slideshow.
— Mute key (F10)
Mute the sound coming from the built-in speakers and headphone port.
- Volume keys (F11, F12)
Increase (-) or decrease (–) the volume of sound coming from the built-in speakers and
headphone port.
C Media Eject key
Press and hold this key to eject a disc that’s not in use. You can also eject a disc by
dragging its desktop icon to the Trash.24 Chapter 2 Life with Your MacBook Pro
Ports on Your MacBook Pro
®
¯
Gigabit
Ethernet port
G
Audio
out port
f
Audio
in port
Mini ,
DisplayPort
£
USB 2.0
ports
MagSafe d
power port
FireWire
800 port
H SD card slotChapter 2 Life with Your MacBook Pro 25
Note: Adapters and other accessories are sold separately at www.apple.com/store.
¯ MagSafe power port
Plug in the included 85W MagSafe Power Adapter to recharge the MacBook Pro battery.
G Gigabit Ethernet port
Connect to a high-speed Ethernet network, a DSL or cable modem, or another computer.
The Ethernet port automatically detects Ethernet devices and doesn’t require an Ethernet
crossover cable.
H One FireWire 800 port
Connect high-speed external devices, such as digital video cameras and storage devices.
d Two high-speed USB (Universal Serial Bus) 2.0 ports
Connect an iPod, iPhone, mouse, keyboard, printer, disk drive, digital camera, joystick,
modem, and more to your MacBook Pro. You can also connect USB 1.1 devices.
£ Mini DisplayPort (video out)
Connect to an external display or projection system that uses a DVI or VGA connector.
You can purchase adapters for supported video formats.
, Audio in port
Connect your MacBook Pro to a line-level microphone or digital audio equipment.
f Audio out port
Connect external speakers, headphones (including iPhone), or digital audio equipment.
SD card slot
Easily transfer photos, videos, and data to and from your MacBook Pro with an SD card.26 Chapter 2 Life with Your MacBook Pro
Using the Multi-Touch Trackpad
Use the trackpad to move the cursor and to perform a variety of Multi-Touch gestures.
Unlike typical trackpads, the entire MacBook Pro trackpad is a button, and you can click
anywhere on the trackpad. To enable gestures and set other trackpad options, choose
Apple () > System Preferences, and then click Trackpad.
Here are ways to use your MacBook Pro trackpad:
 Two-finger scrolling lets you drag to scroll quickly up, down, or sideways in the active
window. This option is on by default.Chapter 2 Life with Your MacBook Pro 27
 Secondary clicking or “right-clicking” lets you access shortcut menu commands.
 To set up a one-finger secondary-click zone in the bottom left or right corner of the
trackpad, select Secondary Click under the One Finger option in Trackpad
preferences.
 To set up two-finger secondary-clicking anywhere on the trackpad, select
Secondary Click under the Two Fingers option in Trackpad preferences.
Note: You can also secondary click by holding down the Control key while you click.
Secondary click zone28 Chapter 2 Life with Your MacBook Pro
The following trackpad gestures work in certain applications. When you perform these
gestures, slide your fingers lightly on the surface of the trackpad. For more information,
see Trackpad preferences or choose Help > Mac Help and search for “trackpad.”
 Two-finger pinching lets you zoom in or out on PDFs, images, photos, and more.
 Two-finger rotating lets you rotate photos, pages, and more.Chapter 2 Life with Your MacBook Pro 29
 Three-finger swipe lets you rapidly page through documents, move to the previous or
next photo, and more.
 Four-finger swipe works in the Finder and all applications. Swiping four fingers to the
left or right activates Application Switcher so you can cycle through open
applications. Swiping four fingers up or down causes Exposé to show the desktop or
display all open windows. 30 Chapter 2 Life with Your MacBook Pro
Using the MacBook Pro Battery
When the MagSafe power adapter isn’t connected, your MacBook Pro draws power
from its built-in battery. The length of time that you can run your MacBook Pro varies,
depending on the applications you use and the external devices connected to your
MacBook Pro.
Turning off features such as AirPort Extreme or Bluetooth®
wireless technology and
reducing screen brightness can help conserve battery charge, for example, when you’re
traveling by air. Many of your system preferences are automatically set to optimize
battery life.
Your MacBook Pro comes with two graphics processors, one for better battery life and
the other for higher performance. To switch between processors, open System
Preferences, click Energy Saver, select “Better battery life” or “Higher performance,” and
then follow the onscreen instructions. Select “Better battery life” when you can’t use
your MagSafe power adapter or you’re not using graphics-intensive applications. Select
“Higher performance” when you’re using graphics-intensive applications, such as video
editing software and games. Changing graphics settings requires you to log out for the
settings to take effect.
You can determine the charge remaining in the battery by looking at the eight battery
level indicator lights on the left side of your MacBook Pro. Press the button next to the
lights, and the lights glow briefly to show how much charge remains in the battery.
Important: If only one indicator light is on, very little charge is left. If no lights
illuminate, the battery is completely drained and the MacBook Pro won’t start up
unless the power adapter is connected. Plug in the power adapter to let the battery
recharge. For more information about battery indicator lights, see page 54.Chapter 2 Life with Your MacBook Pro 31
You can also check the amount of battery charge remaining by viewing the Battery
( ) status icon in the menu bar. The battery charge level displayed is based on the
amount of power left in the battery with the applications, peripheral devices, and
system settings you are currently using. To conserve battery power, close applications
and disconnect peripheral devices not in use, and adjust your Energy Saver settings.
For more information about battery conservation and performance tips, go to
www.apple.com/batteries/notebooks.html.
Charging the Battery
When the power adapter that came with your MacBook Pro is connected, the battery
charges whether the computer is on, off, or in sleep. The battery charges more quickly,
however, if the computer is off or in sleep.
The battery in your MacBook Pro can be replaced only by an Apple Authorized Service
Provider or an Apple Retail Store. 32 Chapter 2 Life with Your MacBook Pro
Getting Answers
Much more information about using your MacBook Pro is available in Mac Help on
your computer and on the Internet at www.apple.com/support/macbookpro.
To get Mac Help:
1 Click the Finder icon in the Dock (the bar of icons along the edge of the screen).
2 Click the Help menu in the menu bar and do one of the following:
a Type a question or term in the Search field, and select a topic from the list of results
or select Show All Results to see all topics.
b Choose Mac Help to open the Mac Help window, where you can click links or type a
search question.Chapter 2 Life with Your MacBook Pro 33
More Information
For more information about using your MacBook Pro, see the following:
To learn about See
Installing memory Chapter 3, “Boost Your MacBook Pro,” on page 35.
Troubleshooting your
MacBook Pro if you have a
problem
Chapter 4, “Problem, Meet Solution,” on page 49.
Finding service and support
for your MacBook Pro
“Learning More, Service, and Support” on page 61. Or go to the
Apple Support site at www.apple.com/support/macbookpro.
Using Mac OS X The Mac OS X website at www.apple.com/macosx. Or search for
“Mac OS X” in Mac Help.
Moving from a PC to a Mac “Why you’ll love a Mac” at www.apple.com/getamac/whymac.
Using iLife applications The iLife website at www.apple.com/ilife. Or open an iLife
application, open Help for the application, and then type a
question in the search field.
Changing system preferences System Preferences by choosing Apple (K) > System
Preferences. Or search for “system preferences” in Mac Help.
Using the trackpad Mac Help and search for “trackpad.” Or open System Preferences
and click Trackpad.
Using the iSight camera Mac Help and search for “iSight.”
Using the keyboard Mac Help and search for “keyboard.”
Using AirPort Extreme wireless
technology
The AirPort Support page at www.apple.com/support/airport.
Or open Mac Help and search for “AirPort.”34 Chapter 2 Life with Your MacBook Pro
Using Bluetooth wireless
technology
The Bluetooth Support page at www.apple.com/support/
bluetooth. Or open the Bluetooth File Exchange application,
located in the Utilities folder within the Applications folder,
and choose Help > Bluetooth Help.
Caring for the battery Mac Help and search for “battery.”
Connecting a printer Mac Help and search for “printing.”
FireWire and USB connections Mac Help and search for “FireWire” or “USB”.
Connecting to the Internet Mac Help and search for “Internet.”
Connecting an external display Mac Help and search for “displayport.”
Apple Remote Mac Help and search for “remote.”
Front Row Mac Help and search for “Front Row.”
Burning a CD or DVD Mac Help and search for “burn disc.”
Specifications The Specifications page at support.apple.com/specs.
Or open System Profiler by choosing Apple (K) > About This
Mac from the menu bar, and then click More Info.
Apple news, free downloads,
and online catalogs of
software and hardware
The Apple website at www.apple.com.
Instructions, technical support,
and manuals for Apple
products
The Apple Support website at www.apple.com/support.
To learn about See3
3 Boost Your MacBook Pro
www.apple.com/store
Mac Help RAM36 Chapter 3 Boost Your MacBook Pro
This chapter provides information and instructions for upgrading the hard disk drive,
and installing additional memory in your MacBook Pro.
The battery in your MacBook Pro is not user-replaceable. If you think your battery
needs to be replaced, contact an Apple Retail Store or an Apple Authorized Service
Provider.
WARNING: Apple recommends that you have an Apple-certified technician install
replacement drives and memory. Consult the service and support information that
came with your computer for information about how to contact Apple for service. If
you attempt to install a replacement drive or memory and damage your equipment,
such damage is not covered by the limited warranty on your computer.Chapter 3 Boost Your MacBook Pro 37
Replacing the Hard Disk Drive
You can upgrade the hard disk drive in your MacBook Pro. When you open the back of
your MacBook Pro, the hard disk drive is located next to the built-in battery. The
replacement drive must be a 2.5-inch drive with a Serial ATA (SATA) connector.
To replace the hard disk drive in your MacBook Pro:
1 Shut down your MacBook Pro. Disconnect the power adapter, Ethernet cable, USB
cables, security lock, and any other cables connected to the MacBook Pro to prevent
damaging the computer.
2 Turn over your MacBook Pro and remove the ten (10) screws that secure the bottom
case. Remove the shorter screws at the angles shown in the illustration. Lift off the case
and place it to the side.
WARNING: The internal components of your MacBook Pro can be warm. If you have
been using your MacBook Pro, wait 10 minutes after shutting down to let the internal
components cool before continuing.38 Chapter 3 Boost Your MacBook Pro
Important: Because the screws are different lengths, note the screw lengths and
locations so you can replace the screws correctly. Put them aside in a safe place.
Short
LongChapter 3 Boost Your MacBook Pro 39
Important: When you remove the bottom case, you expose sensitive internal
components. Avoid touching anything other than the hard drive assembly when you
remove or add a hard disk drive.
3 Touch a metal surface inside the computer to discharge any static electricity from
your body.40 Chapter 3 Boost Your MacBook Pro
4 Locate the bracket at the top of the drive. Use a Phillips screwdriver to loosen the two
captive screws that hold the bracket in place. Put the bracket aside in a safe place.
5 Using the pull tab, gently lift the drive out of the bay.
Pull tab
BracketChapter 3 Boost Your MacBook Pro 41
6 Hold the drive by its sides while you gently pull the connector on the left side of the
drive to disconnect it.
The connector is attached to a cable and remains in the hard disk drive bay.
Important: There are four (4) mounting screws on the sides of your hard disk drive.
If your replacement drive doesn’t include mounting screws, remove the ones from your
old drive and mount them on the replacement drive before you install it.
7 Attach the connector to the left side of the replacement drive.
Mounting screws42 Chapter 3 Boost Your MacBook Pro
8 Insert the replacement drive at an angle, making sure the mounting screws are seated
properly.
9 Replace the bracket and tighten the screws. Chapter 3 Boost Your MacBook Pro 43
10 Replace the bottom case. Replace and tighten the ten screws you removed in step 2 in
their proper locations, making sure to insert the shorter screws at the angles shown in
the illustration.
Short
Long44 Chapter 3 Boost Your MacBook Pro
For information about installing Mac OS X and bundled applications, see “Reinstalling
the Software That Came with Your MacBook Pro” on page 60.
Installing Additional Memory
Your computer has two memory slots that you access by removing the bottom case.
Your MacBook Pro comes with a minimum of 4 gigabytes (GB) of 1066 MHz Double
Data Rate (DDR3) Synchronous Dynamic Random-Access Memory (SDRAM) installed.
Each memory slot can accept an SDRAM module that meets the following
specifications:
 Double Data Rate Small Outline Dual Inline Memory Module (DDR3) format
 30 mm (1.18 inches)
 1 GB, 2 GB, or 4 GB
 204-pin
 PC3-8500 DDR3 1066 MHz Type RAM
You can add two 4 GB memory modules for a maximum of 8 GB of memory. For best
performance, fill both memory slots and install an identical memory module in each
slot.
To install memory in your MacBook Pro:
1 Follow steps 1 through 3 beginning on page 37.
Important: When you remove the bottom case, you expose sensitive internal
components. Avoid touching anything other than the memory assembly when you
remove or add memory.Chapter 3 Boost Your MacBook Pro 45
2 Push the levers on the sides of the memory module in an outward direction to release
the module from the memory card slot.
The memory pops up at an angle. Before removing it, make sure you see the half-circle
notches. If you don’t, try pushing the levers outward again.
Notches46 Chapter 3 Boost Your MacBook Pro
3 Hold the memory module by its notches and remove it from the slot.
4 Remove the other memory module.
Important: Hold the memory modules by their edges, and do not touch the gold
connectors.
5 Insert the new memory module in the slot:
a Align the notch on the gold edge of the module with the notch in the lower memory
slot.
b Tilt the card and push the memory into the slot.
c Use two fingers with firm, even pressure to push down on the memory module.
You should hear a click when the memory is inserted correctly.
d Repeat to install an additional memory module in the top slot. Press down on the
module to make sure it is level.Chapter 3 Boost Your MacBook Pro 47
6 Follow the instructions for replacing the bottom case in step 10 on page 43.
Notches48 Chapter 3 Boost Your MacBook Pro
Making Sure Your MacBook Pro Recognizes the New Memory
After installing additional memory in your MacBook Pro, check whether the computer
recognizes the new memory.
To check the computer’s memory:
1 Start up your MacBook Pro.
2 When you see the Mac OS X desktop, choose Apple () from the menu bar and then
choose About This Mac.
For a detailed breakdown of the amount of memory installed in your computer, open
System Profiler by clicking More Info, and then click Memory.
If your MacBook Pro doesn’t recognize the memory or doesn’t start up correctly,
confirm that the memory you installed is compatible with your MacBook Pro and that
it is installed correctly by reseating the memory.4
4 Problem, Meet Solution
www.apple.com/support
Mac Help help50 Chapter 4 Problem, Meet Solution
Occasionally you may have problems while working with your MacBook Pro. Read on
for troubleshooting tips to try when you have a problem. You can also find more
troubleshooting information in Mac Help and on the MacBook Pro Support website at
www.apple.com/support/macbookpro.
When you experience a problem working with your MacBook Pro, there is usually a
simple and quick solution. Think about the conditions that led up to the problem.
Making a note of things you did before the problem occurred will help you narrow
down possible causes and find the answers you need. Things to note include:
 The applications you were using when the problem occurred. Problems that occur
only with a specific application might indicate that the application is not compatible
with the version of the Mac OS installed on your computer.
 Any new software that you installed, especially software that added items to the
System folder.
 Any new hardware that you installed, such as additional memory or a peripheral.Chapter 4 Problem, Meet Solution 51
Problems That Prevent You from Using Your MacBook Pro
If your MacBook Pro doesn’t respond or the pointer doesn’t move
On rare occasions, an application may “freeze” on the screen. Mac OS X provides a way
to quit a frozen application without restarting your computer.
To force an application to quit:
1 Press Command (x)-Option-Esc or choose Apple () > Force Quit from the menu bar.
The Force Quit Applications dialog appears with the application selected.
2 Click Force Quit.
The application quits, leaving all other applications open.
If you need to, you can also restart the Finder from this dialog.
Next, save your work in any open applications and restart the computer to make sure
the problem is entirely cleared up.
If the problem occurs frequently, choose Help > Mac Help from the menu bar at the
top of the screen. Search for the word “freeze” to get help for times when the computer
freezes or doesn’t respond.
If the problem occurs only when you use a particular application, check with the
application’s manufacturer to see if it is compatible with your computer. To get support
and contact information for the software that comes with your MacBook Pro, go to
www.apple.com/guide.
If you know an application is compatible, you might need to reinstall your computer’s
system software. See “Reinstalling the Software That Came with Your MacBook Pro” on
page 60.52 Chapter 4 Problem, Meet Solution
If your MacBook Pro freezes during startup, or you see a flashing question mark,
or the display is dark and the sleep indicator light is glowing steadily (not in sleep)
The flashing question mark usually means that the computer can’t find the system
software on the hard disk or any disks attached to the computer.
 Wait a few seconds. If the computer doesn’t soon start up, shut it down by pressing
and holding the power (®) button for about 8 to 10 seconds. Disconnect all external
peripherals and try restarting by pressing the power (®) button while holding down
the Option key. When your computer starts up, click the hard disk icon, and then click
the right arrow. After the computer starts up, open System Preferences and click
Startup Disk. Select a local Mac OS X System folder.
 If that doesn’t work, try using Disk Utility to repair the disk:
 Insert the Mac OS X Install DVD into your computer.
 Restart your computer and hold down the C key as it starts up.
 Choose Installer from the menu bar, and then choose Open Disk Utility. When Disk
Utility opens, follow the instructions in the First Aid pane to see if Disk Utility can
repair the disk.
If using Disk Utility doesn’t help, you might need to reinstall your computer’s system
software. See “Reinstalling the Software That Came with Your MacBook Pro” on
page 60.Chapter 4 Problem, Meet Solution 53
If your MacBook Pro doesn’t turn on or start up
Try the following suggestions in order until your computer turns on:
 Make sure the power adapter is plugged into the computer and into a functioning
power outlet. Be sure to use the 85W MagSafe Power Adapter that came with your
MacBook Pro. If the power adapter stops charging and you don’t see the indicator
light on the MagSafe connector turn on when you plug in the power cord, try
unplugging and replugging the power cord to reseat it, or try another power outlet.
 Check whether the battery needs to be recharged. Press the small button on the left
side of your computer. You should see one to eight lights indicating the battery’s
level of charge. If a single indicator light is on, connect your power adapter to
recharge. For more information about battery indicator lights, see page 54.
 If the problem persists, reset the MacBook Pro power manager by disconnecting the
power adapter and holding down the power (®) button for at least 5 seconds.
 If you recently installed additional memory, make sure that it is correctly installed and
is compatible with your computer. See whether removing and reinstalling the old
memory allows the computer to start up (see page 44).
 Press the power (®) button and immediately hold down the Command (x), Option,
P, and R keys simultaneously until you hear the startup sound a second time to reset
the parameter RAM (PRAM).
 If you still can’t start up your MacBook Pro, see “Learning More, Service, and Support”
on page 61 for information about contacting Apple for service.54 Chapter 4 Problem, Meet Solution
If the display suddenly goes black or your MacBook Pro freezes
Try restarting your MacBook Pro.
1 Unplug any devices that are connected to your MacBook Pro, except the power
adapter.
2 Press the power (®) button to restart the system.
3 Let the battery charge to at least 10 percent before plugging in any external devices
and resuming your work.
To see how much the battery has charged, click the Battery ( ) status icon in the
menu bar.
The display might also darken if you have energy saver features set for the battery.
If you press the battery button, and all battery indicator lights flash five times
quickly
Your battery needs to be replaced. Contact an Apple Retail Store or an Apple
Authorized Service Provider (AASP).
If you press the battery button, and the battery indicator lights flash from left to
right and then from right to left, five times in a row
Your battery is not recognized. Contact an Apple Retail Store or an Apple Authorized
Service Provider.
If you forget your password
You can reset your administrator password and passwords for all other accounts.
1 Insert the Mac OS X Install DVD. Then restart your computer and hold down the C key as
it starts up.Chapter 4 Problem, Meet Solution 55
2 Choose Utilities > Reset Password from the menu bar and follow the onscreen
instructions.
If you have trouble ejecting a disc
Quit any applications that might be using the disc and try again. If that doesn’t work,
restart the computer and then immediately press and hold the trackpad button.
Using Apple Hardware Test
If you suspect a problem with the MacBook Pro hardware, you can use the Apple
Hardware Test application to help determine if there is a problem with one of the
computer’s components, such as the memory or processor.
To use Apple Hardware Test:
1 Disconnect all external devices from your computer except the power adapter.
If you have an Ethernet cable connected, disconnect it.
2 Restart your computer and hold down the D key as it starts up.
3 When the Apple Hardware Test chooser screen appears, select the language for your
location.
4 Press the Return key or click the right arrow button.
5 When the Apple Hardware Test main screen appears (after about 45 seconds), follow
the onscreen instructions.
6 If Apple Hardware Test detects a problem, it displays an error code. Make a note of the
error code before pursuing support options. If Apple Hardware Test doesn’t detect a
hardware failure, the problem might be software related.56 Chapter 4 Problem, Meet Solution
If this procedure doesn’t work, you can insert the Applications Install DVD and hold
down the D key to use Apple Hardware Test.
Problems with Your Internet Connection
Your MacBook Pro has the Network Setup Assistant application to help walk you
through setting up an Internet connection. Open System Preferences and click
Network. Click the “Assist me” button to open Network Setup Assistant.
If you have trouble with your Internet connection, you can try the steps in this section
for your type of connection or you can use Network Diagnostics.
To use Network Diagnostics:
1 Choose Apple () > System Preferences.
2 Click Network and then click “Assist me.”
3 Click Diagnostics to open Network Diagnostics.
4 Follow the onscreen instructions.
If Network Diagnostics can’t resolve the problem, there may be a problem with the
Internet service provider (ISP) you are trying to connect to, with an external device you
are using to connect to your ISP, or with the server you are trying to access. You can try
the following steps.
Cable Modem, DSL Modem, and LAN Internet Connections
Make sure all modem cables are firmly plugged in, including the modem power cord,
the cable from the modem to the computer, and the cable from the modem to the
wall jack. Also check the cables and power supplies to Ethernet hubs and routers. Chapter 4 Problem, Meet Solution 57
Turn the modem off and on and reset the modem hardware
Turn off your DSL or cable modem for a few minutes, and then turn it back on. Some
ISPs recommend that you unplug the modem’s power cord. If your modem has a reset
button, you can press it either before or after you turn the power off and on.
Important: Instructions that refer to modems do not apply to LAN users. LAN users
might have hubs, switches, routers, or connection pods that DSL and cable modem
users do not have. LAN users should contact their network administrator rather than
an ISP.
PPPoE Connections
If you are unable to connect to your Internet service provider using PPPoE (Point to
Point Protocol over Ethernet), make sure you have entered the correct information in
Network preferences.
To check your Network preference settings:
1 Choose Apple () > System Preferences.
2 Click Network.
3 Click Add (+) at the bottom of the network connection services list, and choose PPPoE
from the Interface pop-up menu.
4 Choose an Interface for the PPPoE service from the Ethernet pop-up menu. Choose
Ethernet if you are connecting to a wired network or AirPort if you are connecting to a
wireless network.
5 Enter the information you received from your service provider, such as account name,
password, and the PPPoE service name (if your service provider requires it).
6 Click Apply to make the settings active.58 Chapter 4 Problem, Meet Solution
Network Connections
Make sure the Ethernet cable is connected to your MacBook Pro and to the network.
Check the cables and power supplies to your Ethernet hubs and routers.
If you have two or more computers attempting to share an Internet connection, be
sure that your network is set up properly. You need to know whether your ISP provides
only one IP address or multiple IP addresses, one for each computer.
If only one IP address is provided, then you must have a router capable of sharing the
connection, also known as network address translation (NAT) or “IP masquerading.”
For setup information, check the documentation provided with your router or ask
the person who set up your network. The AirPort Base Station can be used to share
one IP address among multiple computers. For information about using an AirPort
Base Station, check Mac Help or go to the AirPort Extreme website at
www.apple.com/support/airport.
If you can’t resolve the issue using these steps, contact your ISP or network
administrator.
Problems with AirPort Extreme Wireless Communication
If you have trouble using AirPort Extreme wireless communication
 Make sure the computer or network you are trying to connect to is running and has a
wireless access point.
 Make sure you have properly configured the software according to the instructions
that came with your base station or access point.Chapter 4 Problem, Meet Solution 59
 Make sure you are within antenna range of the other computer or the network’s
access point. Nearby electronic devices or metal structures can interfere with wireless
communication and reduce this range. Repositioning or rotating the computer might
improve reception.
 Check the AirPort (Z) status icon in the menu bar. Up to four bars appear, indicating
signal strength. If you don’t see the bars, try changing your location.
 See AirPort Help (choose Help > Mac Help, and then choose Library > AirPort Help
from the menu bar). Also see the instructions that came with the wireless device for
more information.
Keeping Your Software Up to Date
You can connect to the Internet and automatically download and install the latest free
software versions, drivers, and other enhancements from Apple.
When you are connected to the Internet, Software Update checks to see if any updates
are available for your computer. You can set your MacBook Pro to check for updates
periodically, and then you can download and install updated software.
To check for updated software:
1 Choose Apple () > System Preferences.
2 Click the Software Update icon and follow the instructions on the screen.
 For more information, search for “Software Update” in Mac Help.
 For the latest information about Mac OS X, go to www.apple.com/macosx.60 Chapter 4 Problem, Meet Solution
Reinstalling the Software That Came with Your MacBook Pro
Use the software installation discs that came with your computer to reinstall Mac OS X
and any applications that came with your computer. You can choose “Archive and
Install,” which saves your existing files and settings, or “Erase and Install,” which erases
all your data.
Important: Apple recommends that you back up the data on your hard disk before
restoring software. Because the “Erase and Install” option erases your hard disk, you
should back up your essential files before installing Mac OS X and other applications.
Apple is not responsible for any lost data.
Installing Mac OS X
To install Mac OS X:
1 Back up your essential files.
2 Make sure your power adapter is connected and plugged in.
3 Insert the Mac OS X Install DVD that came with your computer.
4 Double-click Install Mac OS X.
5 Follow the onscreen instructions.
Note: To restore Mac OS X on your computer to the original factory settings, click
Options in the “Select a Destination” pane of the Installer, and then select “Erase and
Install.” If you choose “Erase and Install,” you’ll see a message reminding you to use the
Applications Install DVD to reinstall the bundled applications that came with your
computer.
6 When the installation is complete, click Restart to restart your computer.
7 Follow the prompts in the Setup Assistant to set up your user account.Chapter 4 Problem, Meet Solution 61
Installing Applications
If you reinstall Mac OS X on your computer and select the “Erase and Install” option,
you must reinstall the applications that came with your computer, such as the iLife
applications.
To install the applications that came with your computer:
1 Make sure your power adapter is connected and plugged in.
2 Insert the Applications Install DVD that came with your computer.
3 Double-click Install Bundled Software.
4 Follow the onscreen instructions.
5 When the installation is complete, click Close.
Learning More, Service, and Support
Your MacBook Pro does not have any user-serviceable parts, except the hard drive and
the memory. If you need service, contact Apple or take your MacBook Pro to an Apple
Authorized Service Provider. You can find more information about the MacBook Pro
through online resources, onscreen help, System Profiler, or Apple Hardware Test.
Online Resources
For online service and support information, go to www.apple.com/support. Choose
your country from the pop-up menu. You can search the AppleCare Knowledge Base,
check for software updates, or get help from Apple’s discussion forums.
Onscreen Help
You can look for answers to your questions, as well as instructions and troubleshooting
information, in Mac Help. Choose Help > Mac Help.62 Chapter 4 Problem, Meet Solution
System Profiler
To get information about your MacBook Pro, use System Profiler. It shows you what
hardware and software is installed, the serial number and operating system version,
how much memory is installed, and more. To open System Profiler, choose Apple () >
About This Mac from the menu bar and then click More Info.
AppleCare Service and Support
Your MacBook Pro comes with 90 days of technical support and one year of hardware
repair warranty coverage at an Apple Store retail location or an Apple-authorized repair
center, such as an Apple Authorized Service Provider (AASP). You can extend your
coverage by purchasing the AppleCare Protection Plan. For information, go to
www.apple.com/support/products or the website for your country listed below.
If you need assistance, AppleCare telephone support representatives can help you
with installing and opening applications, and basic troubleshooting. Call the support
center number nearest you (the first 90 days are complimentary). Have the purchase
date and your MacBook Pro serial number ready when you call.Chapter 4 Problem, Meet Solution 63
Note: Your 90 days of complimentary telephone support begins on the date of
purchase. Telephone fees may apply.
Telephone numbers are subject to change, and local and national telephone rates may
apply. A complete list is available on the web:
Country Phone Website
United States 1-800-275-2273 www.apple.com/support
Australia (61) 1-300-321-456 www.apple.com/au/support
Canada (English)
(French)
1-800-263-3394 www.apple.com/ca/support
www.apple.com/ca/fr/support
Ireland (353) 1850 946 191 www.apple.com/ie/support
New Zealand 00800-7666-7666 www.apple.com/nz/support
United Kingdom (44) 0870 876 0753 www.apple.com/uk/support
www.apple.com/contact/phone_contacts.html64 Chapter 4 Problem, Meet Solution
Locating Your Product Serial Number
Use one of these methods to find your computer’s serial number:
 Turn over your MacBook Pro. The serial number is etched into the case near the
hinge.
 Choose Apple () > About This Mac. Click the version number beneath the words
“Mac OS X” to cycle through the Mac OS X version number, the build version, and the
serial number.
 Click the Finder icon and open /Applications/Utilities/System Profiler. Click Hardware
in the Contents pane.
Serial number5
5 Last, but Not Least
www.apple.com/environment
Mac Help ergonomics66 Chapter 5 Last, but Not Least
For your safety and that of your equipment, follow these rules for handling and
cleaning your MacBook Pro and for working more comfortably. Keep these instructions
handy for reference by you and others.
Important Safety Information
Built-in battery Do not remove the battery from your MacBook Pro. The battery
should be replaced only by an Apple Authorized Service Provider. Discontinue use of
your MacBook Pro if it is dropped or appears crushed, bent, deformed, or damaged. Do
not expose the computer to temperatures above 212° F or 100° C.
Proper handling Set up your MacBook Pro on a stable work surface that allows for
adequate air circulation under and around the computer. Do not operate your
MacBook Pro on a pillow or other soft material, as the material can block the airflow
vents. Never place anything over the keyboard when operating your MacBook Pro.
Never push objects into the ventilation openings.
The bottom of your MacBook Pro may become very warm during normal use. If your
MacBook Pro is on your lap and gets uncomfortably warm, move it to a stable work
surface.
WARNING: Incorrect storage or use of your computer may void the manufacturer’s
warranty.
WARNING: Failure to follow these safety instructions could result in fire, electric
shock, or other injury or damage.Chapter 5 Last, but Not Least 67
Water and wet locations Keep your MacBook Pro away from sources of liquid, such as
drinks, washbasins, bathtubs, shower stalls, and so on. Protect your MacBook Pro from
dampness or wet weather, such as rain, snow, and fog.
85W MagSafe Power Adapter Make sure the AC plug or AC power cord is fully
inserted into the power adapter before plugging the adapter into a power outlet. Use
only the power adapter that came with your MacBook Pro, or an Apple-authorized
power adapter that is compatible with this product. The power adapter may become
very warm during normal use. Always plug the power adapter directly into a power
outlet, or place it on the floor in a well-ventilated location.
Disconnect the power adapter and disconnect any other cables if any of the following
conditions exists:
 You want to add memory or upgrade the hard disk drive.
 You want to clean the case (use only the recommended procedure described on
page 71).
 The power cord or plug becomes frayed or otherwise damaged.
 Your MacBook Pro or power adapter is exposed to rain, excessive moisture, or liquid
spilled into the case.
 Your MacBook Pro or power adapter has been dropped, the case has been damaged,
or you suspect that service or repair is required.
The MagSafe power port contains a magnet that can erase data on a credit card, iPod,
or other device. To preserve your data, do not place these or other magnetically
sensitive material or devices within 1 inch (25 mm) of this port.
If debris gets into the MagSafe power port, remove it gently with a dry cotton swab.68 Chapter 5 Last, but Not Least
MagSafe power specifications:
 Frequency: 50 to 60 Hz, single phase
 Line Voltage: 100 to 240 V
 Output Voltage: 18.5 V DC, 4.6 A
Hearing damage Permanent hearing loss may occur if earbuds or headphones are
used at high volume. You can adapt over time to a higher volume of sound that may
sound normal but can be damaging to your hearing. If you experience ringing in your
ears or muffled speech, stop listening and have your hearing checked. The louder the
volume, the less time is required before your hearing could be affected. Hearing
experts suggest that to protect your hearing:
 Limit the amount of time you use earbuds or headphones at high volume.
 Avoid turning up the volume to block out noisy surroundings.
 Turn the volume down if you can’t hear people speaking near you.
High-risk activities This computer system is not intended for use in the operation of
nuclear facilities, aircraft navigation or communications systems, air traffic control
systems, or for any other uses where the failure of the computer system could lead to
death, personal injury, or severe environmental damage.Chapter 5 Last, but Not Least 69
Laser Information for Optical Disc Drives
The optical disc drive in your computer contains a laser that is safe in normal use but
that may be harmful to your eyes if disassembled. For your safety, have this equipment
serviced only by an Apple Authorized Service Provider.
Important Handling Information
Operating environment Operating your MacBook Pro outside these ranges may affect
performance:
 Operating temperature: 50° to 95° F (10° to 35° C)
 Storage temperature: -4° to 113° F (-20° to 45° C)
 Relative humidity: 5% to 90% (noncondensing)
 Operating altitude: 0 to 10,000 feet (0 to 3048 meters)
Turning on your MacBook Pro Never turn on your MacBook Pro unless all of its
internal and external parts are in place. Operating the computer when parts are
missing may be dangerous and may damage your computer.
WARNING: Making adjustments or performing procedures other than those specified
in your equipment’s manual may result in hazardous radiation exposure.
NOTICE: Failure to follow these handling instructions could result in damage to your
MacBook Pro or other property.70 Chapter 5 Last, but Not Least
Carrying your MacBook Pro If you carry your MacBook Pro in a bag or briefcase,
make sure that there are no loose items (such as paper clips or coins) that could
accidentally get inside the computer through vent openings or the optical drive slot
or get stuck inside a port. Also, keep magnetically sensitive items away from the
MagSafe power port.
Using connectors and ports Never force a connector into a port. When connecting a
device, make sure the port is free of debris, that the connector matches the port, and
that you have positioned the connector correctly in relation to the port.
Using the optical drive The SuperDrive in your MacBook Pro supports standard 12 cm
(4.7 inch) discs. Irregularly shaped discs or discs smaller than 12 cm (4.7 inches) are not
supported.
Handling glass parts Your MacBook Pro contains glass components, including the
display and trackpad. If they are damaged, don’t use your MacBook Pro until it has
been repaired by an Apple Authorized Service Provider.Chapter 5 Last, but Not Least 71
Storing your MacBook Pro If you are going to store your MacBook Pro for an
extended period of time, keep it in a cool location (ideally, 71° F or 22° C) and discharge
the battery to approximately 50 percent. To maintain the capacity of the battery,
recharge the battery to 50 percent every six months or so.
Cleaning your MacBook Pro When cleaning the outside of your MacBook Pro and its
components, first shut down your MacBook Pro and unplug the power adapter. Then
use a damp, soft, lint-free cloth to clean the computer’s exterior. Avoid getting
moisture in any openings. Do not spray liquid directly on the computer. Do not use
aerosol sprays, solvents, or abrasives that might damage the finish.
Cleaning your MacBook Pro screen To clean your MacBook Pro screen, first shut down
your MacBook Pro and unplug the power adapter. Then dampen the included cleaning
cloth with just water and wipe the screen. Do not spray liquid directly on the screen.72 Chapter 5 Last, but Not Least
Understanding Ergonomics
Here are some tips for setting up a healthy work environment.
Keyboard and Trackpad
When you use the keyboard and trackpad, your shoulders should be relaxed.
Your upper arm and forearm should form an angle that is slightly greater than a right
angle, with your wrist and hand in roughly a straight line.
This Not thisChapter 5 Last, but Not Least 73
Use a light touch when typing or using the trackpad and keep your hands and fingers
relaxed. Avoid rolling your thumbs under your palms.
Change hand positions often to avoid fatigue. Some computer users might develop
discomfort in their hands, wrists, or arms after intensive work without breaks. If you
begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a
qualified health specialist.
External Mouse
If you use an external mouse, position the mouse at the same height as the keyboard
and within a comfortable reach.
Chair
An adjustable chair that provides firm, comfortable support is best. Adjust the height
of the chair so your thighs are horizontal and your feet are flat on the floor. The back of
the chair should support your lower back (lumbar region). Follow the manufacturer’s
instructions for adjusting the backrest to fit your body properly.
This Not this74 Chapter 5 Last, but Not Least
You might have to raise your chair so that your forearms and hands are at the proper
angle to the keyboard. If this makes it impossible to rest your feet flat on the floor, you
can use a footrest with adjustable height and tilt to make up for any gap between the
floor and your feet. Or you can lower the desktop to eliminate the need for a footrest.
Another option is to use a desk with a keyboard tray that’s lower than the regular work
surface.
Built-in Display
Adjust the angle of the display to minimize glare and reflections from overhead lights
and windows. Do not force the display if you meet resistance. The display is not meant
to open past 130 degrees.
You can adjust the brightness of the screen when you take the computer from one
work location to another, or if the lighting in your work area changes.
More information about ergonomics is available on the web:
Apple and the Environment
Apple Inc. recognizes its responsibility to minimize the environmental impacts of its
operations and products.
More information is available on the web:
www.apple.com/about/ergonomics
www.apple.com/environment76
Regulatory Compliance Information
Compliance Statement
This device complies with part 15 of the FCC rules.
Operation is subject to the following two conditions: (1)
This device may not cause harmful interference, and (2)
this device must accept any interference received,
including interference that may cause undesired
operation. See instructions if interference to radio or
television reception is suspected.
L‘utilisation de ce dispositif est autorisée seulement aux
conditions suivantes: (1) il ne doit pas produire de
brouillage et (2) l’utilisateur du dispositif doit étre prêt à
accepter tout brouillage radioélectrique reçu, même si
ce brouillage est susceptible de compromettre le
fonctionnement du dispositif.
Radio and Television Interference
This computer equipment generates, uses, and can
radiate radio-frequency energy. If it is not installed and
used properly—that is, in strict accordance with Apple’s
instructions—it may cause interference with radio and
television reception.
This equipment has been tested and found to comply
with the limits for a Class B digital device in accordance
with the specifications in Part 15 of FCC rules. These
specifications are designed to provide reasonable
protection against such interference in a residential
installation. However, there is no guarantee that
interference will not occur in a particular installation.
You can determine whether your computer system is
causing interference by turning it off. If the interference
stops, it was probably caused by the computer or one of
the peripheral devices.
If your computer system does cause interference to
radio or television reception, try to correct the
interference by using one or more of the following
measures:
 Turn the television or radio antenna until the
interference stops.
 Move the computer to one side or the other of the
television or radio.
 Move the computer farther away from the television
or radio.
 Plug the computer into an outlet that is on a different
circuit from the television or radio. (That is, make
certain the computer and the television or radio are on
circuits controlled by different circuit breakers or
fuses.)
If necessary, consult an Apple Authorized Service
Provider or Apple. See the service and support
information that came with your Apple product.
Or consult an experienced radio/television technician
for additional suggestions.
Important: Changes or modifications to this product
not authorized by Apple Inc. could void the EMC
compliance and negate your authority to operate the
product.
This product has demonstrated EMC compliance under
conditions that included the use of compliant peripheral
devices and shielded cables (including Ethernet network
cables) between system components. It is important
that you use compliant peripheral devices and shielded
cables between system components to reduce the
possibility of causing interference to radios, television
sets, and other electronic devices.77
Responsible party (contact for FCC matters only):
Apple Inc. Corporate Compliance
1 Infinite Loop, MS 26-A
Cupertino, CA 95014
Wireless Radio Use
This device is restricted to indoor use when operating in
the 5.15 to 5.25 GHz frequency band.
Cet appareil doit être utilisé à l’intérieur.
Exposure to Radio Frequency Energy
The radiated output power of the AirPort Extreme
technology is below the FCC radio frequency exposure
limits. Nevertheless, it is advised to use the wireless
equipment in such a manner that the potential for
human contact during normal operation is minimized.
FCC Bluetooth Wireless Compliance
The antenna used with this transmitter must not be
colocated or operated in conjunction with any other
antenna or transmitter subject to the conditions of the
FCC Grant.
Bluetooth Industry Canada Statement
This Class B device meets all requirements of the
Canadian interference-causing equipment regulations.
Cet appareil numérique de la Class B respecte toutes les
exigences du Règlement sur le matériel brouilleur
du Canada.
Industry Canada Statement
Complies with the Canadian ICES-003 Class B
specifications. Cet appareil numérique de la classe B est
conforme à la norme NMB-003 du Canada. This device
complies with RSS 210 of Industry Canada.
Bluetooth Europe—EU Declaration of
Conformity
This wireless device complies with the R&TTE Directive.
Europe—EU Declaration of Conformity
The equipment complies with the RF Exposure
Requirement 1999/519/EC, Council Recommendation of
12 July 1999 on the limitation of exposure of the general
public to electromagnetic fields (0 Hz to 300 GHz).
Hereby, Apple Inc. declares that this 802.11a/b/g/n
Mini-PCIe card is in compliance with the R&TTE
Directive.
Complies with European Low Voltage and EMC
Directives.
See: www.apple.com/euro/compliance
Korea Warning Statements
Singapore Wireless Certification
Taiwan Wireless Statements78
Taiwan Class B Statement
VCCI Class B Statement
External USB Modem Information
When connecting your MacBook Pro to the phone
line using an external USB modem, refer to the
telecommunications agency information in the
documentation that came with your modem.
ENERGY STAR®
Compliance
As an ENERGY STAR®
partner, Apple has determined
that standard configurations of this product meet the
ENERGY STAR®
guidelines for energy efficiency. The
ENERGY STAR®
program is a partnership with electronic
equipment manufacturers to promote energy-efficient
products. Reducing energy consumption of products
saves money and helps conserve valuable resources.
This computer is shipped with power management
enabled with the computer set to sleep after 10 minutes
of user inactivity. To wake your computer, click the
mouse or trackpad button or press any key on the
keyboard.
For more information about ENERGY STAR®, visit:
www.energystar.gov 79
Disposal and Recycling Information
This symbol indicates that your product must be
disposed of properly according to local laws and
regulations. When your product reaches its end of life,
contact Apple or your local authorities to learn about
recycling options.
For information about Apple’s recycling program, go to
www.apple.com/environment/recycling.
Battery Disposal Information
Dispose of batteries according to your local
environmental laws and guidelines.
California: The coin cell battery in the optional Apple
Remote contains perchlorates. Special handling and
disposal may apply. Refer to:
www.dtsc.ca.gov/hazardouswaste/perchlorate
Deutschland: Das Gerät enthält Batterien. Diese
gehören nicht in den Hausmüll. Sie können verbrauchte
Batterien beim Handel oder bei den Kommunen
unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden,
kleben Sie die Pole der Batterien vorsorglich mit einem
Klebestreifen ab.
Nederlands: Gebruikte batterijen kunnen worden
ingeleverd bij de chemokar of in een speciale
batterijcontainer voor klein chemisch afval (kca) worden
gedeponeerd.80
Taiwan:
European Union—Disposal Information:
The symbol above means that according to local laws
and regulations your product should be disposed of
separately from household waste. When this product
reaches its end of life, take it to a collection point
designated by local authorities. Some collection points
accept products for free. The separate collection and
recycling of your product at the time of disposal will
help conserve natural resources and ensure that it is
recycled in a manner that protects human health and
the environment.Looking for Something?82 Looking for Something?
Index
A
AC plug 10
AC power adapter. See power
adapter
AC power cord 10
adapter, power.See power
adapter
AirPort Extreme
connecting wirelessly 11
problems 58
using 33
AppleCare 62
Apple Hardware Test 55
Apple Remote 34
application freeze 51
applications
Front Row 21, 34
iChat 21
iLife 33
Keynote 21
Photo Booth 21
audio in port 25
audio out port 25
B
battery
disposal 79
general information 30
indicator lights 30
location 21
performance 30
storing 71
battery indicator lights 30, 54
blinking question mark 52
brightness keys 23
built-in speakers 21
button, power 12, 21
C
cable modem 11
camera. See iSight
carrying your computer 70
changing
the desktop 16
password 54
System Preferences 16
checking memory 48
cleaning
the screen 71
your computer 71
computer
disposal 79
freezes 52
inventory 9
putting to sleep 16
shutting down 16
turning on 12
won’t turn on 53
connecting to a network 11
Control-click 27
controls. See keys
cord, power 10
D
Dashboard 23
desktop, customizing 16
discs
ejecting 55
software installation 60
supported types 70
display
external 25
See also screen
disposing of batteries 79
disposing of your computer 79
Dock 32
downloading software 59
drive, optical 21
DSL modem 11Looking for Something? 83
E
ejecting a disc 55
Energy Saver preferences
conserving battery
power 31
graphics processors 30
environmental impact 74
ergonomics 72
Ethernet
connecting to 11
port 25
Exposé key 23
external display port 25
external modem 12
F
F1 to F12 function keys 23
factory settings 60
Fast-forward key 23
FireWire
connections 34
port 25
flashing question mark 52
Force Quit 51
forward delete 27
four-finger swiping 29
Front Row application 21, 34
frozen application 51
function (fn) key 23
G
graphics processors 30
H
hand positions 72
headphone port 25
Help, finding answers 32
higher performance
graphics 30
high-speed USB 25
I
iChat application 21
iLife applications 33
infrared (IR) receiver 21
installation instructions
memory 44
overview 8
Internet
connecting to 11
connection problems 56
inventory of items 9
IP address, sharing 58
IP masquerading 58
iSight video camera 21
K
keyboard
ergonomics 72
illumination keys 23
media keys 23
shortcuts 27
See also keys
Keynote application 21
keys
brightness 23
Dashboard 23
Exposé 23
function (fn) 23
keyboard illumination 23
media 23
Media Eject 23
mute 23
volume 23
L
lights
battery 30, 54
sleep indicator 21
M
Mac Help 32
Mac OS X
reinstalling 60
website 33
MagSafe power adapter. See
power adapter
Media Eject key 23
media keys 23
memory
checking 48
installing 44
specifications 44
microphone 2184 Looking for Something?
migrating information 14
Migration Assistant 14
Mini DisplayPort 25
modem 11
mouse 25, 73
Multi-Touch gestures 26
mute key 23
N
network address translation
(NAT) 58
network connections 58
Network Diagnostics 56
Network Setup Assistant 56
number, serial 64
O
online resources 61
optical drive
about 21
supported disc sizes 70
P
paging through documents
using trackpad 29
password, resetting 54
Photo Booth application 21
pinching to zoom 28
Play/Pause key 23
ports on MacBook Pro 25
power adapter
plugging in 67
port 25
using 10
power button 12, 21
power cord 10
PPPoE connections 57
preferences. See System
Preferences
problems
computer freezes 52
computer won’t turn on 51,
53
Internet connection 56
pointer won’t move 51
PPPoE connections 57
screen goes black 54
trouble ejecting a disc 55
trouble using AirPort 58
See also troubleshooting
putting your MacBook Pro to
sleep 16
Q
question mark, flashing 52
R
RAM. See memory
reinstalling software 60
resetting your password 54
Rewind key 23
right click 27
rotating objects using
trackpad 28
S
safety
general safety
instructions 66
power adapter 67
screen
cleaning 71
goes black 54
scrolling with two fingers 26
SD card slot 25
SDRAM specifications 44
secondary click 27
secondary click zone 27
security slot 21
Serial ATA (SATA) hard drive 37
serial number, finding 64
service and support 62
Setup Assistant 56
shutting down 17
sleep
indicator light 21
mode 16
slot-loading optical drive 21
software
reinstalling 60
updating 59
Software Update 59
speakers 21
specifications 34
Startup Disk preferences 52
stoppingLooking for Something? 85
an application 51
your computer 17
storing your computer 71
SuperDrive
about 21
supported disc sizes 70
support 62
swiping to move quickly
through documents 29
System Preferences
customizing the desktop 16
Energy Saver 16
Software Update 59
Startup Disk 52
System Profiler 62
T
three-finger swiping 29
trackpad
about 21
shortcuts 27
trackpad gestures 26
troubleshooting
AirPort 58
AppleCare 62
battery indicator lights 54
computer freezes 52
computer won’t
respond 51
computer won’t turn on 53
ejecting a disc 55
hardware problems 55
Internet connection 56
pointer won’t move 51
screen goes black 54
service and support 61
using Mac Help 61
See also problems
turning on your
MacBook Pro 12
two-finger pinching 28
two-finger rotating 28
typing position 72
U
updating software 59
USB
connections 34
ports 25
V
video, Mini DisplayPort 25
video camera indicator light 21
volume keys 23
W
waking your MacBook Pro 16
Z
zooming using the trackpad 28K Apple Inc.
© 2009 Apple Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple.
Every effort has been made to ensure that the
information in this manual is accurate. Apple is not
responsible for printing or clerical errors.
Apple
1 Infinite Loop
Cupertino, CA 95014
408-996-1010
www.apple.com
Apple, the Apple logo, AirPort, AirPort Extreme, Cover
Flow, Exposé, FileVault, FireWire, GarageBand, iCal, iChat,
iLife, iMovie, iPhoto, iPod, iSight, iTunes, Keynote, Mac,
MacBook, Macintosh, Mac OS, MagSafe, Photo Booth,
Safari, Spaces, SuperDrive, and Time Machine are
trademarks of Apple Inc., registered in the U.S. and other
countries.
Finder, the FireWire logo, iPhone, iWeb, Multi-Touch, and
Spotlight are trademarks of Apple Inc.
AppleCare, Apple Store, and iTunes Store are service
marks of Apple Inc., registered in the U.S. and other
countries.
ENERGY STAR®
is a U.S. registered trademark.
Intel, Intel Core, and Xeon are trademarks of Intel Corp.
in the United States and other countries.
The Bluetooth®
word mark and logos are owned by the
Bluetooth SIG, Inc. and any use of such marks by Apple
Inc. is under license.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
Manufactured under license from Dolby Laboratories.
“Dolby,” “Pro Logic,” and the double-D symbol are
trademarks of Dolby Laboratories. Confidential
Unpublished Works, © 1992–1997 Dolby Laboratories,
Inc. All rights reserved.
The product described in this manual incorporates
copyright protection technology that is protected by
method claims of certain U.S. patents and other
intellectual property rights owned by Macrovision
Corporation and other rights owners. Use of this
copyright protection technology must be authorized by
Macrovision Corporation and is intended for home and
other limited viewing uses only unless otherwise
authorized by Macrovision Corporation. Reverse
engineering or disassembly is prohibited.
Apparatus Claims of U.S. Patent Nos. 4,631,603, 4,577,216,
4,819,098 and 4,907,093 licensed for limited viewing
uses only.
Simultaneously published in the United States and
Canada.
Congratulations, you and your MacBook Pro
were made for each other.finder
trackpad
Say hello to your MacBook Pro.
www.apple.com/macbookpro
Pinch and
expand
Click anywhere Rotate
Scroll Swipe
Multi-Touch trackpad
Scroll through files, adjust
images, and enlarge text
using just your fingers.
Mac Help
Built-in iSight camera and iChat
Video chat with friends and
family anywhere in the world.
Mac Help
Finder
Browse your files
like you browse
your music with
Cover Flow.
Mac Help
isight
MacBook ProMac OS X Leopard
www.apple.com/macosx
iLife ’09
www.apple.com/ilife
Time Machine
Automatically
back up and
restore your files.
Mac Help
Spotlight
Find anything
on your Mac.
Mac Help
time machine
spotlight
Safari
Experience the web
with the fastest
browser in the world.
Mac Help
safari
Quick Look
Instantly preview
your files.
Mac Help
quick look
iPhoto
Organize and
search your
photos by faces,
places, or events.
iPhoto Help
photos
iMovie
Make a greatlooking movie in
minutes or edit
your masterpiece.
iMovie Help
movie
GarageBand
Learn to play.
Start a jam session.
Record and mix
your own song.
GarageBand Help
record
iWeb
Create custom
websites and publish
them anywhere with
a click.
iWeb Help
website
iPhoto
Organize and
search your
photos by faces,
places, or events.
iPhoto Help
photos
iMovie
Make a greatlooking movie in
minutes or edit
your masterpiece.
iMovie Help
movie
GarageBand
Learn to play.
Start a jam session.
Record and mix
your own song.
GarageBand Help
record
iWeb
Create custom
websites and publish
them anywhere with
a click.
iWeb Help
websiteContents 5
Contents
Chapter 1: Ready, Set Up, Go
9 What’s in the Box
9 Setting Up Your MacBook Pro
17 Putting Your MacBook Pro to Sleep or Shutting It Down
Chapter 2: Life with Your MacBook Pro
20 Basic Features of Your MacBook Pro
22 Keyboard Features of Your MacBook Pro
24 Ports on Your MacBook Pro
26 Using the Multi-Touch Trackpad
30 Using the MacBook Pro Battery
31 Getting Answers
Chapter 3: Boost Your MacBook Pro
37 Replacing the Hard Disk Drive
44 Installing Additional Memory
Chapter 4: Problem, Meet Solution
50 Problems That Prevent You from Using Your MacBook Pro
55 Using Apple Hardware Test6 Contents
56 Problems with Your Internet Connection
58 Problems with AirPort Extreme Wireless Communication
59 Keeping Your Software Up to Date
60 Reinstalling the Software That Came with Your MacBook Pro
61 Learning More, Service, and Support
64 Locating Your Product Serial Number
Chapter 5: Last, but Not Least
66 Important Safety Information
69 Important Handling Information
72 Understanding Ergonomics
74 Apple and the Environment
76 Regulatory Compliance Information
Looking for Something?
82 Index1
1 Ready, Set Up, Go
www.apple.com/macbookpro
Mac Help Migration Assistant8 Chapter 1 Ready, Set Up, Go
Your MacBook Pro is designed so that you can set it up quickly and start using it right
away. If you have never used a MacBook Pro or are new to Macintosh computers, read
this chapter for help getting started.
Important: Read all the installation instructions (and the safety information starting on
page 66) carefully before you first use your computer.
If you are an experienced user, you may already know enough to get started.
Make sure you look over the information in Chapter 2, “Life with Your MacBook Pro,”
to find out about the new features of this MacBook Pro.
Many answers to questions can be found on your computer in Mac Help. For
information about using Mac Help, see “Getting Answers” on page 31. Apple may
release new versions and updates to its system software, so the images shown in this
book may be slightly different from what you see onscreen.Chapter 1 Ready, Set Up, Go 9
What’s in the Box
Setting Up Your MacBook Pro
Your MacBook Pro is designed so that you can set it up quickly and start using it right
away. The following pages take you through the setup process, including these tasks:
 Plugging in the 60W MagSafe Power Adapter
 Connecting cables and accessing a network
 Turning on your MacBook Pro and using the trackpad
 Configuring a user account and other settings using Setup Assistant
 Setting up the Mac OS X desktop and preferences
60W MagSafe Power Adapter AC power cord
®10 Chapter 1 Ready, Set Up, Go
Important: Remove the protective film around the 60W MagSafe Power Adapter before
setting up your MacBook Pro.
Step 1: Plug in the 60W MagSafe Power Adapter to provide power to the
MacBook Pro and charge the battery.
Make sure the AC plug is fully inserted into the power adapter and the electrical
prongs on your AC plug are in their completely extended position. Insert the AC plug
of your power adapter into a power outlet and the MagSafe connector into the
MagSafe power port. As the MagSafe connector gets close to the port, you’ll feel a
magnetic pull drawing it in.
To extend the reach of your power adapter, replace the AC plug with the AC power
cord. First pull the AC plug up to remove it from the adapter, and then attach the
included AC power cord to the adapter, making sure it is seated firmly.
When disconnecting the power adapter from an outlet or from the computer, pull the
plug, not the cord.
®
MagSafe connector
AC power cord
AC plug ¯ MagSafe power portChapter 1 Ready, Set Up, Go 11
Note: When you first connect the power adapter to your MacBook Pro, an indicator
light on the MagSafe connector starts to glow. An amber light indicates that the
battery is charging. A green light indicates that the battery is fully charged. If you don’t
see a light, make sure the connector is seated properly and the power adapter is
plugged in.
Step 2: Connect to a wireless or wired network.
 To use a wireless network with the built-in AirPort Extreme technology, make sure the
wireless base station is turned on and that you know the name of the network. After
you turn on your MacBook Pro, Setup Assistant guides you through the connection
process. For troubleshooting tips, see page 58. 12 Chapter 1 Ready, Set Up, Go
 To use a wired connection, connect one end of an Ethernet cable to your
MacBook Pro and the other end to a cable modem, DSL modem, or network.
 To use a dial-up connection, you need the external Apple USB Modem, available from
the online Apple Store at www.apple.com/store or from an Apple Authorized Reseller.
Connect the Apple USB Modem to a USB port on your MacBook Pro, and then
connect a phone cord (not included) from the modem into a phone wall jack.
®
Ethernet
cable
Gigabit Ethernet port
(10/100/1000Base-T)
GChapter 1 Ready, Set Up, Go 13
Step 3: Press the power (®) button briefly to turn on your MacBook Pro.
You hear a tone when you turn on the computer.
It takes the computer a few moments to start up. After it starts up, Setup Assistant
opens automatically.
If your computer doesn’t turn on, see “If your MacBook Pro doesn’t turn on or start up”
on page 52.
®
® Power button14 Chapter 1 Ready, Set Up, Go
Step 4: Configure your MacBook Pro with Setup Assistant.
The first time you turn on your MacBook Pro, Setup Assistant starts. Setup Assistant
helps you enter your Internet and email information and set up a user account on your
MacBook Pro. If you already have a Mac, Setup Assistant can help you automatically
transfer files, applications, and other information from your previous Mac. See the next
section, “Migrating Information to Your MacBook Pro,” for more information.
If you don’t intend to keep or use your other Mac, it’s best to deauthorize it from
playing music, videos, or audiobooks that you’ve purchased from the iTunes Store.
Deauthorizing a computer prevents any songs, videos, or audiobooks you’ve purchased
from being played by someone else and frees up another authorization for use.
For information about deauthorizing, in iTunes, open Help > iTunes Help.Chapter 1 Ready, Set Up, Go 15
Migrating Information to Your MacBook Pro
You can follow the prompts in Setup Assistant to migrate existing user accounts, files,
applications, and other information from another Mac computer. You can do this with
one of the following methods:
 Using a FireWire cable to connect the two computers together and transfer the
information
 Using an Ethernet cable connected directly between both computers, or connecting
both computers to the same network
 Wirelessly, directly between both computers, or with both computers on the same
wireless network
Before performing migration, use Software Update on your other Mac to ensure you
have the latest version of Mac OS X software—either Mac OS X v10.4.11 or Mac OS X
v10.5.6 (or later).
You can choose the items (user accounts, documents, movies, music, photos, and so
on) that you want to migrate to your MacBook Pro.
Important: Don’t use the other Mac for anything else until the migration is complete.
If you don’t use Setup Assistant to transfer information when you first start up your
computer, you can do it later using Migration Assistant. If the connection is terminated
during migration, you can resume the migration at a later time using Migration
Assistant on your MacBook Pro and your other Mac. Go to the Applications folder, open
Utilities, and double-click Migration Assistant. 16 Chapter 1 Ready, Set Up, Go
Step 5: Customize the Mac OS X desktop and set preferences.
Menu bar
Dock System Preferences icon
Help menu Spotlight search icon
Finder iconChapter 1 Ready, Set Up, Go 17
You can quickly customize the desktop using System Preferences. Choose Apple () >
System Preferences from the menu bar or click the System Preferences icon in the
Dock. System Preferences is your command center for most settings on your
MacBook Pro. For more information, open Mac Help and search for “System
Preferences” or for the specific preference you want to change.
Putting Your MacBook Pro to Sleep or Shutting It Down
When you finish working with your MacBook Pro, you can put it to sleep or shut it
down.
Putting Your MacBook Pro to Sleep
If you’ll be away from your MacBook Pro for only a short time, put it to sleep. When the
computer is in sleep, you can quickly wake it and bypass the startup process.
To put your MacBook Pro to sleep, do one of the following:
 Close the display.
 Choose Apple () > Sleep from the menu bar.
 Press the power (®) button and click Sleep in the dialog that appears.
 Choose Apple () > System Preferences, click Energy Saver, and set a sleep timer.
NOTICE: Wait a few seconds until the sleep indicator light starts pulsing (indicating
that the computer is in sleep and the hard disk has stopped spinning) before you
move your MacBook Pro. Moving your computer while the hard disk is spinning can
damage it, causing loss of data or the inability to start up from the hard disk.18 Chapter 1 Ready, Set Up, Go
To wake your MacBook Pro:
 If the display is closed, simply open it to wake your MacBook Pro.
 If the display is already open, press the power (®) button or any key on the keyboard.
When your MacBook Pro wakes from sleep, your applications, documents, and
computer settings are exactly as you left them.
Shutting Down Your MacBook Pro
If you aren’t going to use your MacBook Pro for a couple of days or longer, it’s best to
shut it down. The sleep indicator light goes on briefly during the shutdown process.
To shut down your MacBook Pro, do one of the following:
 Choose Apple () > Shut Down from the menu bar.
 Press the power (®) button and click Shut Down in the dialog that appears.
If you plan to store your MacBook Pro for an extended period of time, see “Important
Handling Information” on page 69 for information about how to prevent your battery
from draining completely.2
2 Life with Your MacBook Pro
www.apple.com/macosx
Mac Help Mac OS X20 Chapter 2 Life with Your MacBook Pro
Basic Features of Your MacBook Pro
®
® Power button
Camera indicator light
iSight camera
Built-in stereo
speakers
Battery indicator
lights (side)
Microphone
Trackpad
Slot-loading
SuperDrive
Sleep
indicator light
Infrared (IR)
receiver
Security slotChapter 2 Life with Your MacBook Pro 21
Built-in iSight camera and camera indicator light
Videoconference with others using iChat, take pictures with Photo Booth, or capture
video with iMovie. The indicator light glows when the iSight camera is operating.
Built-in microphone
Capture sounds with the microphone (located above the Esc key on your keyboard) or
talk with friends live over broadband using the included iChat application.
Built-in stereo speakers
Listen to music, movies, games, and multimedia files.
Built-in battery and battery indicator lights
Use battery power when you’re away from a power outlet. Press the battery button to
activate indicator lights that show the remaining battery charge.
Trackpad
Click or double-click anywhere on the trackpad. Touch the trackpad with one or more
fingers to move the pointer and use Multi-Touch gestures (described on page 26).
Sleep indicator light
A white light pulses when the MacBook Pro is in sleep.
Infrared (IR) receiver
Use an optional Apple Remote (available separately) with the IR receiver to control Front
Row and Keynote on your MacBook Pro from up to 30 feet (9.1 meters) away.
Security slot
Attach a lock and cable (available separately) to prevent theft.
Slot-loading SuperDrive
This optical drive reads and writes to standard-size CDs and DVDs.
® Power button
Turn your MacBook Pro on or off, or put it to sleep.22 Chapter 2 Life with Your MacBook Pro
Keyboard Features of Your MacBook Pro
®
Function (fn) key
esc
F1 F2 F3 F4 F5 F6 F7 F8 F9 F10 F11 F12
—
C
- Volume
keys
Brightness
keys
Media
Eject key
Mute
key
Exposé Dashboard Media
keys
Keyboard illumination
keys
’Chapter 2 Life with Your MacBook Pro 23
Function (fn) key
Hold down this key to activate customized actions assigned to the function keys
(F1 to F12). To learn how to customize function keys, choose Help > Mac Help from the
menu bar and search for “function keys.”
Brightness keys (F1, F2)
Increase ( ) or decrease ( ) the brightness of the screen.
Exposé key (F3)
Open Exposé for quick access to all your open windows.
Dashboard key (F4)
Open Dashboard to access your widgets.
o Keyboard illumination keys (F5, F6)
Increase (o) or decrease (ø) the brightness of the keyboard illumination.
’ Media keys (F7, F8, F9)
Rewind ( ), play or pause (’), or fast-forward ( ) a song, movie, or slideshow.
— Mute key (F10)
Mute the sound coming from the built-in speakers and audio out port.
- Volume keys (F11, F12)
Increase (-) or decrease (–) the volume of the sound coming from the built-in speakers
or audio out port.
C Media Eject key
Hold down this key to eject a disc that’s not in use. You can also eject a disc by dragging
its desktop icon to the Trash.24 Chapter 2 Life with Your MacBook Pro
Ports on Your MacBook Pro
®
¯
Gigabit
Ethernet port
G
SD card slot
f Audio out port
Mini
DisplayPort
£
USB 2.0
ports
MagSafe HFireWire 800 d
power portChapter 2 Life with Your MacBook Pro 25
Note: Adapters and other accessories are sold separately at www.apple.com/store.
¯ MagSafe power port
Plug in the included 60W MagSafe Power Adapter to recharge the MacBook Pro battery.
G Gigabit Ethernet port
Connect to a high-speed Ethernet network, a DSL or cable modem, or another computer.
The Ethernet port automatically detects Ethernet devices and doesn’t require an
Ethernet crossover cable.
H One FireWire 800 port
Connect high-speed external devices, such as digital video cameras and storage devices.
£ Mini DisplayPort (video out)
Connect to an external display or projection system that uses a DVI, Dual-Link DVI, or
VGA connector. You can purchase adapters for supported video formats.
d Two USB (Universal Serial Bus) 2.0 ports
Connect an iPod, iPhone, mouse, keyboard, printer, digital camera, modem, and more to
your MacBook Pro. You can connect one high-powered external USB device.
SD card slot
Easily transfer photos, videos, and data to and from your MacBook Pro with an SD card.
f Audio out port
Connect external speakers, headphones (including iPhone), or digital audio equipment.
You can specify audio analog line in functionality, to support line-level microphones and
audio equipment, by selecting Audio In in the Sound pane of System Preferences.26 Chapter 2 Life with Your MacBook Pro
Using the Multi-Touch Trackpad
Use the trackpad to move the cursor and to perform a variety of Multi-Touch gestures.
Unlike typical trackpads, the entire MacBook Pro trackpad is a button, and you can click
anywhere on the trackpad. To enable gestures and set other trackpad options, choose
Apple () > System Preferences, and then click Trackpad.
Here are ways to use your MacBook Pro trackpad:
 Two-finger scrolling lets you drag to scroll quickly up, down, or sideways in the active
window. This option is on by default.Chapter 2 Life with Your MacBook Pro 27
 Secondary clicking or “right-clicking” lets you access shortcut menu commands.
 To set up a one-finger secondary-click zone in the bottom left or right corner of the
trackpad, select Secondary Click under the One Finger option in Trackpad
preferences.
 To set up two-finger secondary-clicking anywhere on the trackpad, select
Secondary Click under the Two Fingers option in Trackpad preferences.
Note: You can also secondary click by holding down the Control key while you click.
Secondary click zone28 Chapter 2 Life with Your MacBook Pro
The following trackpad gestures work in certain applications. When you perform these
gestures, slide your fingers lightly on the surface of the trackpad. For more information,
see Trackpad preferences or choose Help > Mac Help and search for “trackpad.”
 Two-finger pinching lets you zoom in or out on PDFs, images, photos, and more.
 Two-finger rotating lets you rotate photos, pages, and more.Chapter 2 Life with Your MacBook Pro 29
 Three-finger swipe lets you rapidly page through documents, move to the previous or
next photo, and more.
 Four-finger swipe works in the Finder and all applications. Swiping four fingers to the
left or right activates Application Switcher so you can cycle through open
applications. Swiping four fingers up or down causes Exposé to show the desktop or
display all open windows. 30 Chapter 2 Life with Your MacBook Pro
Using the MacBook Pro Battery
When the MagSafe power adapter isn’t connected, your MacBook Pro draws power
from its built-in battery. The length of time that you can run your MacBook Pro varies,
depending on the applications you use and the external devices connected to your
MacBook Pro.
Turning off features such as AirPort Extreme or Bluetooth®
wireless technology and
reducing screen brightness can help conserve battery charge—for example, when
you’re traveling by air. Many of your system preferences are automatically set to
optimize battery life.
You can determine the charge remaining in the battery by looking at the eight battery
level indicator lights on the left side of your MacBook Pro. Press the button next to the
lights, and the lights glow briefly to show how much charge remains in the battery.
Important: If only one indicator light is on, very little charge is left. If no lights
illuminate, the battery is completely drained and the MacBook Pro won’t start up
unless the power adapter is connected. Plug in the power adapter to let the battery
recharge. For more information about battery indicator lights, see page 54.
You can also check the amount of battery charge remaining by viewing the
Battery ( ) status icon in the menu bar. The battery charge level displayed is based
on the amount of power left in the battery with the applications, peripheral devices,
and system settings you are currently using. To conserve battery power, close
applications and disconnect peripheral devices not in use, and adjust your Energy
Saver settings. For more information about battery conservation and performance tips,
go to www.apple.com/batteries/notebooks.html.Chapter 2 Life with Your MacBook Pro 31
Charging the Battery
When the power adapter that came with your MacBook Pro is connected, the battery
recharges whether the computer is on, off, or in sleep. The battery recharges more
quickly, however, when the computer is off or in sleep.
The battery in your MacBook Pro can be replaced only by an Apple Authorized Service
Provider or an Apple Retail Store.
Getting Answers
Much more information about using your MacBook Pro is available in Mac Help on
your computer and on the Internet at www.apple.com/support/macbookpro.
To get Mac Help:
1 Click the Finder icon in the Dock (the bar of icons along the edge of the screen).
2 Click the Help menu in the menu bar and do one of the following:
a Type a question or term in the Search field, and select a topic from the list of results
or select Show All Results to see all topics.
b Choose Mac Help to open the Mac Help window, where you can click links or type a
search question.32 Chapter 2 Life with Your MacBook Pro
More Information
For more information about using your MacBook Pro, see the following:
To learn about See
Installing memory Chapter 3, “Boost Your MacBook Pro,” on page 35.
Troubleshooting your
MacBook Pro if you have a
problem
Chapter 4, “Problem, Meet Solution,” on page 49.
Finding service and support
for your MacBook Pro
“Learning More, Service, and Support” on page 61.
Or see the Apple Support website at
www.apple.com/support/macbookpro.
Using Mac OS X The Mac OS X website at www.apple.com/macosx. Or search for
“Mac OS X” in Mac Help.
Moving from a PC to a Mac “Why you’ll love a Mac” at www.apple.com/getamac/whymac.
Using iLife applications The iLife website at www.apple.com/ilife. Or open an iLife
application, open Help for the application, and then type a
question in the search field.
Changing system preferences System Preferences by choosing Apple (K) > System
Preferences. Or search for “system preferences” in Mac Help.
Using the trackpad Mac Help and search for “trackpad.” Or open System Preferences
and click Trackpad.
Using the keyboard Mac Help and search for “keyboard.”
Using the iSight camera Mac Help and search for “iSight.”
Using AirPort Extreme wireless
technology
The AirPort Support page at www.apple.com/support/airport.Chapter 2 Life with Your MacBook Pro 33
Using Bluetooth wireless
technology
The Bluetooth Support page at www.apple.com/support/
bluetooth. Or open the Bluetooth File Exchange application,
located in the Utilities folder within the Applications folder,
and choose Help > Bluetooth Help.
Caring for the battery Mac Help and search for “battery.”
Connecting a printer Mac Help and search for “printing.”
FireWire and USB connections Mac Help and search for “FireWire” or “USB.”
Connecting to the Internet Mac Help and search for “Internet.”
Connecting an external display Mac Help and search for “displayport.”
Apple Remote Mac Help and search for “remote.”
Front Row Mac Help and search for “Front Row.”
Burning a CD or DVD Mac Help and search for “burn disc.”
Specifications The Specifications page at www.apple.com/support/specs.
Or open System Profiler by choosing Apple (K) > About This
Mac from the menu bar, and then click More Info.
Apple news, free downloads,
and online catalogs of
software and hardware
The Apple website at www.apple.com.
Instructions, technical support,
and manuals for Apple
products
The Apple Support website at www.apple.com/support.
To learn about See3
3 Boost Your MacBook Pro
www.apple.com/store
Mac Help RAM36 Chapter 3 Boost Your MacBook Pro
This chapter provides information and instructions for upgrading the hard disk drive
and installing additional memory in your MacBook Pro.
The battery in your MacBook Pro is not user-replaceable. If you think your battery
needs to be replaced, contact an Apple Retail Store or an Apple Authorized Service
Provider.
WARNING: Apple recommends that you have an Apple-certified technician install
replacement drives and memory. Consult the service and support information that
came with your computer for information about how to contact Apple for service. If
you attempt to install a replacement drive or memory and damage your equipment,
such damage is not covered by the limited warranty on your computer.Chapter 3 Boost Your MacBook Pro 37
Replacing the Hard Disk Drive
You can upgrade the hard disk drive in your MacBook Pro. When you open the back of
your MacBook Pro, the hard disk drive is located next to the built-in battery.
The replacement drive must be a 2.5-inch drive with a Serial ATA (SATA) connector.
To replace the hard disk drive in your MacBook Pro:
1 Shut down your MacBook Pro. Disconnect the power adapter, Ethernet cable, USB
cables, security lock, and any other cables connected to the MacBook Pro to prevent
damaging the computer.
2 Turn over your MacBook Pro and remove the ten (10) screws that secure the bottom
case. Remove the shorter screws at the angles shown in the illustration. Lift off the case
and place it to the side.
WARNING: The internal components of your MacBook Pro can be warm. If you have
been using your MacBook Pro, wait 10 minutes after shutting down to let the internal
components cool before continuing.38 Chapter 3 Boost Your MacBook Pro
Important: Because the screws are different lengths, note the screw lengths and
locations so you can replace the screws correctly. Put them aside in a safe place.
Important: When you remove the bottom case, you expose sensitive internal
components. Avoid touching anything other than the hard drive assembly when you
remove or add a hard disk drive.
Short
LongChapter 3 Boost Your MacBook Pro 39
3 Touch a metal surface inside the computer to discharge any static electricity from your
body.40 Chapter 3 Boost Your MacBook Pro
4 Locate the bracket at the top of the drive. Use a Phillips screwdriver to loosen the two
captive screws that hold the bracket in place. Put the bracket aside in a safe place.
5 Using the pull tab, gently lift the drive out of the bay.
Bracket
Pull tabChapter 3 Boost Your MacBook Pro 41
6 Hold the drive by its sides and gently pull the connector on the left side of the drive to
disconnect it.
The connector is attached to a cable and remains in the hard disk drive bay.
Important: There are four (4) mounting screws on the sides of your hard disk drive.
If your replacement drive doesn’t include mounting screws, remove the ones from your
old drive and mount them on the replacement drive before you install it.
7 Attach the connector to the left side of the replacement drive.
Mounting screws42 Chapter 3 Boost Your MacBook Pro
8 Insert the replacement drive at an angle, making sure the mounting screws are seated
properly.
9 Replace the bracket and tighten the screws. Chapter 3 Boost Your MacBook Pro 43
10 Replace the bottom case. Replace and tighten the ten screws you removed in step 2 in
their proper locations, making sure to insert the shorter screws at the angles shown in
the illustration.
For information about installing Mac OS X and bundled applications, see “Reinstalling
the Software That Came with Your MacBook Pro” on page 60.
Short
Long44 Chapter 3 Boost Your MacBook Pro
Installing Additional Memory
Your computer has two memory slots that you access by removing the bottom case.
Your MacBook Pro comes with a minimum of 2 gigabytes (GB) of 1066 MHz Double
Data Rate (DDR3) Synchronous Dynamic Random-Access Memory (SDRAM) installed.
Each memory slot can accept an SDRAM module that meets the following
specifications:
 Double Data Rate Small Outline Dual Inline Memory Module (DDR3) format
 30 mm (1.18 inches)
 204-pin
 1 GB, 2 GB, or 4 GB
 PC3-8500 DDR3 SO-DIMM 1066 MHz Type RAM
You can add two 4 GB memory modules for a maximum of 8 GB of memory. For best
performance, fill both memory slots and install an identical memory module in each
slot.
To install memory in your MacBook Pro:
1 Follow steps 1 through 3 beginning on page 37.
Important: When you remove the bottom case, you expose sensitive internal
components. Avoid touching anything other than the memory assembly when you
remove or add memory.Chapter 3 Boost Your MacBook Pro 45
2 Push the levers on the sides of the memory module in an outward direction to release
the module from the memory card slot.
The memory pops up at an angle. Before removing it, make sure you see the half-circle
notches. If you don’t, try pushing the levers outward again.
Notches46 Chapter 3 Boost Your MacBook Pro
3 Hold the memory module by its notches and remove it from the slot.
4 Remove the other memory module.
Important: Hold the memory modules by their edges, and do not touch the gold
connectors.
5 Insert the new memory module in the slot:
a Align the notch on the gold edge of the module with the notch in the lower memory
slot.
b Tilt the card and push the memory into the slot.
c Use two fingers with firm, even pressure to push down on the memory module.
You should hear a click when the memory is inserted correctly.
d Repeat to install an additional memory module in the top slot. Press down on the
module to make sure it is level.Chapter 3 Boost Your MacBook Pro 47
Follow the instructions for replacing the bottom case in step 10 on page 43.
Notches48 Chapter 3 Boost Your MacBook Pro
Making Sure Your MacBook Pro Recognizes the New Memory
After installing additional memory in your MacBook Pro, check whether the computer
recognizes the new memory.
To check the computer’s memory:
1 Start up your MacBook Pro.
2 When you see the Mac OS X desktop, choose Apple () > About This Mac.
For a detailed breakdown of the memory installed in your computer, open System
Profiler by clicking More Info, and then click Memory.
If your MacBook Pro doesn’t recognize the memory or doesn’t start up correctly,
confirm that the memory you installed is compatible with your MacBook Pro and that
it is installed correctly.4
4 Problem, Meet Solution
www.apple.com/support
Mac Help help50 Chapter 4 Problem, Meet Solution
Occasionally you may have problems while working with your MacBook Pro. Read on
for troubleshooting tips to try when you have a problem. You can also find more
troubleshooting information in Mac Help and on the MacBook Pro Support website at
www.apple.com/support/macbookpro.
If you experience a problem with your MacBook Pro, there is usually a simple and quick
solution. Think about the conditions that led up to the problem. Making a note of
things you did before the problem occurred will help you narrow down possible causes
and find the answers you need. Things to note include:
 The applications you were using when the problem occurred. Problems that occur
only with a specific application might indicate that the application is not compatible
with the version of the Mac OS installed on your computer.
 Any new software that you installed, especially software that added items to the
System folder.
 Any hardware that you installed, such as additional memory or a peripheral.
Problems That Prevent You from Using Your MacBook Pro
If your MacBook Pro doesn’t respond or the pointer doesn’t move
On rare occasions, an application might “freeze” on the screen. Mac OS X provides a
way to quit a frozen application without restarting your computer.
To force an application to quit:
1 Press Command (x)-Option-Esc or choose Apple () > Force Quit from the menu bar.
The Force Quit Applications dialog appears with the application selected.Chapter 4 Problem, Meet Solution 51
2 Click Force Quit.
The application quits, leaving all other applications open.
If you need to, you can also restart the Finder from this dialog.
Next, save your work in any open applications and restart the computer to make sure
the problem is entirely cleared up.
If the problem occurs frequently, choose Help > Mac Help from the menu bar at the
top of the screen. Search for the word “freeze” to get help for times when the computer
freezes or doesn’t respond.
If the problem occurs only when you use a particular application, check with the
application’s manufacturer to see if it is compatible with your computer. To get support
and contact information for the software that came with your MacBook Pro, go to
www.apple.com/guide.
If you know an application is compatible, you might need to reinstall your computer’s
system software. See “Reinstalling the Software That Came with Your MacBook Pro” on
page 60.
If your MacBook Pro freezes during startup, or you see a flashing question mark, or
the screen is dark and the sleep indicator light is glowing steadily (not in sleep)
The flashing question mark usually means that the computer can’t find the system
software on the hard disk or any disks attached to the computer. 52 Chapter 4 Problem, Meet Solution
 Wait a few seconds. If the computer doesn’t soon start up, shut it down by holding
down the power (®) button for about 8 to 10 seconds. Disconnect all external
peripherals and try restarting by pressing the power (®) button while holding down
the Option key. When your computer starts up, click the hard disk icon, and then click
the right arrow. After the computer starts up, open System Preferences and click
Startup Disk. Select a local Mac OS X System folder.
 If that doesn’t work, try using Disk Utility to repair the disk:
 Insert the Mac OS X Install DVD into your computer.
 Restart your computer and hold down the C key as it starts up.
 Choose Installer > Open Disk Utility. When Disk Utility opens, follow the instructions
in the First Aid pane to see if Disk Utility can repair the disk.
If using Disk Utility doesn’t help, you might need to reinstall your computer’s system
software. See “Reinstalling the Software That Came with Your MacBook Pro” on
page 60.
If your MacBook Pro doesn’t turn on or start up
Try the following suggestions in order until your computer turns on:
 Make sure the power adapter is plugged into the computer and into a functioning
power outlet. Be sure to use the 60W MagSafe Power Adapter that came with your
MacBook Pro. If the power adapter stops charging and you don’t see the indicator
light on the power adapter turn on when you plug in the power cord, try unplugging
and replugging the power cord to reseat it.Chapter 4 Problem, Meet Solution 53
 Check whether the battery needs to be recharged. Press the small button on the left
side of your computer. You should see one to eight lights indicating the battery’s
level of charge. If a single indicator light is on, connect your power adapter to
recharge. For more information about battery indicator lights, see page 54.
 If the problem persists, return the computer to its factory settings by disconnecting
the power adapter and holding down the power (®) button for at least 5 seconds.
 If you recently installed additional memory, make sure that it is correctly installed and
is compatible with your computer. See whether removing it and reinstalling the old
memory allows the computer to start up (see page 44).
 Press the power (®) button and immediately hold down the Command (x), Option,
P, and R keys simultaneously until you hear the startup sound a second time. This
resets the parameter RAM (PRAM).
 If you still can’t start up your MacBook Pro, see “Learning More, Service, and Support”
on page 61 for information about contacting Apple for service.
If the screen suddenly goes black or your MacBook Pro freezes
Try restarting your MacBook Pro.
1 Unplug any devices that are connected to your MacBook Pro, except the power
adapter.
2 Press the power (®) button to restart the system.
3 Let the battery charge to at least 10 percent before plugging in any external devices
and resuming your work.
To see how much the battery has charged, look at the Battery ( ) status icon in the
menu bar.54 Chapter 4 Problem, Meet Solution
The screen might also darken if you have energy saver features set for the battery.
If an audio device plugged into the audio port isn’t working
Choose Apple () > System Preferences, and open Sound preferences. Specify whether
you want the port to be used for audio input or audio output.
Note: If you’re running Windows on your MacBook Pro, the port supports only audio
output.
If you press the battery button, and all battery indicator lights flash five times
quickly
Your battery needs to be replaced. Contact an Apple Retail Store or an Apple
Authorized Service Provider.
If you press the battery button, and the battery indicator lights flash from left to
right and then from right to left, five times in a row
Your battery is not recognized. Contact an Apple Retail Store or an Apple Authorized
Service Provider.
If you forget your password
You can reset your administrator password and passwords for all other accounts.
1 Insert the Mac OS X Install DVD. Then restart your computer and hold down the C key as
it starts up.
2 Choose Utilities > Reset Password from the menu bar. Follow the onscreen instructions.
If you have trouble ejecting a disc
Quit any applications that might be using the disc and try again. If that doesn’t work,
restart the computer and then immediately press and hold the trackpad button.Chapter 4 Problem, Meet Solution 55
Using Apple Hardware Test
If you suspect a problem with the MacBook Pro hardware, you can use the Apple
Hardware Test application to help determine if there is a problem with one of the
computer’s components, such as the memory or processor.
To use Apple Hardware Test:
1 Disconnect all external devices from your computer except the power adapter.
If you have an Ethernet cable connected, disconnect it.
2 Restart your MacBook Pro while holding down the D key.
3 When the Apple Hardware Test chooser screen appears, select the language you want
to use.
4 Press the Return key or click the right arrow button.
5 When the Apple Hardware Test main screen appears (after about 45 seconds), follow
the onscreen instructions.
6 If Apple Hardware Test detects a problem, it displays an error code. Make a note of the
error code before pursuing support options. If Apple Hardware Test doesn’t detect a
hardware failure, the problem may be software related.
If this procedure doesn’t work, you can insert the Applications Install DVD and hold
down the D key to use Apple Hardware Test. 56 Chapter 4 Problem, Meet Solution
Problems with Your Internet Connection
Your MacBook Pro has the Network Setup Assistant application to help walk you
through setting up an Internet connection. Open System Preferences and click
Network.
Click the “Assist me” button to open Network Setup Assistant.
If you have trouble with your Internet connection, you can try the steps in this section
starting with Network Diagnostics.
To use Network Diagnostics:
1 Choose Apple () > System Preferences.
2 Click Network and then click “Assist me.”
3 Click Diagnostics to open Network Diagnostics.
4 Follow the onscreen instructions.
If Network Diagnostics can’t resolve the problem, there may be a problem with the
Internet service provider (ISP) you are trying to connect to, with an external device you
are using to connect to your ISP, or with the server you are trying to access. You can try
the following steps.
Cable Modem, DSL, and LAN Internet Connections
Make sure all modem cables are fully plugged in. Check the modem power cord,
the cable from the modem to the computer, and the cable from the modem to the
wall jack. Also check the cables and power supplies for Ethernet hubs and routers. Chapter 4 Problem, Meet Solution 57
Turn the modem off and on to reset the modem hardware
Turn off your DSL or cable modem for a few minutes, and then turn it back on.
Some ISPs recommend that you unplug the modem’s power cord. If your modem has a
reset button, you can press it either before or after you turn the power off and on.
Important: Instructions that refer to modems do not apply to LAN users. LAN users
might have hubs, switches, routers, or connection pods that DSL and cable modem
users do not have. LAN users should contact their network administrator rather than
an ISP.
PPPoE Connections
If you are unable to connect to your Internet service provider using PPPoE (Point to
Point Protocol over Ethernet), make sure you have entered the correct information in
Network preferences.
To check PPPoE settings:
1 Choose Apple () > System Preferences.
2 Click Network.
3 Click Add (+) at the bottom of the network connection services list, and choose PPPoE
from the Interface pop-up menu.
4 Choose an interface for the PPPoE service from the Ethernet pop-up menu. Choose
Ethernet if you are connecting to a wired network, or AirPort if you are connecting to a
wireless network.
5 Enter the information you received from your service provider, such as the account
name, password, and PPPoE service name (if your service provider requires it).
6 Click Apply to make the settings active.58 Chapter 4 Problem, Meet Solution
Network Connections
Make sure the Ethernet cable is connected to your MacBook Pro and to the network.
Check the cables and power supplies to your Ethernet hubs and routers.
If you have two or more computers sharing an Internet connection, be sure that your
network is set up properly. You need to know if your ISP provides only one IP address
or if it provides multiple IP addresses, one for each computer.
If only one IP address is provided, then you must have a router capable of sharing the
connection, also known as network address translation (NAT) or “IP masquerading.”
For setup information, check the documentation provided with your router or ask the
person who set up your network. You can use an AirPort Base Station to share one
IP address among multiple computers. For information about using an AirPort Base
Station, check Mac Help or go to the Apple AirPort website at
www.apple.com/support/airport.
If you cannot resolve the issue using these steps, contact your ISP or network
administrator.
Problems with AirPort Extreme Wireless Communication
If you have trouble using AirPort Extreme wireless communication:
 Make sure the computer or network you are trying to connect to is running and has a
wireless access point.
 Make sure you have properly configured the software according to the instructions
that came with your base station or access point.Chapter 4 Problem, Meet Solution 59
 Make sure you are within antenna range of the other computer or the network’s
access point. Nearby electronic devices or metal structures can interfere with wireless
communication and reduce this range. Repositioning or rotating the computer might
improve reception.
 Check the AirPort (Z) status icon in the menu bar. Up to four bars appear, indicating
signal strength. If the signal strength is weak, try changing your location.
 See AirPort Help (choose Help > Mac Help, and then choose Library > AirPort Help
from the menu bar). Also see the instructions that came with the wireless device for
more information.
Keeping Your Software Up to Date
You can connect to the Internet and automatically download and install the latest free
software versions, drivers, and other enhancements from Apple.
When you’re connected to the Internet, Software Update checks to see if any updates
are available for your computer. You can set your MacBook Pro to check for updates
periodically, and then you can download and install updated software.
To check for updated software:
1 Open System Preferences.
2 Click the Software Update icon and follow the onscreen instructions.
 For more information, search for “Software Update” in Mac Help.
 For the latest information about Mac OS X, go to www.apple.com/macosx.60 Chapter 4 Problem, Meet Solution
Reinstalling the Software That Came with Your MacBook Pro
You can use the software installation discs that came with your computer to reinstall
Mac OS X and any applications that came with your computer. You can choose “Archive
and Install,” which saves your existing files and settings, or “Erase and Install,” which
erases all your data.
Important: Apple recommends that you back up the data on your hard disk before
restoring software. Because the “Erase and Install” option erases your hard disk, you
should back up your essential files before installing Mac OS X and other applications.
Apple is not responsible for any lost data.
Installing Mac OS X
To install Mac OS X:
1 Back up your essential files.
2 Make sure your power adapter is connected and plugged in.
3 Insert the Mac OS X Install DVD that came with your computer.
4 Double-click Install Mac OS X.
5 Follow the onscreen instructions.
Note: To restore Mac OS X on your computer to the original factory settings, click
Options in the “Select a Destination” pane of the Installer, and then select “Erase and
Install.” If you choose “Erase and Install,” you’ll see a message reminding you to use the
Applications Install DVD to reinstall the bundled applications that came with your
computer.
6 When the installation is complete, click Restart to restart your computer.
7 Follow the prompts in the Setup Assistant to set up your user account.Chapter 4 Problem, Meet Solution 61
Installing Applications
If you reinstall Mac OS X on your computer and select the “Erase and Install” option,
you must reinstall the applications that came with your computer, such as the iLife
applications.
To install the applications that came with your computer:
1 Make sure your power adapter is connected and plugged in.
2 Insert the Applications Install DVD that came with your computer.
3 Double-click Install Bundled Software.
4 Follow the onscreen instructions.
5 When the installation is complete, click Close.
Learning More, Service, and Support
Your MacBook Pro does not have any user-serviceable parts, except the hard drive and
the memory. If you need service, contact Apple or take your MacBook Pro to an Apple
Authorized Service Provider. You can find more information about the MacBook Pro
through online resources, onscreen help, System Profiler, or Apple Hardware Test.
Online Resources
For online service and support information, go to www.apple.com/support. Choose
your country from the pop-up menu. You can search the AppleCare Knowledge Base,
check for software updates, or get help from Apple’s discussion forums.
Onscreen Help
You can look for answers to your questions, as well as instructions and troubleshooting
information, in Mac Help. Choose Help > Mac Help.62 Chapter 4 Problem, Meet Solution
System Profiler
To get information about your MacBook Pro, use System Profiler. It shows you what
hardware and software is installed, the serial number and operating system
version, how much memory is installed, and more. To open System Profiler,
choose Apple () > About This Mac from the menu bar and then click More Info.
AppleCare Service and Support
Your MacBook Pro comes with 90 days of technical support and one year of hardware
repair warranty coverage at an Apple Store retail location or an Apple-authorized
repair center, such as an Apple Authorized Service Provider. You can extend your
coverage by purchasing the AppleCare Protection Plan. For information, go to
www.apple.com/support/products or the website for your country listed below.
If you need assistance, AppleCare telephone support representatives can help you with
installing and opening applications, and basic troubleshooting. Call the support center
number nearest you (the first 90 days are complimentary). Have the purchase date and
your MacBook Pro serial number ready when you call.Chapter 4 Problem, Meet Solution 63
Note: Your 90 days of complimentary telephone support begins on the date of
purchase. Telephone fees may apply.
Telephone numbers are subject to change, and local and national telephone rates may
apply. A complete list is available on the web:
Country Phone Website
United States 1-800-275-2273 www.apple.com/support
Australia (61) 1-300-321-456 www.apple.com/au/support
Canada (English)
(French)
1-800-263-3394 www.apple.com/ca/support
www.apple.com/ca/fr/support
Ireland (353) 1850 946 191 www.apple.com/ie/support
New Zealand 00800-7666-7666 www.apple.com/nz/support
United Kingdom (44) 0870 876 0753 www.apple.com/uk/support
www.apple.com/contact/phone_contacts.html www.apple.com/contact/phone_contacts.html64 Chapter 4 Problem, Meet Solution
Locating Your Product Serial Number
Use one of these methods to find your computer’s serial number:
 Turn over your MacBook Pro. The serial number is etched into the case near the
hinge.
 Choose Apple () > About This Mac. Click the version number beneath the words
“Mac OS X” to cycle through the Mac OS X version number, the build version, and the
serial number.
 Click the Finder icon and open /Applications/Utilities/System Profiler. Click Hardware
in the Contents pane.
Serial number5
5 Last, but Not Least
www.apple.com/environment
Mac Help ergonomics66 Chapter 5 Last, but Not Least
For your safety and that of your equipment, follow these rules for handling and
cleaning your MacBook Pro and for working more comfortably. Keep these instructions
handy for reference by you and others.
Important Safety Information
Built-in battery Do not remove the battery from your MacBook Pro. The battery
should be replaced only by an Apple Authorized Service Provider. Discontinue use of
your MacBook Pro if it is dropped or appears crushed, bent, deformed, or damaged. Do
not expose the computer to temperatures above 212° F or 100° C.
Proper handling Set up your MacBook Pro on a stable work surface that allows for
adequate air circulation under and around the computer. Do not operate your
MacBook Pro on a pillow or other soft material, because the material can block the
airflow vents. Never place anything over the keyboard when operating your
MacBook Pro. Never push objects into the ventilation openings.
The bottom of your MacBook Pro may become very warm during normal use. If your
MacBook Pro is on your lap and gets uncomfortably warm, move it to a stable work
surface.
Water and wet locations Keep your MacBook Pro away from sources of liquid, such as
drinks, washbasins, bathtubs, shower stalls, and so on. Protect your MacBook Pro from
dampness or wet weather, such as rain, snow, and fog.
WARNING: Failure to follow these safety instructions could result in fire, electric
shock, or other injury or damage.Chapter 5 Last, but Not Least 67
60W MagSafe Power Adapter Make sure the AC plug or AC power cord is fully
inserted into the power adapter before plugging the adapter into a power outlet. Use
only the power adapter that came with your MacBook Pro, or an Apple-authorized
power adapter that is compatible with this product. The power adapter may become
very warm during normal use. Always put the power adapter directly into a power
outlet, or place it on the floor in a well-ventilated location.
Disconnect the power adapter and disconnect any other cables if any of the following
conditions exists:
 You want to add memory or upgrade the hard disk drive.
 You want to clean the case (use only the recommended procedure described on
page 71).
 The power cord or plug becomes frayed or otherwise damaged.
 Your MacBook Pro or power adapter is exposed to rain, excessive moisture, or liquid
spilled into the case.
 Your MacBook Pro or power adapter has been dropped, the case has been damaged,
or you suspect that service or repair is required.
The MagSafe power port contains a magnet that can erase data on a credit card, iPod,
or other device. To preserve your data, do not place these or other magnetically
sensitive material or devices within 1 inch (25 mm) of this port.
If debris gets into the MagSafe power port, remove it gently with a dry cotton swab.68 Chapter 5 Last, but Not Least
MagSafe power specifications:
 Frequency: 50 to 60 Hz, single phase
 Line Voltage: 100 to 240 V
 Output Voltage: 16.5 V DC, 3.65 A
Hearing damage Permanent hearing loss may occur if earbuds or headphones are
used at high volume. You can adapt over time to a higher volume of sound that may
sound normal but can be damaging to your hearing. If you experience ringing in your
ears or muffled speech, stop listening and have your hearing checked. The louder the
volume, the less time is required before your hearing could be affected. Hearing
experts suggest that to protect your hearing:
 Limit the amount of time you use earbuds or headphones at high volume.
 Avoid turning up the volume to block out noisy surroundings.
 Turn the volume down if you can’t hear people speaking near you.
High-risk activities This computer is not intended for use in the operation of nuclear
facilities, aircraft navigation or communications systems, air traffic control systems, or
for any other uses where the failure of the computer could lead to death, personal
injury, or severe environmental damage.Chapter 5 Last, but Not Least 69
Laser Information for Optical Disc Drives
The optical disc drive in your computer contains a laser that is safe in normal use but
that may be harmful to your eyes if disassembled. For your safety, have this equipment
serviced only by an Apple Authorized Service Provider.
Important Handling Information
Operating environment Operating your MacBook Pro outside these ranges may affect
performance:
 Operating temperature: 50° to 95° F (10° to 35° C)
 Storage temperature: -4° to 113° F (-20° to 45° C)
 Relative humidity: 5% to 90% (noncondensing)
 Operating altitude: 0 to 10,000 feet (0 to 3048 meters)
Turning on your MacBook Pro Never turn on your MacBook Pro unless all of its
internal and external parts are in place. Operating the computer when parts are
missing may be dangerous and may damage your computer.
WARNING: Making adjustments or performing procedures other than those specified
in your equipment’s manual may result in hazardous radiation exposure.
NOTICE: Failure to follow these handling instructions could result in damage to your
MacBook Pro or other property.70 Chapter 5 Last, but Not Least
Carrying your MacBook Pro If you carry your MacBook Pro in a bag or briefcase, make
sure that there are no loose items (such as paper clips or coins) that could accidentally
get inside the computer through vent openings or the optical drive slot or get stuck
inside a port. Also, keep magnetically sensitive items away from the MagSafe power
port.
Using connectors and ports Never force a connector into a port. When connecting a
device, make sure the port is free of debris, that the connector matches the port, and
that you have positioned the connector correctly in relation to the port.
Using the optical drive The SuperDrive in your MacBook Pro supports standard 12 cm
(4.7 inch) discs. Irregularly shaped discs or discs smaller than 12 cm (4.7 inches) are not
supported and can become lodged in the drive.
Handling glass parts Your MacBook Pro contains glass components, including the
display and trackpad. If they are damaged, don't use your MacBook Pro until it has
been repaired by an Apple Authorized Service Provider.Chapter 5 Last, but Not Least 71
Storing your MacBook Pro If you are going to store your MacBook Pro for an
extended period of time, keep it in a cool location (ideally, 71° F or 22° C) and discharge
the battery to approximately 50 percent. To maintain the capacity of the battery,
recharge the battery to 50 percent every six months or so.
Cleaning your MacBook Pro When cleaning the outside of your MacBook Pro and its
components, first shut down your MacBook Pro and unplug the power adapter. Then
use a damp, soft, lint-free cloth to clean the computer’s exterior. Avoid getting
moisture in any openings. Do not spray liquid directly on the computer. Do not use
aerosol sprays, solvents, or abrasives that might damage the finish.
Cleaning the MacBook Pro screen To clean the MacBook Pro screen, first shut down
your MacBook Pro and unplug the power adapter. Then dampen the included cleaning
cloth with just water and wipe the screen. Do not spray liquid directly on the screen.72 Chapter 5 Last, but Not Least
Understanding Ergonomics
Here are some tips for setting up a healthy work environment.
Keyboard and Trackpad
When you use the keyboard and trackpad, your shoulders should be relaxed. Your
upper arm and forearm should form an angle that is slightly greater than a right angle,
with your wrist and hand in roughly a straight line.
This Not thisChapter 5 Last, but Not Least 73
Use a light touch when typing or using the trackpad and keep your hands and fingers
relaxed. Avoid rolling your thumbs under your palms.
Change hand positions often to avoid fatigue. Some computer users might develop
discomfort in their hands, wrists, or arms after intensive work without breaks. If you
begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a
qualified health specialist.
External Mouse
If you use an external mouse, position the mouse at the same height as the keyboard
and within comfortable reach.
Chair
An adjustable chair that provides firm, comfortable support is best. Adjust the height
of the chair so your thighs are horizontal and your feet are flat on the floor. The back of
the chair should support your lower back (lumbar region). Follow the manufacturer’s
instructions for adjusting the backrest to fit your body properly.
This Not this74 Chapter 5 Last, but Not Least
You might have to raise your chair so that your forearms and hands are at the proper
angle to the keyboard. If this makes it impossible to rest your feet flat on the floor,
you can use a footrest with adjustable height and tilt to make up for any gap between
the floor and your feet. Or you can lower the desktop to eliminate the need for a
footrest. Another option is to use a desk with a keyboard tray that’s lower than the
regular work surface.
Built-in Display
Adjust the angle of the display to minimize glare and reflections from overhead lights
and windows. Do not force the display if you meet resistance. The display is not meant
to open past 130 degrees.
You can adjust the brightness of the screen when you take the computer from one
work location to another, or if the lighting in your work area changes.
More information about ergonomics is available on the web:
Apple and the Environment
Apple Inc. recognizes its responsibility to minimize the environmental impacts of its
operations and products.
More information is available on the web:
www.apple.com/about/ergonomics
www.apple.com/environment76
Regulatory Compliance Information
FCC Compliance Statement
This device complies with part 15 of the FCC rules.
Operation is subject to the following two conditions: (1)
This device may not cause harmful interference, and (2)
this device must accept any interference received,
including interference that may cause undesired
operation. See instructions if interference to radio or
television reception is suspected.
L‘utilisation de ce dispositif est autorisée seulement aux
conditions suivantes: (1) il ne doit pas produire de
brouillage et (2) l’utilisateur du dispositif doit étre prêt à
accepter tout brouillage radioélectrique reçu, même si
ce brouillage est susceptible de compromettre le
fonctionnement du dispositif.
Radio and Television Interference
This computer equipment generates, uses, and can
radiate radio-frequency energy. If it is not installed and
used properly—that is, in strict accordance with Apple’s
instructions—it may cause interference with radio and
television reception.
This equipment has been tested and found to comply
with the limits for a Class B digital device in accordance
with the specifications in Part 15 of FCC rules. These
specifications are designed to provide reasonable
protection against such interference in a residential
installation. However, there is no guarantee that
interference will not occur in a particular installation.
You can determine whether your computer system is
causing interference by turning it off. If the interference
stops, it was probably caused by the computer or one of
the peripheral devices.
If your computer system does cause interference to
radio or television reception, try to correct the
interference by using one or more of the following
measures:
 Turn the television or radio antenna until the
interference stops.
 Move the computer to one side or the other of the
television or radio.
 Move the computer farther away from the television
or radio.
 Plug the computer in to an outlet that is on a different
circuit from the television or radio. (That is, make
certain the computer and the television or radio are on
circuits controlled by different circuit breakers or
fuses.)
If necessary, consult an Apple Authorized Service
Provider or Apple. See the service and support
information that came with your Apple product.
Or consult an experienced radio/television technician
for additional suggestions.
Important: Changes or modifications to this product
not authorized by Apple Inc. could void the EMC
compliance and negate your authority to operate the
product.
This product has demonstrated EMC compliance under
conditions that included the use of compliant peripheral
devices and shielded cables (including Ethernet network
cables) between system components. It is important
that you use compliant peripheral devices and shielded
cables between system components to reduce the
possibility of causing interference to radios, television
sets, and other electronic devices.77
Responsible party (contact for FCC matters only):
Apple Inc. Corporate Compliance
1 Infinite Loop, MS 26-A
Cupertino, CA 95014
Wireless Radio Use
This device is restricted to indoor use when operating in
the 5.15 to 5.25 GHz frequency band.
Cet appareil doit être utilisé à l’intérieur.
Exposure to Radio Frequency Energy
The radiated output power of the AirPort Extreme
technology is below the FCC radio frequency exposure
limits. Nevertheless, it is advised to use the wireless
equipment in such a manner that the potential for
human contact during normal operation is minimized.
FCC Bluetooth Wireless Compliance
The antenna used with this transmitter must not be
colocated or operated in conjunction with any other
antenna or transmitter subject to the conditions of the
FCC Grant.
Bluetooth Industry Canada Statement
This Class B device meets all requirements of the
Canadian interference-causing equipment regulations.
Cet appareil numérique de la Class B respecte toutes les
exigences du Règlement sur le matériel brouilleur
du Canada.
Industry Canada Statement
Complies with the Canadian ICES-003 Class B
specifications. Cet appareil numérique de la classe B est
conforme à la norme NMB-003 du Canada. This device
complies with RSS 210 of Industry Canada.
Bluetooth Europe—EU Declaration of
Conformity
This wireless device complies with the R&TTE Directive.
Europe—EU Declaration of Conformity
The equipment complies with the RF Exposure
Requirement 1999/519/EC, Council Recommendation of
12 July 1999 on the limitation of exposure of the general
public to electromagnetic fields (0 Hz to 300 GHz).
Hereby, Apple Inc. declares that this 802.11a/b/g/n
Mini-PCIe card is in compliance with the R&TTE
Directive.
Complies with European Low Voltage and EMC
Directives.
See: www.apple.com/euro/compliance
Korea Warning Statements
Singapore Wireless Certification
Taiwan Wireless Statements78
Taiwan Class B Statement
VCCI Class B Statement
Russia
External USB Modem Information
When connecting your MacBook Pro to the phone line
using an external USB modem, refer to the
telecommunications agency information in the
documentation that came with your modem.
ENERGY STAR®
Compliance
As an ENERGY STAR®
partner, Apple has determined
that standard configurations of this product meet the
ENERGY STAR®
guidelines for energy efficiency. The
ENERGY STAR®
program is a partnership with electronic
equipment manufacturers to promote energy-efficient
products. Reducing energy consumption of products
saves money and helps conserve valuable resources.
This computer is shipped with power management
enabled with the computer set to sleep after 10 minutes
of user inactivity. To wake your computer, click the
mouse or trackpad button or press any key on the
keyboard.
For more information about ENERGY STAR®, visit:
www.energystar.gov79
Disposal and Recycling Information
This symbol indicates that your product must be
disposed of properly according to local laws and
regulations. When your product reaches its end of life,
contact Apple or your local authorities to learn about
recycling options.
For information about Apple’s recycling program, go to
www.apple.com/environment/recycling.
Battery Disposal Information
Dispose of batteries according to your local
environmental laws and guidelines.
California: The coin cell battery in the optional Apple
Remote contains perchlorates. Special handling and
disposal may apply. Refer to:
www.dtsc.ca.gov/hazardouswaste/perchlorate
Deutschland: Das Gerät enthält Batterien. Diese
gehören nicht in den Hausmüll. Sie können verbrauchte
Batterien beim Handel oder bei den Kommunen
unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden,
kleben Sie die Pole der Batterien vorsorglich mit einem
Klebestreifen ab.
Nederlands: Gebruikte batterijen kunnen worden
ingeleverd bij de chemokar of in een speciale
batterijcontainer voor klein chemisch afval (kca) worden
gedeponeerd.80
Taiwan:
European Union—Disposal Information:
The symbol above means that according to local laws
and regulations your product should be disposed of
separately from household waste. When this product
reaches its end of life, take it to a collection point
designated by local authorities. Some collection points
accept products for free. The separate collection and
recycling of your product at the time of disposal will
help conserve natural resources and ensure that it is
recycled in a manner that protects human health and
the environment.Looking for Something?82 Looking for Something?
Index
A
AC plug 10
AC power adapter. See power
adapter
AC power cord 10
adapter, power. See power
adapter
AirPort Extreme
connecting wirelessly 11
troubleshooting 58
using 32
AppleCare 62
Apple Hardware Test 55
Apple Remote 21, 33
application freeze 50
applications
Front Row 21, 33
iChat 21
iLife 32
Keynote 21
Photo Booth 21
audio input 54
audio out port 25
B
battery
disposal 79
general information 30
indicator lights 30
location 21
performance 30
battery indicator lights 30, 54
blinking question mark 51
brightness keys 23
built-in battery 30
built-in speakers 21
button, power 13, 21
C
cable modem 12
camera. See iSight video
camera
carrying your computer 70
changing
the desktop 17
password 54
System Preferences 17
checking memory 48
cleaning
the screen 71
your computer 71
computer
disposal 79
freezes 51
inventory 9
putting to sleep 17
shutting down 18
turning on 13
won’t turn on 52
connecting to a network 12
Control-click 27
controls. See keys
cord, AC power 10
D
Dashboard 23
desktop, customizing 17
discs
ejecting 54
software installation 60
supported 70
display
external 25
See also screen
disposing of your computer 79
Dock 31
downloading software 59
drive, optical 21
DSL modem 12Looking for Something? 83
E
ejecting a disc 54
Energy Saver preferences 30
environmental impact 74
ergonomics 72
Ethernet
connecting to 12
port 25
Exposé key 23
external display port 25
external modem 12
F
F1 to F12 function keys 23
factory settings 60
Fast-forward key 23
FireWire
connections 33
port 25
flashing question mark 51
Force Quit 50
forward delete 27
four-finger swiping 29
Front Row application 21, 33
frozen application 50
function (fn) key 23
H
hand positions 72
headphone port 25
Help, finding answers 31
high-speed USB 25
I
iChat application 21
iLife applications 32
infrared receiver (IR) 21
installation instructions
memory 44
overview 8
Internet
connecting to 11
connection problems 58
inventory of items 9
iSight video camera 21
K
keyboard
ergonomics 72
features 22
illumination keys 23
media keys 23
shortcuts 27
See also keys
Keynote application 21
keys
brightness 23
Dashboard 23
Exposé 23
function (fn) 23
keyboard illumination 23
media 23
Media Eject 23
mute 23
volume 23
L
lights
battery 30, 54
sleep indicator 21
M
Mac Help 31
Mac OS X
reinstalling 60
website 32
MagSafe power adapter. See
power adapter
MagSafe power port 25
Media Eject key 23
media keys 23
memory
checking 48
installing 44
specifications 44
microphone 21
migrating information 15
Migration Assistant 15
Mini DisplayPort 25
modem 12
mouse 25, 73
See also trackpad
Multi-Touch gestures 26
mute key 2384 Looking for Something?
N
network connections 58
Network Diagnostics 56
Network Setup Assistant 56
number, serial 64
O
online resources 61
optical drive
about 21
supported disc size 70
P
paging through documents
using trackpad 29
password, resetting 54
Photo Booth 21
pinching to zoom 28
Play/pause key 23
plug, AC 10
ports
audio out 25
FireWire 800 25
MagSafe 25
Mini DisplayPort 25
SD card slot 25
USB 2.0 25
power adapter
plugging in 67
port 25
using 10
power button 13, 21
problems
computer freezes 51
computer won’t turn on 52
pointer won’t move 50
screen goes black 53
trouble ejecting a disc 54
trouble using AirPort 58
putting your computer to
sleep 17
Q
question mark, flashing 51
R
RAM. See memory
reinstalling Mac OS X 60
resetting your password 54
Rewind key 23
right click 27
rotating objects using
trackpad 28
S
safety
general safety
instructions 66
power adapter 67
screen
cleaning 71
goes black 53
setting brightness 23
scrolling with two fingers 26
SD card slot 25
SDRAM specifications 44
secondary click 27
secondary click zone 27
security slot 21
Serial ATA (SATA) hard drive 37
serial number, locating 64
service and support 62
Setup Assistant 14
shutting down 18
sleep mode
indicator light 21
putting computer to
sleep 17
software
installation discs 60
updating 59
Software Update
preferences 59
speakers 21
specifications 33
stopping
an application 50
the computer 18
storing your computer 71
SuperDrive
about 21
supported disc sizes 70
support 62Looking for Something? 85
swiping to move quickly
through documents 29
System Preferences
customizing the desktop 17
Energy Saver 17
Software Update 59
System Profiler 62
T
three-finger swiping 29
trackpad
location 21
shortcuts 27
trackpad gestures 26
troubleshooting
AirPort 58
AppleCare 62
battery indicator lights 54
computer freezes 51
computer won’t turn on 52
ejecting a disc 54
hardware problems 55
pointer won’t move 50
screen goes black 53
service and support 61
using Mac Help 61
See also problems
turning on your
MacBook Pro 13
two-finger pinching 28
two-finger rotating 28
typing position 72
U
updating software 59
USB
connections 33
ports 25
V
video
camera indicator light 21
Mini DisplayPort 25
volume keys 23
W
waking your computer 18
Z
zooming using the trackpad 28K Apple Inc.
© 2009 Apple Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple.
Every effort has been made to ensure that the
information in this manual is accurate. Apple is not
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regard to the performance or use of these products.
Manufactured under license from Dolby Laboratories.
“Dolby,” “Pro Logic,” and the double-D symbol are
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Logic Pro 7
Apple, le logo Apple, Aqua, Final Cut, Final Cut Pro,
FireWire, iBook, iMac, iPod, iTunes, Logic, Mac, Macintosh,
Mac OS, PowerBook, Power Mac, Power Macintosh et
QuickTime sont des marques d’Apple Computer, Inc.,
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1 Table des Matières
Préface 5 Introduction aux Systèmes TDM
5 À propos de ce Guide
Chapitre 1 7 Matériel et pilotes audio
7Installation du matériel
8 Pilotes
14 Configuration du Matériel Digidesign
14 Adaptation des morceaux produits avec d’autres matériels
Chapitre 1 15 À propos de TDM
16 Plug-ins TDM
18 Caractéristiques spécifiques
20 Exploitation simultanée de différents matériels en TDM
Chapitre 1 21 ESB TDM et EXS24 TDM
21 Caractéristiques
22 EXS24 TDM
24 ESB TDM
Chapitre 1 29 Exporter et Importer de l’Audio
29 Exportation OMF
30 Importation OMF
31 Exportation AAF
31 Importation AAF
Chapitre 1 33 Conseils et astuces
34 ESB TDM : Différences entre Mac OS 9 et Mac OS X
35 Comment importer des morceaux depuis un système Mac OS 9
36 Comment importer des morceaux natifs d’un autre Système
36 Utiliser simultanément DAE, DTDM et Core Audio
37Performances Systèmes et Usage du DSP TDM
38 Stratégies de mixage (Bounce)
Index 39 5
Préface
Introduction aux Systèmes TDM
En général, les workstations audio-numériques utilisent
une de ces deux approches pour la phase de traitement
du signal audio : usage des équipements DSP dédiés
(systèmes TDM), ou des capacités de traitement natives
de l’unité centrale de l’ordinateur.
Logic Pro permet d’utiliser les deux en conjonction : vos DSP basés sur le système TDM
et les ressources de traitement natives de l’unité de centrale de l’ordinateur.
Le lien entre le monde DSP et votre système TDM d’une part, avec la puissance de calcul de l’unité de centrale de l’ordinateur d’autre part, est nommé ESB TDM (Emagic System Bridge TDM).
Cet ESB TDM permet à l’unité de centrale de votre ordinateur de gérer les calculs d’un
moteur audio (Direct TDM), et au DSP de l’équipement TDM d’en gérer un autre (DAE).
Ceci grâce à l’utilisation de deux consoles différentes dans l’Environnement de Logic :
Une console TDM (utilisant le DAE) et une console native (appelée console DTDM). La
première gère les plug-ins TDM, alors que l’autre s’occupe des plug-ins natifs aux formats Audio Unit et Logic.
Un maximum de huit sorties de console DTDM peut être affecté à la console TDM. Les
signaux de sortie sont reçus par les entrées virtuelles ESB TDM—choisies comme
entrées sur les Objets Aux TDM. Ceci permet l’utilisation de toutes les pistes Logic, de
tous les plug-ins natifs et Audio Unit—dont les instruments logiciels—en conjonction
avec le DSP du système TDM.
La sortie des consoles TDM s’effectue via le matériel TDM Digidesign connecté.
À propos de ce Guide
Ce guide vous présente tout “ce que vous devez savoir” pour que votre équipement
TDM fonctionne avec Logic Pro.
Nous allons vous présenter l’ESB TDM et l’EXS24 TDM, dont le rôle est d’étendre et amé-
liorer la flexibilité de votre système de production Logic et DAE/TDM.6 Préface Introduction aux Systèmes TDM
De plus, vous apprendrez aussi à importer et exporter de l’audio entre les logiciels
Logic et Pro Tools.
Nous supposons que vous avez connaissance des concepts généraux des DAW (Digital
Audio Workstations) et des opérations informatiques de base.
Nous supposons également que vous avez connecté votre système TDM à votre Macintosh, et avez installé (et testé) le logiciel Pro Tools. Un système ProTools correctement
installé et opérationnel assurera un système Logic Pro/DAE fiable.
Note : Veuillez lire attentivement et respecter les instructions de votre manuel d’installation ProTools Digidesign.
La connexion de votre interface MIDI avec tout synthétiseur ou module MIDI externe
est également supposée être en mesure de fonctionner correctement.
L’usage des fonctions de Logic Pro est abordé dans le Guide de Référence et le système d’Aide en Ligne—accessible depuis le menu Aide de Logic Pro.
Conventions utilisées dans ce Guide…
Avant de commencer, nous aimerions parler des conventions utilisées dans ce Guide.
Fonctions des Menus
Pour les fonctions accessibles via des menus hiérarchiques, les différents niveaux de
menus sont présentés comme ceci : Menu > Option de Menu > Fonction.
Mentions importantes
Certains textes seront écrits comme ceci :
Important : Informations sur une fonction ou un paramètre.
Ces mentions abordent un concept-clé ou des informations techniques devant être respectées ou prises en compte. Veuillez leur accorder une attention particulière.
Remarques
Certaines sections apportent des informations ou des conseils supplémentaires qui
vous aideront à mieux utiliser le plug-in d’effet ou d’instrument. Ils sont écrits comme
indiqué ci-dessous :
Note : Informations sur une fonction ou un paramètre.
Raccourcis clavier
De nombreuses fonctions de Logic peuvent être activées ou sont accessibles à l’aide de
raccourcis clavier—combinaisons de touches de l’ordinateur ou contrôleur MIDI. Les
raccourcis clavier mentionnés dans ce guide sont basés sur le Jeu de Raccourcis Clavier
par défaut, assigné par Assistant de Configuration Logic. 1
7
1 Matériel et pilotes audio
Ce chapitre contient des informations nécessaires pour
l’installation de Logic avec un matériel TDM.
Dans la première partie, nous allons vous présenter le matériel TDM pouvant être utilisé avec Logic Pro et les pilotes (drivers) nécessaires à ce matériel. Vous trouverez
ensuite des informations sur tous les réglages des pilotes appropriés. La dernière partie est consacrée à l’adaptation des morceaux ayant été produits sur différents équipements.
Installation du matériel
Pour que Logic fonctionne sans problèmes, il faut une installation et une configuration
correctes de la carte audio et des pilotes. Veuillez vous reporter à la documentation
accompagnant votre carte audio pour configurer votre ordinateur et votre matériel afin
d’obtenir des performances optimales.
Logic Pro est compatible avec tous les matériels audio disposant d’un pilote Core
Audio, et avec tous les matériels Digidesign TDM fonctionnant avec DAE sous
Mac OS X.
Vous pouvez aussi utilisez vos interfaces audio TDM en faisant usage de Core Audio. Ce
peut être très bénéfique dans certains cases, si vous désirez ouvrir des morceaux créés
sur des moteurs audio natifs.
Nous allons tout d’abord nous concentrer sur la configuration du matériel compatible
Digidesign TDM dans ce guide, mais nous couvrirons aussi les réglages appropriés au
matériel Core Audio. Ces informations peuvent s’avérer utiles si vous désirez combiner
à la fois le moteur natif et le moteur TDM de Logic, et faire usage d’un périphérique
Core Audio en conjonction avec votre matériel TDM.
L’usage simultané de plusieurs cartes audio est utile pour augmenter le nombre
d’entrées et de sorties, par exemple. En fonction de la puissance de l’ordinateur et du
matériel audio connecté, ceci peut augmenter le nombre de pistes audio stéréo jusqu’à
255 !8 Chapitre 1 Matériel et pilotes audio
Pilotes
Tous les équipements audio nécessitent un pilote (ou driver), qui agit comme agent de
communication avec le logiciel Logic. Pour utiliser un matériel particulier, son ou ses
pilotes doivent être activés.
La sélection et l’activation d’un périphérique audio spécifique s’effectue directement
dans Logic, via les dialogues Audio > Hardware Audio et Pilotes. Normalement Logic
reconnaît automatiquement tout matériel Core audio installé, et utilise un ensemble de
réglages par défaut pour celui-ci—défini dans le tableau de bord Audio MIDI Setup. Toutefois, il peut être intéressant d’optimiser ces réglages pour votre configuration particulière, surtout si vous utilisez plusieurs cartes audio ou une carte munie de plusieurs
entrées/sorties.
Vous aurez alors à affiner les réglages du matériel audio.
Vous avez le choix entre les panneaux Core Audio, DAE et Direct TDM dans les préférences des pilotes de Logic.
Core Audio
Le panneau Core Audio fait référence aux entrées et sorties audio internes de votre Mac,
ou de tout autre matériel audio utilisant des pilotes Core Audio. Les paramètres du
pilote Core Audio sont décrits dans le § “Paramètres Core Audio et Direct TDM” à la
page 9.
DAE
DAE est l’abréviation de Digidesign Audio Engine (“moteur audio Digidesign”). Ce logiciel sert de pilote à de nombreuses cartes Digidesign, et son rôle principal est de faire
fonctionner tout le matériel TDM et/ou d’accéder aux circuits DSP qu’elles hébergent.
La carte Digidesign suivante est actuellement compatible avec Logic Pro via le DAE :
• ProTools HD Accel/HD/MIX/24/MIX
Les carte Digidesign suivantes sont incompatibles avec Logic Pro via le DAE :
• AudioMedia III, Digi001, M Box, Digi002 et 002R
Il est préférable d’exploiter ces cartes comme cartes d’entrée/sortie “pures”, par l’intermédiaire d’un pilote Core Audio.
Vous trouverez davantage d’informations sur les paramètres DAE au § “Paramètres
DAE” à la page 12.
Direct TDM
Pour utiliser le DirectTDM, il faut un des périphériques TDM mentionnés ci-dessus de
Digidesign, et l’ESB TDM (Emagic System Bridge TDM).
ESB TDM—fourni avec Logic Pro—relie la moteur audio natif DTDM au DAE.Chapitre 1 Matériel et pilotes audio 9
L’unité centrale de votre ordinateur peut alors effectuer divers traitements ou tâches
dans la console de mixage DTDM native” de Logic : lecture de pistes audio, utilisation
d’Instruments logiciels tels que ceux intégrés à Logic, plus les Instruments Audio Unit
et des plug-ins d’effets.
Vous pouvez envoyer dans votre console TDM jusqu’à 8 flux numériques audio émanant de cette console “native”, afin de leur faire subir d’autres traitements via des plugins TDM.
Les paramètres du pilote DirectTDM sont décrits dans le § “Paramètres Core Audio et
Direct TDM”. Vous en saurez plus en lisant le § “ESB TDM” à la page 24.
Note : Si vous maintenez la touche Contrôle lorsque vous démarrez Logic, un dialogue
apparaît, vous permettant de désactiver séparément un pilote ou tous les pilotes audio,
pour ce lancement particulier du programme. Vous pourrez ainsi démarrer Logic plus
rapidement sans les pilotes audio, si vous désirez l’utiliser uniquement comme un
séquenceur MIDI.
Note : Il est bon de visiter régulièrement les pages web Digidesign (et celles du fabricant de votre matériel audio si vous utilisez d’autres périphériques Core Audio), afin
d’avoir toujours les derniers pilotes. Le site web d’un fabricant est souvent une bonne
source d’informations sur les pilotes disponibles, les problèmes de compatibilité et les
conseils de dépannage.
Paramètres Core Audio et Direct TDM
Core Audio et Direct TDM ont les paramètres suivants en commun :
Taille du Buffer d’E/S
Détermine la taille du buffer utilisé par le matériel audio pour l’entrée et la sortie. Les
choix vont de 1024 à 32 samples (échantillons). Plus la taille du buffer est petite, moins
vous aurez de “latence” lors du monitoring pendant un enregistrement, ou lors de l’utilisation d’instruments logiciels.
Note : Il peut arriver que la taille Taille du Buffer d’E/S choisie soit trop petite pour votre
système, ce qui affecte la lecture, habituellement sous la forme de clics et de craquements. Vous devez alors chercher à obtenir la plus petite valeur possible pour la Taille
du Buffer d’E/S avec laquelle vous n’aurez pas de genre d’inconvénients.
Mais plus la valeur de ce paramètre est réduite, plus l’unité centrale du système sera sollicitée. Sur les modèles de Macintosh actuels, vous devez pouvoir réduire cette valeur à
son minimum. Un conseil : si vous trouvez qu’un réglage plus élevé de la Taille du Buffer
d’E/S (plus grand) donne une latence suffisamment faible pendant le monitoring d’un
enregistrement et la lecture d’un instrument logiciel, utilisez-la. Ceci réduit l’impact sur la
(ou les) CPU(s) de votre système. Vous pouvez essayer d’utiliser un réglage plus faible lors
de l’enregistrement (latence plus faible) et augmenter la valeur Taille du Buffer d’E/S pour
une meilleure stabilité générale lors de l’édition ou du mixage (Bounce).10 Chapitre 1 Matériel et pilotes audio
Délai d’enregistrement
Ce paramètre, mesuré en samples (échantillons), permet de retarder l’enregistrement
des Régions Audio d’une certaine durée fixe. Ce qui aide à compenser (lors d’une utilisation complexe) le retard qui peut être causé par une information de délai incorrecte
fournie par le pilote. Normalement vous n’avez pas à vous soucier de ce paramètre.
Nombre de pistes audio maximum
Le Moteur Audio nécessite qu’il y ait de la mémoire système libre, qui ne sera assignée
ni à Logic, ni à une autre application. La quantité de mémoire nécessaire dépend :
• du nombre maximal de pistes à lire,
• du nombre de voies d’entrées/sorties fournies par pilote.
Ce réglage permet de réduire la quantité de mémoire demandée par le pilote, en
réduisant le nombre de pistes. Ceci peut être particulièrement utile si vous voulez utiliser d’autres applications ou pilotes simultanément. Les valeurs vont de 4 à 255 pistes.
Lorsque vous modifier la valeur Nombre de pistes audio maximum en faisant glisser le
curseur vers la gauche ou la droite, la valeur Mémoire Système nécessaire est mise à jour
en temps réel.
64 Bus
Cette case permet d’utiliser un maximum de 64 Objets Bus. Logic Pro restreint normalement le nombre d’Objets Bus à 32. SI vous désirez en créer davantage, cochez cette
case et ajoutez les Objets désirés.
Mode Piste Universel
Si le Mode Piste Universel est activé vous pouvez relire des régions mono et stéréo sur
une même piste. Les objets audio pairs ne seront pas considérés comme le canal droit
des objets audio stéréo impairs situés à leur gauche, et chaque objet audio disposera
de son propre bouton Mono/Stéréo. Selon que la région relue sera mono ou stéréo, le
potentiomètre de panoramique se comportera comme un contrôleur de balance ou de
panoramique. Si vous relisez une région mono et que le pan se trouve en position centrale, les deux canaux de l’objet audio délivreront le même niveau.
Note : Le Mode Piste Universel dispose de possibilités de routage limitées, et il n’est
pas possible de gérer séparément les canaux audio gauche et droit.
Le Mode “Non-Piste Universel” est un mode pratique pour relire des fichiers mono diffé-
rents pour les canaux mono gauche et droit d’un objet audio, même si cet objet est
connecté pour former une piste stéréo. Un plug-in stéréo/stéréo inséré sur cette piste
stéréo jumelée recevra des signaux gauche et droit différents.Chapitre 1 Matériel et pilotes audio 11
Important : Si vous souhaitez changer de pistes pour ou depuis le DAE/TDM, gardez le
Mode Piste Universel désactivé en permanence. N’oubliez pas qu’à l’heure actuelle, le
DAE/TDM ne fonctionne pas avec des fichiers entrelacés. Si vos pistes doivent alterner
entre le DAE/TDM et d’autres systèmes, il vous faut utiliser des fichiers stéréo séparés
(split stereo). Pour cela, cochez l’option suivante : Préférences > Audio > Général > Forcer
l’enregistrement et la conversion des fichiers entrelacés en split stéréo.
Veuillez relancer Logic après avoir changé le réglage Mode Piste Universel.
Tampon de disque large
Cette option joue sur la quantité de données audio qui sont lues à l’avance sur le disque. Cette option est désactivée par défaut pour s’adapter aux exigences de disques
durs rapides et d’ordinateurs puissants. Si vous voyez s’afficher de fréquents messages
d’erreur alors que Logic fonctionne dans ce mode, il est préférable de la réactiver, de
façon à pouvoir lire davantage de pistes, de façon plus fiable. Cela nécessite néanmoins davantage de RAM.
Enregistrement en 20/24 bits
Avec Logic vous pouvez enregistrer des fichiers en 24 bits si cette option est activée.
Cela n’a néanmoins de sens que si votre interface travaille effectivement en 20 ou 24
bits. Si votre équipement support cette résolution, vous pouvez sélectionner cette
option dans la fenêtre Audio > Audio Hardware & Pilotes.
Les enregistrements en 20 ou 24 bits offrent une amélioration significative de la dynamique, mais nécessitent des composants périphériques de qualité, tels que microphones, préamplis et convertisseurs AN/NA. Les fichiers 24 bits utilisent 1,5 fois plus de
place sur le disque que des fichiers 16 bits comparables.
Note : Vous trouverez de plus amples informations sur l’usage de ces résolutions, au
chapitre suivant.
Monitoring logiciel
Cette option permet d’activer ou non le Monitoring Logiciel (écoute du signal d’entrée
réel). Veuillez noter que si l’option Monitoring logiciel est activée, l’écoute de contrôle
de l’audio est assurée par Logic, donc un certain retard audible (communément appelé
latence) est inévitable, bien qu’il puisse être suffisamment court pour rester inaudible.
Si vous écoutez le signal enregistré via votre console de mixage ou si votre matériel
audio est équipé d’un système de monitoring, vous pouvez laisser cette option désactivée.
La décision d’activer le Monitoring Logiciel, ou d’écouter le signal entrant en sortie de
votre console de mixage (analogique), dépend du temps de latence que vous obtenez
sur votre système.12 Chapitre 1 Matériel et pilotes audio
Paramètres DAE
Les paramètres DAE ne peuvent être réglés qu’après avoir activé le DAE. Pour cela,
cochez la case Actif située en haut à gauche du panneau DAE. Vous aurez ensuite accès
aux paramètres suivants :
Résolution Globale
Permet de choisir entre une résolution de 16 bits ou 24 bits en lecture et en enregistrement.
Note : Le DAE ne permet pas de travailler en 16 bits et 24 bits simultanément.
Type PT HD
Ce paramètre permet de définir le nombre de pistes pour votre système PT HD ou HD
Accel. Chaque option de ce menu permet de définir le nombre de pistes nécessaire, en
fonction du nombre de PT HD DSP que vous désirez employer (et que vous possédez
réellement) dans votre système.
Type MIX Card
Cette option de menu local détermine le nombre de pistes possible pour votre système MIX Card. Les options sont 32 pistes ou 64 pistes. Un réglage de 32 pistes économisera des ressources. Il est fortement recommandé, si vous utilisez DTDM en parallèle
avec un matériel MIX.
A propos des fréquences d’échantillonnage et des résolutions
Certaines cartes audio, telles que Pro Tools HD, autorisent des fréquences d’échantillonnage élevées telles que 88.2, 96, 176.4 ou 192 kHz. Logic Pro est compatible avec
de telles fréquences d’échantillonnage. Celles-ci peuvent être sélectionnées dans le
menu Audio > Fréquence d’Échantillonnage. N’oubliez pas que ces fréquences d’échantillonnage élevées consomment deux à quatre fois plus d’espace disque, et que le
Moteur Audio sera sollicité pour travailler deux fois à quatre plus vite. De plus, il faut
considérer que l’amélioration de la qualité audio des enregistrements en 96 kHz,
comparés à ceux en 44,1 kHz, est relativement mineure. Il y a une différence plus
significative entre les enregistrements en 16 et 24 bits. La plupart des ingénieurs du
son considère qu’un enregistrement en 44,1 kHz, 24 bits et le meilleur rapport entre
qualité et usage efficace des ressources. Pour la production de DVD des fréquences
d’échantillonnage plus élevées peuvent être nécessaires.
Logic permet la lecture simultanée de fichiers audio ayant des résolutions en bits différentes (16 et 24) dans un même morceau, utilisant un moteur audio natif.
SI vous désirez utiliser ces deux résolutions de façon native, vérifiez que le moteur
DAE est réglé sur 24 bits. Chapitre 1 Matériel et pilotes audio 13
Indicateur TDM Setup
L’indicateur TDM Setup est une fenêtre de statut qui indique le processus TDM en
cours, tel que lors de l’insertion d’un plug-in TDM, par exemple. Ce paramètre permet
d’afficher ou pas cette fenêtre.
Relâcher en tâche de fond si arrêt
Nous recommandons fortement de ne pas désactiver cette option tant que le DAE et le
pilote indépendant Digidesign Core Audio supporte cette fonction.
L’activation de ce paramètre libérera le matériel TDM lorsque Logic n’est pas en mode
Lecture ou Enregistrement, ce qui permet l’adressage de ce matériel par une autre
application—telle que le logiciel Pro Tools ou un programme d’édition d’échantillons.
Paramètres communs
En bas de chaque panneau des Pilotes vous pouvez voir quatre menus déroulants, contenant les réglages suivants.
Taille du buffer de calcul
Ce paramètre détermine la taille du buffer natif servant à calculer les mixages et les
effets. Vous avez le choix entre des tailles de buffer Petit, Médium et Large.
Note : Des tailles de buffer élevées augmenteront la latence. Selon la vitesse du processeur, des tailles de buffer trop petites peuvent compromettre le traitement audio temps
réel.
