Logic Pro User Guide for Mac
- Welcome
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- What’s new in Logic Pro for Mac 11
- What’s new in Logic Pro for Mac 10.8
- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
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- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
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- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
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- Play a project
- Set the playhead position
- Control playback with the transport buttons
- Use transport shortcut menus
- Use transport key commands
- Customize the control bar
- Change the LCD display mode in Logic Pro for Mac
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Use Apple Remote to control Logic Pro
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
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- Tracks overview
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- Create tracks
- Create tracks using drag and drop
- Create tracks using existing channel strips
- Assign tracks to different channel strips
- Choose the default region type for software instrument tracks
- Select tracks
- Duplicate tracks
- Rename tracks
- Change track icons
- Change track colors
- Reorder tracks
- Zoom tracks
- Replace or double drum sounds
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
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- Overview
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- Before recording software instruments
- Play software instruments
- Record software instruments
- Record additional software instrument takes
- Overdub software instrument recordings
- Spot erase software instrument recordings
- Use Note Repeat
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Route MIDI internally to software instrument tracks
- Use the metronome
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- Arranging overview
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- Regions overview
- Select regions
- Select parts of regions
- Cut, copy, and paste regions
- Move regions
- Add or remove gaps
- Delay region playback
- Loop regions
- Repeat regions
- Resize regions
- Mute and solo regions
- Time stretch regions
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
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- Chords overview
- Add and delete chords
- Select chords
- Cut, copy, and paste chords
- Move and resize chords
- Loop chords on the Chord track
- Transpose chords
- Edit chords
- Work with chord groups
- Use chord progressions
- Change the chord rhythm
- Choose which chords a Session Player region follows
- Analyze the key signature of a range of chords
- Extract vocal and instrumental stems with Stem Splitter
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channels
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
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- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
- Control transposition with the Pitch Source parameter
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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- Overview
- Add notes
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- Part box overview
- View score symbols
- Select score symbols
- Add notes and rests
- Add notes and symbols to multiple regions
- Add key and time signature changes
- Change the clef sign
- Add dynamic marks, slurs, and crescendi
- Change note heads
- Add symbols to notes
- Add trills, ornaments, and tremolo symbols
- Add sustain pedal markings
- Add chord symbols
- Add chord grids and tablature symbols
- Add bar lines, repeats, and coda signs
- Add page and line break symbols
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- Select notes
- Move and copy notes
- Change note pitch, duration, and velocity
- Change note articulations
- Quantize the timing of notes
- Restrict note input to the current key
- Control how ties are displayed
- Add and edit tuplets
- Override display quantization using tuplets
- Add grace notes and independent notes
- Delete notes
- Use automation in the Score Editor
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- Staff styles overview
- Assign staff styles to tracks
- Staff Style window
- Create and duplicate staff styles
- Edit staff styles
- Edit staff, voice, and assign parameters
- Add and delete staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staff styles between projects
- Delete staff styles
- Assign notes to voices and staffs
- Display polyphonic parts on separate staffs
- Change the staff assignment of score symbols
- Beam notes across staffs
- Use mapped staff styles for drum notation
- Predefined staff styles
- Share a score
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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
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- Logic Pro projects
- Various windows
- Controller Assignments window
- Control bar
- Tracks area
- Global tracks
- Automation
- Live Loops grid
- Mixer
- MIDI Environment
- Piano Roll Editor
- Score Editor
- Event List
- Step Editor
- Step Sequencer
- Flex Time
- Audio File Editor
- Smart Tempo Editor
- Surround Panner
- Channel EQ
- Channel EQ
- Sampler
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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- Environment overview
- Common object parameters
- Customize the Environment
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- Fader objects overview
- Use fader objects
- Play back fader movements
- Work with object groups
- Fader styles
- Fader functions: MIDI events
- Fader functions: range, value as
- Fader functions: filter
- Vector fader
- Special faders overview
- Cable switchers
- Meta event faders
- SysEx faders
- Work with SysEx messages
- Special functions
- Ornament objects
- MMC record buttons
- Keyboard objects
- Monitor objects
- Channel splitter object
- Physical input objects
- Physical input objects
- MIDI click objects
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Wide unison mode
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- Sample Alchemy overview
- Interface overview
- Add source material
- Edit mode
- Play modes
- Source overview
- Synthesis modes
- Granular controls
- Additive effects
- Additive effect controls
- Spectral effect
- Spectral effect controls
- Filter module
- Lowpass, bandpass, and highpass filters
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Use surround range and diversity
- Define MIDI controllers
- Extended parameters
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- Studio Piano
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
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Create ES2 FM sounds in Logic Pro for Mac
In the ES2, oscillator 1 is always the carrier, and oscillator 2 the modulator. In other words, oscillator 2 modulates oscillator 1.
The FM Start setting is great for familiarizing yourself with linear frequency modulation (FM) synthesis.
Use FM Intensity and Frequency to create new sounds in ES2
Load the FM Start setting to hear an unmodulated sine sound, generated by oscillator 1. Oscillator 2 is switched on and set to produce a sine oscillation as well, but its level is set to 0: Drag the small square in the uppermost corner of the Triangle to change the settings.
In Logic Pro, do the following:
Adjust the intensity of the frequency modulation by slowly moving the wave selector from Sine to FM. You will hear a typical FM spectrum, with the carrier and modulator set to the same frequency.
Alter the modulator frequency (oscillator 2) by adjusting Fine Tune from 0 c to 50 c. You’ll hear a very slow frequency modulation, which can be compared to the effect of an LFO. The frequency modulation, however, takes place in the audio spectrum. It is adjusted in semitone steps by the frequency selector. Check out the entire range from −36 s to +36 s for oscillator 2. You will hear a broad spectrum of FM sounds. Some settings may remind you of classic FM synthesizer sounds.
Select other waveforms for oscillator 2. Sine is the classic, standard FM waveform, but other waveforms lead to interesting results as well, especially the Digiwaves.
You can achieve further interesting results by altering the carrier (oscillator 1) frequency. Check out the entire range, from −36 s to +36 s here, as well. The odd intervals are especially fascinating. Note that the basic pitch changes when you do this.
Control ES2 FM intensity with an envelope and FM scaling
In the FM Envelope setting, you can control the FM intensity with an envelope, generated by Envelope 2. The modulation target is the range that falls between Sine and FM in the oscillator wave selector. The first Router channel is used for this modulation routing. You can control a wider range by using additional modulation routings, which have been pre-prepared for you. All you need to do is set their values. Because these modulations work without velocity sensitivity, you can set them in the Editor view by moving both the lower and upper fader halves to their topmost positions.
In Logic Pro, do the following:
Set the second modulation routing to 1.0. You’ll hear how the modulation now “wanders” through a broader sound range.
Set modulation routings 3 and 4 to a value of 1.0 as well, and listen to the increase in the sound range.
After these drastic augmentations to the modulation range, the sound becomes uneven across the keyboard. In the lower and middle ranges it sounds nice, but in the upper key range the FM intensity appears to be too severe. You can compensate for this effect by modulating the Osc 1 Wave target by keyboard position (kybd) in modulation routings 5 and 6. This results in a keyboard scaling of the FM intensity.
Because the sound range is so vast (due to the four modulations), two modulation routings are required to compensate for this. Set the lower slider halves to their lowest positions. Good keyboard scaling is essential for any FM sound.
Use FM Drive and Filter FM to change the tonal color in ES2
The FM Drive setting illustrates how dramatically the character of FM sounds can be altered when you apply Drive and Filter FM. The results are reminiscent of the feedback circuits of classic FM synthesizers.
In Logic Pro, do the following:
Check out different Drive and Filter FM settings.
Lower the Cutoff Frequency of Filter 2 to 0. Envelope 2 modulates Filter 2. This modulation routing is already present in the setting.
Create FM sounds with Digiwaves in ES2
In the FM Digiwave setting, a Digiwave is used as an FM modulator. This results in bell-like spectra from only two operators. With traditional FM synthesis, this type of timbre could normally be produced only with a larger number of sine oscillators.
To create a fatter, undulating, and atmospheric quality to the sound, the polyphonic Unison mode has been engaged. Filter and amplitude envelopes have been preset to shape the sound.
In Logic Pro, do the following:
Check out the variety of Digiwaves as FM modulation sources.
Check out different Analog parameter values.
Create FM sounds with wavetables in ES2
You can program the most vivid FM sounds when the modulation source morphs between different Digiwaves. The morphing in the FM Digiwave setting is controlled by LFO 2. The tempo of LFO 2, and therefore the morph, depends on the Logic Pro tempo—here, two bars.
In Logic Pro, do the following:
Set LFO 2 to different waveforms. Lag S/H (smooth random), in particular, should be fun.
Check out different FM intensities and oscillator frequencies.
Alter the modulation intensity of the first modulation routing (LFO2 modulates Osc2 Wave) and the LFO 2 rate.
Create distorted FM sounds with monophonic unison in ES2
The FM Megafat setting is well-suited for distorted basses and guitar-like sounds. This sound gets rather “rude” in the upper key range. This cannot be compensated for with key scaling, but not every sound has to be “nice” across the entire keyboard range!
In Logic Pro, do the following:
Check out extreme detunings by adjusting the Analog parameter.
Check out the Flanger with this sound.
Engage the filter envelope by lowering the Cutoff Frequency of Filter 2 down to 0.
Add some Glide to lead sounds.
As always when it comes to FM, you can dramatically alter the sound by varying the frequencies of the oscillators. Make sure you check out the odd intervals, as well.
Create FM sounds with unusual spectra in ES2
If you’re unconcerned with the pitch of your sound, you can get the weirdest spectra out of odd frequency ratios—oscillator intervals.
The FM Out of Tune setting offers a bell-like sound, reminiscent of a ring modulator. It was achieved through a setting of 30 s 0 c, with the modulator set to a value of 0 s 0 c. Sounds like this were commonly used in the electronic music of the eighties and have had a resurgence in popularity in ambient and trance music styles.
You can further develop the sound by applying filtering, envelope modulations, and effects. There is, however, one small problem—the sound is out of tune.
In Logic Pro, do the following:
Use oscillator 3 as a reference for the tuning of the FM sound by dragging the pointer in the Triangle.
You’ll notice that the sound is five semitones too high (or seven semitones too low, conversely).
Transpose both oscillators 1 and 2 five semitones (500 ct) lower. Transposing them upward is not practical, as you’d need to select 37 s 0 c for oscillator 1, which has a maximum value of 36 s 0 c.
It’s important to maintain the frequency ratio (interval) between oscillators 1 and 2. This means that oscillator 1 sounds at 25 s O c and oscillator 2 at −5 s 0 c.