Logic Pro Ipad User Guide
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QLogic Pro Ipad User Guide
Uploaded by
QLogic Pro
User Guide
for iPad
Contents
Logic Pro basics 7
What is Logic Pro? 7
Logic Pro at a glance 9
Working areas 22
Work with function buttons 24
Work with numeric values 25
Work with projects 26
Work with tracks 32
Start a Logic Pro subscription 51
How to get help 52
Find and use sounds in the Browser 53
Browser overview 53
Find sounds in the Browser 54
Work with patches in the Browser 58
Use Apple Loops in your projects 62
Work with samples in the Browser 64
Manage plug-in presets in the Browser 66
Manage Step Sequencer patterns and templates in the Browser 67
Download additional sound packs 68
Import media files 70
Import media 70
Supported media and file formats 71
Open GarageBand songs 72
Use Play Surfaces 74
Intro to Play Surfaces 74
Use side controls with the Play Surfaces 77
Use the Keyboard Play Surface 79
Use the Drum Pads Play Surface 80
Logic Pro User Guide for iPad 2
Use the Fretboard Play Surface 81
Use the Chord Strips Play Surface 83
Use the Guitar Strips Play Surface 84
Record vocals and instruments 86
Intro to recording 86
Record audio 86
Record software instruments 90
Use the metronome 97
Use the count-in 98
Work with takes 98
Arrange a project 101
Intro to arranging 101
Work in the Tracks area 101
Arrange regions in the Tracks area 106
Create fades on audio regions 120
Access mixing functions using the Fader 122
Edit region parameters 126
Create with Live Loops 133
Intro to Live Loops 133
Start and stop Live Loops cells 135
Work with Live Loops cells 139
Record to cells 143
Change loop settings for cells 149
How the Live Loops grid and Tracks area interact 151
Edit cells 153
Edit scenes 156
Work in the Cell Editor 158
Bounce cells 159
Record a Live Loops performance 161
Edit regions and cells 163
Introduction 163
Edit audio regions or cells 165
Edit MIDI regions in the Piano Roll Editor 175
Edit Live Loops in the Cell Editor 197
Convert regions 198
Logic Pro User Guide for iPad 3
Add drummers to your project 200
Intro to Drummer 200
Work with drummers and Drummer regions 202
Convert Drummer regions to MIDI regions 209
Create patterns with Step Sequencer 210
Intro to Step Sequencer 210
Use Step Sequencer with Drum Machine Designer 212
Create Step Sequencer patterns 214
Record Step Sequencer patterns live 223
Step record Step Sequencer patterns 225
Load and save patterns 226
Modify pattern playback 228
Edit steps 230
Edit rows 232
Edit Step Sequencer pattern, row, and step settings in the inspector 234
Customize Step Sequencer 237
Work with plug-ins 239
Intro to plug-ins 239
Work in the Plug-ins area 240
Work with plug-ins in Details view 245
Work with Audio Unit Extensions 247
Mix a project 248
Intro to mixing 248
Work with channel strips 250
Work with plug-ins in the Mixer 258
Control signal flow in the Mixer 260
Work with Mixer groups 265
Automate your mix 267
Intro to automation 267
Show automation 269
Write automation in real time 271
Create automation graphically 278
Edit automation 289
Use automation with Mixer groups 297
Cell automation in Live Loops 298
Undo, turn off, or delete automation 299
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Play automation 302
Create automation with Step Sequencer 304
Work with markers, time and key signatures, and tempo 306
Intro to markers, signatures, and tempo 306
Use the global tracks 307
Work with markers 309
Work with time signatures 311
Work with key signatures 312
Work with tempo 314
Export and share projects 319
Intro to exporting and sharing 319
Export a project 319
Share a project 323
Work with projects from Logic Pro for Mac 324
Settings, gestures, and keyboard shortcuts 325
App settings 325
Project settings 337
Settings app 345
Gestures 346
Keyboard shortcuts 350
Logic Pro Effects 356
Effects overview 356
Amps and pedals 357
Delay effects 398
Distortion effects 410
Dynamics processors 416
Equalizers 435
Filter effects 458
Imaging processors 484
Metering tools 488
MIDI plug-ins 493
Modulation effects 517
Multi effects 534
Pitch effects 566
Reverb effects 576
Space Designer convolution reverb 587
Logic Pro User Guide for iPad 5
Specialized effects 600
Utilities and tools 603
Logic Pro Instruments 607
Instruments overview 607
Alchemy 608
Drum Kit Designer 610
Drum Machine Designer 615
Drum Synth 625
EFM1 630
ES E 638
ES M 642
ES P 645
ES1 650
ES2 663
EVOC 20 Polysynth 711
Quick Sampler 731
Retro Synth 754
Sample Alchemy 772
Sampler 794
Sculpture 795
Studio Instruments 836
Utility instruments 848
Vintage B3 Organ 852
Vintage Clav 890
Vintage Electric Piano 903
Vintage Mellotron 913
Synth basics 915
Copyright 944
Logic Pro User Guide for iPad 6
Logic Pro basics
What is Logic Pro for iPad?
Logic Pro for iPad features a complete collection of sophisticated creative tools for
professional songwriting, beat making, editing, and mixing—all with an interface that’s been
designed from the ground up for iPad. Use Multi-Touch in Logic Pro to perform powerful
software instruments with the tap of a finger and interact naturally with intuitive controls.
Creative production tools make it easy to quickly make beats and explore new sonic
territories, and a full-featured Mixer gives you everything you need to create a
professional-sounding mix entirely on iPad.
These are some of the things you can do with Logic Pro:
• Find sounds in the Browser, which includes a large collection of patches, loops, presets,
and other musical material to add and use in your projects.
• Use advanced beat-making and production tools with Sample Alchemy and Beat
Breaker.
Logic Pro User Guide for iPad 7
• Play and record a wide variety of software instruments using Multi-Touch gestures with
onscreen Play Surfaces, or with a connected USB or Bluetooth music keyboard. You can
also play and record third-party Audio Unit instruments you have installed on your iPad.
• Record vocals, instruments, or any sound that can be captured by a microphone, and
edit the recorded regions in the Audio Editor.
• Create a multitrack arrangement from your recordings, loops, and other musical
material in the Tracks area.
• Arrange and play with musical ideas in real time in the Live Loops grid. Cells in the
grid contain musical phrases or loops that you can start and stop freely while keeping
everything in sync with the beat and the project tempo.
• Use virtual drummers to create dynamic, realistic drum performances in a variety of
genres that adapt to the material of the project and to adjustments you make in the
Drummer Editor.
• Create repeating patterns in Step Sequencer by editing steps in a grid. Each row
can trigger either MIDI note events or automation parameter changes. You can edit
individual steps, rows, and the overall pattern.
• Edit regions and cells using a set of editors optimized for different tasks and region
types.
• View and edit plug-ins and sends for a track in the Plug-ins area, where you can quickly
shape and tweak your sound using plug-in tiles.
• Mix your project in the Mixer, where you can view and edit channel strip controls,
customize routing options, and add and configure plug-ins.
• Automate changes to mix, effect, and instrument plug-in settings over time using total
recall mix automation. You can record automation changes in real time and edit them
later.
• Control global settings (including tempo, key, and time signature) for the overall project.
Use markers to define and quickly move to different sections of a project.
• Share your projects in a variety of ways, including working with projects shared from
Logic Pro for Mac.
• Discover Logic Pro features and strengthen your skills with integrated guided Lessons.
• Open projects created with GarageBand for iOS/iPadOS and import recordings from
Voice Memos.
• Create precision edits and detailed track automation with Apple Pencil.
Logic Pro User Guide for iPad 8
Logic Pro at a glance
Logic Pro interface
Logic Pro is organized into different working areas to help you focus on different aspects of
your project, such as recording, arranging, and mixing. Buttons in the view control bar and
the Tracks area menu bar show or hide different areas of the app.
The working areas of Logic Pro include:
• Control bar: Features the transport buttons you use to control playback of your project
and buttons for frequently used commands. You can customize the control bar to suit
your way of working.
• View control bar: Contains buttons to show and hide the different working areas of
Logic Pro, including the Browser, inspector, Fader, Plug-ins area, Mixer, and Play
Surfaces.
• Tracks area: Where you record audio and MIDI regions, add Apple Loops and other
media files, and arrange the regions in a timeline to build your project.
• Live Loops grid: Arrange and play with musical ideas in real time in a grid of cells, each
containing a musical phrase or loop. You can trigger cells freely or in groups, while
keeping everything in sync with the beat and the project tempo.
• Browser: Where you find and audition patches, loops, presets, samples, and other
sound categories, choose the ones you want to use, and add them to your project.
• Editors: Logic Pro features a set of editors, including the Audio Editor, Piano Roll Editor,
Drummer Editor, and Step Sequencer, which you can use to make precise changes to
individual regions and their contents.
Logic Pro User Guide for iPad 9
• Inspector: Shows parameters for selected regions, tracks, and other items. The
available parameters change depending on what type of item is selected.
• Fader: Quickly access controls for the selected track while you’re recording, arranging,
or performing other tasks. You can configure which controls appear in the Fader.
• Plug-ins area: View and edit plug-in tiles for the selected track, and expand them to
view and edit all plug-in parameters. View sends for the track, add sends, and adjust
send levels. Edit audio effect plug-ins for the track’s output channel.
• Mixer: Shows channel strips for each track in the project, as well as auxiliary, output,
and master channel strips. In the Mixer, you can view and edit channel strip controls,
add and edit plug-ins, and customize routing options.
• Play Surfaces: Logic Pro includes a variety of onscreen Play Surfaces that you can use
to play the included software instruments. Choose between a keyboard, a fretboard,
chord strips, drum pads, or other Play Surfaces.
Control bar and view control bar
The control bar runs across the top of the Logic Pro interface. It includes the transport
buttons you use to control playback; the display showing the playhead position and the
project tempo, time signature, and key; the Metronome and Count-in buttons; and other
controls. You can customize the control bar to suit your way of working.
The view control bar runs across the bottom of the Logic Pro interface. It contains buttons
to show and hide different working areas of Logic Pro, including the Browser, inspector,
Fader, Editors, Plug-ins area, Mixer, and Play Surfaces.
Tip: You can quickly close all working areas except the Tracks area or the Live Loops
grid by double-tapping the view control bar, and reopen them by double-tapping it again.
Logic Pro User Guide for iPad 10
Tracks area
You record and arrange audio and MIDI regions in a timeline-based format in the Tracks
area, which occupies the central area of the Logic Pro interface. The main elements of the
Tracks area include:
• Tracks area menu bar: Contains buttons for showing different views of the Tracks area,
function buttons for editing regions, the Snap menu, and a More button.
• Ruler: Shows bars, beats, and other divisions of time. The time divisions shown change
depending on the zoom level of the Tracks area. You can align items in the Tracks area
to specific musical positions using the time divisions in the ruler.
• Playhead: The thin vertical line extending from the top to the bottom of the Tracks area,
the playhead shows the part of the project currently playing or where playback starts.
You can use the playhead to help align regions and other items and for editing tasks,
such as splitting regions.
• Track headers: Each track has a header that shows the track number and icon and
includes controls for muting and soloing the track, enabling the track for recording,
and other functions.
• Tracks: All regions in the project appear on horizontal lanes called tracks, aligned to
time positions in a grid. This is the primary area for recording and arranging regions,
loops, and other material.
Open the Tracks area
• Tap the Tracks view button on the left side of the Tracks area menu bar.
For information about working in the Tracks area, see Intro to the Tracks area.
Logic Pro User Guide for iPad 11
Live Loops
You can arrange and play with musical ideas in the Live Loops grid of cells, each containing
a musical phrase or loop. Each grid row shares signal routing and channel strip settings
with a track in the Tracks area. Cells in grid columns, called scenes, can be triggered
together to act as musical sections. An extensive set of parameters gives you full control
over playback, recording, and looping, so you can spontaneously take your music in
new directions.
• Cells: Cells can be triggered to play individually or as part of a scene and can be queued
for later playback.
• Scene triggers: All cells in a scene (column) can be started or stopped simultaneously
using the scene trigger.
• Function buttons: Tap to work in different edit modes in the Live Loops grid: Includes
the Cell Trigger, Cell Queue, Cell Record, and Cell Edit buttons.
• Quantize Start indicator: Sets the start position to ensure that cells start at musically
meaningful positions (beats or bars).
• Track Activation buttons: Indicate whether cells or regions are active (audible) on the
track.
Open Live Loops
• Tap the Grid View button on the left side of the Tracks area menu bar.
For information about working in Live Loops, see Intro to Live Loops.
Logic Pro User Guide for iPad 12
Browser
Logic Pro for iPad features an extensive collection of patches, drum kits, Apple Loops,
presets, and other sounds that you can use in your projects. You can browse or search
for patches, loops, and other musical material in the Browser. When you choose a sound
category to view, individual items for that category appear in the results list.
An advanced search function lets you use keywords, filters, and other criteria to quickly
find material for your projects. You can preview patches, loops, and samples before
adding them.
• Sound categories: At the top level, the Browser lists different categories of sounds. You
choose a category to browse or search in its view.
• Search button: Shows the Search field so that you can search for items by name.
• Search filters: Select filters to restrict search results to a specific combination of search
criteria.
• All Filters button: Show all available search filters and choose the ones you want to use.
• Results list: Shows sounds matching your selected search criteria.
• Replace Mode button: When active, selecting a patch replaces the current patch on the
selected track.
Logic Pro User Guide for iPad 13
Open the Browser
• Tap the Browser button on the left side of the view control bar.
For information about working in the Browser, see Browser overview.
Inspector
You can view and edit parameters for regions, tracks, and other items in the inspector. The
parameters displayed in the inspector change depending on the level selected.
• Level pop-up menu: Choose a type of item to view its parameters in the inspector. You
can also tap items to select them directly.
• Pin button: Using the Pin button you can “pin” the inspector to retain the selected
inspector type, even when you select a different type of item in Logic Pro.
• Categories: Tap the disclosure arrow for a category to view parameters in that category.
• Parameters: The parameter name appears on the left, and the value appears on the
right. Most parameter values can be edited directly in the inspector.
Open the inspector
• Tap the Inspector button on the left side of the view control bar.
For information about region parameters, see Edit region parameters. For information about
track parameters, see Edit track parameters.
Logic Pro User Guide for iPad 14
Fader
The Fader lets you easily access channel strip controls for the selected track without
having to open the Mixer. This can be useful during recording and when you’re arranging in
the Tracks area.
The available controls include a Volume fader, a Pan/Balance knob, Mute and Solo buttons,
and a Record Enable button (when an audio track is selected). An Options button above the
controls lets you access audio routing and other options for the track.
You can show a second Fader to the right of the track Fader. Using the second Fader, you
can access the output channel for the track, a send on the track, or the aux track for a
Drum Machine Designer track stack.
• Options button: Tap the Options button above the controls to edit audio input and
output options for the track, its Protect and Freeze status, and its group membership.
• Record Enable button: Tap to enable the track for recording (on audio tracks only).
• Solo button: Tap to solo or unsolo the track.
• Mute button: Tap to mute or unmute the track.
• Pan/Balance knob: Swipe up or down to adjust the track pan position in the stereo field.
• Peak level display: Shows the highest level reached by the track during playback.
• Volume fader: Drag the handle up or down to adjust the track volume level.
Show the Fader
• Tap the Fader button on the left side of the view control bar.
For information about working with the Fader, see Access mixing functions using the Fader.
Logic Pro User Guide for iPad 15
Plug-ins area
The Plug-ins area provides a close-up view of the signal chain for the selected track. You
can view and edit the plug-ins, sends, and output settings for the track.
The Plug-ins area includes these features:
• Plug-in tiles: You can view and edit effect and instrument plug-ins as tiles that give you
access to key parameters. Plug-ins can also be opened in Details view for access to all
parameters.
• View buttons: Work with different aspects of the selected track’s signal flow:
• Track view: View the MIDI and software instrument plug-ins on software instrument
tracks, and audio plug-ins on both audio and software instrument tracks.
• Sends view: Add and configure sends and control send levels.
• Output view: View and edit audio plug-in tiles on the output channel for the selected
track.
• Edit button: Sets the Plug-ins area to Edit mode, where you can reorder and remove
plug-ins.
• More button: Includes commands to copy channel strip settings, turn off effect plug-
ins, remove plug-ins or sends, and reset the channel strip.
Open the Plug-ins area
• Tap the Plug-ins button in the middle of the view control bar.
For information about working in the Plug-ins area, see Intro to the Plug-ins area.
Logic Pro User Guide for iPad 16
Mixer
The Mixer shows the channel strips for the tracks in your project, including auxiliary and
output channel strips and the master channel strip. This makes it easy to view and adjust
relative levels and pan positions and perform other mixing functions. You can mute and
solo tracks, add and edit effects, use busses and sends to control the signal flow, and use
groups to control multiple channel strips together.
You work in the Mixer using the following two modes:
• Setup mode: You can quickly add, replace, reorder, and remove plug-ins on the channel
strips in the project.
• Mix mode: You can open plug-ins in Details view to view and adjust all plug-in
parameters, and quickly turn plug-ins on or off to hear how they affect the mix.
Channel strips in the Mixer include the following controls:
• Plug-in slots: Add, replace, and remove effect plug-ins; on instrument channel strips,
also replace the instrument plug-in.
• Send slots: Add sends and adjust the send level.
• Pan/Balance knob: Swipe up or down to adjust the pan position of the channel.
• Volume fader: Drag the handle up or down to adjust the volume level of the channel.
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• Mute button: Tap to mute or unmute the channel strip.
• Solo button: Tap to solo or unsolo the channel strip.
• Channel name and number: Shows the name and number of the track corresponding to
the channel strip.
Open the Mixer
• Tap the Mixer button in the middle of the view control bar.
For information about working in the Mixer, see Intro to mixing.
Editors
Audio Editor
The Audio Editor displays the audio waveform of the regions on an audio track. In the Audio
Editor, you can copy, paste, move, trim, split, and join audio regions and perform other
edits. Using the ruler and the Snap grid, you can precisely align edits with specific points
in time.
• View buttons: Show the normal editing view or Automation view.
• Function buttons: Tap to work in different edit modes in the Audio Editor; includes the
Trim, Loop, Split, and Stretch buttons.
• Snap pop-up menu: Set the Snap value and Snap options for the Audio Editor.
• Waveform display: View the audio waveform for regions on the selected audio track.
Open the Audio Editor
• With an audio track or audio region selected, tap the Editors button in the middle of
the view control bar.
For information about the Audio Editor, see Intro to the Audio Editor.
Logic Pro User Guide for iPad 18
Piano Roll Editor
The Piano Roll Editor shows note events in MIDI regions as editable rectangles on a time
grid. The position of each note on the grid shows the time position where it starts playing,
its duration (length), and pitch. Note velocity is indicated by color. You can edit notes by
moving them, resizing them to change their duration, dragging them vertically to change
their pitch, and in a variety of other ways.
• View buttons: Show the normal editing view or Automation view.
• Function buttons: Tap to work in different edit modes in the Piano Roll Editor; includes
the Trim, Pencil, Brush, and Velocity buttons.
• Snap pop-up menu: Set the Snap value and Snap options for the Piano Roll Editor.
• Editing area: Edit the notes in the MIDI region or regions on a time grid.
Open the Piano Roll Editor
• With a software instrument track or MIDI region selected, tap the Editors button in
the middle of the view control bar.
For information about the Audio Editor, see Intro to the Piano Roll Editor.
Drummer Editor
You can view and edit Drummer region parameters in the Drummer Editor. The Drummer
Editor shows settings for the selected Drummer region, including a Drummer button,
sliders for adjusting the complexity and intensity of the region performance, and controls
for editing performance parameters, including kit piece pattern variations and fill settings.
Logic Pro User Guide for iPad 19
• View buttons: Show the normal editing view or Automation view.
• Preview button: Tap to preview the region without the rest of the project.
• Drummers button: Tap, then choose a genre and drummer.
• Complexity and Intensity sliders: Drag up or down to adjust the complexity and intensity
of the pattern.
• Pattern Variations sliders: Drag left or right to change the pattern for individual
instruments.
• Fills slider: Drag up or down to adjust the amount of fills in the pattern.
Open the Drummer Editor
• With a Drummer region selected, tap the Editors button in the middle of the view
control bar.
For information about the Drummer Editor, see The Drummer Editor.
Step Sequencer
In Step Sequencer, you can create patterns by editing steps in the step grid. Each row in
the grid controls either a sound or an automation parameter, and each step represents a
definable length of musical time. You can adjust parameters for individual steps, such as
velocity, pitch, gate time, and more; and edit pattern and row settings, including pattern
length, loop start and end points, playback position, and more.
• Step grid: The main working area, where you turn steps on and off and graphically edit
step settings using edit modes.
• Row headers: Each header contains a row icon, a disclosure arrow to show subrows, and
a set of controls for the row, including Mute and Solo buttons, a Row Assignment pop-
up menu, Rotate buttons, and Decrement/Increment buttons.
• Preview button: Preview the pattern in isolation without the rest of the project.
• Edit Mode buttons: Tap to choose an edit mode for the step grid.
• More button: Includes controls to show and save patterns, sort rows, display edit mode
values, and more.
Logic Pro User Guide for iPad 20
Open Step Sequencer
Do one of the following:
• Tap a pattern region in the Tracks area, then tap the Editors button in the view
control bar to display that region in Step Sequencer in the Editors area.
• Select a track with Pattern as the default region type, then tap the Editors button in
the view control bar.
For information about Step Sequencer, see Intro to Step Sequencer.
Play Surfaces
Logic Pro features a variety of Play Surfaces that you can use to play any of the included
software instruments. There are Keyboard, Fretboard, and Drum Pad Play Surfaces as well
as Chord Strips and Guitar Strips. You can resize Play Surfaces to make playing easier.
• Surface Types button: Choose the Play Surface to play.
• Side Controls button: Show performance controls, including pitch bend and modulation
wheels.
• Scale button: Play the Keyboard and Fretboard Play Surfaces using a specific scale.
• More button: Access Surface settings and view options.
• Resize handle: Drag up or down to resize the Play Surface.
Open the Play Surfaces
• Tap the Play Surfaces button on the right side of the view control bar.
For information about Play Surfaces, see Intro to Play Surfaces.
Logic Pro User Guide for iPad 21
Working areas in Logic Pro for iPad
Logic Pro for iPad provides different working areas, each optimized for a particular way
of working or a specific task. Only one working area can have key focus at a given time.
Tapping in another working area makes it the focused area.
You can show or hide working areas in different combinations, depending on what you want
to accomplish. Many working areas can be resized for either a larger, more detailed view
or a minimized view, making it easier to view several of them together. You can also zoom
in or out in the Tracks area, the Audio Editor, and the Piano Roll Editor for either a more
detailed or a more comprehensive view.
You can switch between the Tracks area and Live Loops using the buttons in the
control bar:
The buttons to show and hide the Browser, inspector, Fader, Editors, Plug-ins area, Mixer,
and Play Surfaces are on the view control bar, located along the bottom of the Logic Pro
interface.
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Certain combinations of working areas are not supported. For example, if the Browser is
open and you tap the Inspector button, the Browser closes, and the inspector opens in the
space previously occupied by the Browser.
If you find while working that the screen becomes cluttered by too many working areas
open at once, you can quickly close all working areas except the Tracks area (or Live Loops
grid) by double-tapping the view control bar.
You can use Logic Pro in both landscape and portrait orientation on your iPad. Certain
tasks might be more suited to one orientation or another ; for example, you can see a larger
part of a Tracks area arrangement in landscape orientation, whereas using the Mixer in
portrait orientation lets you view the full height of the channel strips.
Control how working areas update using Catch Playhead
The Tracks area, Audio Editor, and Piano Roll Editor show the playhead, which moves from
left to right as the project plays. For each of these working areas, you can control whether
or not they scroll horizontally as the playhead moves using the Catch Playhead function.
When Catch Playhead is turned on, the working area follows the playhead during playback or
recording. When Catch Playhead is turned off, the working area does not update, even when
the playhead moves out of the visible portion of the timeline. Additionally, when the playhead
is not visible in the working area, you can have the area scroll to show the playhead position.
Resize a working area
Many working areas, including the Editors area, Plug-ins area, Mixer, and Play Surfaces can
easily be resized to fill more of the Logic Pro interface.
• Drag the resize handle on the right edge of the local menu bar, then drag vertically
to resize the area.
• Tap the resize handle to expand the area to its maximum size. Tap the handle again to
return to the previous size.
Zoom the Tracks area, Piano Roll Editor or Audio Editor
Do any of the following:
• Pinch vertically to zoom in or out vertically.
• Pinch horizontally to zoom in or out horizontally.
Close all working areas except the Tracks area or Live Loops grid
• In Logic Pro, double-tap the view control bar.
• To reopen the previously open working areas, double-tap the view control bar again.
Control how working areas update using Catch Playhead
1. In Logic Pro, tap the More button in the menu bar for the Tracks area, Audio Editor, or
Piano Roll Editor to set the Catch Playhead mode for that working area.
2. Tap one of the Catch Playhead options:
• Off: The working area does not scroll so the playhead remains visible.
• Automatic: The working area scrolls so that the playhead remains visible as it moves.
• Catch Now: The working area scrolls to show the playhead position. This option is
available only when the playhead is not currently visible.
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Work with function buttons in Logic Pro for iPad
Logic Pro for iPad provides groups of function buttons for a variety of editing tasks.
Function buttons are available in the Tracks area, the Live Loops grid, the Audio Editor, the
Piano Roll Editor, and Step Sequencer. In those working areas, function buttons are located
in the middle of the menu bar for that working area. For example, the Tracks area menu bar
has function buttons for editing regions using Trim, Loop, Split, and Stretch edit modes.
In general, you tap a function button to turn on its edit mode, then tap or otherwise interact
with regions, cells, MIDI notes, or other items in the working area to edit them. Tapping a
function button to turn on an edit mode turns off the previously active edit mode for the
working area.
Use function buttons as momentary buttons
Function buttons can also be used as momentary buttons. To use a function button as
a momentary button, you touch and hold the button, then perform an editing operation
without releasing your finger. After completing the operation, you release your finger, and
the function button that was selected before the momentary one you just used remains
selected. For example, with the Trim button selected, you can touch and hold the Split
button, split one or more regions using the Scissors tool, then release your finger from the
Split button, and the Trim button remains selected.
When you touch and hold a function button but release your finger without performing any
editing operation, the button becomes selected, and its edit mode is turned on.
Use modifier buttons
In addition to the function buttons, Logic Pro provides modifier buttons that modify the
functionality of the edit modes. The Multiple Select and Copy buttons are located to the
right of the function buttons in the Tracks area, the Audio Editor, the Piano Roll Editor, and
the Mixer (in the Mixer, both modifier buttons are available in Setup mode, but only the
Multiple Select button is available in Mix mode).
• Multiple Select button: When the Multiple Select button is selected, you can select
multiple items by tapping them. Tapping an item selects it (or deselects it, if it’s already
selected) without deselecting other selected items.
Note: After selecting items using the Multiple Select button, be sure to deselect the
button before using one of the edit modes.
• Copy button: When the Copy button is selected, dragging an item creates a copy
rather than moving the item.
In addition, the Stepped Automation button is available when Automation view is turned
on in the Tracks area. See Stepped automation curve.
The Multiple Select and Copy buttons can also be used as momentary buttons. For
example, you can touch and hold the Copy button, drag a region to create a copy, then
release your finger from the Copy button and drag regions without creating copies of them.
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Work with numeric values in Logic Pro for iPad
Many Logic Pro functions involve editing numeric values for parameters and other data. For
example, many region parameters and track parameters in the inspector feature editable
numeric values. Where numeric values for parameters appear, you can generally edit them
in one of two ways:
• Drag the numeric value up or down to increase or decrease the value.
• Tap the numeric value to open a numeric input dialog, where you can edit values
using Decrement/Increment buttons, a scroll wheel, or a numeric keypad. For some
parameters, additional editing controls are available.
When you open a numeric input dialog, it contains the following:
• The parameter name
• The current parameter value, highlighted in blue
• A Scroll Wheel button and a Number Pad button , which you use to switch between
the scroll wheel and the numeric keypad.
• Decrement/Increment buttons to change the value in single increments
Open a numeric input dialog
• Tap an editable numeric parameter.
Switch between the scroll wheel and the numeric keypad
• Tap the Scroll Wheel button to show the scroll wheel.
• Tap the Number Pad button to show the numeric keypad.
Edit the selected value using the Decrement/Increment buttons
• Tap the Decrement button to decrease the value in single units.
• Tap the Increment button to increase the value in single units.
Edit the selected value using the scroll wheel
• Drag the scroll wheel to edit the value.
Logic Pro User Guide for iPad 25
Edit the selected value using the numeric keypad
Do any of the following:
• Tap the number keys to enter a value. Numbers are added to the right of the existing
value. For example, if the value shown is 9, and you tap the 3 key, the number becomes
93.
• Tap the Delete key to remove the last digit of the value.
• Tap the Sign key to switch the current value between positive and negative.
• Tap the Return key to enter the new value, replacing the previous value.
Note: After editing the value using the numeric keypad, be sure to either tap the Return
key or tap the Done button before closing the numeric input dialog.
Exit the numeric input dialog
Do one of the following:
• Tap the Done button in the upper-right corner of the dialog.
• Tap anywhere outside the dialog.
If you have an external keyboard connected to your iPad, you can use Keyboard shortcuts
for numeric input dialog.
Work with projects
Intro to projects in Logic Pro for iPad
A project is a Logic Pro document that contains your recordings, the media files you add,
and all the changes you make. You start working in Logic Pro by creating a project or
opening an existing project.
When you create a project, you can set new project settings, including the project tempo,
time signature and key, and sample rate. You can edit these settings later while you’re
working.
You create new projects, open existing projects, manage projects, and delete
projects in the New Project Chooser. You can also open Logic Pro for Mac projects in
Logic Pro for iPad to continue working, then share them back to the app in which they
were created.
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Create projects in Logic Pro for iPad
You start working in Logic Pro by creating a new project. In the New Project Chooser, you
can create an empty project using either the Tracks area or the Live Loops grid as the
starting point for a new project.
You can edit new project settings, including the project tempo, time signature, key, and
sample rate, in the New Project Settings window when you create a project, and change
them later while you’re working.
Create an empty project
1. In Logic Pro, tap the Projects Browser button next to the project name in the control
bar.
2. Tap the New Project button in the menu bar to open the New Project Chooser.
3. In the New Project Chooser, tap the project type you want to create (Tracks or Live
Loops).
Edit new project settings
1. In Logic Pro, tap the Projects Browser button next to the project name in the control
bar.
2. Tap the New Project button in the menu bar to open the New Project Chooser.
3. In the New Project Chooser, tap New Project Settings.
4. To change the project tempo, do one of the following:
• Drag the Tempo value in the display up or down to change the tempo.
• Tap the Tempo value in the display, then edit the value in the numeric input dialog
using the Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
You can also tap the tempo on the Tap Tempo button at the bottom of the dialog.
Logic Pro User Guide for iPad 27
5. To change the time signature, do any of the following:
• Drag the Number of Beats value up or down to change the number of beats.
• Tap the Time Signature value, then edit the value in the numeric input dialog using
the Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
• Tap the Note Value pop-up menu, then choose a new note value.
6. To change the key:
• In the Key Signature area, tap the Key pop-up menu, then choose a new key.
7. To change the sample rate:
• Tap the Sample Rate pop-up menu, then choose a sample rate.
8. Tap outside the New Project Settings window to close it.
Open and close projects in Logic Pro for iPad
You can open an existing project to continue working.
When you close a project and return to the New Project Chooser, all the changes you’ve
made since the project was last opened are saved to the project. Logic Pro also saves your
work automatically so that you don’t lose important changes if the app quits unexpectedly.
You can also work with projects from Logic Pro for Mac in Logic Pro for iPad.
Open a Logic Pro project
1. In Logic Pro, tap the Projects Browser button in the control bar.
2. Tap the New Project button in the menu bar to open the New Project Chooser.
3. In the New Project Chooser, tap the project.
Open a demo project
Logic Pro includes a demo project in the New Project Chooser.
1. In Logic Pro, tap the Projects Browser button in the control bar.
2. Tap the New Project button in the menu bar to open the New Project Chooser.
3. In the New Project Chooser, tap the demo project.
Open a Logic Pro for Mac project
1. Share the Logic Pro for Mac project to your iPad.
2. In Logic Pro, tap the Projects Browser button in the control bar.
3. In the Projects browser, locate the Logic Pro for Mac project and tap to open it.
Logic Pro for Mac projects using certain features can’t be opened in Logic Pro for iPad. For
more information about working with Logic Pro for Mac projects in Logic Pro for iPad, see
Work with projects from Logic Pro for Mac.
Close an open project
• In Logic Pro, tap the Projects Browser button in the control bar.
The current state of the project is saved.
Logic Pro User Guide for iPad 28
Edit project properties in Logic Pro for iPad
Each Logic Pro project has properties that include the project tempo, key and scale, time
signature, and sample rate. You can set project properties when you create a project and
change them later while you’re working. Some project properties, such as tempo and
sample rate, should usually be set when you create the project because they can affect
recordings or media files you add to the project, creating extra work.
Set the project tempo
In Logic Pro, do one of the following:
• Drag the Tempo value in the display up or down to change the tempo.
• Tap the Tempo value in the display, then then edit the value in the numeric input dialog
using the Decrement/Increment buttons, the scroll wheel, or the numeric keypad. You
can also tap the tempo on the Tap Tempo button at the bottom of the dialog.
• Tap Done to exit the dialog.
For information about the Tempo track and creating tempo changes, see Intro to Tempo
tracks.
Set the project time signature
1. In Logic Pro, tap the time signature in the display.
2. In the Signatures window, do one of the following:
• Drag the Number of Beats value up or down to change the number of beats.
• Tap the Number of Beats value, then edit the value in the numeric input dialog using
the Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
3. Tap the Note Value pop-up menu, then choose a new note value.
4. Tap Done to exit Settings.
Logic Pro User Guide for iPad 29
Set the project key
1. In Logic Pro, tap the project key in the display.
2. In the Signatures window, tap the Key pop-up menu and choose a new key.
3. Tap either Major or Minor.
4. Tap Done to exit the Signatures window.
Set the project sample rate
1. In Logic Pro, tap the More button in the control bar, then tap Settings.
2. Tap Project Settings, then tap Audio.
3. Tap the Sample Rate pop-up menu, then choose a new sample rate.
4. Tap Done to exit the Project Settings.
Set the project end point
Logic Pro projects start at position 1 1 1 1 (as shown in the display). When you create a
project in Logic Pro, by default the project is 32 bars long. You can set the Project End
marker to remove unused bars at the end of the project, or to make the project longer.
1. In Logic Pro, swipe right in the Tracks area until you see the Project End marker.
2. Drag the Project End marker horizontally to shorten or lengthen the project.
During playback, a project stops when it reaches the Project End marker. When recording,
the Project End marker moves to accommodate the end of the recording, if recording
extends past the current position of the marker.
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Manage projects in Logic Pro for iPad
You can move, copy, duplicate, and rename Logic Pro projects in the Projects Browser, and
manage them in other ways.
Move a project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, touch and hold the project, then tap Move.
3. Browse to the location where you want to move the project.
4. Tap Move in the upper-right corner of the Move dialog.
Copy a project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, touch and hold the project, then tap Copy.
3. Browse to the location where you want to copy the project.
4. Tap the background, then tap Paste.
Duplicate a project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, touch and hold the project, then tap Duplicate.
A duplicate of the project appears below the original one.
Rename a project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, touch and hold the project, then tap Rename.
3. Enter a new name for the project.
Delete Logic Pro for iPad projects
You can delete Logic Pro projects in the Projects browser if you no longer want to
keep them.
Delete a project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, touch and hold the project, then tap Delete.
When you delete a project, it can no longer be edited or played.
Logic Pro User Guide for iPad 31
Customize the control bar in Logic Pro for iPad
The control bar, located at the top of the Logic Pro interface, offers a default set of buttons
and controls for many app functions. In the middle of the control bar is the display, which
shows the playhead position along with the project tempo, key, and time signature.
Change the controls in the control bar
1. In Logic Pro, tap the More button on the right side of the control bar, then tap
Customize Control Bar.
2. Do any of the following:
• To show or hide the transport buttons: Tap Transport, then tap the switches for
individual buttons.
• To choose the time format for the display: Tap Display, tap the Position pop-up
menu, then choose a time format (Beats, Time, or Beats & Time).
• To show or hide the signature, MIDI, or CPU display: Tap Display, then tap the
switches for individual controls.
• To show or hide the metronome, count-in, or other controls: Tap Modes, then tap the
switches for individual controls.
3. Tap outside the dialog to exit it.
Work with tracks
Intro to tracks in Logic Pro for iPad
Tracks help you organize and control the sound of the recordings and other material in a
Logic Pro for iPad project. You record and arrange regions on tracks in the Tracks area and
use the same tracks for the cells in the Live Loops grid. Each track is assigned to a channel
strip in the Mixer.
When you create a track, you choose the track type and the default region type. You can
also set new track options, including opening the Browser to browse for patches.
Logic Pro User Guide for iPad 32
Logic Pro projects can include the following track types:
• Audio tracks: Contain audio regions from audio recordings, audio Apple Loops, and
imported audio files.
• Software instrument tracks: Contain MIDI regions from software instrument recordings,
software instrument Apple Loops, Drummer regions, and Step Sequencer pattern
regions.
Each track has a track header located to the left of the track, which shows the track
number and track icon. Track headers also contain controls that you can use to mute, solo,
and adjust the volume level of the track, and control other track functions.
You can use track stacks to organize projects with high track counts and simplify the
creation of audio subgroups for related tracks. There are two types of track stacks: folder
stacks and summing stacks, which are useful in different situations.
You can view and edit track parameters for the selected track in the inspector.
A special set of tracks called global tracks appear below the ruler in the Tracks area. Global
tracks provide a way to view and edit different aspects of the overall project, such as
tempo and transposition, which affect all tracks in the project.
Create tracks in Logic Pro for iPad
You add tracks to a Logic Pro for iPad project to organize your recordings, loops, and other
material. You can create audio or software instrument tracks in the New Tracks dialog.
When you create a software instrument track, you choose the default region type for the
track and can set other new track options. The available options vary depending on the
type of track you create. You can also create multiple tracks of the chosen type.
When you create a new track, a corresponding new channel strip is also created in the
Mixer.
Create new tracks
1. In Logic Pro, tap the Add Tracks button above the track headers.
Logic Pro User Guide for iPad 33
2. In the New Tracks dialog, do one of the following:
• To create an audio track, tap the Audio button.
• To create an instrument track, tap the MIDI, Drummer, or Pattern button, depending
on the default region type you want the track to have. The default region type also
determines which editor opens when the track is selected.
For information about region types, see Intro to regions.
Create multiple tracks
In the New Tracks dialog, do one of the following:
• Drag the Number of Tracks value up or down to edit the value.
• Tap the Number of Tracks value, then tap the Decrement/Increment buttons or drag the
scroll wheel to edit the value.
Set new track options
1. In the New Tracks dialog, tap the More button for the region type you want to work
with.
2. Do any of the following:
• For instrument tracks:
• To use the track for an external instrument, tap the Use External Instrument
switch.
• To use the default patch on the track, tap the Patch / Instrument pop-up menu
and choose Default Patch.
• To use a default instrument plug-in on the track, tap the Patch / Instrument pop-
up menu and choose Instrument, then choose an instrument from the submenu.
• To set whether the Browser opens when a new track is created, tap the Open
Browser switch.
• To choose the genre for Drummer regions on instrument tracks, tap the Drummer
Genre pop-up menu, then tap a genre.
• For audio tracks:
• To set the audio input format, tap the Format pop-up menu and choose Mono or
Stereo.
• To set the audio input channel, tap the Channel pop-up menu and choose a mono
or stereo input.
• To change the order in which audio inputs are displayed, tap the Ascending
switch.
• To use the default audio patch on the track, tap the Patch pop-up menu and
choose Default Audio Patch.
• To set whether the Browser opens when a new track is created, tap the Open
Browser switch.
• To set whether the Browser shows audio patches or loops, tap the Type pop-up
menu and choose Patches or Loops.
3. Tap Create in the upper-right corner of the New Tracks dialog.
Logic Pro User Guide for iPad 34
Create tracks using drag and drop in Logic Pro for iPad
You can quickly create new tracks in Logic Pro for iPad by dragging items such as patches,
regions, audio files, loops, or samples to different destinations. You can:
• Drag an instrument or audio patch to the track header area to create a new track using
the patch.
• Drag a region or cell to the track header area to create a new sample-based instrument
track using an audio bounce of the region or cell.
• Drag a loop or sample to the track header area to create a new sample-based
instrument track using the loop or sample.
• Drag an audio file, loop, or sample to the Tracks area to create a new track containing a
region created from the file, loop, or sample.
Dragging an audio or software instrument region or cell, an audio file, an Apple Loop,
or a sample to the area below the track headers creates a new sample-based software
instrument track. When you create a track by dragging one of these items, you can choose
whether the track uses a Quick Sampler or Sample Alchemy instrument plug-in or a Drum
Machine Designer track stack. When Quick Sampler is chosen, it uses the Optimized
setting. When Sample Alchemy is chosen, it uses the Granular setting. When Drum Machine
Designer is chosen, the material is analyzed to determine if it can be sliced. If so, a MIDI
region is created that triggers the slices.
When you drag an audio or software instrument region or cell to the track header area
to create a track, the region or cell is bounced to an audio file, which is then used by the
chosen instrument plug-in on the new track (the bounce includes all effect plug-ins on the
track containing the cell or region). When you drag an audio file, a loop, or a sample to the
track header area to create a track, that item is used by the chosen instrument on the new
track.
You can also create a new track by dragging an audio file, Apple Loop, or sample to the
area below all existing tracks in the Tracks area. When you drag an audio file to the area
below the existing tracks, an audio track is created. When you drag an Apple Loop, a track
of the corresponding type (audio, software instrument, or Drummer) is created.
Create a track by dragging an audio or instrument patch to the track header area
• In Logic Pro, drag an audio or instrument patch from the Browser to the area below all
existing track headers in the track list.
A track of the corresponding type (audio or instrument) using the chosen patch is
added below the existing tracks.
Create a track by dragging a region or cell to the track header area
1. In Logic Pro, touch and hold a region or cell, then drag it to the area below all existing
track headers in the track list.
2. When the “Create new track with” dialog appears, tap the type of instrument you want
to use for the new track.
An instrument track with the chosen instrument is added below the existing tracks.
Logic Pro User Guide for iPad 35
Create a track by dragging a loop or sample to the track header area
1. In Logic Pro, touch and hold a loop or sample, then drag it to the area below all existing
track headers in the track list.
2. When the “Create new track with” dialog appears, tap the type of instrument you want
to use for the new track.
An instrument track with the chosen instrument is added below the existing tracks.
Create a track by dragging an audio file, loop, or sample to the Tracks area
• Drag an audio file, loop, or sample from the Browser to the area below all existing tracks
in the Tracks area.
A track of the corresponding type is added below the existing tracks, containing a
region created from the audio file, loop, or sample.
Choose the default region type for a software instrument
track in Logic Pro for iPad
In Logic Pro for iPad, software instrument tracks can have a default region type. The
default region type can be MIDI, Drummer, or pattern regions. When you create a software
instrument track, you can choose the default region type in the New Tracks dialog, and you
can change it later in the Track inspector.
The default region type determines which Editor opens when you tap the Editors button
with the track selected, or which Editor appears when the Editors area is open with an
instrument track selected, but no region is selected.
Regardless of the default region type, an instrument track can contain any combination of
MIDI, Drummer, and pattern regions.
Change the default region type for a software instrument track
1. In Logic Pro, select the track.
2. Tap the Inspector button to open the inspector.
3. Tap the Level menu at the top of the inspector and make sure that Track is selected.
4. Tap the disclosure arrow to show General track parameters if needed.
5. Choose a region type from the Default Region Type pop-up menu.
6. Tap the Inspector button to close the inspector.
Logic Pro User Guide for iPad 36
Select tracks in Logic Pro for iPad
You select a track to perform different operations on it, such as duplicating or renaming
the track or editing track parameters. When you select a track, by default the regions on
the track are also selected.
You can select multiple tracks, in order to reorder them as a group or to create a track
stack with the selected tracks. When multiple tracks are selected, the first selected track
is the focused track. Some operations only affect the focused track when multiple tracks
are selected. For example, you can only edit track parameters for the focused track in the
inspector.
When working areas in Logic Pro are configured so that only a single track is visible below
the control bar, tapping the track icon of the visible track shows a Select Track menu rather
than a list of track options, allowing you to choose which track is displayed. For example,
if the Mixer is resized to fill most of the screen so that only one track is visible above the
Mixer, tapping the visible track icon opens the Select Track menu, so that you can choose
which track is displayed.
Select a track
• In Logic Pro, tap either the track icon or track number.
Select multiple tracks
1. In Logic Pro, tap the Multiple Select button in the Tracks area menu bar.
2. Select tracks by tapping either the track icon or track number. Tapping the track
number also sets the focus.
Note: After performing a multiple selection, tap the Multiple Select button again to
revert to single selection.
Select a track using the Select Track menu
• Tap the track icon of the visible track, then choose the track to display from the Select
Track menu.
Duplicate tracks in Logic Pro for iPad
You can duplicate a track, creating a new track below the original track with the same
instrument and effects settings. The duplicate track can be empty, or it can contain the
same content as the original track.
Duplicate a track without content
1. In Logic Pro, select a track.
2. Do one of the following:
• Tap the Duplicate Track button above the track headers.
• Tap the track icon again, then tap Duplicate.
Duplicate a track with its content
1. In Logic Pro, select a track.
2. Touch and hold the Duplicate Track button above the track headers, then tap
Duplicate Track with Content.
Logic Pro User Guide for iPad 37
Reorder tracks in Logic Pro for iPad
You can reorder tracks in the Tracks area. Changing the order of tracks doesn’t affect
the sound of a project, but it lets you organize tracks visually to keep instruments in a
particular order, or keep related tracks together. For example, you can keep all drum tracks
together, or keep all tracks that double the same melody together.
Reorder tracks in the Tracks area
• In Logic Pro, touch and hold a track icon, then drag vertically to move the track up or
down.
Rename tracks in Logic Pro for iPad
By default, tracks take the name of the patch used on the track. You can rename tracks to
help organize your project and identify different instruments or parts.
Rename a track
1. In Logic Pro, select a track.
2. Tap the track icon, then tap Rename.
3. Enter a new name for the track.
4. Tap anywhere outside the track.
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Change track icons in Logic Pro for iPad
By default, tracks use the same icon as the patch chosen for the track. You can change a
track icon at any time while working on a project.
Change the icon for a track
1. In Logic Pro, select a track.
2. Tap the Inspector button in the view control bar.
3. In the inspector, make sure Track is selected in the Level menu.
4. Tap the Icon image, then tap a new icon from the Icon menu.
5. Tap the Inspector button again to close the Track inspector.
Change track colors in Logic Pro for iPad
By default, track colors reflect the track type. You can change the color of specific tracks
to help visually organize the Tracks area and identify tracks in a large arrangement. Track
colors are visible when you customize the track headers to show track color bars. Also, any
new MIDI regions created on a software instrument track reflect the track color.
Changing the color of a track also changes the color of the corresponding channel strip in
the Mixer.
Change the color of a track
1. In Logic Pro, tap a track icon to select the track.
2. Tap the Inspector button in the view control bar.
3. In the inspector, make sure Track is selected in the Level menu.
4. Tap the Color well, then tap a new color in the Colors palette.
5. Tap the Inspector button again to close the Track inspector.
Logic Pro User Guide for iPad 39
Use the Tuner on an audio track in Logic Pro for iPad
You can tune instruments connected to your iPad with the Tuner to ensure that audio
recordings are in tune with any software instruments, samples, or existing recordings in
your projects. You can use the Tuner to tune an instrument connected to the audio input for
an audio track in your project.
Show the Tuner button
1. In Logic Pro, tap the More button in the control bar, then tap Customize Control Bar.
2. Tap Modes, then tap the Tuner switch.
Use the Tuner
1. In Logic Pro, tap the track header of an audio track to select the track.
2. Tap the Tuner button in the control bar to show the Tuner.
3. Play a single note on the instrument and watch the Tuner. If the note is flat or sharp of
the keynote, the note name and horizontal line in the Tuner appear red. The horizontal
line points to the left if the note is flat, and to the right if it’s sharp.
4. Adjust the tuning of your instrument until the note name and horizontal line appear blue
and the horizontal line is centered.
Show the output track in the Tracks area in
Logic Pro for iPad
A project can have one output track, which corresponds to the output channel in the Mixer.
When shown, it appears below all other tracks in the Tracks area.
Show the output track
• Tap the More button above the track headers, then tap Show Output Track.
Delete tracks in Logic Pro for iPad
You can delete a track if you no longer want to use it in your project.
Delete a track
• In Logic Pro, tap a track icon to select the track.
• Tap the track icon again, then tap Delete.
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Use track header controls
Intro to track headers in Logic Pro for iPad
Each track includes a track header that displays the track number and icon. Each track
header also features a set of track controls, including Mute and Solo buttons and a Volume
slider on all tracks and an Input Monitoring button on audio tracks.
You can resize the track headers to show or hide track controls and customize the track
headers to show different track controls, including Record Enable, Freeze, and Track On/Off.
Show the track controls
• In Logic Pro, swipe right on the track list to show the track controls.
To hide the track controls, swipe left on the track list.
Mute and solo tracks in Logic Pro for iPad
You can silence, or mute, a track so that you don’t hear it when you play the project.
Muting tracks is useful when you want to hear how the project sounds without the track or
compare alternate versions of a track.
When you mute a track using the Mute button, the channel strip to which the track is
assigned is muted; all tracks in the project that use the same channel strip are also
silenced. Plug-ins on the muted channel strip are still processed, however, so the system
responds very quickly when tracks are muted or unmuted.
You can solo a track, silencing all tracks that are not soloed. Soloing tracks is useful when
you want to work on a track without hearing the other tracks in the project.
Mute a track
1. In Logic Pro, show the track controls.
2. Tap the Mute button in the track header.
Tap the Mute button again to unmute the track.
Solo a track
1. In Logic Pro, show the track controls.
2. Tap the Solo button in the track header.
Tap the Solo button again to unsolo the track.
When you solo one or more tracks, a Solo button appears in the area above the track
headers. Tapping this button unsolos all soloed tracks.
Quickly mute or solo multiple tracks
• In Logic Pro, touch and hold a Mute button or Solo button , then drag vertically over
other tracks you want to mute or solo.
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Set track volume in Logic Pro for iPad
You can set the volume level of each track, to balance the relative volume of the tracks in
the project.
Set track volume
1. In Logic Pro, show the track controls.
2. Drag the Volume slider left or right to change the volume level.
The level meter in a track’s Volume slider shows the output volume for the track as the
project plays. You can watch the level meter as you record to the track to see if clipping
occurs on the track.
You can also adjust the volume level of the selected track, adjust track pan/balance
position, and perform other mixing functions using the Fader.
Enable tracks for recording in Logic Pro for iPad
You enable a track for recording using the Record Enable button in the track header.
Record Enable buttons have multiple states:
• For audio tracks: Off (gray), Armed (blinking red), Recording (solid red). For the focused
track, the letter R in its Record Enable button turns red, indicating that it will be enabled
when recording starts (when you tap the Record button).
• For software instrument tracks: Off/No input (gray), Receiving MIDI input and/or
Recording (solid red).
You can enable multiple tracks, as long as each track has a unique input (chosen in the
Input slot in the Mixer). Multiple tracks that use the same input cannot be simultaneously
record enabled. If several tracks are assigned to the same channel strip (for example,
“Audio 1”), the new recording appears on the focused track assigned to the channel
strip. If none of the record-enabled tracks is focused, the recording appears on the first
(uppermost) of the tracks. See Record to multiple audio tracks.
If you record enable multiple software instrument tracks, a new MIDI region is recorded
on the focused MIDI track, and an alias of the recorded MIDI region is created on the
other record-enabled MIDI tracks. For more information, see Record to multiple software
instrument tracks in Logic Pro.
Enable a track for recording
1. In Logic Pro, show the track controls.
2. Tap the red Record Enable button in the track header.
Tap the Record Enable button again to disable the track for recording.
If the Record Enable button does not appear in the track headers, customize the track
headers so that it is visible.
Logic Pro User Guide for iPad 42
Use input monitoring on audio tracks in Logic Pro for iPad
You can turn on input monitoring to hear the output of audio tracks that are not enabled
for recording. This is useful when you want to set audio levels or practice a part before you
commit to recording it.
Note: Input monitoring is available only when Software Monitoring is enabled is App
Settings > Audio > General. In general, Software Monitoring is enabled when either the
audio input or audio output are set to an external rather than an internal source, and
disabled when both audio input and output are set to the internal iPad microphone and
speakers. See General Audio settings.
Turn on input monitoring for an audio track
1. In Logic Pro, show the track controls.
2. Tap the Input Monitoring button in the track header.
To turn off input monitoring on the track, tap the Input Monitoring button again.
If the Input Monitoring button does not appear in the track headers, customize the track
headers so that it is visible.
Input monitoring always involves latency. The amount of latency depends on the hardware
you are using to record. In certain cases, input monitoring might make it difficult to obtain
the best possible timing. Route the signal you want to record directly to headphones
or a monitoring amplifier—and to the audio interface inputs, for recording. You won’t
accidentally overdrive your A/D converters because the input level meters display a
clipping warning if an overload occurs.
Turn off tracks in Logic Pro for iPad
You can turn tracks on or off in the Tracks area. Turning a track off lets you silence the
track while still hearing other tracks in the project assigned to the same channel strip.
When no other track is assigned to the same channel strip, turning off a track also saves
processing power because plug-ins on the channel strip are no longer processed. Turning
a track off (or turning it back on) takes slightly longer than muting or unmuting the track
because of internal pre-processing. Unlike muting a track, turning off a track can’t be
automated.
When a software instrument track is turned off, all MIDI regions on the track are silenced,
but live input (playing) is still audible.
You can also control dynamic loading of plug-ins on a track using the On/Off button. When
you open a project, plug-ins on tracks that are turned off aren’t loaded, even if the tracks
contain regions. While working on the project, plug-ins aren’t loaded on a track that is
turned off when the track is focused, or when regions are added to the track. When the
track is turned on, plug-ins are loaded if the track becomes focused. You can also make
the plug-ins on a track inactive using the On/Off button.
Turn tracks on or off
• In Logic Pro, show the track controls.
• Tap the On/Off button in the track header.
If the On/Off button does not appear in the track headers, customize the track headers so
that it is visible.
Logic Pro User Guide for iPad 43
Freeze tracks in Logic Pro for iPad
You can freeze a track, reducing its processor usage to that of a high-resolution audio
track without effect plug-ins, regardless of the number or complexity of the plug-ins
actually used on the track. Freezing is particularly useful for software instrument tracks
and for audio tracks that use complex effects. It is not available for multi-output software
instruments.
When you freeze a track, the track is bounced to an audio freeze file, which includes the
output of any plug-ins on the track and any track automation. While the track is frozen,
the freeze file plays back in place of the original track, which is temporarily deactivated
(including its plug-ins). You can still use track controls (such as mute and solo), but you
can't edit track content (including region mute or solo, for example).
If you want to edit the track, you can unfreeze it, make the changes, and then freeze the
track again.
Freeze is designed to circumvent CPU-intensive processes, such as complex software
instruments and complex plug-ins (such as reverbs, filter banks, or Fourier transform–
based effects). If your iPad can calculate all active processes in real time, freezing tracks
is unnecessary. Freezing tracks is recommended when tracks with CPU-intensive software
instrument or effect plug-ins are in a finalized state, requiring no further changes. Freezing
also helps to free memory in low-memory situations, such as when using memory-intensive
software instruments.
You can also have Logic Pro automatically freeze tracks if the iPad can’t process the audio
in time. See General.
Freeze a track
1. In Logic Pro, select the track, then show the track controls.
2. Tap the Freeze button in the track header.
3. Tap the Inspector button .
4. In the inspector, tap the disclosure arrow for the More section.
5. Tap the Freeze Mode menu, then choose the Freeze mode:
• Source Only: Freezes the track signal without any effect plug-ins. When selected,
the Freeze button appears green. This Freeze mode is useful when using processor-
intensive software instruments.
• Pre Fader: Freezes the track signal including all effect plug-ins. When selected, the
Freeze button appears blue.
• Tap the Play button in the control bar to trigger freezing. Tap it again to start
playback.
To unfreeze the track, tap the Freeze button again.
If the Freeze button does not appear in the track headers, customize the track headers so
that it is visible.
Logic Pro User Guide for iPad 44
Customize the track headers in Logic Pro for iPad
You can customize the track headers to show more or fewer controls, including the Solo,
Record Enable, Input Monitoring, Track On/Off, and Freeze buttons and the Volume slider,
as well as the track color bars.
Customize the track headers
1. In Logic Pro, tap the More button above the track headers, then tap Customize Track
Header.
2. In the Customize Track Header window, tap the switches to show or hide track control
buttons and other view options.
Work with track stacks
Intro to track stacks in Logic Pro for iPad
Track stacks provide a convenient way to organize and control tracks, to manage projects
with high track counts, and to create and manage audio subgroups. You can create a track
stack from a group of existing tracks and use the controls on the master track to control all
the subtracks in the track stack.
Logic Pro has two types of track stacks: folder stacks and summing stacks. Both types
have a main track and one or more subtracks. The track icon for the main track features a
disclosure arrow that lets you show or hide the subtracks. When you close the stack, only
the main track appears in the Tracks area.
Subtracks can include audio, software instrument, and aux tracks and can also include
track stacks as subtracks.
Logic Pro User Guide for iPad 45
Folder stacks
Folder stacks let you combine multiple tracks and control them as one unit, without
changing the audio routing of the individual subtracks. When you create a folder stack, the
channel strip assigned to the main track is called the stack master. Using the main track
or the stack master channel strip, you can mute, solo, and adjust the volume level for the
folder stack. This is similar to the way a Voltage Controlled Amplifier (VCA) master fader
functions on a hardware mixing console.
There is no patch for the main track of a folder stack, and no patch can be saved when the
main track is selected. There are no regions on the main track of a folder stack, only on
its subtracks. When the folder stack is closed, the main track displays an overview of the
combined contents of all subtracks.
When you mute a folder stack using the Mute button on the main track (or stack master
channel strip), the mute or solo state of individual subtracks is preserved, and it becomes
active again when the main track is unmuted.
Summing stacks
Summing stacks let you combine multiple tracks and route their output to an audio
subgroup. When you create a summing stack, the outputs from the subtracks are routed to
a bus. The destination aux of the bus is assigned to the main track. When the main track is
selected, you can mute, solo, and adjust volume and send levels for the summing stack and
add and edit plug-ins, affecting the sound of all the subtracks in the summing stack. This
is similar to the way an audio group works.
If a summing stack contains software instrument tracks as subtracks, you can record and
play MIDI regions on the main track. MIDI events on the main track are played by all the
software instrument subtracks in the summing stack. You can also record and play MIDI
regions on individual (software instrument) subtracks. When the summing stack is closed,
the main track displays an overview of the combined contents of all subtracks.
Logic Pro User Guide for iPad 46
When the main track of a summing stack is selected, you can choose a different patch
for the summing stack and create your own patches. Patches for a summing stack can
include the main track and all subtracks, along with their channel strip and plug-in settings.
Logic Pro includes a set of patches designed for use with summing stacks.
After you create a summing stack, you can route individual subtracks to different
destinations. In the Bus submenu of the Send pop-up menu on subtracks, local busses are
sorted into stack submenus. Note that if you route subtracks to a destination “outside” of
the stack, those subtracks are no longer affected by the controls on the main track. Audio
subgroups you create are saved as part of the summing stack, and their auxes appear as
the last (bottom) subtracks in the summing stack.
Create and edit track stacks in Logic Pro for iPad
You create a track stack by selecting tracks in the Tracks area. Any nonadjacent tracks
move so that they are grouped together in the track stack. Both folder stacks and summing
stacks can contain any combination of track types as subtracks. A folder stack can also
include summing stacks as subtracks.
You can hide the subtracks of a track stack to save space and then show them in order to
record or edit. You can add tracks to a track stack, remove tracks from a track stack, and
reorder tracks in a track stack (reordering tracks doesn’t affect the sound).
After creating the summing stack, you can route individual subtracks to a different
destination. If you do so, however, the rerouted subtracks are no longer controlled by the
main track’s channel strip.
You can add, remove, and reorder subtracks, nest a track stack inside another track stack,
and flatten a track stack, in which case the subtracks again become normal tracks.
• When you flatten a folder stack, the main track is deleted if its Volume fader is set at 0
dB (unity gain) and it contains no automation data.
• When you flatten a summing stack, the audio subgrouping is retained, unless there
is no audio processing on the main track aux (no plug-ins, Volume fader set to 0 dB,
Pan/Balance set to neutral, and no automation data). In this case, all subtracks (or
their audio subgroups) are routed to the stereo main output, and the main track aux is
deleted.
Logic Pro User Guide for iPad 47
Create a track stack
1. In Logic Pro, tap the Multiple Select button in the Tracks area menu bar.
2. Select tracks you want to use as subtracks in the track stack.
3. Tap the Multiple Select button again to deselect it.
4. Tap the icon of one of the selected tracks, then do one of the following:
• To create a folder stack, tap Create Folder Stack.
• To create a summing stack, tap Create Summing Stack.
The track stack appears in the Tracks area, with the selected tracks as subtracks.
5. You can drag additional tracks into the track stack to add them as subtracks.
Show or hide subtracks
• In Logic Pro, tap the disclosure triangle in the track icon of the main stack.
Reorder subtracks
• In Logic Pro, touch and hold the track icon for a subtrack, then drag vertically to move
the subtrack up or down.
Add a track to a track stack
• In Logic Pro, touch and hold a track icon, then drag the track between two subtracks in
the track stack.
Remove a subtrack from a track stack
• In Logic Pro, drag the subtrack outside of the track stack (below the last subtrack, or
above the main track).
When you remove a subtrack from a summing stack, the track’s output routing changes
from the aux used by the main track to the main outputs.
Nest a track stack inside another track stack
• In Logic Pro, touch and hold the track icon of the track stack you want to nest, then
drag it between two subtracks in the track stack you want to nest it inside.
Flatten a track stack
• In Logic Pro, double-tap the track icon of the track stack, then tap Flatten Stack.
Logic Pro User Guide for iPad 48
Edit track parameters in Logic Pro for iPad
Each track has a set of parameters. The parameters available depend on the track type
(some parameters are common to all track types, while some are specific to audio tracks or
software instrument tracks only). You can view and edit parameters for the selected track
in the Track inspector.
All track types have a track name, track color, and track icon, which appear in the General
category in the Track inspector. Other track parameters include the following:
All track types have a track name, which is shown at the top of the Track inspector when
the track is selected, and a track icon, which appears in the track header. Track parameters
for each track type are listed below:
Common track parameters
• Name field: Tap to select the current name, then enter a new name for the track.
• Color: Tap to open the Colors palette, then tap to choose a new track color.
• Icon: Tap to open the Icon menu, then tap to choose a new track icon.
Audio track parameters
• Freeze Mode pop-up menu: Choose Source Only to freeze the track signal without
effect plug-ins, or choose Pre Fader to freeze the track with all effect plug-ins. See
Freeze tracks.
• Q-Reference switch: (available only for projects shared from Logic Pro for Mac on audio
tracks belonging to a Mixer group with "Editing (Selection)" and "Quantize-Locked
(Audio)" turned on). When turned on, all regions on the track contribute their transients
as reference points during the quantization process.
• Flex switch: Turn Flex on or off for the track.
Logic Pro User Guide for iPad 49
• Flex Mode pop-up menu: Choose the flex mode for the track. See Flex Time algorithms
and parameters.
Depending on which flex mode you choose, other parameters become available below
the Flex Mode pop-up menu.
• Fill Gaps switch: Turns the decay function on or off, allowing you to fill any gaps that
occur between sounds as a result of shifting the audio.
• Decay value field: Sets the decay time between sounds because no time stretching
takes place to compensate for the gaps.
• Slice Length value field: Shortens each slice by a percentage value. Shortening slices
can be helpful for removing unwanted pre-attack sounds from the following slice, or to
create a gated effect.
Software instrument tracks
• Default Region Type pop-up menu: Tap, then choose a new default region type.
• MIDI In Port pop-up menu: Tap, then choose a MIDI port for the track input, all input
ports, Play Surface, Logic Pro Virtual In; or choose Bluetooth MIDI Devices to open a list
of available Bluetooth MIDI devices.
• MIDI In Channel pop-up menu: Tap, then choose a new MIDI In channel for the track
input, or choose All.
• MIDI Out Channel pop-up menu: Tap, then choose a new MIDI Out channel for the track
output, or choose All.
• Delay value field: Drag the Delay value up or down to edit the value, or tap the value,
then edit the value in the numeric input dialog using the Decrement/Increment buttons,
the scroll wheel, or the numeric keypad.
• Transpose value field: Drag the Transpose value up or down to edit the value in
semitones, or tap the value, then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
• Velocity value field: Drag the Velocity value up or down to edit the velocity for all
regions on the track, or tap the value, then edit the value in the numeric input dialog
using the Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
• Key Limit value fields: The left field shows the lower key limit, and the right field shows
the upper key limit. Drag the value each field up or down to edit the value, or tap each
value, then edit the value in the numeric input dialog using the Decrement/Increment
buttons, the scroll wheel, or the numeric keypad.
The two values together define the key range; any notes outside this range are not
played.
• Freeze Mode pop-up menu: Choose Source Only to freeze the track signal without
effect plug-ins, or choose Pre Fader to freeze the track with all effect plug-ins. See
Freeze tracks.
• No Transpose switch: When turned on, regions on the track are not transposed (the
Transpose Region parameter is ignored). This can be useful for instruments assigned to
drum or other samples mapped across the keyboard on a single MIDI channel.
• No Reset switch: When turned on, no reset messages are sent to the track’s instrument.
This can be useful when using controllers for nonmusical purposes, such as Mixer
automation.
Logic Pro User Guide for iPad 50
Edit track parameters in the inspector
1. In Logic Pro, tap a track’s icon to select the track.
2. Tap the Inspector button in the view control bar to open the inspector.
3. In the inspector, make sure Track is selected in the Level menu.
4. In the Track inspector, edit parameter values by tapping or dragging. Some parameters
have specific controls for editing their values.
5. When you’re done, tap the Inspector button again to close the Track inspector.
Start a Logic Pro subscription
You can have full access to all of the powerful features and sounds in Logic Pro for iPad by
subscribing.
You can try free for one month. To begin your free trial, simply sign up for a monthly or
yearly subscription using your Apple ID. If you choose the free trial, you can cancel your
subscription at any time by following the instructions below.
Start a free trial subscription
When you open Logic Pro for iPad for the first time, you can sign up for a free one-month
trial.
1. Open Logic Pro, then tap Continue.
2. Tap Try Monthly or Try Yearly, then follow the onscreen instructions to subscribe using
your Apple ID.
You can cancel your subscription at any time during the trial or after it ends.
Manage your subscription
1. In the Settings app, tap your Apple ID, then tap Subscriptions.
2. Tap Logic Pro.
3. Tap available options to change your subscription plan or cancel your subscription.
If you cancel your subscription, you’ll continue to have full access to all Logic Pro features
until the end of your billing period. After your billing period ends, you’ll still be able to
preview your projects in the Projects screen and export projects and their source media,
but all other functionality will be limited until you resubscribe.
See Manage App Store purchases, subscriptions, settings, and restrictions on iPad in the
iPad User Guide.
Logic Pro User Guide for iPad 51
How to get help in Logic Pro for iPad
Logic Pro provides Help in both online (HTML) and PDF formats for you to get answers
to questions, learn about controls and functions while you’re working, and view detailed
information about the app. Logic Pro also includes a set of Lessons to help familiarize you
with the app and guide you through a series of common tasks.
Open Logic Pro Help
• In Logic Pro, tap the Help button in the control bar, then tap Logic Pro Help.
Download the Logic Pro User Guide PDF
• In Logic Pro Help, tap the PDF link at the bottom of each page.
Use Lessons
1. In Logic Pro, tap the Help button in the control bar, then tap Lessons.
2. In the Lesson browser, tap a lesson to open it.
3. Use the Forward/Back buttons in the lesson navigator to move through a lesson.
Sometimes, you have to complete a task before you can move forward. Gestures in the
app show you how to complete these tasks.
Logic Pro User Guide for iPad 52
Find and use sounds in the Browser
Intro to the Browser in Logic Pro for iPad
Logic Pro for iPad features an extensive collection of patches, drum kits, Apple Loops,
presets, and other material that you can use in your projects. You can access this material
in the Browser and from there add it to your projects. When you install Logic Pro for iPad,
you’re asked to download essential sounds and instruments to help you get started.
Several additional sound packs are available that you can download and manage in the
Sound Library. After you download the sound packs, you can access them all in the Browser.
The advanced search function in the Browser lets you use keywords, filters, and other
criteria to quickly find patches, loops, and other material for your projects. You can preview
patches, loops, and samples before adding them.
You can simply drag and drop to add patches, Apple Loops, and samples from the Browser
to the desired destination in your project. To speed up your workflow, you can also set
Logic Pro to automatically replace patches on tracks each time you select a new one in the
Browser. Plug-in presets and Step Sequencer patterns are visible in the Browser when their
respective plug-in or instrument is active or selected.
Logic Pro User Guide for iPad 53
You can save your own custom patches, presets, and patterns, and you can designate
patches, loops, and samples as favorites and quickly access them in the Browser.
See the following topics about accessing sounds and other material in the Browser:
• Find sounds in the Browser
• Browser patches overview
• Apple Loops
• Work with samples in the Browser
• Manage plug-in presets
• Save and edit patterns
• Download additional sound packs
Open the Browser
• Tap the Browser button on the left side of the view control bar.
Find sounds in the Browser in Logic Pro for iPad
In the Browser, you can use keywords, filters, and other search criteria to quickly find
instrument and audio patches, Apple Loops, and samples contained in sound packs
downloaded from the Sound Library.
An extensive set of filters lets you refine your search based on criteria such as genre,
instrument, musical properties, sound packs, and more. When no filters are applied, two
rows of suggested filters are displayed above the results list. When you tap a filter, it
is applied to the results and moves to the top row. The bottom row continues to show
suggested filters based on the current applied filter combination.
When you add and remove keywords and filters, the results are automatically updated
based on your filter criteria. Exact matches appear at the top of the list, followed by any
partial matches.
In the All Filters window, you can access all available filters grouped into various
categories.
Advanced filters
Some filters have additional functions to help you find what you’re looking for.
Some filters have a More button that you can tap to view a list of related subfilters you
can use to narrow your search even further. For example, you can use the Drums filter by
itself and see all drum-related sounds. However, you can also choose specific drum kit
pieces (like Kick or Hi-Hat) from the subfilter menu to see just those pieces.
Group filters in the All Filters window have a pop-up menu containing a list of filters that
describe an amount, value, or other attribute pertaining to the name of the enclosing
button. For example, in the Loops view of the Browser, you can tap the Key group filter in
the Musical Properties category and choose one or more keys from the menu to limit your
search to loops in those keys. You can’t use a group filter on its own; you need to choose
one of the options in the group filter menu.
Logic Pro User Guide for iPad 54
Paired filters contain two mutually exclusive descriptors (For example, Analog/Digital, Cold/
Warm, or Bright/Dark). When you choose one of the descriptors, you exclude the other.
If you add patches, loops, or samples from the Browser to your project and want to find
something that fits well with what you’re working on, you can find similar items in the
Browser. You can also negate a filter to exclude certain criteria from the results.
Search by keyword
In the Browser in Logic Pro, you can use keywords to search for sounds. In the Browser
views for instrument patches, audio patches, loops, and samples, the suggested search
results include filters and various items whose name contains your keyword.
1. Tap the Search button, then enter a search term in the search field.
As you type, matches for filters or material containing your search term are updated in
the list below the search field.
2. Do any of the following:
• Tap Search on the onscreen keyboard, or tap “Name Contains” at the top of the list.
If your search term exactly matches the name of a filter, the filter is applied to the
search results.
• Tap one of matching results.
• Tap the Preview button to the left of a matching patch, loop, or sample to hear a
preview.
• Touch and hold the name of a patch, loop, or sample, then drag it to your project.
Logic Pro User Guide for iPad 55
Use filters
You can filter the results in the Browser views for instrument patches, audio patches, loops,
and samples. When no filters are active, two rows of suggested filters are displayed above
the results list. Once you apply a filter, the top row shows any active filters. The bottom row
continues to show suggested filters based on the active filters.
• In the Browser, do any of the following:
• Apply a filter: Tap one or more filters above the results list.
• Clear a filter: Tap the Clear button next to the filter name.
• Clear all search criteria: Tap the Clear All button.
Show all filters
1. Tap the All Filters button .
The All Filters window opens.
2. Tap different filters in the All Filters window to refine your search.
3. Tap active filters to remove them from the search criteria.
4. Tap Done or tap anywhere outside of the All Filters window when you’re finished.
Logic Pro User Guide for iPad 56
View material from a particular sound pack
After you download sound packs in the Sound Library, you can set your filters in the
Browser to view material from one or more sound packs.
1. In the Browser, tap the All Filters button .
2. In the Sound Packs category of the All Filters window, tap the filter for the sound pack
you want to see in the results.
To view filters for all sound packs, tap the disclosure arrow on the right.
Find similar matches in the Browser
You can find similar matches in the Browser for instrument and audio patches, Apple
Loops, and samples.
1. In the Browser, tap an item in the results list to select it.
2. Tap the More button at the bottom of the Browser, then tap Find Similar.
Find similar matches in your project
You can find similar matches for instrument and audio patches, Apple Loops, and samples
used in your project.
• In Logic Pro, do one of the following:
• Find similar instrument or audio patches: Tap the track header of a selected track,
then tap Find Similar in the menu.
• Find similar Apple Loops or samples: Tap a selected region or cell containing an
Apple Loop or sample. In the menu, tap Browser, then tap Find Similar.
The Browser opens to the corresponding view, and the results are filtered to show
similar material.
Recall original search criteria in the Browser
If you use any combination of filters to find an item in the Browser and then add it to your
project, you can recall the original search criteria you used to find it.
• In Logic Pro, do one of the following:
• For instrument or audio patches added from the Browser: Tap the track header of
the track, tap it again, then tap Show Original Search.
• For Apple Loops or samples added from the Browser: Tap a selected region or cell
containing an Apple Loop or sample, tap Browser, then tap Show Original Search.
Save and access your favorite patches, Apple Loops, or samples
You can save patches, Apple Loops, and samples you use frequently as “favorites” so that
you can quickly access them in the Browser. This feature is ideal for compiling a collection
that you use regularly. You can easily replace or add to your favorites as your project
advances.
1. To add a patch, Apple Loop, or sample to your favorites in the Browser, drag it slowly to
the left, then tap the Favorite button .
To add a favorite in a single gesture, swipe all the way to the left.
2. To access your favorites, tap Favorites in the top-level view of the Browser.
Logic Pro User Guide for iPad 57
Negate search criteria
You can negate filters and matches so that any similar matches are excluded from the
results. For example, imagine your search criteria is filtered to include results for the genre
Hip Hop, the descriptor Aggressive, and the instrument Drums. If you negate the filter
for Drums, the results match Hip Hop and Aggressive but exclude all matches for Drums.
Likewise, you can exclude matches that are similar to a particular match from the results list.
In the Browser, do one of the following:
• Negate a filter: Tap the name of an active filter, then tap the NOT operator.
• Negate a match in the results list: Tap a match in the results list to select it, tap the
More button at the bottom of the Browser, then tap Find Dissimilar.
The negation is indicated by a strikethrough added to the filter name. To remove the
negation from the filter set, tap the filter, then tap the name in the menu.
Work with patches in the Browser
Overview of patches in Logic Pro for iPad
Audio and instrument patches contain effects and routing settings that control the sound
of a track. Instrument patches also include an instrument plug-in that you can play with
a Play Surface or external MIDI device. You can either create a new track with a patch or
apply the patch settings to an existing track. Audio patches also include patches intended
specifically for use on aux and output channel strips. With Replace mode turned on, you
can load a new patch on the selected track each time you tap a new patch in the Browser,
as long as the patch is compatible with the track type.
You can edit patches by changing channel strip settings, adding plug-ins, or editing plug-in
parameters, and you can save your own custom patches. See Save custom patches.
You can designate patches you use frequently as “favorites” so that you can quickly access
them in the Browser.
Logic Pro User Guide for iPad 58
Show patches in the Browser
In Logic Pro, do one of the following:
• Tap the Browser button , then tap Instrument Patches or Audio Patches, depending
on which kind of patch you want to see.
• Select a track, tap it again, then tap Show Patches.
The Browser opens in Instrument Patches view or Audio Patches view, depending on
which kind of track you selected.
Preview a patch
1. In the Browser, tap the Preview button to the left of the audio or instrument patch name.
2. Tap the Preview Volume button at the bottom of the Browser, then drag the Volume
slider to adjust the volume of the patch you’re listening to.
3. Tap the Preview button again to stop the preview.
Create a new track with a patch
In the Browser, select an audio or instrument patch, then do one of the following:
• Touch and hold the patch, then drag it to the area below the last track header.
• Tap the More button , then tap New Track with Patch.
• Drag the patch to the left, then tap the Add button .
Replace a patch on the selected track
1. In Logic Pro, select the track on which you want to replace the patch, then navigate to
Instrument Patches or Audio Patches in the Browser, depending on what kind of track
you selected.
2. Select an audio or instrument patch, then do one of the following:
• Touch and hold the patch, then drag it to the track header of the track containing the
patch you want to add or replace.
• Tap the More button , then tap Replace Patch.
• Drag the patch to the left, then tap the Replace button .
Automatically replace the patch on the selected track
When Replace mode is turned on, you can automatically replace the patch on the selected
track by tapping a new patch in the Browser. This can be useful when you want to quickly
try out different patches on tracks.
1. In Logic Pro, select an audio or software instrument track.
2. Open the Browser, then navigate to Instrument Patches or Audio Patches, depending on
what kind of track is selected.
3. Tap the Replace Mode button in the bottom-left corner of the Browser.
4. Tap the patch you want to load.
The currently loaded patch on the selected track is replaced by the patch you tap. Each
time you tap a different patch in the Browser, it replaces the patch on the selected
track.
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Replace a patch on an aux or output channel strip
In order to replace a patch on an aux or output channel, you first need to create an aux or
output track. Then you can add aux or output patches from the Browser.
1. In Logic Pro, do either of the following:
• Show the output channel in the Tracks area: Tap the More button above the track
headers, then tap Show Output Track.
• Show an aux channel in the Tracks area: In the Mixer, tap the aux channel strip name
to select it, tap it again, then tap Create Track.
2. In the Browser, navigate to Audio Patches, then open the All Filters window.
3. In the Type category, tap the Aux Patch or Output Patch filter, then tap Done or tap
anywhere outside of the All Filters window.
The results list shows aux or output patches, depending on what filter you tapped.
4. Do any of the following:
• Touch and hold a patch, then drag it to the track header of the aux or output track
containing the patch you want to replace.
• Select the aux or output track containing the patch you want to replace, tap the
More button , then tap Replace Patch.
• Select the aux or output track containing the patch you want to replace, drag the
patch to the left, then tap the Replace button .
Set the default patch for tracks
The default patch determines which patch is loaded when you create a new audio or
software instrument track.
1. In the Browser, navigate to Instrument Patches or Audio Patches.
2. Select a patch, tap the More button , then tap Set as Default for New.
3. Choose one of the following options:
• For instrument patches:
• MIDI Track
• Pattern Track
• Drummer Track
• For audio patches:
• Audio Track
• Amp Track
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Save custom patches in Logic Pro for iPad
You can save the settings for audio and instrument patches in the Browser and use them
on other tracks, or use them in another project. Patches you save are stored in their own
section of the Browser.
You can rename patches you save and delete them from the Browser if you no longer want
to use them.
Save a custom patch
1. In Logic Pro, select the track you want to use as a starting point for the custom patch.
2. Customize the patch settings by changing channel strip or plug-in parameters or adding
or changing plug-ins.
3. Tap the track header of the selected track, then tap Save Patch.
4. In the dialog that appears, enter a name for the saved patch, then tap OK.
After you save a patch for the first time, the section My Instrument Patches or My Audio
Patches appears in the Browser, depending on what kind of patch you save. You can find
your saved patches here, and you can use them in any Logic Pro project.
Rename a saved patch
1. In the Browser, navigate to the saved patch you want to rename.
2. Select the patch, tap the More button , then tap Rename.
3. In the dialog that appears, enter a new name for the patch, then tap Rename.
Delete a saved patch
1. In the Browser, navigate to the saved patch you want to delete.
2. Do either of the following:
• Select the patch, tap the More button , then tap Delete.
• Swipe the patch to the left, then choose Trash.
3. In the dialog that appears, tap Delete.
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Use Apple Loops in your projects
Apple Loops in Logic Pro for iPad
Apple Loops are prerecorded musical phrases or riffs that you can use to easily add drum
beats, rhythm parts, and other sounds to a project. These loops contain musical patterns
that can be repeated over and over and can be extended to fill any amount of time.
When you add an Apple Loop to a project, a region is created for the loop. When the
project plays, the region plays at the project tempo and key. This lets you use several loops
together, even if the loops were recorded at different speeds and in different keys.
Logic Pro has four types of Apple Loops:
• Audio loops (blue) are audio recordings. You can add them to audio tracks and edit
them just like other audio regions in the Tracks area and Audio Editor.
• MIDI loops (green) can be viewed and edited, including individual notes, in the Piano
Roll Editor. You can change the sound of the instrument plug-in used to play the loop.
You can convert MIDI loops to audio loops by adding them to audio tracks.
• Drummer loops (yellow) contain genre and parameter settings that you can change in
the Drummer Editor. You can convert Drummer loops to audio loops by adding them to
audio tracks.
• Pattern loops (violet) contain all the notes and pattern information from a pattern
created using Step Sequencer. Pattern loops can be edited just like other regions in the
Tracks area, but the notes themselves can be edited only in Step Sequencer. You can
convert pattern loops to audio loops by adding them to audio tracks.
In the Loops view of the Browser, you can find loops with the instrument, genre, and feel
that are right for your project; preview loops; add loops to your project; and create a
selection of your favorite loops.
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Add Apple Loops to your Logic Pro for iPad project
After searching for loops in the Browser, you can preview them to find the one that sounds
best in your project. When you preview a loop, you can hear it by itself (solo) or play it
together with the project. You can add a loop by dragging it to the appropriate track in the
Tracks area. You can also add it directly to a new track, or use the loop to create a new
track for Quick Sampler, Sample Alchemy, or Drum Machine Designer.
New projects default to a project tempo of 120 bpm and a key of C major. If the first region
added to a project is an Apple Loop, the project tempo and key are adjusted to match the
Apple Loop. If you have already established a project tempo and key (either by recording
directly into the project or adding material), Apple Loops automatically match the current
project tempo and key. If you subsequently change the project tempo, Apple Loops
automatically conform to the new tempo. If you change the project key, the regions created
from the loops are transposed to the new key.
View Apple Loops in the Browser
• In Logic Pro, tap the Browser button , then tap Loops.
Preview a loop
1. In Loops view in the Browser, tap the Preview button to the left of the loop name.
2. Tap the Preview Volume button at the bottom of the Browser, then drag the Volume
slider to adjust the volume of the loop you’re listening to.
3. Tap the Preview button again to stop the preview.
Filter loops by type
You can filter loops in the Browser list to show loops for only a particular type: Audio, MIDI,
Pattern, or Drummer.
1. In Loops view in the Browser, tap the All Filters button .
2. In the Type category, choose one or more loop types.
Add a loop to your project
In Loops view in the Browser, touch and hold a loop, then drag it to a track in the
Tracks area.
Create a new track with a loop
• In the Browser, tap a loop to select it, tap the More button , then tap New Track with
Loop.
A new track is created, and the loop is placed on the track at the beginning of the
project.
Place a loop at the playhead position
1. In Logic Pro, select the track where you want to place the loop.
2. Place the playhead where you want the loop to start.
3. In the Browser, tap a loop to select it, tap the More button , then tap Place Loop at
Playhead.
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Create a new instrument track with Sample Alchemy, Quick Sampler, or Drum
Machine Designer
1. In the Browser, touch and hold a loop, then drag it to the empty area below the last
track header.
2. Tap Sample Alchemy, Quick Sampler, or Drum Machine Designer in the “Create new
track with” dialog that appears.
Work with samples in the Logic Pro for iPad
Browser
The Samples view in the Browser contains samples from downloaded sound packs. These
are mainly intended to be used as one-shots or sound effects with plug-ins that let you
import samples, such as Drum Machine Designer, Quick Sampler, and Sample Alchemy.
However, you can use them any way you want.
Samples are tagged by genre, instrument, and other criteria, making it easy to quickly
find matching items that you can audition and add to your project. See Find sounds in the
Browser.
View samples in the Browser
• In Logic Pro, tap the Browser button , then tap Samples.
Preview a sample
1. In Samples view in the Browser, tap the Preview button to the left of the sample name.
2. Tap the Preview Volume button at the bottom of the Browser, then drag the Volume
slider to adjust the volume of the sample you’re listening to.
3. Tap the Preview button again to stop the preview.
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Create a new Quick Sampler or Sample Alchemy track with a sample
• In Samples view in the Browser, do one of the following:
• Tap a sample to select it, tap the More button , then tap Quick Sampler Track or
Sample Alchemy Track.
• Drag a sample from the Browser to the area below the last track header, then
tap Quick Sampler or Sample Alchemy in the “Create new track with” dialog that
appears.
You can also use similar methods for Drum Machine Designer. See Edit surface settings.
Add a sample to a track
• In Samples view in the Browser, touch and hold a sample, then do one of the following:
• Add sample to an existing audio track: Drag the sample to the track. Place the left
edge of the sample where you want it to start playing, then let go.
A new region containing the sample is created. If the track already contains a region
at the position where you place the sample, it is replaced or overlapped with the
resulting new region.
• Add sample to a new audio track: Drag the sample to the empty area below the last
track. Place the left edge of the sample where you want it to start playing, then let
go.
A new audio track containing the sample is created.
Create a new track with a sample
• In Samples view in the Browser, tap a sample to select it, tap the More button , then
tap New Track with Sample.
A new audio track is created, and the sample is placed on the track at the beginning of
the project.
Place a sample at the playhead position
1. In Logic Pro, select the track where you want to place the sample.
2. Place the playhead where you want the sample to start.
3. In the Browser, tap a sample to select it, tap the More button , then tap Place Sample
at Playhead.
Replace a sample in a software instrument
If you have an instance of Quick Sampler or Sample Alchemy on a software instrument
track, you can easily replace the sample used.
• In Samples view in the Browser, touch and hold the sample, then drag it to the track
header of the track where the software instrument is using the sample you want to
replace.
You can also use a similar method for Drum Machine Designer to add or replace samples on
a pad. See Edit Drum Machine Designer surface settings.
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Manage plug-in presets in Logic Pro for iPad
You can access presets for plug-ins in the Presets view of the Browser. When you use a
plug-in in Logic Pro for iPad, you can view and load presets from the Browser. You can also
save custom presets and access them in the Browser.
See Intro to plug-ins and Work with plug-in presets.
View plug-in presets in the Browser
Do any of the following:
• In the Plug-ins area, touch and hold the plug-in name, then choose Show Presets.
• In the Mixer, tap the plug-in to open it in Details view.
• In the Details view of a plug-in, tap the More button in the plug-in menu bar, then tap
Show Presets.
The Browser opens, showing available presets for the plug-in.
The Plug-in Presets view in the Browser shows the presets for the active or selected plug-
in and updates the list of presets when you select or open a different plug-in.
Load a preset
• Tap a preset in the Browser.
Save a custom preset
1. In the Details view of a plug-in, tap the More button in the plug-in menu bar, then tap
Save As.
2. In the dialog that appears, enter a name for the saved preset, then tap OK.
You can access saved presets in the top level of the Plug-in Presets view when the plug-in
is selected in the Plug-ins area or open in Details view.
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Save changes to a custom preset
You can save the changes you make to a custom preset after you have loaded it.
• In the Details view of a plug-in, tap the More button in the plug-in menu bar, then
tap Save.
Delete a custom preset
• Tap a custom preset in the Browser, tap the More button at the bottom of the
Browser, tap Delete, tap Delete again, then tap Delete to confirm.
Save and edit patterns in Logic Pro for iPad
You can access patterns and templates for Step Sequencer in the Patterns view of the
Browser. You can easily add them from the Browser to a software instrument track or Step
Sequencer. Patterns and templates that you save in Step Sequencer are stored in the User
folder. See Load and save patterns.
View Step Sequencer patterns in the Browser
1. Select a pattern region or cell, then do one of the following:
• Tap the Editors button in the view control bar.
• Tap the region or cell again, tap Edit, then tap Show in Editor.
2. Tap the Browser button , then tap Patterns.
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Download additional sound packs in
Logic Pro for iPad
After you install Logic Pro for iPad, you can download additional sound packs in the Sound
Library. Sound packs contain Apple Loops, patches, drum kits, and other material that you
can use in your projects.
Each sound pack in the Sound Library has a name and an icon that you can tap to see a
brief description and a Preview button.
Some sound packs may also be required in order to perform certain tasks, such as opening
a Logic Pro for Mac project or a GarageBand song created on another device. If so, a
message appears asking whether you want to download the required sound pack.
A red badge on the Browser button and a numbered badge on the Sound Library button in
the Browser indicate that new or updated sound packs are available in the Sound Library.
You can download some or all available sound packs, or you can delete them in order to
manage storage space.
Open the Sound Library
You access the Sound Library in the Browser.
1. In Logic Pro, tap the Browser button on the left side of the view control bar.
2. In the top level view of the Browser, tap Sound Library at the bottom of the list of
options.
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Download sound packs
1. In the Sound Library, tap the sound pack you want to download.
Swipe horizontally or tap See All to view more sound packs for each section.
2. Do any of the following:
• Tap the Preview button to hear a sample.
• Tap the Play button in the upper-left corner of Producer packs to watch a video.
• In Producer packs, tap the Apple Music or the Apple TV+ buttons for any additional
material by the artist or producer.
3. Tap Get to download.
Search for sound packs in the Sound Library
1. Tap anywhere in the search field along the top of the Sound Library, then enter a search
term.
As you type, matching sound packs are shown below.
2. Do either of the following:
• Tap one of the matching results.
• Tap Cancel or the Cancel button to cancel your search.
Delete sound packs
1. In the Sound Library, tap the sound pack you want to delete, then tap Delete.
2. Tap Delete to confirm the deletion.
Manage sound packs
You can manage sound packs to free up storage space on your iPad. The total amount of
space used for all installed sound packs is shown at the top of the list. The size of each
sound pack is shown in the list.
1. In the Sound Library, tap Manage Packs in the upper-left corner.
2. Do any of the following:
• Download all available sound packs: Tap the Get All button next to All available
Packs.
• Delete a sound pack: Tap Edit in the upper right, tap the Delete button next to the
sound pack you want to delete, then tap Delete. Alternatively, you can swipe left on
the sound pack, then tap Delete.
• Delete all installed sound packs: Tap Edit in the upper right, tap the Delete button
next to All installed Packs, then tap Delete.
• Download a sound pack: Tap Get next to the sound pack you want to download.
3. Tap Done in the upper-right corner when you’re finished.
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Import media files
Import media into Logic Pro for iPad
In Logic Pro for iPad, you can import audio and MIDI files for use in tracks, cells, and
software instruments such as Quick Sampler, Sample Alchemy, and Drum Machine
Designer. Files are imported by dragging them into Logic Pro from the Files app using
Slide Over.
Logic Pro supports the most common audio file formats. See Supported media and file
formats.
You can also open and edit songs in Logic Pro for iPad that were originally created in
Logic Pro for Mac or GarageBand for iPhone or iPad.
See Open GarageBand songs and Work with projects from Logic Pro for Mac.
Import media files
Before you import media into Logic Pro, it’s recommended that the area of your project
where you want to import a file is visible in the Logic Pro interface.
1. Go to the Home Screen on your iPad and open the Files app.
2. Tap the More button at the top of the screen, then tap Slide Over.
The Files app moves to the side to reveal your Home Screen and Dock.
3. Find and open Logic Pro.
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Logic Pro opens, and the Files app appears in a Slide Over window in front of it.
4. In the Slide Over window, touch and hold the file you want to import until it lifts up.
5. Drag the file to the intended destination in Logic Pro.
As you drag, the Insert icon appears wherever you can drop the item.
6. When you finish, tap the More button at the top of the Slide Over window, then tap
Close.
Supported file formats in Logic Pro for iPad
Audio files imported into a Logic Pro project can be at any supported bit depth and sample
rate. Logic Pro supports bit depths of 16, 24, and 32 bits and sample rates of 44.1, 48,
88.2, and 96 kHz. Logic Pro can use the file’s sample rate, or it can perform a real-time
sample rate conversion if it differs from the project sample rate.
In addition to audio files, Logic Pro can also import MIDI files.
You can import the following file formats into Logic Pro:
• WAV and AIFF files: Wave (WAV) and Audio Interchange File Format (AIFF) audio files
are very similar. They can be stored at different bit depths (16, 24, and 32 bit are
supported by Logic Pro), in mono and stereo, and at sample rates up to 96 kHz.
• Core Audio Format files: Core Audio Format (CAF) files are containers that support
integer and float PCM formats, A-law, u-law, and a number of others, including AAC and
the Apple Lossless Audio Codec (ALAC). Unrestricted file sizes are possible, at high
sample rates and bit depths.
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• MP3, Apple Lossless, and AAC files: MP3 and AAC files contain compressed audio
information. They are usually much smaller than equivalent WAV and AIFF files. This
reduction in file size is due to encoding techniques that “throw away” some of the audio
information. As a result, there may be a loss in audio quality compared to their WAV or
AIFF audio counterparts, depending on the source audio material. Apple Lossless files
also contain compressed audio information. As the name suggests, the compression
used (ALAC) does not discard audio information in the same fashion as MP3 and AAC
files. The sound of the compressed audio file is identical to the original recording.
• Apple Loops: Audio loops contain additional metadata, such as time and date, category,
mood, key, and tempo. They also contain a number of transient markers, which break
them down into small time slices. The main advantage of Apple Loops is their ability
to automatically match the tempo and key of a Logic Pro project. MIDI, Drummer, and
pattern loops contain information about the included MIDI notes and the required
instrument patch. When added to a software instrument track, the MIDI note information
can be edited the same way as any MIDI region. When added to an audio track, an audio
version of the loop is created.
• Standard MIDI files: Standard MIDI file (SMF) is the standard file format used in MIDI
sequencers. Standard MIDI files can be read and saved in Logic Pro. MIDI files may
contain note, lyric, controller, and SysEx data. You can add them to software instrument
tracks in your project.
Open GarageBand songs in Logic Pro for iPad
You can open a song in Logic Pro for iPad that was originally created in GarageBand for
iPad or iPhone. Before you start, update both apps to the latest versions. Then simply open
the song in Logic Pro for iPad. There’s no need to import or convert any files. The app
recognizes the song and translates it directly into a new Logic Pro for iPad project.
• Logic Pro for iPad automatically creates the required number and type of tracks to
mirror those used in the GarageBand song.
• The new Logic Pro for iPad project uses the tempo of the GarageBand song.
• The initial key signature is set in accordance with the GarageBand song key.
• Software instrument parts are played by their respective Logic Pro for iPad
counterparts. Logic Pro for iPad also imports any mixing data and effects (plus their
settings) used by software instruments or Apple Loops–based tracks in GarageBand.
• GarageBand patches translate one-to-one into Logic Pro for iPad—with the added
benefit that you can now access the individual plug-ins that are inserted into a patch.
• The two GarageBand bus effects (Reverb and Echo) are also translated when opened in
Logic Pro for iPad. They are replaced by the PlatinumVerb and Echo effects on busses 1
and 2.
Once the GarageBand song information is loaded into Logic Pro for iPad, you can freely
change parts, mixing levels, and plug-in parameters as in any Logic Pro for iPad project.
When you close the project, it is saved as a Logic Pro project.
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Open a song created in GarageBand for iPhone or iPad
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, find the GarageBand song you want to open, then tap it.
3. Tap Continue.
Logic Pro opens a converted copy of your GarageBand song.
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Use Play Surfaces
Intro to Play Surfaces in Logic Pro for iPad
In Logic Pro for iPad, you can use Play Surfaces to play and control the various software
instruments in your project by touching the screen of your iPad.
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By default, the Play Surface shown depends on the type of instrument patch loaded on the
selected software instrument track. However, you can play any software instrument with
any of the Play Surfaces. If you prefer to always use a particular Play Surface, you can set
it as the default for all instrument patches by locking the Play Surface.
For more information about each Play Surface, see the following topics:
• Play the Keyboard
• Play the Drum Pads
• Play the Fretboard
• Play the Chord Strips
• Play the Guitar Strips
Note: Drum patches that use tracks stacks use an enhanced Drum Pads Play Surface that
offers extended features and flexibility for designing your own drum patches. See Drum
Machine Designer overview.
You can also play software instruments using an external MIDI device connected to
your iPad.
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Open the Play Surface area
• In Logic Pro, select a software instrument track, then tap the Play Surfaces button
on the right side of the view control bar.
Choose a different Play Surface
• Tap the Surface Types button, then choose a Play Surface from the menu.
The icon for the Surface Types button changes to indicate which Play Surface is active.
Lock the default Play Surface
• Tap the Surface Types button, then tap Lock Surface.
A lock symbol appears on the Surface Types button when Lock Surface is on.
Change size of the Play Surface
• Drag the resize handle up or down.
Play within a particular scale
You can play the Keyboard and Fretboard Play Surfaces in various scales. After you choose
a scale, the Play Surface changes to show notes in the scale.
• In the Play Surface menu bar, tap the Scale button, tap the Activate switch, then choose
the root note and scale from the pop-up menus.
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Use side controls with the Play Surfaces in
Logic Pro for iPad
The side controls consist of pitchbend, modulation, note repeat, and velocity range.
You can use these to change the character of the sound when using a Play Surface. The
controls for pitchbend and modulation and those for note repeat are mutually exclusive, so
turning on one set of controls turns off the other. When you open the side controls, they
appear on the left side of the Play Surface.
Turn on the side controls
• In the Play Surface menu bar, tap the Side Controls button .
The side controls appear to the left of the Play Surface. By default, the pitch and
modulation controls are active and the velocity range control is visible.
Use note repeat in the side controls
1. In the Play Surface menu bar, tap the More button , tap View Options, then tap Note
Repeat.
Controls for note repeat appear to the left of the Play Surface.
2. Touch a bar/beat value in the Rate slider to set the repeat rate.
3. Play notes in the Play Surface.
4. Drag the Gate slider up or down to set the length of the repeated note.
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Change the values for the note repeat controls
1. In the Play Surface menu bar, tap the More button , then tap Configuration.
2. Under Note Repeat, do the following:
• Change the gate range: Tap the Gate Range fields and set the Low or High values.
• Change the note repeat values: Tap a value for the corresponding slot and choose a
bar/beat value.
Use the mod wheel to send MIDI expression control change
• In the Play Surface menu bar, tap the More button , tap Configuration, then tap
Expression (CC# 11) in the Mod Wheel pop-up menu.
Change the velocity mode
The velocity mode determines how the velocity values for MIDI notes are created. You can
set the velocity to a fixed value or set it to be determined by how hard you tap the Play
Surface. The velocity for drum pads can also be determined by the vertical tap position on
the drum pad.
• In the Play Surface menu bar, tap the More button , tap Surface Settings, then choose
one of the following values for Velocity Mode:
• Fixed: Forces all notes to the same velocity set by the velocity value.
• Dynamic: The velocity value is determined by how hard you tap the drum pads.
Minimum and maximum velocity are determined by the Velocity Range values.
• Tap Y-Position: The velocity value is determined by the vertical tap position on the
drum pad. Minimum and maximum velocity are determined by the Velocity Range
values.
You can use the Velocity controller in the Play Surface to change the velocity range or the
fixed velocity value.
Change the velocity range
Depending on the velocity mode setting, you can change velocity range or set a fixed
velocity value.
1. In the Play Surface menu bar, tap the More button , tap View Options, then tap
Velocity.
2. Tap the Side Controls button .
The velocity range control appears to the left of the Play Surface.
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3. If the velocity mode is set to Dynamic or Tap Y-Position, do one of the following:
• Drag the top slider of the velocity range control up to change the maximum velocity
value.
• Drag the bottom slider of the velocity range control down to change the minimum
velocity value.
• Touch the velocity range control between the sliders and drag up or down to move
the velocity range.
4. If the velocity mode is set to Fixed, drag the velocity slider up or down to set the
velocity value.
Use the Keyboard Play Surface in Logic Pro for iPad
In Logic Pro, you can use the Keyboard Play Surface to play software instruments by
tapping the keys. You can play higher or lower on the keyboard, hold notes, and change the
keyboard size and scale.
Change the octave on the keyboard
• To shift the keyboard an octave down or up, tap the Octave Down or Octave Up
button .
• To move higher or lower on the keyboard, tap the Scroll button , then drag the
keyboard to the left or right.
Add sustain to notes
• Touch and hold the Sustain button as you play.
You can also drag the Sustain button to the right to lock it.
Change the size of the keyboard
1. In the Play Surface menu bar, tap the More button , then tap Surface Settings.
2. Tap Size, then choose a size.
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Use polyphonic pitchbend
Some instrument patches let you slide smoothly between notes (an effect called
portamento) when using the Keyboard Play Surface. When you load these patches, the
Pitch button appears above the keyboard between the Play and Scroll buttons.
Controllers and Audio Units instruments that support MPE (MIDI Polyphonic Expression)
have a similar effect called polyphonic pitchbend. To use this feature, you need to turn it
on in the surface settings.
• In the Play Surface menu bar, tap the More button , then tap Surface Settings.
• Tap the Polyphonic Pitchbend switch.
The Pitch button appears above the keyboard between the Play and Scroll buttons.
View note labels on the keyboard
You can view note labels for every key on the keyboard.
• Tap the More button , tap Surface Settings, then tap the Show Note Names switch.
When you load an instrument patch with articulations, you can choose articulations from
the Articulation pop-up menu in the Play Surface menu bar. See Studio Instruments
overview.
Use the Drum Pads Play Surface in
Logic Pro for iPad
In Logic Pro, you can use the Drum Pads Play Surface to play a drum kit by tapping the
onscreen pads. The drum sounds are determined by the instrument patch loaded on the
selected software instrument track.
You can change the size of the pads, shift their position, display General MIDI (GM) drum
names and kit piece icons, and set the velocity mode.
Note: Drum patches that use tracks stacks use an enhanced Drum Pads Play Surface that
offers extended features and flexibility for designing your own drum patches. See Drum
Machine Designer overview.
Change the size of the drum pads
1. In the Drum Pads Play Surface, tap the More button , then tap Surface Settings.
2. Tap Size, then choose a size.
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Turn kit piece icons on or off
You can hide or show the icons on each drum pad.
1. In the Drum Pads Play Surface, tap the More button , then tap Surface Settings.
2. Tap the Show Kit Piece Icons switch.
Turn GM drum names on or off
You can show or hide the General MIDI (GM) drum names in the top-left corner of each
drum pad.
1. In the Drum Pads Play Surface, tap the More button , then tap Surface Settings.
2. Tap the Show GM Drum Names switch.
Scroll drum pads
• In the Drum Pads Play Surface, tap the Scroll button , then swipe vertically to see
other drum pads for the currently visible instrument patch.
Shift drums pads to the left or right
• Tap to shift the drum pads to the left.
• Tap to shift the drum pads to the right.
Use the Fretboard Play Surface in Logic Pro for iPad
In Logic Pro, you can use the Fretboard Play Surface to play notes by tapping strings on
the onscreen fretboard. You can choose from various layouts that resemble different kinds
of stringed instruments, such as guitar, bass, ukulele, and classical instruments. Each
string on the fretboard can be tuned individually, allowing you to create your own alternate
tunings. You can transpose the whole fretboard up and down in half-step increments and
turn frets on and off.
Play notes
• In Logic Pro, tap the strings on the Fretboard Play Surface at the fret for the note you
want to play. You can also bend strings vertically to bend the pitch of a note.
Choose a different fretboard layout
1. In the Fretboard Play Surface, tap the More button , then tap Surface Settings.
2. Tap the Layout pop-up menu, then choose an instrument.
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Tune the strings
1. In the Fretboard Play Surface, tap the Edit button in the Play Surface menu bar.
2. Tap a string, then drag up or down to select a note and octave value in the menu.
3. When you’re finished, tap the Play button , then tap the strings to hear the change.
Transpose the fretboard in half-step increments
• In the Fretboard Play Surface, do any of the following:
• Tap – to transpose down a half step.
• Tap + to transpose up a half step.
• Double-tap the number in the middle to remove the transposition.
Turn frets on or off
1. In the Fretboard Play Surface, tap the More button , then tap Surface Settings.
2. Tap the Frets switch.
When you load an instrument patch with articulations, you can choose articulations from
the Articulation pop-up menu in the Play Surface menu bar. See Studio Instruments
overview.
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Use the Chord Strips Play Surface in
Logic Pro for iPad
In Logic Pro, tap the Chord Strips Play Surface to play chords and bass notes. You can edit
chords and add sustain to the notes you play.
Play chords or bass notes
• In the Chord Strips Play Surface, do any of the following:
• Play chords higher or lower on the keyboard: Tap one of the upper segments of a
chord strip.
• Play a bass note or sets of bass notes: Tap one of the lower segments of a chord
strip.
• Play chords and bass notes together: Tap an upper and a lower segment at the same
time.
Add sustain to notes
• In the Chord Strips Play Surface, touch and hold the Sustain button as you play.
You can also drag the Sustain button to the right to lock it.
Edit chords
You can create your own custom chords by modifying existing chords for the Chord Strips
Play Surface. Custom chords can include extensions (added notes) and alternate bass
notes. When you add a custom chord, it’s also available in the Guitar Strips Play Surface.
1. In the Chord Strips Play Surface, tap the Edit button in the Play Surface menu bar.
2. Tap the chord strip you want to use for the custom chord.
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3. Swipe the wheels to set the chord root and tonality, add an extension (added note), and
add a different bass note.
4. When you’re finished, tap anywhere outside the menu, then tap the Play button .
Use the Guitar Strips Play Surface in
Logic Pro for iPad
In Logic Pro, you can use the Guitar Strips Play Surface to strum and pick chords like you
do with a real stringed instrument. This helps create a realistic sounding performance when
using string-based instrument patches. You can edit each strip to play a different chord
and mute the strings while you play.
Play chords
• In the Guitar Strips Play Surface, do any of the following:
• Play individual notes of a chord: Tap a string.
• Strum a chord: Swipe vertically across the strings in one of the guitar strips.
• Play the full chord: Tap the top of a guitar strip.
• Mute the strings: Touch and hold the empty area to the left or right of the chord
strips as you play.
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Edit chords
You can create your own custom chords by modifying existing chords for the Guitar Strips
Play Surface. Custom chords can include extensions (added notes) and alternate bass
notes. When you add a custom chord, it’s also available in the Chord Strips Play Surface.
1. In the Guitar Strips Play Surface, tap the Edit button in the Play Surface menu bar.
2. Tap the chord strip you want to use for the custom chord.
3. Swipe the wheels to set the chord root and tonality, add an extension (added note), and
add a different bass note.
4. When you’re finished, tap anywhere outside the menu, then tap the Play button to
exit Edit mode.
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Record vocals and instruments
Intro to recording in Logic Pro for iPad
In Logic Pro for iPad, you have many powerful recording options for recording vocals,
acoustic instruments, electric instruments, and software instruments. When recording
either audio or MIDI, you can choose to record one track at a time, record multiple tracks
at once (called multitrack recording), and replace audio or MIDI recordings. You can also
record multiple audio and MIDI performances over the same section of a track, called take
recording, and then choose the best take to include for playback in your project.
You can simultaneously record to multiple software instrument or audio tracks, and record
both audio and software instruments at the same time, which allows you to easily capture
multiple performances.
To help you keep in time, you can use the metronome and count-in for your performances.
Record audio
Before recording audio in Logic Pro for iPad
In Logic Pro for iPad, you can record vocals, an acoustic instrument, or any other sound
using your iPad’s built-in microphone or a microphone connected to your iPad, either
directly or via an audio interface. You record sound from a microphone to an audio track.
Before you start recording audio, do the following:
• Check hardware connections and settings, making sure that any sound source you plan
to use in your session—microphone, guitar, or keyboard, for example—is connected to
the audio input of your device and is working. You should also check hardware settings
such as the system memory requirement and storage space.
• Choose an audio device, which is necessary if you are using an audio interface
connected to your iPad.
• Add an audio track, which is used to record a voice, an acoustic instrument, or any
other audio signal, and set the audio input and channel format in the Fader.
• Set the metronome, which plays a steady beat so that you can play and record in time
and hear a count-in before recording starts.
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• Set up input monitoring, which allows you to hear the output of audio tracks that are
not enabled for recording, if desired. Many audio interfaces offer a direct or hardware
monitoring option, which sends the audio signal being recorded to a monitor output
before the signal is sent to Logic Pro. If your interface offers direct monitoring, you
should use it, and only use input monitoring if you want to hear effects on a channel
strip before recording.
• Set the track volume level, which controls the playback level, not the recording level.
• Tune any instruments that are connected to your system to ensure that your external
instrument recordings are in tune with any software instruments, samples, or existing
recordings in your project. You can access the Tuner using the Tuner button in the
control bar. For details about the Tuner plug-in, see Use Tuner utility and plug-in.
Record sound from a microphone or instrument in
Logic Pro for iPad
You can record sound from a microphone (to record vocals or an acoustic instrument, for
example), or from an electric instrument (such as an electric guitar or keyboard) connected
to your iPad, to an audio track. Before you start recording, make sure you create an audio
track to record to.
Record live audio
1. In Logic Pro, tap the header of the audio track you want to record to.
The letter R of the Record Enable button turns red to indicate that the track will be
automatically enabled for recording.
2. Position the playhead at the point in the ruler where you want to start recording.
3. Set the metronome and set a count-in for recording as desired.
4. Tap the Record button in the control bar to start recording.
5. Start singing or playing your instrument.
Your performance appears as a new audio region on the track as you record.
6. Tap the Stop button in the control bar to stop recording.
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Record multiple audio takes in Logic Pro for iPad
When you’re recording in Logic Pro for iPad, you can record multiple versions, or takes,
of a phrase or section in quick succession. Take recording can be especially helpful when
you’re improvising a lead or solo part and want to capture several versions while you’re
feeling inspired.
When you record multiple takes, a take folder containing the take recordings is created on
the track. Later, you can choose the take you want to use in the project. See Intro to takes.
You can also record multiple audio takes into Live Loops cells. See Record and edit takes in
cells.
Note: If you have the Replace button in the control bar, make sure it is off. When Replace
mode is on, Logic Pro replaces the audio region instead of creating a take folder.
Record multiple audio takes
1. In Logic Pro, tap the header of the audio track you want to record to.
2. Set the cycle area in the ruler if you want to record several takes in quick succession.
3. Set the metronome and set a count-in for recording as desired.
4. Tap the Record button in the control bar to start recording.
Recording starts automatically at the beginning of the defined cycle area. Record as
many cycle passes as you want. After the second cycle pass, a take folder is created on
the track. Each subsequent cycle pass is added to the take folder.
5. Tap the Stop button in the control bar after you finish capturing cycle passes.
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Record to multiple audio tracks in Logic Pro for iPad
In Logic Pro for iPad, you can record to more than one audio track at a time, which allows you to
record several instruments at once—placing each instrument on a separate track, for example.
To record multiple input sources simultaneously, you need an audio interface that has
multiple inputs.
Record to multiple audio tracks simultaneously
1. In Logic Pro, tap the Fader button on the left side of the view control bar, tap the
Options button , then tap Input.
Note: You can also set the input using the Input slot in the mixer. See Channel strip controls.
2. Set the instrument or microphone input source for each track you want to record to. To
record multiple sources onto multiple tracks, set the input source for each track to a
different input.
3. Tap the Record Enable button in the track header of each track you want to record to.
Each activated Record Enable button blinks red to indicate that the track is ready for
recording.
Note: You can enable multiple Record Enable buttons only when each track is set to a
different input.
4. Position the playhead at the point in the ruler where you want to start recording.
5. Set the metronome and set a count-in for recording as desired.
6. Tap the Record button in the control bar to start recording.
7. Everyone being recorded can start singing or playing their instruments.
A new audio region appears on each of the record-enabled tracks.
8. Tap the Stop button in the control bar to stop recording.
Replace audio recordings in Logic Pro for iPad
In Logic Pro for iPad, you can record over an existing audio recording, or a portion of it,
replacing the original recording with the new recording. You do this by recording in Replace
mode. In Replace mode, any audio regions from when you start recording until the end of
recording will be erased, even if nothing is played.
Note: You can also replace software instrument recordings. For information on replacing
MIDI recordings, see Replace software instrument recordings.
1. In Logic Pro, tap the Replace button in the control bar to turn on Replace mode.
Note: If the Replace button is not visible in the control bar, you will need to customize
the control bar to add it. See Change the controls in the control bar.
2. Tap the track header of the audio track you want to record to.
3. Position the playhead at the point in the ruler where you want to start recording.
4. Tap the Record button in the control bar to start recording.
5. Start singing or playing your instrument.
6. Tap the Stop button in the control bar to stop recording.
The original recording is replaced with the new recording.
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Delete audio recordings in Logic Pro for iPad
In Logic Pro for iPad, you can delete an audio region that was recorded before or since the
current project session was opened.
Delete an audio recording from the Tracks area
• In Logic Pro, tap an audio region to select it, tap it again, then tap Delete.
The audio region is removed from the Tracks area and the audio file is deleted from the
project.
Record software instruments
Before recording software instruments in Logic Pro for iPad
In addition to using onscreen Play Surfaces in Logic Pro for iPad, you can also connect a
music keyboard or controller that is Core MIDI compliant to your iPad. Before you can play
or record a software instrument, you need to add a software instrument track and choose a
patch from the Browser.
You can also set the metronome, which plays a steady beat so that you can play and record
in time, or as a count-in before recording starts.
Connect a music keyboard or controller to your computer
In Logic Pro, do one of the following:
• If the keyboard is a USB music keyboard, connect the USB cable from the keyboard to
your iPad, using a USB adapter if needed.
• If the keyboard is a standard MIDI music keyboard, connect the keyboard to a MIDI
interface using standard MIDI cables, then connect the MIDI interface to your iPad.
• If the keyboard is a Bluetooth or Wi-Fi music keyboard, consult its support materials for
instructions on how to pair it to your iPad. See In/Out MIDI settings on how to pair MIDI
Bluetooth devices.
Be sure to follow the instructions that came with the keyboard, which may include installing
the correct driver on your iPad. Check the manufacturer’s website for the latest driver
software. If you’re using a MIDI interface, be sure to follow the instructions that came with
the interface.
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Record software instruments in Logic Pro for iPad
Before you start recording, make sure you create a software instrument track to record to.
You can also familiarize yourself with how to use the Play Surfaces in Logic Pro for iPad.
Additionally, you can connect a MIDI device that is Core MIDI compliant.
Record a software instrument
1. In Logic Pro, tap the track header of the software instrument track you want to record
to.
Note: You can choose to record from a specific MIDI In port and MIDI In channel in the
Track inspector. See Edit track parameters.
The letter R of the Record Enable button turns red to indicate that the track is
automatically enabled for recording.
2. Position the playhead at the point in the ruler where you want to start recording.
3. Set the metronome and set a count-in for recording as desired.
4. Tap the Record button in the control bar to start recording.
5. Use the Play Surface or a MIDI keyboard to play some notes.
Your performance appears as a new MIDI region on the track as you record.
6. Tap the Stop button in the control bar to stop recording.
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Record additional software instrument takes in
Logic Pro for iPad
You can record multiple versions, or takes, in quick succession in Logic Pro for iPad. When
you record multiple takes, a take folder containing the take recordings is created on the
track. Later, you can choose the take you want to use in the project, see Intro to takes.
Record multiple software instrument takes
1. In Logic Pro, tap the More button in the control bar, choose Settings > App Settings >
Recording > Cycle On, and then tap Create Take Folder.
Note: You can also choose to record multiple software instrument takes when Cycle
mode is off.
2. Tap Done or tap anywhere outside of the Settings dialog to close it.
3. Tap the header of the software instrument track you want to record to.
4. Set the cycle area in the ruler.
5. Tap the Record button in the control bar to start recording.
Recording starts automatically at the beginning of the defined cycle area.
6. Use the Play Surface or a MIDI controller to play some notes. Record as many cycle
passes as you want.
7. Tap the Stop button in the control bar to stop recording.
The selected track contains a take folder with multiple take regions inside.
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Record to multiple software instrument tracks in
Logic Pro for iPad
You can record to multiple software instrument tracks simultaneously with a Play Surface
or a MIDI controller in Logic Pro for iPad. A MIDI region is recorded to each record-enabled
software instrument track.
Before you start recording, make sure you create software instrument tracks.
1. In Logic Pro, tap the Record Enable button in the track header of each track you want
to record to.
Each activated Record Enable button turns red to indicate that the track is ready for
recording.
2. Position the playhead at the point in the ruler where you want to start recording.
3. Set the metronome and set a count-in for recording as desired.
4. Tap the Record button in the control bar to start recording.
5. Use the Play Surface or a MIDI controller to play some notes.
6. Tap the Stop button in the control bar to stop recording.
Record multiple MIDI devices to multiple tracks in
Logic Pro for iPad
In Logic Pro for iPad, you can record multiple MIDI input devices, such as hardware and
iOS music apps, simultaneously, with each device representing a unique performance and
triggering different sounds on multiple instrument tracks.
Before you start recording, make sure you create software instrument tracks for each MIDI
Input device you want to record. You can also configure your MIDI sources in In/Out MIDI
settings.
Record multiple MIDI input devices to multiple instrument tracks
1. In the Track inspector for each track, use the MIDI In Port and MIDI In Channel pop-up
menus to choose the MIDI In port and MIDI In channel that matches the MIDI output
port and channel for the MIDI input device sending to that specific track. For more
information about track parameters, see Edit track parameters.
2. Tap the Record Enable button in the track header of each track you want to record to.
Each activated Record Enable button turns red to indicate that the track is ready for
recording.
3. Position the playhead at the point in the ruler where you want to start recording.
4. Set the metronome and set a count-in for recording as desired.
5. Tap the Record button in the control bar to start recording.
6. Use each MIDI input device to record parts.
7. Tap the Stop button in the control bar to stop recording.
A MIDI region is recorded to each record-enabled track.
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Record software instruments and audio simultaneously in
Logic Pro for iPad
In Logic Pro for iPad, you can record software instruments using MIDI input devices or the
Play Surfaces and audio using microphones, electric, electronic, and acoustic instruments
simultaneously. You can choose to record to a single software instrument track or multiple,
separate software instrument tracks while simultaneously recording audio tracks.
Record a software instrument and audio simultaneously
1. In Logic Pro, tap the Record Enable button in the track header of each track you want
to record to.
Each activated Record Enable button on an audio track blinks red to indicate that
the track is ready for recording. Each activated Record Enable button on a software
instrument track turns red to indicate that the track is ready for recording.
2. Tap one of the software instrument tracks to select it.
3. Position the playhead at the point in the ruler where you want to start recording.
4. Set the metronome and set a count-in for recording as desired.
5. Tap the Record button in the control bar to start recording.
6. Use the Play Surface or a MIDI controller to play some notes and start singing or playing
instruments.
7. Tap the Stop button in the control bar to stop recording.
Record multiple MIDI input devices and audio simultaneously
You can record multiple MIDI input devices simultaneously, each device representing a
unique performance and triggering different sounds on multiple software instrument tracks
at the same time you record multiple audio sources.
Before you start recording, make sure you create software instrument tracks for each MIDI
Input device you want to record. You can also configure your MIDI sources in In/Out MIDI
settings.
1. In the Track inspector for each software instrument track, use the MIDI In Port and MIDI
In Channel pop-up menus to choose the MIDI In port and MIDI In channel that matches
the MIDI output port and channel for the MIDI input device sending to that specific
track. For more information about track parameters, see Edit track parameters.
2. Tap the Record Enable button in the track header of each track you want to record to.
Each activated Record Enable button on an audio track blinks red to indicate that
the track is ready for recording. Each activated Record Enable button on a software
instrument track turns red to indicate that the track is ready for recording.
3. Position the playhead at the point in the ruler where you want to start recording.
4. Set the metronome and set a count-in for recording as desired.
5. Tap the Record button in the control bar to start recording.
6. Use each MIDI input device to record software instrument parts and start singing or
playing instruments.
7. Tap the Stop button in the control bar to stop recording.
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Merge software instrument recordings in Logic Pro for iPad
You can record additional performances on top of an existing performance, merging them
into a single region in Logic Pro for iPad. You can use this process to add a supplementary
recorded sound to a previously recorded performance, for example. You set the behavior
when recording over existing MIDI regions in Recording settings. You can choose to create
take folders or merge previously and newly recorded MIDI events when Cycle mode is on
and off.
Merge a software instrument recording with Cycle mode on
1. In Logic Pro, tap the More button in the control bar, choose Settings > App Settings >
Recording > Cycle On, and then tap Merge.
2. Tap the header of the software instrument track you want to record to.
3. Set the cycle area in the ruler.
4. Tap the Record button in the control bar to start recording.
5. Use the Play Surface or a MIDI controller to play some notes.
6. Tap the Stop button in the control bar to stop recording.
The end result is a single MIDI region that contains the merged performances from each
cycle pass. However, you can also merge a MIDI recording when not in Cycle mode.
Spot erase software instrument recordings in
Logic Pro for iPad
You can use spot erase to remove any unwanted notes from a recorded performance in
Logic Pro for iPad.
Note: The Spot Erase button is visible only if you have selected Note Repeat in View
Options. See Use note repeat in the side controls.
1. In Logic Pro, select a software instrument track, then tap the Play Surfaces button .
2. In the Play Surface, tap the Side Controls button .
3. In recording mode, touch and hold the Spot Erase button and touch and hold the
notes on the Play Surface that you want to delete.
Each instance of that note is deleted in regions on the selected track as the playhead
passes over them.
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Replace software instrument recordings in Logic Pro for iPad
When you’re recording, you can replace all or part of a previous performance while
recording a new one. You do this by recording in Replace mode in Logic Pro for iPad. In
Replace mode, MIDI regions are erased only where new MIDI events are recorded.
Note: You can also replace audio recordings. For information on replacing audio recordings,
see Replace audio recordings.
1. In Logic Pro, tap the Replace button in the control bar to turn on Replace mode.
Note: If the Replace button is not visible in the control bar, you need to customize the
control bar to add it. See Change the controls in the control bar.
2. Tap the header of the software instrument track you want to record to.
3. Position the playhead at the point in the ruler where you want to start recording.
4. Tap the Record button in the control bar to start recording.
5. Use the Play Surface or a MIDI keyboard to play some notes. Record as many cycle
passes as you want.
6. Tap the Stop button in the control bar to stop recording.
Your new recording now replaces the previously recorded portion of your material.
Capture your most recent MIDI performance
Logic Pro for iPad
It’s possible to capture your most recent MIDI performance, even if Logic Pro for iPad
wasn’t recording while you were playing. You can use Capture Recording whether in
playback mode or stopped.
Capture a recent performance
In Logic Pro, do one of the following:
• Tap the Capture Recording button in the control bar.
Note: If the Capture Recording button is not visible in the control bar, you will need to
customize the control bar to add it. See Change the controls in the control bar.
• Touch and hold the Record button , then tap Capture Recording.
Use Capture Recording to create take regions in Cycle mode
1. In Logic Pro, tap the More button in the control bar, choose Settings > App Settings >
Recording > Cycle On, and then tap Create Take Folder.
2. Turn on Cycle mode.
3. Start playback and create/perform MIDI events.
4. When you have finished your performance, do one of the following:
• Tap the Capture Recording button in the control bar.
• Touch and hold the Record button , then tap Capture Recording.
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Use the metronome in Logic Pro for iPad
Logic Pro for iPad includes a metronome, which plays a steady beat (like a “click track”) to
help you play and record in time. You can turn the metronome on or off before you record,
while you’re recording, or any time your project is playing. The metronome always plays
at the project tempo. This means that if a tempo map has been created by Smart Tempo,
the metronome automatically follows it. It also means that if Smart Tempo is automatically
adapting the project tempo to the performance being recorded, the timing of the
metronome adapts along with it.
Note: If the Metronome button is not visible in the control bar, you will need to customize
the control bar to add it. See Change the controls in the control bar.
Important: When you record audio using a microphone and the metronome is playing, the
sound of the metronome is included as part of the recording. To avoid this, you can wear
headphones.
Turn the metronome on or off
• In Logic Pro, tap the Metronome button in the control bar.
Change the metronome behavior
• In Logic Pro, touch and hold the Metronome button in the control bar, then choose
one of the following:
• Simple Mode: The metronome clicks only when you turn it on. With this mode
selected, the other metronome settings in the menu are unavailable.
Note: When Simple Mode is enabled, the Metronome button is white when turned off.
In other modes, it’s purple.
• Click while Recording: The metronome clicks during recording whether or not the
metronome is turned on.
• Only during Count-in: The metronome clicks only during the count-in whether or not
the metronome is turned on.
Note: Click while Recording must also be chosen for “only during Count-in” to work.
• Click while Playing: The metronome clicks only during playback. This setting has the
same effect as turning the metronome on and off.
To access the metronome settings, tap the More button on the right side of the control
bar, then choose Settings > Project Settings > Metronome. For more information, see
Metronome project settings.
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Use the count-in in Logic Pro for iPad
Count-in in Logic Pro for iPad is a predefined number of clicks that the metronome plays
before recording starts, which helps you to prepare to play in time.
Note: If the Count-in button is not visible in the control bar, you need to customize the
control bar to add it. See Change the controls in the control bar.
Turn the count-in on or off
• In Logic Pro, tap the Count-in button in the control bar to have the metronome play
a predefined count-in before recording starts.
Set the number of bars for the count-in
In Logic Pro, do one of the following:
• Tap the More button on the right side of the control bar, choose Settings > Project
Settings > Recording > Count-in, and then choose the number of bars or beats.
• Touch and hold the Count-in button , then choose the number of bars.
Work with takes
Intro to takes in Logic Pro for iPad
When you record multiple audio or software instrument takes in Logic Pro for iPad, a take
folder is created on the track. You can choose an active take for playback, rename takes,
and delete takes. You can also automatically colorize takes while recording so that you can
easily identify which take is the active take.
The number of the currently active take, the take icon, and the take name are shown along
the top of the take folder.
Choose takes in Logic Pro for iPad
You can switch takes in Logic Pro for iPad and then play back the project to hear the take.
Choose a take
• In Logic Pro, tap the take folder to select it, tap it again, tap Takes and Folders, then
choose a take.
The chosen take is now the active take, and the take number is shown in the top left of the
take folder. Play back the project to hear the take.
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Rename takes in Logic Pro for iPad
You can rename takes in Logic Pro for iPad.
Rename a take
1. In Logic Pro, choose the take you want to rename.
2. Tap the take folder, tap Takes and Folders, then tap Rename Take.
3. Enter the new name in the dialog that appears, then tap OK.
Color takes while recording in Logic Pro for iPad
You can color take regions in a take folder, providing you with a visual reference while
recording in Logic Pro for iPad.
Color an audio take automatically while recording
1. In Logic Pro, tap the More button on the right side of the control bar, then choose
Settings > Project Settings > Recording.
2. Tap the Automatically Colorize Takes switch to turn it on.
When this setting is on, audio take folders use the color selected in the Color palette
for the first take, but different colors for each of the following takes in that take folder.
All colors used in an audio take folder are selected from the same color row in the Color
palette, advancing by a predefined number of columns after each take.
Note: The Automatically Colorize Takes switch is visible only if Region Color is set to
Individual in the View app settings.
Delete takes in Logic Pro for iPad
You can delete takes from take folders at any time in Logic Pro for iPad. When deleted, they
no longer appear in the take folder’s list of takes and are also deleted from the project.
Delete a take
1. In Logic Pro, choose the take you want to delete.
2. Tap the take folder, tap Takes and Folders, then choose Delete Take.
Manage take folder contents
Export takes in Logic Pro for iPad
You can export an active take from a take folder to a new track, leaving the original take
folder content intact.
Export an active take to a new track
1. In Logic Pro, choose the take you want to export.
2. Tap the take folder, tap Takes and Folders, then tap Export active Take to New Track.
The active take is copied to a new track, which is created below the take folder track. The
content of the original take folder remains intact.
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Move takes in Logic Pro for iPad
You can move an active take from a take folder to a new track, which removes the take
from the original take folder.
Move an active take to a new track
1. In Logic Pro, choose the take you want to move.
2. Tap the take folder, tap Takes and Folders, then tap Move active Take to New Track.
The active take is moved to a new track, which is created below the take folder track. This
take is no longer available in the original take folder.
Flatten takes in Logic Pro for iPad
You can flatten a take folder in Logic Pro for iPad, which replaces the take folder with the
active take. All take regions that are not active are deleted.
Flatten takes
1. In Logic Pro, choose the take you want to keep.
2. Tap the take folder, tap Takes and Folders, then tap Flatten.
The take folder is replaced with the active take.
Unpack takes in Logic Pro for iPad
You can unpack take folders to new tracks in Logic Pro for iPad, using different channel
strips for each new track. This replaces the selected take folder with new tracks for each
take. The first track contains the active take, followed by the remaining takes in the order
they appear in the Take submenu.
Unpack a take folder
• In Logic Pro, tap the take folder to select it, tap it again, tap Takes and Folders, then tap
Unpack.
New tracks are created for each take, with a different channel strip for each new track that
is assigned the original channel strip setting. This ensures that the playback result remains
unchanged. Edits can be made to each of the tracks independently.
Pack regions into take folders in Logic Pro for iPad
In Logic Pro for iPad, you can select multiple regions and place them all into a single take
folder.
Pack regions into a take folder
• In Logic Pro, tap the Multiple Select button to turn it on.
• Select the regions you want to pack, then tap the Multiple Select button again to turn it
off.
• Tap one of the regions to select it, tap it again, tap Takes and Folders, then tap Pack
Take Folder.
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Arrange a project
Intro to arranging in Logic Pro for iPad
As you add regions to your project by recording, adding loops, creating Drummer regions
or Step Sequencer patterns, and adding media files, you build the project by arranging the
regions in the Tracks area. While you are working, you can play the project at any time to
hear your latest changes.
As you work in the Tracks area, you can arrange regions in a variety of ways. You can also
edit region parameters in the inspector to control the sound, position, and appearance of
regions.
Work in the Tracks area
Intro to the Tracks area in Logic Pro for iPad
You arrange regions in the Tracks area to build a project. The Tracks area shows a visual
representation of time moving from left to right. You build a project by arranging regions in
rows called tracks that run horizontally across the Tracks area.
At the top of the Tracks area, the ruler shows units of time. You can position items in the
Tracks area with the units on the ruler and snap regions and other items to the grid to
precisely align them with bars, beats, or other time divisions. When two regions overlap,
the overlapped area of the left (earlier) region is shortened.
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The playhead moves across the Tracks area as the project plays, showing the point
currently playing. At the top of the playhead is a triangle that you can drag to move the
playhead to different points in the project.
Along the left side of the Tracks area is the track list, consisting of the track headers for
all tracks in the project. Track headers show the track icon and track number and contain a
set of track controls you can use while arranging.
You can also adjust track volume and pan, mute or solo the track, and access other mixing
functions using the Fader.
You can scroll the Tracks area to see another part of the project, and you can zoom in for
precise editing or zoom out to see more of the project.
Open the Tracks area
The Tracks area occupies the central area of the Logic Pro window. It is typically visible
unless Live Loops or the Mixer is open.
• In Logic Pro, tap the Tracks View button in the Tracks area menu bar.
Position items using the ruler in Logic Pro for iPad
The ruler extends across the top of the Tracks area, displaying the time format in bars and
beats or in minutes and seconds.
As the project plays, the playhead moves across the Tracks area, showing the part
currently playing. When you move the playhead or move regions or other items in the
Tracks area, you can use the ruler to position them at the correct point in time.
When you move regions or other items in the Tracks area, alignment guides appear to
help you align the items with the time divisions in the ruler and with other items in the
Tracks area.
You can Snap items to the grid so that they align with bars, beats, and other time divisions
in the Tracks area.
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Snap items to the grid in Logic Pro for iPad
The Tracks area includes a grid that helps you align regions, automation points, and other
items with the time divisions in the ruler. When you perform any of the following actions,
items move according to the current Snap value:
• Moving and resizing regions
• Moving the playhead
• Adjusting the cycle region
• Dragging loops to the Tracks area
• Moving automation points
The Snap pop-up menu is available in the Tracks area, and also in the Piano Roll Editor, the
Audio Editor, and the Automation view of the Drummer Editor. It can be set independently
for each area. Using the Snap pop-up menu, you can set the Snap value and choose Snap
options. You can also turn Snap to Grid off to move items freely in time.
When Auto is selected, the Snap value changes depending on the zoom level of the grid.
You can set whether the Snap value uses normal (non-triplet) values (such as Bar, 1/2,
1/4, 1/8, and so on) or triplet values, and whether it uses all available triplet values or only
smaller values (1/8 T, 1/16 T and 1/32 T). When closed, the Snap pop-up menu shows the
current Snap value.
When you change the Snap value, the grid lines in the Tracks area grid change to reflect
the new Snap value, indicating where regions and other items will snap to when you move
them horizontally.
Set the Snap value for the Tracks area
When Auto is deselected, the range of Snap values become available in the Snap pop-
up menu.
1. In Logic Pro, tap the Snap pop-up menu in the Tracks area menu bar.
2. If Auto is selected, tap to deselect it to show Snap values in the menu.
3. Tap the Snap pop-up menu again, then tap a Snap value.
4. Tap the Snap pop-up menu again, then tap Auto to select it.
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Set Snap options for the Tracks area
• In Logic Pro, tap the Snap pop-up menu in the Tracks area menu bar, then set the Snap
options:
• Snap to Grid: When selected, items snap to the grid. When Snap to Grid is
deselected, you can move items freely in time (no snapping).
• Auto: When selected, the Snap value changes with the zoom level of the Tracks area.
The current Snap value appears in the menu bar, and you can see it change as you
zoom in or zoom out.
Set Auto to use different note values
1. In Logic Pro, tap the Snap pop-up menu in the Tracks area menu bar.
2. With Auto selected, choose one of the following:
• Normal: The Snap value changes between non-triplet values: Bar, 1/2, 1/4, 1/8 as you
change the zoom level.
• Small Triplets: The Snap value changes between the triplet values 1/8 T, 1/16 T and
1/32 T as you change the zoom level.
• All Triplets: The Snap value changes between the triplet values 1/2 T, 1/4 T, 1/8 T,
1/16 T, and 1/32 T as you change the zoom level.
Use the cycle area in Logic Pro for iPad
You can use the cycle area to play a defined part of a project repeatedly. The cycle area
can be used for composing, practicing a part before recording, recording multiple takes,
and more. The cycle area is available in the Tracks area, and also in the Piano Roll Editor,
the Audio Editor, and the Automation view of the Drummer Editor.
When Cycle mode is on, the cycle area is displayed as a yellow strip in the upper part of
the ruler (or in the center, when the secondary ruler is visible).
The left and right locators are the start and end points of the cycle area. When Cycle mode
is turned off, the cycle area is dimmed.
You can also create a skip cycle to skip a passage during playback; for example, to try
out different transitions from one section to another without moving regions. A Skip cycle
is also useful when editing, to leave out parts of the project that you don’t want to be
affected by the edit.
You can show or hide the Cycle button in the control bar. See Customize the control bar.
Turn Cycle mode on or off
In Logic Pro, do one of the following:
• Tap the Cycle button in the control bar.
• Tap the upper part of the ruler.
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Set the cycle area in the ruler
• In Logic Pro, drag left or right in the upper part of the ruler.
The cycle area appears as a yellow strip in the ruler, and Cycle mode is automatically
turned on.
Move the cycle area
• In Logic Pro, drag the center part of the cycle area and drag it left or right.
Resize the cycle area
• Drag the left or right edge of the cycle area, then drag left or right to move the start or
end point.
Set the cycle area to a selection
1. Select one or more regions.
2. Do one of the following:
• Tap one of the selected regions, tap Cycle, then tap Selection.
• To round the cycle area to the nearest bar, tap one of the selected regions, tap
Cycle, then tap Rounded Selection.
Create a skip cycle
1. In Logic Pro, set the cycle area to the part of the project you want to skip.
2. Touch and hold the Cycle button in the control bar, then tap Skip Cycle.
The cycle area changes to black with a yellow outline, indicating that it is now a skip
cycle.
3. When you finish using the skip cycle, touch and hold the Cycle button, then tap Skip
Cycle to deselect it.
The cycle area returns to its yellow color.
Cut or copy the regions below the cycle area
• In Logic Pro, tap the More button in the Tracks area menu bar, then do one of the
following:
• To cut the regions below the cycle area, tap Cut Cycle Section.
• To copy the regions below the cycle area, tap Copy Cycle Section.
Note: When the cycle area extends over part of a region, only the part below the cycle area
is cut or copied.
Repeat the regions in the cycle area
• In Logic Pro, tap the More button in the Tracks area menu bar, then tap Repeat Cycle
Section.
The regions below the cycle area are repeated after the end of the cycle area.
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Insert silence within the cycle area
1. In Logic Pro, set the cycle area to the part of the project where you want to insert
silence.
2. Tap the More button in the Tracks area menu bar, then tap Insert Silence within Cycle.
Regions inside the cycle area are moved by the length of the cycle area. Regions extending
below the start of the cycle area are cut at that point, and the following part moved by the
length of the cycle area.
Arrange regions in the Tracks area
Intro to regions in Logic Pro for iPad
Regions are the building blocks of a project. When you record an instrument, drag a loop
to the Tracks area, or add an audio file, a region is created containing the content of the
recording, loop, or audio file. Regions appear as rounded rectangles in the Tracks area,
with different region types having different default colors.
You can arrange and edit the following types of regions in the Tracks area:
• Audio regions (blue) from audio recordings, audio Apple Loops, and imported audio files
on audio tracks. Audio regions show an audio waveform representing the audio data.
• MIDI regions (green) from software instrument recordings, software instrument Apple
Loops, and imported MIDI files on software instrument tracks. MIDI regions contain MIDI
note events and other MIDI data such as modulation or pitch bend data.
• Drummer regions (yellow) created using the Drummer Editor and Drummer Apple Loops
on software instrument tracks. Drummer regions contain performance instructions that
you can edit in the Drummer Editor.
• Pattern regions (violet) containing Step Sequencer patterns on software instrument
tracks. Each step represents either a MIDI note event or automation data.
You can edit regions in the Tracks area in a variety of ways. For example, you can:
• Select regions
• Cut, copy, and paste regions
• Move regions
• Trim regions
• Loop regions
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• Mute and solo regions
• Split and join regions
• Change the gain of audio regions
• Create regions in the Tracks area
• Rename regions
• Change the color of regions
• Create fades on audio regions
• Delete regions
Note: When selecting or editing regions on tracks that are members of a Mixer group, the
same selection or edits apply to the corresponding range of all tracks in the group.
Select regions in Logic Pro for iPad
You select regions in the Tracks area to perform various arranging tasks, such as moving,
copying, or looping them. You can select multiple regions on a track and select regions on
different tracks to move or perform other operations on them.
Selected regions are highlighted in the Tracks area. When a single region is selected,
handles appear on the left and right edges of the region that you can use to move or resize
the region. When multiple regions are selected, a thin white highlight appears around each
of the selected regions.
Select a region
• In Logic Pro, tap the region in the Tracks area.
Select multiple regions
In Logic Pro, do one of the following:
• Tap the Multiple Select button in the Tracks area menu bar, then tap regions to select
them.
Note: After performing a multiple selection, tap the Multiple Select button again (or tap
one of the Function buttons) to revert to single selection. Function button operations
such as trimming or looping regions cannot be performed while multiple selection is
active.
• Touch and hold the background, then drag around the regions to enclose them.
Select all regions on a track
Do one of the following:
• In Logic Pro, select the track.
• Tap an empty area of the track, then tap Select All On Track.
• To select all regions following (to the right of) a region on a track, double-tap the
region, tap Select, then tap All Following of Same Track.
Select all regions within the cycle area
• In Logic Pro, tap the background, then tap Select All Inside Cycle.
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Select all regions in the project
Do one of the following:
• In Logic Pro, tap an empty part of the Tracks area, then tap Select All.
If any regions are selected, first tap an empty part of the Tracks area to deselect them.
• Tap a region, tap Select, then tap All.
Deselect all selected regions
Do one of the following:
• Tap an empty area of the Tracks area.
• Double-tap a region, tap Select, then tap Deselect All.
Cut, copy, and paste regions in Logic Pro for iPad
You can cut or copy regions in the Tracks area and paste them at a different position. You
can also paste a copied region at the same time position, to double the content of the
region on another track.
Cut regions
• In Logic Pro, double-tap the region, then tap Cut.
• To cut multiple regions, select the regions, double-tap one of them, then choose Cut.
Copy regions
• In Logic Pro, do one of the following:
• Double-tap a region, then tap Copy.
• Tap the Copy button in the Tracks area menu bar, then drag a region to a new
position to copy it.
• To copy multiple regions, select the regions, double-tap one of them, then choose Copy.
Paste cut or copied regions
1. In Logic Pro, move the playhead to the position where you want the pasted region to
start.
2. Tap an empty part of the track, then tap Paste at Playhead.
If any regions are selected, first tap an empty part of the Tracks area to deselect the
regions.
When pasting multiple regions, the regions keep the same relative positions as when you
cut or copied them.
Paste a region at its original position
• In Logic Pro, tap the background, then tap Paste at Original Position.
If any regions are selected, first tap an empty part of the Tracks area to deselect the
regions.
The region is pasted at the position at which it was cut or copied. If you select a different
track before pasting, the region is pasted on the selected track, at its original time position.
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Move regions in Logic Pro for iPad
You can move regions to a different point in the same track, or move them to another track
of the same type. You can move an audio region to another audio track, for example, but
not to a software instrument track, or vice versa.
When you move a region, it snaps to the nearest position on the Tracks area grid, using
the current Snap value. You can change the Snap value, or turn off Snap to Grid in order to
position items freely in the Tracks area.
Move a region
• In Logic Pro, from the middle part of the region, drag the region to a new position.
Move a region to start at the playhead position
1. In Logic Pro, tap a region to select it.
2. Tap the region again, tap Move, then tap Move to Playhead Position.
Edit the region start position in the inspector
1. In Logic Pro, select the region.
2. Tap the Inspector button to open the inspector.
3. Tap the Details disclosure triangle if needed to show Details region parameters.
In the Details section are Position and Length values that determine the start point and
length of the selected region.
4. To edit the region start point, do one of the following:
• Drag the Position value up or down to edit the start position.
• Tap a Position value, then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
Remove gaps between regions in Logic Pro for iPad
You can remove gaps between regions produced by moving or deleting regions in the
Tracks area. When you remove gaps between regions, you shuffle the regions to remove all
space between them and the preceding or following regions on the track or tracks.
Shuffle regions left to remove preceding space
1. Select the region or regions you want to shuffle.
2. Tap one of the selected regions, tap Move, then tap Shuffle Left.
Shuffle regions right to remove following space
1. Select the region or regions you want to shuffle.
2. Tap one of the selected regions, tap Move, then tap Shuffle Right.
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Delay region playback
You can shift the playback offset of regions on a track using the Delay parameter. Positive
values shift regions forward in time (laid-back playing style or dragging), while negative
values shift regions back in time for a pre-delay (driving or rushing the music). The Delay
value is shown in ticks.
Some MIDI instruments may have a slow response time. In this case, you might want to
move the region slightly ahead of the beat for notes to sound in time. Instead of moving
regions or individual note events, you can apply a small amount of pre-delay using the
Delay parameter.
Shift the playback offset of selected regions
1. In Logic Pro, select the regions.
2. Tap the Inspector button to open the inspector.
3. Tap the General disclosure triangle if needed to show General region parameters.
4. To edit the Delay parameter, do one of the following:
• Drag the Delay value up or down to edit the delay in ticks.
• Tap the Delay value, then edit the value (in ticks) in the Delay window using the
Value Up/Value down buttons or the scroll wheel.
Trim regions in Logic Pro for iPad
You can trim regions to lengthen or shorten them. You can also trim the length of regions in
the inspector. Trimming a region produces different results, depending on the region type:
• MIDI regions: Lengthening a MIDI region adds silence in the lengthened area of the
region. Any notes in the shortened part of the region are muted, but not deleted, and
will play again if the region is re-lengthened.
• Audio regions: Audio regions can be lengthened to the duration (length) of the original
audio file.
• Drummer region: If a Drummer region contains fills, the fills always occur at the end of
the region, and so are controlled by the location of the right edge of the region.
• Pattern regions: Lengthening or shortening a pattern region affects how much of the
pattern plays. See Change the musical length of a pattern for detailed information.
You can trim multiple regions by selecting the regions, then trimming one of the selected
regions. All regions are trimmed by the same amount (observing the differences between
different region types).
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Trim a region in the Tracks area
1. In Logic Pro, tap the Trim button in the Tracks area menu bar.
2. Tap a region to select it.
3. Drag the trim handle on either the left or right edge of the region to trim the region start
or region end.
If you touch and hold the trim handle before dragging it, the Tracks area zooms
horizontally to allow you to trim more precisely.
Trim a region to start at the beginning of the bar
1. In Logic Pro, select a region.
2. Tap the region, tap Trim, then tap Set Region Start to Bar.
The left edge of the region moves to the beginning of the bar.
Trim a region to end at the start of the next region
1. In Logic Pro, select a region.
2. Tap the region, tap Trim, then tap Trim End to Next Region.
The right edge of the region moves to the start of following region.
Trim a region to fill the cycle area
1. In Logic Pro, select a region.
2. Tap the region, tap Trim, then tap Trim to Fill within Locators.
The edges of the region extend to fill the length of the cycle area.
Crop a region so that it does not extend past the edges of the cycle area
1. In Logic Pro, select a region.
2. Tap the region, tap Trim, then tap Crop Outside Locators.
The edges of the region are cropped to the edges of the cycle area.
Trim the region length in the inspector
1. In Logic Pro, select the region.
2. Tap the Inspector button to open the inspector.
3. Tap the Details disclosure triangle if needed to show Details region parameters.
In the Details section are Position and Length values that determine the start point and
length of the selected region.
4. To edit the region length, do one of the following:
• Drag the Length values up or down to edit them.
• Tap the Length value, then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
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Loop regions in Logic Pro for iPad
You can loop regions so that they play repeatedly, and extend them to fill any amount of
time in the Tracks area. When you play the project, the regions repeat for the number of
times they are looped. Each repetition appears as a notch in the looped region.
You can also loop a region that has been trimmed. When you loop a trimmed region, only
the visible portion of the region repeats when you play the project. If you add silence by
lengthening a region, the silence is included in each repetition of the loop.
Loop a region
1. In Logic Pro, tap the Loop button in the Tracks area menu bar.
2. Tap the region to select it.
3. Drag the loop handle on the right edge of the region to set the number of times the
region repeats.
Loop a region continuously
1. In Logic Pro, tap the region to select it.
2. Tap the Inspector button to open the inspector.
3. Tap the General disclosure triangle if needed to show General region parameters.
4. Tap the Loop switch.
The region loops continuously until the start of the next region on the track, or until the
end of the project. You can unloop the region by deselecting the Loop checkbox.
If you trim a looped region, the repetitions are also trimmed, but the loop keeps its overall
duration.
Repeat regions
You can repeat one or more selected regions in the Tracks area. Repeating a region pastes
a copy of the region after (to the right of) the selected region on the same track.
1. In Logic Pro, select the region or regions.
2. Tap the region (or one of the selected regions).
3. Tap Edit, then tap Repeat Region.
The repeated regions are pasted after the selected regions. If the repeated regions overlap
an existing region, the existing region is truncated.
Note: When you repeat a looped region, the copy may overlap any existing loop repetitions
of the region.
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Mute regions in Logic Pro for iPad
You can mute one or more regions in the Tracks area to silence them during project
playback. Muted regions appear dark gray with a circle next to the region name.
Mute a region
1. In Logic Pro, select the region or regions.
2. Tap a selected region, tap Edit, then tap Toggle Mute.
3. To unmute the region or regions, repeat Steps 1 and 2.
Mute a region in the inspector
1. In Logic Pro, select the region or regions.
2. Tap the Inspector button to open the inspector.
3. Tap the General disclosure triangle if needed to show General region parameters.
4. Tap the Mute switch.
Split and join regions in Logic Pro for iPad
You can split a region in the Tracks area, and use the segments of the region in different
places in the project. Splitting a region can produce different results, depending on the
region type:
• MIDI regions: Any MIDI notes at the split point are shortened to that point. If you
subsequently lengthen the region to the left, the notes regain their full length (duration).
• Audio regions: On any region segments following the first (initial) one, a decimal and a
sequential number are added to the end of the region name.
• Drummer region: Splitting a Drummer might change the pattern, depending on the
setting of the Fills setting. After splitting, settings for the region segments can be
edited independently in the Drummer Editor.
• Pattern regions: After splitting, each region segment plays the part of the pattern
contained in that segment of the original region.
Split a region
1. In Logic Pro, tap the region to select it.
2. Tap the Split button in the Tracks area menu bar.
A Scissors tool appears in the upper area of the region.
3. Move the Scissors tool to the position where you want to split the region.
4. Swipe down with the Scissors tool.
The region is split into two regions, each with the name of the original region. On split
audio regions, each segment created by splitting has a decimal and a sequential number
added to the end of the region name.
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You can split a region multiple times. To split a region again, move the Scissors tool to a
new position on one of the region segments, then swipe down again.
Note: When you finish splitting regions, tap the Trim button in the Tracks area menu bar to
avoid splitting regions unintentionally with the Scissors tool.
Split a region at the edges of the cycle area
1. In Logic Pro, select a region.
2. Tap the region, tap Split, then tap Split by Locators.
The region is split at the left and right edges of the cycle area. If the region extends
beyond the cycle area in only one direction, it is split into two regions, if it extends
beyond the cycle area in both directions, it is split into three regions.
Join regions
1. In Logic Pro, select the regions.
2. Tap one of the selected regions.
3. Tap Bounce and Join, then tap Join.
Regions being joined must be of the same type (audio, MIDI, Drummer, or pattern) and
must be adjacent to each other on the same track. Joined pattern regions are converted to
a MIDI region.
Stretch regions in Logic Pro for iPad
You can time stretch regions to shorten or lengthen the relative distance between events
in the regions without changing the pitch. Expanding regions increases the distance (the
amount of time) between events in the regions, while compressing regions decreases the
distance.
For example, you can make a region play in half time by stretching it to twice its original
length, or play in double time by shortening it to half its original length.
Time stretch regions
1. In Logic Pro, tap the Stretch button in the Tracks area menu bar.
2. Tap a region to select it.
3. Drag the stretch handle on either the left or right edge of the region to stretch the
region start or region end.
When you time stretch an audio region, the audio is stretched or compressed by the
amount that the region is altered in length, and the original region is replaced with a new
PCM audio file (in the original file format, or AIFF, if the original was not PCM).
Time stretching is limited to the value of the current Tracks area grid setting (in the Snap
pop-up menu).
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Separate a MIDI region by note pitch
You can separate a MIDI region by note pitch, resulting in separate MIDI regions, each
containing the MIDI note events at a single pitch.
Separate a MIDI region by note pitch
1. In Logic Pro, select a region.
2. Tap the region, tap Convert, then tap Separate by Note Pitch.
The MIDI region is separated so that, for each pitch in the region, a separate MIDI region
is created, containing the MIDI note events at that pitch.
Bounce regions in place in Logic Pro for iPad
You can bounce regions in place, creating audio files that are placed at the same position
as the original regions in the Tracks area. Using Bounce in Place, you can bounce regions
of any type. You set the audio file format of the bounce and set additional options in the
Bounce in Place dialog when you create the bounce.
When multiple regions are selected, the result is a single audio file (per track) that extends
from the beginning of the first selected region to the end of the last selected region, plus
any audio tail following the last selected region.
Bouncing in place might seem similar to the Freeze function. Both save CPU power by
rendering all effects (or instrument) plug-ins of a track, but there are several differences:
• Freeze allows you to return to the original state of the tracks and their automation data,
unlike Bounce in Place.
• Freeze (in 32-bit float) safeguards against volume clipping.
Note: A bounce in place is performed offline, not in real time. Audio and software
instrument tracks with internal sound sources can be bounced in place.
Bounce one or more regions in place
1. In Logic Pro, select the region or regions.
2. Tap one of the selected regions, then tap Bounce and Join.
3. Tap Bounce in Place.
4. In the Bounce in Place dialog, edit any of the following parameters:
• Name field: Tap the name, then enter a new name for the bounce file. The default
name is the region name of the first selected region, with the extension _bip added
at the end.
• Destination pop-up menu: Choose the track type on which the bounce file is placed.
The choices are:
• New Track: Creates a new audio track below the selected track and places the
bounce cell on that track.
• Selected Track: Places the bounce cell on the selected track. This option is
available only if an audio track is selected.
• Source pop-up menu: Choose whether the source regions are muted, deleted, or left
in place.
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• Include Effect Plug-ins switch: When selected, all plug-ins on the source track are
included during the bounce process.
• Include Audio Tail in File switch: When selected, the bounce process continues after
the end of the bounce range—either to the end of the cycle or to the end of the
last selected region—until there is no longer any signal. Otherwise, only the bounce
range is bounced.
• Include Audio Tail in Region switch: When selected, the entire bounce file is included
in the bounce region. Otherwise, the bounce region only includes the bounce range.
Note: The Audio Tail in Region switch is available only when the Audio Tail in File
switch is on.
• Include Volume/Pan Automation switch: When selected, volume and pan automation
is performed during the bounce process, affecting the bounce file. Otherwise, the
volume and pan automation is simply copied, not performed.
• Normalize pop-up menu: Choose one of the normalization options:
• On: The bounce files receive full bidirectional normalization.
• Off: The bounce files are not normalized.
• Prevent Overload: The bounce files receive downward normalization in case of
overloads—levels above 0 dB, which would lead to clipping—but no normalization
in case of lower levels.
5. Tap Bounce at the top of the dialog.
Change the gain of audio regions in Logic Pro for iPad
You can edit the gain of regions in the Tracks area to change their apparent loudness
relative to other regions.
Change the gain of an audio region
1. In Logic Pro, select the audio region or regions.
2. Tap the Inspector button to open the inspector.
3. Tap the General disclosure triangle to show General region parameters.
4. Do one of the following:
• Drag the Gain value up or down to change the amount of gain.
• Tap the Gain value, then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
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Create regions in the Tracks area in Logic Pro for iPad
You can create an empty MIDI region or pattern region, or create a Drummer region with a
default pattern on a software instrument track, then edit the region.
Create an empty MIDI region
1. In Logic Pro, select the software instrument track.
2. Tap the background, then tap Create MIDI Region.
Create an empty pattern region
1. In Logic Pro, select the software instrument track.
2. Tap the background, then tap Create Pattern Region.
Create a Drummer region
1. In Logic Pro, select the software instrument track.
2. Tap the background, then tap Create Drummer Region.
Convert a MIDI region to a Drummer region or a pattern
region in Logic Pro for iPad
In Logic Pro, you can convert a MIDI region in the Tracks area to a Drummer region. After
conversion, the region can be edited in the Drummer editor. You can also convert a MIDI
region to a pattern region, and edit the region in Step Sequencer.
Convert a MIDI region to a Drummer region in the Tracks area
• In the Tracks area in Logic Pro, select the MIDI region.
• Tap the selected MIDI region, tap Convert, then tap Convert to Drummer Region.
Convert a MIDI region to a pattern region in the Tracks area
• In the Tracks area in Logic Pro, select the MIDI region.
• Tap the selected MIDI region, tap Convert, then tap Convert to Pattern Region.
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Rename regions in Logic Pro for iPad
By default, recorded regions take the patch name of the track on which they are recorded,
and regions from loops or audio files keep the loop or file name. You can rename regions in
the Tracks area and use region names to keep your projects organized.
When multiple regions are selected, the Name field shows the number of regions in place
of a region name. If you rename the regions with a name ending in a number (example:
Bass 02), the regions will be numbered sequentially starting from that number (Bass 02,
Bass 03, Bass 04, and so on).
Rename a region
1. In Logic Pro, select one or more regions.
2. Tap a selected region, tap Name and Color, then tap Rename.
The inspector opens with the region name selected. If multiple regions are selected, the
number of regions appears in place of the name.
3. Enter a new name.
4. Tap the Return key on the onscreen keyboard.
5. Tap the Inspector button to close the Track inspector.
Rename regions with the track name
1. In Logic Pro, select one or more regions.
2. Tap a selected region, tap Name and Color, then tap Rename Regions by Tracks.
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Change the color of regions in Logic Pro for iPad
You can change the color of regions to identify sections of your arrangement, distinguish
between track types, or for other uses. Newly recorded or added regions use the color
of the track. If you have changed the color of individual regions or added regions of a
different color, you can also color the regions to match the track color.
Change the color of a region
1. In Logic Pro, select one or more regions.
2. Tap the Inspector button in the view control bar to open the inspector.
3. Tap the General disclosure triangle if needed to show General region parameters.
4. Tap the color well, then choose a new color from the Colors palette. You can change the
brightness of the region color by tapping in the Brightness strip at the bottom of the
Colors palette.
Color regions with the track color
1. In Logic Pro, select one or more regions.
2. Tap a selected region, tap Name and Color, then tap Color Regions by Tracks.
Delete regions in Logic Pro for iPad
You can delete regions if you no longer want to use them in a project.
Delete a region
• In Logic Pro, double-tap the region, then tap Delete.
Delete multiple regions
1. In Logic Pro, select the regions.
2. Double-tap one of the selected regions, then tap Delete.
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Create fades on audio regions in Logic Pro for iPad
You can fade in the beginning of audio regions, and fade out the end of audio regions
(including audio Apple Loops) using the Fade Start and Fade End parameters in the
inspector. Fades are visible in the Tracks area when you have zoomed in enough to see the
waveform in the audio region.
You can edit the length of a fade, the fade curve shape, and the fade type. You can also
edit the playback speed of fades using the Speed Up (for fade-ins) and Slow Down (for
fade-outs) Style settings.
Create a fade-in on an audio region
1. In Logic Pro, select one or more audio regions.
2. Tap the Inspector button to open the inspector.
3. Tap the Fade Start disclosure triangle to show region parameters for fade-ins.
Note: Time values for fade-ins are expressed in milliseconds with a maximum fade time
of 10,000 ms (100 seconds).
4. Tap the Style menu, then choose Fade-In (for normal speed) or Speed Up (for a speed-
up effect).
5. To set the length of the fade, do one of the following:
• Drag the Time value up or down to edit the fade length.
• Tap the Time value, then then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
6. Do one of the following to set the fade curve shape:
• Drag the Curve value up or down to edit the fade curve.
• Tap the Curve value, then then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
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Create a fade-out on an audio region
1. In Logic Pro for iPad, select one or more audio regions.
2. Tap the Inspector button to open the inspector.
3. Tap the Fade End disclosure triangle to show region parameters for fade-outs.
Note: Time values for fade-outs are expressed in milliseconds with a maximum fade
time of 10,000 ms (100 seconds).
4. Tap the Style menu, then choose Fade-Out (for normal speed) or Slow Down (for a
slow-down effect).
5. To set the length of the fade, do one of the following:
• Drag the Time value up or down to edit the fade length.
• Tap the Time value, then then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
6. Tap the Type pop-up mend and choose the fade-out type. The choices are:
• Out: Creates a standard fade-out whenever the Fade tool or Fade parameter is used.
• X (Crossfade): Crossfades the selected region with the following region when you
use the Fade tool or Fade parameter.
• EqP (Equal Power Crossfade): Results in an equal power crossfade. This minimizes
volume dips between audio regions, resulting in a more even crossfade between
regions that may be slightly different in level.
• X S (S-Curved Crossfade): Delivers an S-curved crossfade. The fade curve, as the
name suggests, is S shaped.
The last three items in the pop-up menu can only be applied to the first of two
consecutive regions. Also note that the Fade In (and corresponding Curve)
parameters are made redundant when any of the X, EqP, or X S options are chosen.
7. Do one of the following to set the fade curve shape:
• Drag the Curve value up or down to edit the fade curve.
• Tap the Curve value, then then edit the value in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
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Access mixing functions using the Fader in
Logic Pro for iPad
While you are building a project, you sometimes might need to quickly access various
mixing functions for a track, such as checking and adjusting the volume level and pan
position, muting or soloing the track, or changing the audio input or output. You can access
these and other functions for the selected track using the Fader.
The Fader features Solo and Mute buttons, a Pan/Balance knob, a peak level display, and a
Volume fader to control the selected track (when multiple tracks are selected, they control
the focused track). When an audio track is focused, the Fader also includes a Record
Enable button. Above these controls is an Options button which you can use to access
audio routing and other options for the track.
• Options button: Tap the Options button above the controls to edit audio routing and
other options for the track, including Protect and Freeze switches and a Group menu.
• Record Enable button: Tap to enable the track for recording (on audio tracks only).
• Solo button: Tap to solo or unsolo the track.
• Mute button: Tap to mute or unmute the track.
• Pan/Balance knob: Swipe up or down to adjust the track pan position in the stereo field.
• Peak level display: Shows the peak level reached during playback, ranging from green
(below -2dB) through orange (below 0dB) to red (0dB and above). You can reset the
peak level display by tapping it.
• Volume fader and level meter: Drag the handle up or down to adjust the track volume
level. The integrated level meter shows the current level during playback, ranging from
green (below -12dB) through yellow (below -2dB) to red (up to 0dB).
• Track name: Shows the name of the track the Fader controls.
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You can quickly switch between tracks by tapping their track icons in the Tracks area, then
mute and solo them, adjust volume or pan, or change other track options using the Fader.
You can show a second Fader to access the output destination for the selected track, the
aux used by a send on the track, or to show both the main track and a focused subtrack of
a Drum Machine Designer track stack.
When you show a second Fader, it appears to the right of the track Fader. The second
Fader includes the same controls, but does not include an Options button or a Record
Enable button.
Show the Fader
1. In Logic Pro, select a track in the Tracks area. If multiple tracks are selected, make the
track the focused track.
2. Tap the Fader button on the left side of the view control bar.
Edit audio input and output options for the selected track
1. In Logic Pro, tap the Options button on the Fader.
2. Under Audio Routing, tap the Output pop-up menu, then choose an audio output or a
bus.
3. When an audio track is selected, tap the Input pop-up menu, then choose an audio
input. You can also tap Mono, Stereo, Left, or Right to choose the input format for the
track.
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Protect the selected track
You can protect a track to prevent accidental changes. While a track is protected, you can’t
record on the track, edit regions on the track, or create new regions on the track. If you
want to edit the track, you can unprotect it, make the changes, and then protect the track
again.
1. In Logic Pro, tap the Options button on the Fader.
2. Under Further Options, tap the Protect switch.
Freeze the selected track
1. In Logic Pro, tap the Options button on the Fader.
2. Under Further Options, tap the Freeze switch.
For information about freezing tracks, see Freeze tracks.
Add the selected track to a mixer group
1. In Logic Pro, tap the Options button on the Fader.
2. Under Further Options, tap the Group menu, then choose a group or choose Create New
Group.
For information about mixer groups, see Mixer groups.
Enable the selected audio track for recording
1. In Logic Pro, tap the red Record Enable button in the Fader.
Tap the Record Enable button again to deactivate the track for recording.
Mute or solo the selected track
Do one of the following:
• In Logic Pro, tap the Mute button in the Fader.
Tap the Mute button again to unmute the track.
• Tap the Solo button in the Fader.
Tap the Solo button again to unsolo the track.
Adjust pan or balance for the selected track
• In Logic Pro, swipe up or down on the Pan/Balance knob to set the position in the stereo
field.
Tip: To reset the Pan/Balance knob to center position, double-tap it.
For information about setting pan or balance position, see Set channel strip pan or balance.
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Adjust the volume level of the selected track
• In Logic Pro, drag the handle of the Volume fader up or down to change the volume
level.
Tip: To reset the Volume fader to 0dB, double-tap the handle.
The Volume fader features an integrated level meter that shows the output volume for the
track as the project plays. You can watch the level meter to see if clipping occurs on the
track.
Show a second Fader for the output destination of the track
• In Logic Pro, tap the Plug-ins button , then tap Output.
If you switch to another view, the output Fader closes.
Show a second Fader for the aux of a send of the track
• In Logic Pro, tap the Plug-ins button , then double-tap a send tile.
If you switch to another view, the aux Fader closes.
Show a second Fader for a subtrack of a Drum Machine Designer track stack
1. In Logic Pro, tap the main track of a Drum Machine Designer track stack to make it the
focused track.
2. Tap the Play Surface button to open the Play Surface showing the Drum Machine
Designer drum pads.
3. Tap the Edit button in the Play Surface menu bar, then tap a drum pad to select it.
Show a second Fader for the main track of a Drum Machine Designer track stack
1. In Logic Pro, tap a subtrack of a Drum Machine Designer track stack to make it the
focused track.
Note: To show the subtracks of a track stack, tap the disclosure triangle in the track
header of the main track.
2. Tap the Plug-ins button , then tap Output.
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Edit region parameters
Intro to region parameters in Logic Pro for iPad
You can view and edit region parameters for selected regions in the inspector.
Some parameters are common to all region types, while others are available for only some
region types. For example, Quantize parameters appear in the inspector for audio and MIDI
regions, but not for Drummer or pattern regions.
Editing parameters for multiple regions
When multiple regions are selected, the number of selected regions is displayed instead
of the region name. Any changes to region parameters affect all selected regions. If a
parameter has different values in the selected regions, an asterisk (*) appears in place of
the value in the inspector. If you change this parameter for all selected regions by dragging,
the relative difference in value is preserved (relative alteration). To set all selected regions
to the same value, enter the value numerically rather than by dragging (absolute alteration).
View region parameters
1. In Logic Pro, select one or more regions in the Tracks area.
2. Tap the Inspector button in the view control bar.
The inspector opens, showing categories of region parameters. The categories vary,
depending on the region type.
3. Tap the disclosure triangle for the category you want to view.
Parameters appear below the category name, with parameter names on the left and
values on the right.
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Logic Pro for iPad audio region parameters
When one or more audio regions are selected, the following audio region parameters are
available in the inspector.
General audio region parameters
• Name field: Shows the name of the selected region. Tap the name, then enter a new
name. When multiple regions are selected, the number of selected regions appears
instead of the region name.
• Color: Tap to open the Colors palette, then tap a new region color in the Colors palette.
• Mute switch: Tap to mute the selected region or regions to exclude them from playback.
• Loop switch: Tap to loop the region continuously until the next region on the track. See
Loop regions.
• Gain: Drag vertically to set the gain for the audio regions in decibels; or tap, then
edit the value numerically in the numeric input dialog using the Decrement/Increment
buttons, the scroll wheel, or the numeric keypad.
• Transpose: Drag vertically to transpose the pitch of the region in semitones; or tap, then
edit the value numerically in the numeric input dialog using the Decrement/Increment
buttons, the scroll wheel, or the numeric keypad. See Transpose and fine-tune audio
regions.
• Fine Tune: Drag vertically to adjust the pitch of the region in cents; or tap, then edit the
value numerically in the numeric input dialog using the Decrement/Increment buttons,
the scroll wheel, or the numeric keypad. See Transpose and fine-tune audio regions.
• Delay: Drag vertically to adjust the region delay; or tap, then edit the value numerically
in the numeric input dialog using the Decrement/Increment buttons, the scroll wheel, or
the numeric keypad. You can use negative values to have the region play ahead of the
beat.
• Reverse switch: Tap the switch on to have the region play in reverse. The Reverse
parameter is not available if Flex & Follow is turned on in the Region inspector. See
Reverse audio regions.
• Speed pop-up menu: Choose a multiple by which the original speed of the region
changes (audio Apple Loops only). See Change the playback speed of audio regions.
• Follow Tempo switch: Tap to set the region to follow the project tempo. The Follow
Tempo switch is available for regions on audio tracks with the Flex switch set to Off
(audio Apple Loops only).
• Flex & Follow pop-up menu: Choose whether the region follows the project tempo,
whether it aligns with only bars or with bars and beats, or choose Off. The Flex & Follow
pop-up menu is available for regions on audio tracks with the Flex switch set to On. See
Set Flex & Follow options for audio regions.
• Original Tempo: Shows the original tempo at which the region was recorded. See
Change the original tempo of audio regions.
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Quantize audio region parameters
• Quantize pop-up menu: Choose the note value to which note events in the region are
time corrected, or choose Off for no quantization.
• Q-Swing: Set the percentage by which the position of every second point in the current
quantization grid is altered. Values over 50% delay beats, and values under 50% pre-
delay them. The most practical settings fall between 50% and 75%, imparting a swing
feel to strictly quantized or tightly played audio or MIDI regions.
• Q-Strength: Set the percentage value to determine how far a note is shifted toward
the nearest grid position. 100% results in full quantization; 0% leaves the note at its
recorded position.
• Q-Range: Defines which notes are quantized based on their proximity to quantization
grid positions. At the default value of 0, every note is quantized. At positive values, only
notes outside the set range (that is, farther away from the grid position) are quantized,
and notes in the range keep their original position. At negative values, only notes in the
set range are quantized, and notes outside the range remain unchanged. The amount by
which notes shift toward the grid positions depends on the Q-Strength setting.
For example, with Q-Range set to 20 ticks and Q-Strength to 50%, only notes that
are more than 20 ticks off are quantized. Those notes are quantized by 50%, which
improves the timing without making the performance sound mechanical.
Fade Start audio region parameters
Time values for Fade Start parameters are expressed in milliseconds, with a maximum time
value of 99999 ms (100 seconds).
• Style pop-up menu: Choose Fade-In or Speed Up.
• Time: Adjust the start time of the fade in, either by dragging the value up or down, or
by tapping the value, then editing it numerically in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
• Curve: Adjust the start curve of the fade in, either by dragging the value up or down, or
by tapping the value, then editing it numerically in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
Fade End audio region parameters
Time values for Fade End parameters are expressed in milliseconds, with a maximum time
value of 99999 ms (100 seconds).
• Style pop-up menu: Choose Fade-Out or Slow Down.
• Time: Adjust the end curve of the fade in, either by dragging the value up or down, or
by tapping the value, then editing it numerically in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
• Type pop-up menu: Choose a fade type for the fade out. The choices are:
• Out: Creates a standard fade-out whenever the Fade tool or Fade parameter is used.
• X (Crossfade): Crossfades the selected region with the following region when you
use the Fade tool or Fade parameter.
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• EqP (Equal Power Crossfade): Results in an equal power crossfade. This minimizes
volume dips between audio regions, resulting in a more even crossfade between
regions that may be slightly different in level.
• X S (S-Curved Crossfade): Delivers an S-curved crossfade. The fade curve, as the
name suggests, is S shaped.
The last three items in the pop-up menu can only be applied to the first of two
consecutive regions. Also note that the Fade In (and corresponding Curve)
parameters are made redundant when any of the X, EqP, or X S options are chosen.
• End Curve: Adjust the end curve of the fade in, either by dragging the value up or down,
or by tapping the value, then editing it numerically in the numeric input dialog using the
Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
Details audio region parameters
• Position: Shows the region position in bars, beats, division, and ticks. To change the
region position, tap the Position value, tap the unit you want to change, then edit it
numerically in the numeric input dialog using the Decrement/Increment buttons, the
scroll wheel, or the numeric keypad.
• Length: Shows the region length (duration) in bars, beats, division, and ticks. To change
the region length, tap the Length value, tap the unit you want to change, then edit it
numerically in the numeric input dialog using the Decrement/Increment buttons, the
scroll wheel, or the numeric keypad.
• Lock Time Position switch: Tap to lock the time position of the region, so that it cannot
be moved inadvertently.
Logic Pro for iPad MIDI region parameters
When one or more MIDI regions are selected, the following MIDI region parameters are
available in the inspector.
General MIDI region parameters
• Name field: Shows the name of the selected region. Tap the name, then enter a new
name. When multiple regions are selected, the number of selected regions appears
instead of the region name.
• Color: Tap to open the Colors palette, then tap a new region color in the Colors palette.
• Mute switch: Tap to mute the selected region or regions to exclude them from playback.
• Loop switch: Tap to loop the region continuously until the next region on the track. See
Loop regions.
• Velocity: Drag vertically to set a velocity value by which MIDI notes in the region are
offset from their original values; or tap, then edit the value numerically in the numeric
input dialog using the Decrement/Increment buttons, the scroll wheel, or the numeric
keypad.
• Transpose: Drag vertically to transpose the pitch of the region in semitones; or tap, then
edit the value numerically in the numeric input dialog using the Decrement/Increment
buttons, the scroll wheel, or the numeric keypad.
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• Delay: Drag vertically to adjust the region delay; or tap, then edit the value numerically
in the numeric input dialog using the Decrement/Increment buttons, the scroll wheel, or
the numeric keypad. You can use negative values to have the region play ahead of the
beat.
• Dynamics pop-up menu: Choose a value to expand or compress the dynamics (the
difference between loud and soft) by adjusting the velocity range. This works in a
similar way to a compressor or expander. Values above 100% increase the difference
between high and low note velocities, while values below 100% decrease the difference.
The Fixed setting forces all notes to a velocity value of 64. This can be used together
with the Velocity parameter (see above) to set any fixed velocity value.
• Gate Time pop-up menu: Choose a value to modify the duration (length) of notes in the
region, making them either more legato or more staccato. Values below 100% shorten
notes, and values above 100% lengthen notes. The Fixed setting produces extreme
staccato, and the Legato setting produces strong legato regardless of the notes’
original length, eliminating all space between notes.
• Clip Length switch: Tap to alter the length of the last notes in a region directly from the
Tracks area by adjusting the length of the MIDI region. When switched on, any notes
sounding at the region end are abruptly cut off. When switched off, notes are played to
their normal end point, regardless of whether the region end is reached sooner.
Quantize MIDI region parameters
• Quantize pop-up menu: Choose the note value to which note events in the region are
time corrected, or choose Off for no quantization.
• Q-Swing: Set the percentage by which the position of every second point in the current
quantization grid is altered. Values over 50% delay beats, and values under 50% pre-
delay them. The most practical settings fall between 50% and 75%, imparting a swing
feel to strictly quantized or tightly played audio or MIDI regions.
• Q-Strength: Set the percentage value to determine how far a note is shifted toward
the nearest grid position. 100% results in full quantization; 0% leaves the note at its
recorded position.
• Q-Range: Defines which notes are quantized based on their proximity to quantization
grid positions. At the default value of 0, every note is quantized. At positive values, only
notes outside the set range (that is, farther away from the grid position) are quantized,
and notes in the range keep their original position. At negative values, only notes in the
set range are quantized, and notes outside the range remain unchanged. The amount by
which notes shift toward the grid positions depends on the Q-Strength setting.
For example, with Q-Range set to 20 ticks and Q-Strength to 50%, only notes that
are more than 20 ticks off are quantized. Those notes are quantized by 50%, which
improves the timing without making the performance sound mechanical.
• Q-Flam: Notes with the same time position (chords) are spread out by this parameter.
Positive values produce an ascending (upward) arpeggio; negative values a descending
(downward) arpeggio. The position of the first note (either the bottom or top note,
assuming all notes start at the same position) in the arpeggio is unaltered.
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• Q-Velocity: When used with a groove template, this parameter (expressed as a
percentage) determines the amount that the velocity values of quantized notes are
affected by the velocity values of a template MIDI region. At a value of 0%, the notes
retain their original velocity. At 100%, they adopt the velocity values of the template.
Negative values alter the velocity, making the deviation from the template even greater.
• Q-Length: When used with a groove template, this parameter (also expressed as a
percentage value) determines how the lengths of quantized notes are affected by
the equivalent note lengths (notes at the same position) of a template MIDI region.
A value of 0% has no effect, while at 100%, the notes adopt the exact note lengths
of the template region. Negative values alter note lengths further, resulting in a more
significant deviation from the template.
• Q-Algorithm pop-up menu: Choose a quantization algorithm to use for the region. The
choices are:
• Classic Quantize quantizes MIDI notes to the nearest beat using the current Quantize
setting and any advanced Quantize parameters.
• Smart Quantize works similarly to Flex Time for audio regions. MIDI events near
grid positions (defined by the Q-Range setting) are analyzed. Based on a combined
weighting of proximity to the target grid position and velocity, a reference point
(“center of gravity”) is set for each group, and moved to the target grid positions. All
(nearby) MIDI events move proportionally to the reference point. How far each event
moves is determined by the Q-Strength setting. Unlike Classic Quantize, all MIDI
events keep their original order, similar to an audio region edited using Flex Time.
This includes not only notes but also all MIDI data types (such as Pitch Bend and
Control Change events).
In many cases, Smart Quantize can produce more natural-sounding results than
Classic quantization. For example, in a MIDI piano performance, the notes of quickly
arpeggiated chords keep their relative positions, as do sustain pedal (on/off) events.
Another useful situation is in MIDI drum performances that need some quantizing,
but where Classic quantization would distort rolls, flams, and other notes not played
strictly on the beat (and also possibly the relative position of Hi-Hat on/off events).
In both cases, Smart Quantize keeps the relative position of note on, note off, and
CC events.
Details MIDI region parameters
• Position: Shows the region position in bars, beats, division, and ticks. To change the
region position, drag a Position unit vertically or tap the Position value, then edit the
value numerically in the numeric input dialog using the Decrement/Increment buttons,
the scroll wheel, or the numeric keypad
• Length: Shows the region length (duration) in bars, beats, division, and ticks. To change
the region length, drag a Length unit vertically or Tap the Length value, then edit the
value numerically in the numeric input dialog using the Decrement/Increment buttons,
the scroll wheel, or the numeric keypad
• Lock Time Position switch: Tap to lock the time position of the region, so that it cannot
be moved inadvertently.
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Logic Pro for iPad Drummer region parameters
Drummer regions share the same parameters as MIDI regions, with the following
exceptions:
• General parameters: Drummer regions have no Velocity, Transpose, Dynamics, Gate
Time, or Clip Length parameter.
• Quantize parameters: Drummer regions have no Quantize parameters.
Logic Pro for iPad pattern region parameters
Pattern regions share the same parameters as MIDI regions, with the following exceptions:
• General parameters: Pattern regions have no Clip Length parameter.
• Quantize parameters: Pattern regions have no Quantize parameters.
Set region defaults in Logic Pro for iPad
In a Logic Pro for iPad project, each region type (audio, Drummer, MIDI, and pattern) has a
set of default parameter values that apply to newly created regions. You can view and edit
the defaults for each region type in the inspector.
View and edit region default parameter values
1. In the Tracks area in Logic Pro, select a region of the type for which you want to set
default values.
2. Tap the Inspector button in the view control bar to open the inspector.
3. In the inspector, choose Region Defaults from the Level pop-up menu.
Default parameter values for the selected region type appear in the inspector. In the
Level pop-up menu, the selected region type appears below Region Defaults.
4. Edit default values for any region parameters.
5. When you’re done, tap the Inspector button again to close the inspector.
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Create with Live Loops
Intro to Live Loops in Logic Pro for iPad
Live Loops lets you arrange and play with musical ideas in real time in a grid of cells, each
containing a musical phrase or loop. You can start and stop cells freely while keeping
everything in sync with the beat and the project tempo. Each grid row uses the same
signal routing and channel strip settings as the adjacent track in Tracks view. Cells in grid
columns, called scenes, can be triggered together to act as musical sections. An extensive
set of editable parameters gives you full control over playback, recording, and looping, so
you can take your music in new creative directions.
Buttons in the far right column show the status of playing or queued cells on each track.
You can use the buttons to pause, start, or stop cells individually or all at once. You can
also use the buttons to switch playback between cells in Live Loops and regions in Tracks
view. See How the Live Loops grid and Tracks area interact.
You can record to both audio and MIDI cells, add regions or Apple Loops to the Live Loops
grid, and record a Live Loops performance as regions to the Tracks area. Logic Pro provides
several starter grids containing instruments and prerecorded cells to help you get started.
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Editing modes
There is a group of four function buttons in the Live Loops menu bar that you use to switch
modes for various editing tasks:
• Cell Trigger mode: Tap the Cell Trigger button to turn on Cell Trigger mode. In this
mode, tapping cells and scenes triggers them to start or stop playing.
• Cell Queue mode: Tap the Cell Queue button to turn on Cell Queue mode. You can
queue cells and scenes to start playing when project playback starts or when you want
cells in different scenes to start at the same time.
• Cell Record mode: Tap the Cell Record button to turn on Cell Record mode. Use this
mode to record Audio or MIDI to cells.
• Cell Edit mode: Tap the Cell Edit button to turn on Cell Edit mode. In this mode, you
can select cells and scenes and edit various parameters for playback and recording.
To momentarily switch to a specific mode, touch and hold a function button with one finger,
perform a task with another gesture, and then release the button. For example, while in
Cell Trigger mode, you can touch and hold the Cell Queue button with one finger, tap one
or more cells with another finger to queue them, and then release your finger from the Cell
Queue button. See Work with function buttons.
Show the Live Loops grid
• In Logic Pro, tap the Grid View button .
Create a Live Loops project
1. In Logic Pro, tap the Projects Browser button on the left side of the control bar.
2. In the Projects browser, do either of the following:
• Tap the New Project button at the top right of the screen.
• Tap “Create Project” at the top of the list.
Note: This option is not available when viewing Recents in the Projects browser.
3. In the New Project Chooser, do either of the following:
• Tap Live Loops under the New Empty Project header.
• Tap a Live Loops starter grid under Live Loops Grids.
You can also add Live Loops to any existing project by showing the Live Loops grid and
adding cells.
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Start and stop Live Loops cells in Logic Pro for iPad
You can start and stop cells individually, or start and stop all the cells in a scene (a column
in the grid) simultaneously. Only one cell can play on a track at any time. You can queue
one or more cells in different scenes and trigger them to play together. While a cell is
playing, a circular indicator in the middle of the cell shows the current playback position. If
cell looping is turned off, a rectangular indicator shows the current playback position.
The point in time when a cell starts or stops is determined by the Quantize Start value.
Quantize Start ensures that cells start at musically meaningful positions (beats or bars),
so they are in sync with other cells and the project playhead position. You can change the
Quantize Start value for the grid, for scenes, or for individual cells. Triggered cells flash to
indicate that they are queued to start at the next quantize start point.
If you trigger a cell too late to start at the desired quantize start point, it starts playing
at the next quantize start point. The cell will still be in sync with the project tempo, but
it might lead to undesirable musical results, especially when cells are following a short
Quantize Start value. Smart Pickup ensures that cells start immediately at the correct
position, even when triggered slightly late. However, this can result in the beginnings of
the cells being skipped in order to ensure that the cells are at the correct position when
they start playing. In order to avoid this and ensure that cells start playing from the Start
position set in the Cell inspector, turn Smart Pickup off and trigger cells with enough time
before the upcoming quantize start point.
Cells in the Live Loops grid play at the project tempo. Apple Loops added to cells
automatically play at the project tempo, as do any audio files containing tempo information.
When you add an audio file without tempo information to a cell, Logic Pro analyzes the
tempo of the audio file and adjusts the file to the project tempo. You can manually edit
regions and automation in the Cell Editor.
By default, when a cell is playing on a track that contains regions in the Tracks area, the
regions on that track are silent. You can change this behavior using the buttons in the
Divider column. See How the Live Loops grid and Tracks area interact.
Start cells
In Logic Pro, tap the Cell Trigger button in the Live Loops menu bar to turn on Cell
Trigger mode, then do any of the following:
• Start a cell: Tap a cell.
• Start all the cells in a scene: Tap a Scene trigger .
• Start all selected cells: With a keyboard connected to your iPad, press Return.
• Start all queued cells: Tap any queued cell.
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Stop cells
In Logic Pro, do any of the following:
• Stop playback of a cell:
• Tap a playing cell.
• Tap an empty cell on the same track as the one playing.
• Stop playback of all cells at the next quantize start point:
• Tap the Grid Stop button at the bottom of the Divider column.
If you tap the Grid Stop button while cells are playing, the cells stop at the next
quantize start point, but the project continues to play.
• Tap the Scene trigger below an empty scene.
• Stop playback of all cells immediately: Tap the Stop button in the control bar.
• Stop playback of all selected cells: With a keyboard connected to your iPad, press
Return.
Queue cells and scenes
You can queue cells and scenes to start playing when project playback starts or when you
want cells in different scenes to start at the same time. Playing cells are automatically
queued when you stop project playback. When cells are queued, you can move the project
playhead and trigger the queued cells at a different project position.
• In Logic Pro, tap the Cell Queue button in the Live Loops menu bar, then do any of
the following:
• Queue cells: Tap the cells you want to queue.
• Queue a scene: Tap the scene trigger for the scene you want to queue.
The queued cells start flashing.
Trigger queued cells
• Do any of the following:
• In Cell Queue mode, tap the Restart button in the lower right corner of the Live
Loops grid.
• In Cell Trigger mode, tap any of the queued cells.
• Tap the Play button to start project playback.
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Set the Quantize Start value
You can set the Quantize Start value for the entire Live Loops grid, for a scene, or for
individual cells, and change it while cells are playing. When you trigger a scene, all cells
in the scene use the Quantize Start value for that scene. When you start or stop individual
cells, each cell uses its own Quantize Start value.
• To set the Quantize Start value for the Live Loops grid: Tap the Quantize Start pop-up
menu near the upper-right corner of the grid, then choose a new value from the menu.
• To set the Quantize Start value for a scene:
• Tap the Cell Edit button in the Live Loops menu bar, then select one or more
scenes.
• Tap the Inspector button to open the Scene inspector.
• Tap the value for Q Start, then choose a new value from the menu.
• To set the Quantize Start value for cells:
• Tap the Cell Edit button in the Live Loops menu bar, then select one or more cells.
• Tap the Inspector button to open the Cell inspector, then tap the Play disclosure
arrow.
• Tap the value for Q Start, then choose a new value from the menu.
In addition to bar and beat values, you can also choose the following Quantize Start values:
• Global: The cell or scene follows the Quantize Start value of the grid. This is the default
setting for cells and scenes, and probably the best choice for most situations.
• Cell End: If another cell in the same row is playing, the triggered cell starts when the
playing cell reaches the end of the loop.
• Off: Cells start and stop when you tap them, regardless of the Quantize Start value.
Note that this can lead to cells playing out of sync.
Turn on Smart Pickup
When Smart Pickup is on and you trigger cells or a scene slightly past the quantize start
point, cells start immediately at the correct position instead of at the next quantize start
point. This can result in the beginnings of the cells being skipped in order to ensure that
the cells are at the correct position when they start playing.
• Tap the Quantize Start pop-up menu near the upper-right corner of the grid, then
choose Smart Pickup from the menu.
Set the trigger mode for cells
The trigger mode determines how a cell starts and stops when you tap it. Both actions are
subject to the Quantize Start value. You can choose from three trigger modes:
• Start/Stop: Cells start and stop playing when you tap them in Cell Trigger mode.
• Momentary: Cells start playing at the next quantize start point when you touch them,
and stop playing when you let go.
• Retrigger: If a cell is playing and you tap it again, it starts playing from the beginning
at the next quantize start point. Cells set to Retrigger can be stopped only by tapping
another cell or empty cell in the same row, by tapping the progress indicator in the
Divider column, or by stopping the entire grid.
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1. Tap the Cell Edit button , then tap a cell to select it.
2. Tap the Inspector button in the view control bar to open the Cell inspector.
3. In the Cell inspector, tap the Play disclosure arrow to view the Play settings.
4. Tap the Trigger Mode pop-up menu, then choose a trigger mode.
Change the start behavior of a cell
The Play From setting determines the start behavior of a cell. By default, cells start playing
from the Start position. However, depending on the content and timing of your music, you
can choose other start behavior settings to create interesting transitions between cells.
You can choose from four settings:
• Start: The cell starts at the position determined by the set Start position.
• Stop Position: The cell starts playing from the point where it last stopped, similar to
Play/Pause.
• Playing Cell Position: If another cell in the same row is playing, the cell starts playing
from the position where the first cell stops. Otherwise, the cell starts from the Start
position.
• Playhead Position: The cell starts from the position where it would be if it had been
playing from the beginning of the project. Otherwise, the cell starts from the Start
position.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then select one or
more cells.
2. Tap the Inspector button in the view control bar to open the Cell inspector.
3. In the Cell inspector, tap the Play disclosure arrow.
4. Tap the Play From pop-up menu, then choose a setting.
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Work with Live Loops cells in Logic Pro for iPad
You can add regions or loops to cells in the Live Loops grid, as long as the region or loop
matches the track type for the track containing the cell. For example, you can add audio
regions to cells on audio tracks, and MIDI, pattern, and Drummer regions to cells on
software instrument tracks.
You can convert Drummer and pattern cells to MIDI cells to allow for precise editing not
available in Drummer or Step Sequencer. You can also extract loops from audio cells, with
optimal loop start and end points set by Logic Pro.
In addition to adding regions to cells, you can record to Live Loops cells, and record a Live
Loops performance as regions to the Tracks area. You can also copy cells to the Tracks
area, as well as copy and paste entire scenes to the playhead position in the Tracks area.
When copying cells to the Tracks area, take care to match the track type to the cell type
(for example, you can paste audio cells only to audio tracks).
When you add an audio file without tempo information to a cell, Logic Pro analyzes the
tempo of the audio file.
If you plan to record audio without a constant tempo to a cell, it is recommended that you
record the audio to an audio track in the Tracks area using the Smart Tempo functions in
Logic Pro. Once the audio region is tagged with correct tempo information, you can add the
region to an audio cell and have it play at a constant tempo.
If you want to import files into Live Loops, you can drag them into Logic Pro from the Files
app in Slide Over. See Import media.
Add loops from the Browser to the Live Loops grid
1. In Logic Pro, tap the Browser button , then tap Loops.
2. Do any of the following:
• Touch and hold a loop, then drag it to a cell in the Live Loops grid.
• Tap a loop to select it, drag the patch slowly to the left, then tap the Add button .
The loop is added to the first empty cell on the selected track.
• Tap a loop to select it, drag the patch slowly to the left, then tap the Replace button
.
The loop replaces the selected cell in the Live Loops grid. If multiple cells are
selected, the first cell is replaced.
For more information, see Add Apple Loops to your project and Find sounds in the Browser.
Copy regions from the Tracks area to the Live Loops grid
1. In the Logic Pro Tracks area, select one or more regions.
If you selected multiple regions, make sure the Multiple Select button is off before
going to the next step.
2. Tap one of the selected regions, tap Edit, then tap Copy Regions to Live Loops.
The regions are copied to a new scene in the Live Loops grid.
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Create new tracks when dragging items in the Live Loops grid
You can create a new track when you drag items (for example, cells, Apple Loops, or files
from the Files app) to the Live Loops grid.
• Drag the items to the empty area below the Live Loops grid.
Copy and paste regions to cells in the Live Loops grid
1. In the Logic Pro Tracks area, select one or more regions.
If you selected multiple regions, make sure the Multiple Select button is off before
going to the next step.
2. Tap any of the selected regions, then tap Copy in the menu.
3. Tap the Grid View button to view the Live Loops grid.
4. Tap the Cell Edit button in the Live Loops menu bar, select a cell where you want to
paste the regions, tap the cell again, then tap Paste in the menu.
If you copy one region, you can paste it only to a cell on a track of the same type. If you
copy multiple regions, you can paste them only to cells on the same tracks where the
original regions are located.
Copy regions within the cycle range to Live Loops
• In Logic Pro, turn on Cycle mode in the Tracks area, then set the left and right locators
to the desired position.
• Tap the More button in the Tracks area menu bar, then tap Copy Section to Live
Loops.
Convert Drummer and pattern cells to MIDI cells
You can convert Drummer cells and pattern cells to MIDI cells, either to edit individual
notes of a Drummer performance or to perform edits not possible in Step Sequencer.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, select the Drummer
or pattern cell you want to convert, then tap it again.
2. Tap Convert in the menu, then tap Convert to MIDI Cell.
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Extract loops from audio cells
Logic Pro can analyze the musical and sonic characteristics of a longer audio file in an
audio cell and extract the best-sounding loops to empty cells (up to 10) on the same track.
You can choose the length of loops you want to extract, or let Logic Pro extract the best
loops of any size.
Logic Pro examines only the detected downbeat positions for potential loop start points.
However, you can always manually change the resulting loop points, if necessary.
To work effectively, loop extraction requires audio containing repetitions and accurate
tempo information.
The loop extraction algorithm looks for loop points that deliver a smooth transition from
loop end to loop start. Those loop points may not necessarily coincide with the musical
structure of the analyzed audio.
• In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, double-tap an audio
cell, then choose any of the following from the Extract Loops submenu:
• Set Optimal Full Loop: Extracts the longest loop within the selected cell.
• Extract Best 2-Bar Loops: Determines the best two-bar loops and copies them to the
next empty cells to the right.
• Extract Best 4-Bar Loops: Determines the best four-bar loops and copies them to
the next empty cells to the right.
• Extract Best 8-Bar Loops: Determines the best eight-bar loops and copies them to
the next empty cells to the right.
• Extract Best Loops of Any Size: Determines the best loops of any size throughout the
audio file and copies them to the next empty cells to the right.
Loop extraction is disabled if:
• The cell is empty or contains multiple regions.
• The region in the cell is shorter than two bars.
• Flex & Follow in the Cell inspector is turned off.
• The cell contains Apple Loops.
• Multiple cells are selected.
Create new cells
You can create new cells and then edit them in the Cell Editor or record audio and MIDI.
Software instrument tracks can contain MIDI, Drummer, and pattern cells.
• In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then do any of the
following:
• To create an audio cell: Double-tap an empty cell on an audio track, then choose
Create Cell.
• To create a MIDI cell: Double-tap an empty cell on a software instrument track, then
choose Create MIDI Cell.
• To create a pattern cell: Double-tap an empty cell on a software instrument track,
then choose Create Pattern Cell.
• To create a Drummer cell: Double-tap an empty cell on a software instrument track,
then choose Create Drummer Cell.
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Copy a cell from the Live Loops grid to the Tracks area
You can copy cells in the Live Loops grid and paste them as regions to the Tracks area.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, select a cell, tap it
again, then choose Copy from the menu.
2. Tap the Tracks View button to view the Tracks area.
3. Drag the playhead to the position where you want the pasted region to start.
4. Tap the track lane of the track where you want to paste the cell, then tap Paste at
Playhead.
If a track already contains a region at the position where you paste the cell, it is replaced or
overlapped with the resulting new region.
Copy a scene to the Tracks area
1. In the Tracks area in Logic Pro, drag the playhead to the position where you want to
paste cells in the scene as regions.
2. Tap the Grid View button to view the Live Loops grid.
3. In the Live Loops grid, tap the Cell Edit button in the Live Loops menu bar, double-
tap the Scene trigger of the scene you want to copy, then choose one of the
following from the menu:
• Insert Scene at Playhead: Shifts the content of all tracks right of the playhead by the
length of the inserted scene.
• Copy Scene to Playhead: Copies the scene as regions to the playhead position.
WARNING: When you copy a scene to the playhead position, any existing regions are
overwritten or overlapped.
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Record to cells
Record to Live Loops cells in Logic Pro for iPad
You can record to an audio or MIDI cell, even while other cells are playing. The settings
for audio signal flow, software instruments, and the metronome are the same as when you
record regions in the Tracks area.
Recording to cells is done in Cell Record mode. When Cell Record mode is on, Record
buttons appear on audio and MIDI cells in the grid. Tapping a cell triggers it to start
recording at the next quantize start point. If the quantize start is longer than one bar,
recording begins at the next bar.
You can set the length of the recording to a predefined value (determined by the cell
length); otherwise the cell length is set to the nearest bar (default) or beat when you
trigger the cell to stop recording.
When the end of the recording is reached, you can automatically loop what you just recorded,
continue recording multiple takes to the cell, or merge software instrument performances.
There are three main parameters you can use to control cell recording behavior:
• Recording: Determines what happens to existing cell content when you record in
a cell. You can replace the previous performance with the current one, record new
performances to a take folder, or, for software instruments, merge the performances.
• Rec-Length: Determines the duration of the recording. You can set it to match the Cell
Length value, or manually set it to the next bar or beat while recording.
• At Rec-End: Determines what happens when the Record-Length is reached. You can
set it to immediately play back what you record, continue recording multiple takes of a
performance, or merge multiple software instrument performances, depending on the
Recording setting.
Note: You can’t record to Drummer or Pattern cells.
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Turn on Cell Record mode
• In Logic Pro, tap the Cell Record button in the Live Loops menu bar.
Set the recording mode
The recording mode determines what happens to existing cell content when you record
to a cell. You can replace a previous recording or create multiple takes. With MIDI cells,
you can also record continuously in a loop, merging each pass in a single cell. This can
be useful for creating drum patterns or melodies on the fly. You can choose one of three
recording modes:
• Takes: Each new recording is added to a take folder in the cell. After recording, you can
preview the takes and choose the one you want to use in the cell.
• Merge: Each new recording merges with the previous recording.
This mode is available only when recording to MIDI cells.
• Replace: Each new recording replaces the previous recording.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, select the cell you
want to record to, then tap the Inspector button .
2. Tap the Record disclosure arrow, then choose a mode from the Recording pop-up menu.
Set the Rec-Length parameter
You can set the length of the cell recording using the Rec-Length parameter. You can
choose from the following settings:
• Cell Length: The length of the recording is determined by the Cell Length value under
the Play settings in the Cell inspector.
• Automatic (Bars): The length of the recording is set to the nearest bar when you tap the
cell while recording.
• Automatic (Beats): The length of the recording is set to the nearest beat when you tap
the cell while recording.
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1. In Logic Pro, tap the Cell Edit button , select the cell you want to record to, then tap
the Inspector button .
2. Tap the Rec-Length setting, then choose another setting from the menu.
Set the At Rec-End action
The At Rec-End action determines what happens at the end of a recording pass. Depending
on how you set this up, it can be useful for recording multiple takes of a performance, or
for merging multiple performances when recording a software instrument. You can choose
either of the following settings:
• Change to Play Mode: At the end of the recording, Live Loops stops recording and the
cell immediately begins playing the performance you just recorded.
• Continue Recording: At the end of the recording, Live Loops continues recording and
overwrites the previous recording, creates takes, or merges each subsequent recording,
depending on the recording parameter. When Continue Recording is selected and the
Rec-Length parameter is set to Automatic, a Plus button (+) is visible in the middle
of the cell while the cell is recording. Tapping the button sets the Rec-Length to the
nearest bar or beat and starts the next recording pass.
1. In Logic Pro, tap the Cell Edit button , select the cell you want to record to, then tap
the Inspector button .
2. In the Cell inspector, Tap the At Rec-End setting, then choose another setting from the
menu.
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Record to a cell
1. In Logic Pro, set up your audio or software instrument track for recording.
2. If you are recording a software instrument, open the Play Surface you want to use.
3. Set the metronome and count-in for recording if desired.
4. Tap the Cell Edit button, select the cell you want to record to, and then set the
parameters for Recording, Rec-Length, and At Rec-End in the Cell inspector if
necessary.
5. Tap the Cell Record button, then tap the cell you want to record to.
Recording starts. If cells are already playing, recording starts at the next quantize start
point.
6. Play, sing, or otherwise create the sound you want to record.
If Rec-Length is set to Cell-Length and the recording reaches the end of the cell,
either the cell starts playing back or the recording loops to the beginning of the cell,
depending on the At Rec-End setting.
7. If Rec-Length is set to Automatic (Bars) or Automatic (Beats), tap the cell to set the cell
length to the nearest bar or beat.
The cell starts playing back, or the recording loops to the beginning of the cell,
depending on the At Rec-End setting.
Tip: If you are in Cell Trigger mode, you can touch and hold the Cell Record button, tap
a cell to start recording, and then let go of the Cell Record button to return to Cell Trigger
mode. If Rec-Length of the recording cell is set to Automatic (Bars) or Automatic (Beats),
you can tap the cell in Cell Trigger mode to trigger the end of cell recording.
Set recording defaults for cells by type
In some cases it can be convenient to set the default parameters for Recording, Rec-
Length, and At Rec-End for cells before recording. You can set defaults for all cells of a
particular type (audio or MIDI) to suit your workflow.
1. Tap the Cell Edit button , then tap a cell of the type for which you want to set the
defaults.
2. Tap the Inspector button , tap the Level menu, then tap Cell Defaults.
3. Set the default values, including default cell length, recording settings, or quantize
value for MIDI recordings.
Note: Some default settings you make in the Cell inspector apply to both newly
recorded cells and regions of the specified type.
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Record and edit takes in cells in Logic Pro for iPad
When you set the Recording parameter to Takes, each new recording in a cell creates a
new take. If a cell contains takes, a take symbol is displayed in the lower-left corner of the
cell. You can choose and preview each take individually, even while the cell is playing. You
can also rename, delete, flatten, move, and copy takes.
Open the Takes menu
• In Logic Pro, tap the Cell Edit button , tap a cell containing takes to select it, tap it
again, then tap Takes in the menu.
Preview takes in a cell
1. In Logic Pro, open the Takes menu, then tap the take you want to hear.
2. Touch and hold the Cell Trigger button in the Live Loops menu bar to momentarily
switch to Cell Trigger mode, then tap the cell to hear the take.
3. Let go of the Cell Trigger button to return to Cell Edit mode.
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Rename takes
1. In Logic Pro, open the Takes menu, then choose the take you want to rename.
2. Open the Takes menu again, then tap Rename Take.
3. Enter the new name in the dialog that appears, then tap Rename.
Delete takes
1. In Logic Pro, open the Takes menu, then choose the take you want to delete.
2. Open the Takes menu again, then tap Delete Take.
Copy and move takes
You can copy or move takes to other cells, scenes, or tracks.
1. In Logic Pro, open the Takes menu, then choose the take you want to copy or move.
2. To copy a take, open the Takes menu again, then choose any of the following from the
“Copy Take to” submenu:
• New Scene: Copies the currently selected take to a new scene.
• Next Empty Cell Right: Copies the take to the next empty cell to the right.
• New Track: Copies the take to a new track below the current track.
• Next Matching Empty Cell Below: Copies the take to the next empty cell on the same
kind of track below.
3. To move a take, open the Takes menu again, then choose any of the following from the
“Move Take to” submenu:
• New Scene: Moves the currently selected take to a new scene.
• Next Empty Cell Right: Moves the take to the next empty cell to the right.
• New Track: Moves the take to a new track below the current track.
• Next Matching Empty Cell Below: Moves the take to the next empty cell on the same
kind of track below.
Unpack a take folder
You can unpack a cell take folder to other cells, scenes, or tracks.
• In Logic Pro, open the Takes menu, then choose one of the following from the “Unpack
Take Cell to” submenu:
• New Scenes: Unpacks each take to a new scene.
• Next Empty Cells Right: Unpacks each take to the next empty cells to the right.
• New Tracks: Unpacks each take to a new track below the current track.
• Next Matching Empty Cells Below: Unpacks each take to the next empty cell on the
same kind of track below.
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Change loop settings for cells in Live Loops for
Logic Pro for iPad
When you turn on Cell Edit mode and select a cell, you can change the loop settings in the
Cell inspector. You can create interesting variations by changing the following settings:
• Start: Determines the initial starting position of the cell. By default, this is the same
as the Loop Start setting, but you can change it so the cell starts at a different place
initially than when it loops. This setting is ignored if the Play From setting is set to a
value other than Start, or if the Quantize Loop Start position is set to On.
• Loop Start: Determines the position in the cell where the loop starts after the initial start
and playback of the cell. For example, if you have a cell containing a four-bar piece of
musical material, you can change the Start setting so the loop initially starts at the first
bar, then plays from the third bar on each time it loops.
• Loop Length: Determines the length of the loop. Changing the Loop Length value can be
useful when you want to loop only a particular portion of a cell.
• Cell Length: Determines the overall length of the cell. This can be longer than the
amount of musical material contained in the cell. When the Loop switch is set to Off, the
cell plays to the end of the cell length, then stops.
You can also change these settings graphically for audio and MIDI cells in the Cell Editor.
See Work in the Cell Editor.
Open loop settings in the Cell inspector
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, select a cell, then
tap the Inspector button .
The Cell inspector opens.
2. In the Cell inspector, tap the disclosure arrow next to Play.
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Change the start position of a cell
1. In Logic Pro, open the loop settings in the Cell inspector, then do one of the following:
• Tap the start position, then enter a new value. Tap Done when you’re finished.
• Drag the specific position unit vertically.
Change the loop start position of a cell
• In Logic Pro, open the loop settings in the Cell inspector, then do one of the following:
• Tap the loop start position, then enter a new value. Tap Done when you’re finished.
• Drag the specific position unit vertically.
Change the loop length of a cell
• In Logic Pro, open the loop settings in the Cell inspector, then do one of the following:
• Tap the Loop Length setting, then enter a new value. Tap Done when you’re finished.
• Drag the specific position unit vertically.
Change the cell length
• In Logic Pro, open the loop settings in the Cell inspector, then do one of the following:
• Tap the Cell Length setting, then enter a new value. Tap Done when you’re finished.
• Drag the specific position unit vertically.
Set the Quantize Loop Start position
If the start and loop start positions are different, you can choose which position should hit
an upcoming quantize start point when you trigger a cell. This can be useful if the start
position is set to an upbeat position, for example.
• In Logic Pro, select one or more cells, tap the disclosure arrow next to Play in the Cell
inspector, tap the Q Loop Start pop-up menu, then choose one of the following settings:
• Off: The cell starts playing from the start position when the upcoming quantize start
point is reached.
• On: The cell starts playing as soon as possible, so that the loop start position is
reached at the next upcoming quantize start position. Some content after the start
position may be skipped.
• On, Preserve Start: The cell always starts playing from the start position, so that
the loop start position is reached at the upcoming or any following quantize start
position. The cell may start later but plays all content between the start and loop
start positions.
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Turn off cell looping
• In Logic Pro, select one or more cells, open the Cell inspector, then tap the Loop switch.
The circular waveform in the cell changes to a linear shape. When the cell starts, it
plays once to the end of the cell length, then stops (one-shot).
How the Live Loops grid and Tracks area interact in
Logic Pro for iPad
On each track in Logic Pro for iPad, you can listen to either a cell in the Live Loops grid or
a region in the Tracks area—never both simultaneously. When you start a cell, any regions
on the same track become inactive. When you stop a cell, the regions are not immediately
reactivated; you need to tap buttons in the Divider column to do this.
You can also pause cells and activate regions on the same track simultaneously. The
Divider column shows circular indicators next to tracks where cells are playing. When
cells are stopped, the Track Activation buttons in the Divider column indicate with a solid
arrow whether the cells or regions are activated. If you have a combination of tracks with
activated cells and regions, both arrows of the Track Activation button at the top of the
Divider column are hollow.
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When you trigger cells while the project is stopped, the playhead starts. If the playhead
starts from a quantize start point, the cells start playing immediately; otherwise, they start
when the playhead reaches the next quantize start point.
If the playhead reaches the Project End marker while cells are playing, the playhead stops
and the cells continue playing.
If you are only using Live Loops in your project, it is recommended to turn on Cycle mode.
However, it is important to turn it off when you record a Live Loops performance.
Activate regions on an individual track
In Logic Pro, do the following:
• If a cell is not playing on the track, tap the Track Activation button for the track in
the Divider column.
If the project is playing, the region on the track is immediately audible. Otherwise, you
hear the region on the track when you start project playback. To reactivate the cell, tap
the Track Activation button again in the Divider column or play the cell.
• If a cell is playing on the track, tap the circular indicator in the Divider column for that
track to stop the cell, then tap the Track Activation button .
• If a cell is playing on the track and you are in Cell Queue mode, tap the circular indicator
in the Divider column for that track.
At the next quantize start point, the cell pauses and the regions on the track are
audible. To restart the cell, tap the circular indicator in the Divider column for that track,
or tap the queued cell.
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Activate regions on all tracks
• In Logic Pro, do the following:
• If multiple cells are playing, tap the Grid Stop button at the bottom of the Divider
column, then tap the Track Activation button at the top of the Divider column.
• If no cells are playing, tap the Track Activation button at the top of the Divider
column.
If the project is playing, any regions in the Tracks area are immediately audible. To
reactivate the cells, tap the Track Activation button again in the Divider column.
• While cells are playing: If multiple cells are playing while in Cell Queue mode, tap the
Pause button at the bottom of the Divider column.
At the next quantize start point, the cells queue and the regions are audible. To
restart the queued cells, tap the Restart button at the bottom of the Divider
column, or tap the button in the Divider column on any track.
Edit Live Loops cells in Logic Pro for iPad
You can arrange and edit cells in the Live Loops grid in a variety of ways. When you turn
on Cell Edit mode, you can select, cut, copy, and paste cells; move cells; delete cells; and
change cell settings. If you use an external computer keyboard with your iPad, you can use
keyboard shortcuts to perform many of these editing functions. See Keyboard shortcuts
overview.
In Cell Edit mode, you can’t start or stop playback of cells, but you can edit cells that are
already playing. You can change most settings for selected cells in the Cell inspector.
When you select a single cell, the name of the cell is visible near the top of the Cell
inspector; when you select multiple cells, the number of selected cells is visible.
You can use the Cell Editor to view and edit the regions in cells, similar to how you edit
regions in the Piano Roll Editor, Audio Editor, Step Sequencer, and Drummer Editor.
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Turn on Cell Edit mode
• Tap the Cell Edit button in the Live Loops menu bar.
Select cells in the Live Loops grid
• In Logic Pro, turn on Cell Edit mode, and do either of the following:
• Select a single cell: Tap a cell.
• Select multiple cells: Do any of the following:
• Tap the Multiple Select button , then tap cells to select them.
In order to edit the cells you selected, tap the Multiple Select button again when
you are done with your selection.
• Touch and hold any empty cell, then drag over cells to select them.
• Select all cells: Double-tap a cell, then choose Select > All Cells from the menu.
• Select all following cells: Double-tap a cell, then choose Select > All Following Cells
from the menu.
All cells in the same scene, and all other cells to the right, are selected.
• Select all following cells on the same track: Select one or more cells, tap one of the
selected cells, then choose Select > All Following Cells of Same Track from the menu.
All of the cells to the right of, and on the same track as, the selected cells are selected.
• Select all cells on the same track: Select one or more cells, tap one of the selected
cells, then choose Select > All Cells of Same Track from the menu.
• Select all cells in the same scene: Select one or more cells, tap one of the selected
cells, then choose Select > All Cells of Same Scene from the menu.
• Select all cells of the same color: Select one or more cells, tap one of the selected
cells, then choose Select > Same-Colored Cells from the menu.
• Invert selection: Select one or more cells, tap one of the selected cells, then choose
Select > Invert Selection from the menu.
Copy and paste cells
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Tap any selected cell, then tap Copy.
Note: If you want to remove the cell from its original location, tap Cut instead.
3. Double-tap where want to paste the cell, then tap Paste.
If you paste cells to cells that already contain content, the new content replaces the
existing content.
Move a cell
You can move cells to an empty or filled cell in the same row, or to another row of the same
type. For example, you can move an audio cell to another row with audio cells, but not to
a row with software instrument cells, and vice versa. If you move cells to cells that already
contain content, the new content replaces the existing content.
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Touch and hold one of the selected cells, then drag it to the cell you want to move it to.
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Rename a cell
1. In Logic Pro, turn on Cell Edit mode, then select the cell you want to rename.
2. Tap the Inspector button to open the Cell inspector.
3. Tap the name of the cell, enter a new name, then tap Return.
Delete a cell
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Tap one of the selected cells, then tap Delete in the menu.
Mute a cell
When you mute a cell, it stops playing. To hear the cell again, you must unmute it and then
restart it.
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Tap the Inspector button to open the Cell inspector.
3. Under General settings, tap the Mute switch.
Set an audio cell to ignore project tempo
In some cases you might want an audio cell to ignore the project tempo and play at its
original tempo. This can be useful if you have cells containing spoken word, a one-shot, or
nonlooping sound effects, for example.
1. In Logic Pro, turn on Cell Edit mode, then select one or more audio cells.
2. Tap the Inspector button to open the Cell inspector.
3. Under General settings, tap the value for Flex & Follow, then tap Off.
Change the playback speed of a cell
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Tap the Inspector button to open the Cell inspector.
3. Under General settings, tap the value for Speed, then choose a value.
The Speed parameter is not available for cells containing recorded audio that have Flex &
Follow turned on in the Cell inspector.
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Reverse cell playback
1. In Logic Pro, turn on Cell Edit mode, then select one or more cells.
2. Tap the Inspector button to open the Cell inspector.
3. Under General settings, tap the Reverse switch.
The Reverse setting is not available for cells containing recorded audio that have Flex &
Follow turned on in the Cell inspector.
Edit Live Loops scenes in Logic Pro for iPad
In addition to playing cells individually, you can play cells in a scene together, like a section
in a musical arrangement. You can select, duplicate, rename, move, and delete scenes.
You can also change the Quantize Start value and trigger mode for each scene. When you
trigger a scene, all cells in the scene use that scene’s Quantize Start value and trigger
mode. When you start or stop individual cells in a scene, each cell uses its own Quantize
Start value and trigger mode. You can add currently playing cells from different scenes to
an empty scene or to a scene already containing cells.
Scene selection and focus
Scenes are similar to tracks regarding focus and selection: when you select multiple
scenes, the first selected scene is the focused scene.
When multiple scenes are selected, the area around the trigger of the focused scene
appears gray, unlike the other selected scenes.
Select scenes
• In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then do one of the
following:
• Select single scene: Tap the scene number (or name) directly below the Scene
trigger .
• Select multiple scenes: Tap the Multiple Select button , then tap the scene number
(or name) to add that scene to the selection.
Copy currently playing cells to a scene
You can copy playing cells to a single scene. This is useful if you want to combine cells
from different scenes into a new scene. If you copy playing cells to a scene that already
contains cells, the copied cells replace any existing cells on the same track in the scene.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar.
2. Tap a scene trigger, then tap Copy Playing Cells Here in the menu.
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Reorder scenes
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar.
2. Touch and hold the area below the Scene trigger, then drag the scene left or right.
Duplicate scenes
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar.
2. Select one or more scenes, tap one of the selected scenes, then tap Duplicate in the menu.
Insert an empty scene
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar.
2. Tap a scene, then tap Insert Empty Scene in the menu.
A new empty scene is created, and the following scenes move to the right.
Rename a scene
New scenes are numbered by default. You can rename them to help organize and arrange
your Live Loops grid.
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then tap a scene to
select it.
2. Tap the Inspector button to open the Scene inspector.
3. Tap the name of the scene, enter a new name, then tap Return.
Tip: If you add “##” to the new scene name, the number of the scene is added to the new
name. For example, if you rename scene 5 to “Bridge ##”, the new scene name will be Bridge 5.
Delete a scene
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then select one or
more scenes.
2. Tap one of the selected scenes, then tap Delete in the menu.
Change the trigger mode for a scene
1. In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then tap a scene to
select it.
2. Tap the Inspector button to open the Scene inspector.
3. Tap the Trigger Mode value, then choose any of the following from the menu:
• Start/Stop: Scenes start and stop playing when you tap them in Cell Trigger mode.
• Momentary: Scenes start playing at the next quantize start point when you touch and
hold the scene triggers, and stop playing when you let go.
• Retrigger: If a scene is playing and you trigger it again, it starts playing from the
beginning at the next quantize start point.
Change the Quantize Start value for a scene
• In Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then tap a scene to
select it.
• Tap the Inspector button to open the Scene inspector.
• Tap the Q Start value, then choose another mode from the menu.
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Work in the Cell Editor in Logic Pro for iPad
You can use the Cell Editor to view and edit the regions in cells, similar to the way you edit
regions in the Piano Roll Editor, Audio Editor, Drummer Editor, and Step Sequencer. You can
graphically change loop settings for audio and MIDI cells. You can also edit region automation
for individual cells. See Automate cells in Live Loops and Show region automation.
Open the Cell Editor
• In Live Loops, select a cell, then tap the Editors button in the middle area of the view
control bar.
The Cell Editor opens below the Live Loops grid. Audio cells show the Audio Editor, MIDI
cells show the Piano Roll Editor, Drummer cells show the Drummer Editor, and pattern
cells show the Step Sequencer.
Change loop settings for audio and MIDI cells
While you can change the loop settings for all cells numerically in the Cell inspector, you
can also change them graphically for audio and MIDI cells in the Cell Editor.
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In Logic Pro, open the Cell Editor and do any of the following:
• Move the start position: Drag the start marker to the desired position.
• Move the loop start position: Drag the loop start to the desired position.
• Move the loop end position: Drag the loop end to the desired position.
• Move the end position: Drag the end marker to the desired position.
• Move the loop area: Drag the area between the loop start and loop end horizontally.
• Turn off cell looping: Tap the loop area.
Show and edit automation curves for a cell
Each region within a cell can have its own set of automation curves that you can view and
edit in the Cell Editor. You can add and adjust automation points, similar to the way you edit
automation in the Audio Editor and edit automation and MIDI parameters in the Piano Roll
Editor. When a cell contains automation curves, an Cell Automation indicator appears in
the lower-right corner of the cell in the Live Loops grid.
1. In Live Loops in Logic Pro, tap the Automation View button in the Cell Editor menu
bar.
2. Choose an automation or MIDI parameter from the menu.
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Bounce Live Loops cells in Logic Pro for iPad
You can bounce audio or MIDI cells into a new audio cell, similar to the way you bounce
regions in place in the Tracks area.
If you bounce a cell that has different start and loop start positions, the resulting bounce
cell consists of a pass from the start position to the loop end position, and a pass from the
loop start position to the loop end position (loop range). If cell looping is turned off, the
bounce range extends from the start position to the end of the source cell.
You can choose to include an extra bounce of the loop range in the bounce cell. This is
particularly useful if you want to ensure that any instrument release or effect tails (reverb,
delay, and so on) at the end of the source cell’s loop range will be audible at the start of
the bounce cell’s loop range.
If you bounce multiple cells together, the bounce range begins where the source cells start
playing and ends when they all reach their loop end positions simultaneously.
Bounce one or more cells in place
1. In Live Loops in Logic Pro, tap the Cell Edit button in the Live Loops menu bar, then
select one or more cells on an audio or software instrument track.
2. Tap one of the selected cells, then tap Bounce Cells in Place.
3. In the Bounce Cells in Place dialog, define the following parameters:
• Name: Enter a name for the bounce cell in the field.
• Destination: Indicate the type of track on which the bounce cell is placed. You have
two options:
• New Track: Creates a new audio track below the selected track and places the
bounce cell on that track.
• Selected Track: Places the bounce cell on the selected track. This option is
available only if an audio track is selected.
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• Source: Define what happens to the source cells after bouncing. You have three
options:
• Mute: Mutes the source cells after processing the bounce cell.
• Delete: Deletes the source cells from the original tracks after processing the
bounce cell.
• Leave: Leaves the source cells unaltered after processing the bounce cell.
• Include Effect Plug-ins: Turn off to bypass all plug-ins on the source track during the
bounce process.
• Bounce Second Loop Pass: Turn on to include an extra bounce of the loop range in
the bounce cell.
• Include Audio Tail in File: Turn on to continue the bounce process after the end of
the bounce range, including any instrument release and potential effect tail (reverb,
delay, and so on), until there is no longer a signal. Otherwise, only the bounce range
is bounced.
• Include Audio Tail in Region: Turn on to include the entire bounce file in the bounce
cell. Otherwise, the bounce cell includes only the bounce range. This switch is
visible only when the Include Audio Tail in File switch is on.
• Include Volume/Pan Automation: Turn on to have volume and pan automation
performed during the bounce process, with their result influencing the bounce file.
Otherwise, the volume and pan automation curves are simply copied to the bounce
cell.
• Normalize: Choose between three states of normalization from the menu:
• On: Normalization is on.
• Off: Normalization is off.
• Overload Protection Only: Allows downward normalization in case of overloads—
levels above 0 dB, which would lead to clipping—but no normalization in case of
lower levels.
• Restore Defaults: Tap to set all parameters to their default settings.
4. Tap Bounce to create an in-place bounce of the selected cells.
Note: When you tap Bounce, the settings you have chosen are recalled the next time
you use Bounce Cells in Place.
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Record a Live Loops performance in
Logic Pro for iPad
When you record a Live Loops performance, the cells that you play as part of the
performance appear as regions in the Tracks area. After you are done recording your
performance, you can play it back in the Tracks area, edit the regions, and finalize the mix
just as you would with any other Logic Pro project.
You cannot record to a cell while recording a Live Loops performance. However, you can
record to an audio or software instrument track. This lets you record a vocal or instrument
performance, for example, along with the Live Loops performance.
Record a Live Loops performance
1. In Logic Pro, tap the Enable Performance Recording button in the upper-left corner
of the Live Loops grid.
2. Make sure that Cycle mode is turned off (tap the Cycle button in the control bar) and
the project playhead in the Tracks area is positioned where you want to start recording
your Live Loops performance.
3. Tap the Record button in the control bar to start recording.
4. Start playing scenes, cells, or a combination of both. If you queue cells or scenes before
you start recording, they start playing when recording starts.
The cells that you play as part of the performance are recorded as regions in the Tracks
area.
5. To stop recording, do either of the following:
• Tap the Stop button in the control bar.
The Live Loops performance stops recording, and the cells that were playing are now
queued.
• Tap the Play button in the control bar.
The Live Loops performance stops recording, but the project continues to play.
When you record a Live Loops performance, you can also record changes to track controls
and effect parameters using automation. See Intro to automation.
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Edit regions and cells
Intro to editing regions and cells in
Logic Pro for iPad
The main area in Logic Pro for iPad for editing regions is the Tracks area; for editing cells,
it’s the Live Loops grid. Most of those tasks are for arranging regions and cells in your
project. In the Editors area, which you show or hide by tapping the Editors button in the
view control bar, you edit the content of a region and cell. In the inspector, you can view
and edit the parameters of elements you select in the Tracks area, Live Loops grid,
or Editors area.
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Editors area
The Editors area in Logic Pro can display any of the five editors, depending on the type of
region, cell, or track you select. For example, selecting an audio region displays the Audio
Editor, and selecting a Drummer region displays the Drummer Editor. Each editor has a
different interface and provides editing tasks specific to the cell or region type.
• Audio Editor: Shows the track lane of an audio track with all the audio regions on that
track. See Overview of the Audio Editor.
• Piano Roll Editor: Shows the track lane of a software instrument track with all the
MIDI regions on that track, where you edit the MIDI notes inside the MIDI regions. See
Overview of the Piano Roll Editor.
• Drummer Editor: Shows controls and settings of the currently selected Drummer region.
If no region is selected, it shows the button Create Region at Playhead to create a new
Drummer region at the playhead position on that track. See The Drummer Editor.
• Step Sequencer: Shows the Step Sequencer pattern of the currently selected pattern
region. If no region is selected, Step Sequencer is empty, and tapping a step creates a
new pattern region at the playhead position on that track. See Intro to Step Sequencer.
• Cell Editor: Shows the content of the selected cell. Depending on the region type in the
cell, it displays one of the four editors. See Work in the Cell Editor.
If no region is selected, the Editors area shows the corresponding editor based on the
region type of the selected track. See Create tracks.
Note: In the Track inspector, you can change the Default Region Type parameter of a
software instrument track to MIDI, Pattern, or Drummer.
Region automation
The Editors area is the only place to view and edit region automation. See Show region
automation.
Open and close the Editors area
• Tap the Editors button in the middle of the view control bar.
You can also tap a selected region to open its menu and choose Edit > Show in Editor.
Show an editor in the Editors area
1. Tap the Editors button in the view control bar to show the Editors area.
2. Do any of the following:
• In the Tracks area, tap a region to select it to show its corresponding editor.
• In the Live Loops menu bar, tap the Cell Edit button , then tap a cell to select it to
show the Cell Editor.
• With no region or cell selected, tap a track icon to select that track to show its
corresponding editor.
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Choose a Catch Playhead option
The working area in the Piano Roll Editor, Audio Editor, and Cell Editor automatically scrolls
to always show the playhead. You can turn off that default behavior to concentrate on a
section regardless of the playhead position.
• Tap the More button on the right side of the Editors area menu bar, tap Catch
Playhead, and then choose one of the following options:
• Off: The playhead position does not scroll the working area.
• Automatic: The working area automatically scrolls to always keep the playhead
visible.
• Catch Now: This option is only available if the playhead is not visible in the working
area. Tap to scroll the working area to the playhead position.
The selection for Off or Automatic is not affected by this action.
Tip: Tap the More button on the right side of the Tracks area menu bar, then choose
Catch Playhead to set the option independently from the Editors area.
Edit audio regions or cells
Intro to the Audio Editor in Logic Pro for iPad
The Audio Editor in Logic Pro for iPad is displayed in the Editors area below the Tracks
area, showing the audio track currently selected in the Tracks area with all its audio
regions. The Audio Editor provides the same tools and functionality for editing audio
regions as the Tracks area, but with the option to zoom in on the waveform for more
precise edits.
The Audio Editor menu bar contains the same function buttons and other controls available
in the Tracks area. The playheads in the Tracks area and the Audio Editor are linked,
showing the same playhead position.
Edits are non-destructive, so you can always return to your original recordings.
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WARNING: If the audio track visible in the Audio Editor is part of a Mixer group, then an
edit in the Audio Editor can affect audio regions on other audio tracks that are members of
that Mixer group. See Create Mixer groups.
General region editing tasks
In the Audio Editor, you can perform the same editing tasks that are available in the Tracks
area for all region types:
• Name and color regions
• Move regions
• Delay regions
• Copy regions
• Repeat regions
• Loop regions
• Trim regions
• Split regions
• Join regions
• Mute regions
• Delete regions
• Lock regions
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Audio region–specific editing tasks
The following are editing tasks in the Tracks area and the Audio Editor that are specific to
audio regions:
• Reverse
• Speed
• Flex & Follow
• Original tempo
• Time stretch
• Quantize
• Fade in/out
• Transpose and fine tune
In addition to audio editing tasks, you can switch to Automation view in the Audio Editor to
view and edit region automation. For more information, see Show region automation.
Reverse audio regions in Logic Pro for iPad
By reversing audio regions, you can create interesting and unusual rhythmic, melodic, or
other results. You can reverse one or more audio regions using the Reverse switch in the
Region inspector.
Note: The Reverse parameter is not available if both Flex & Follow is turned on in the
Region inspector and flex is turned on in the Track inspector.
Reverse audio regions
1. Tap an audio region to select it, or select multiple regions.
2. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
3. Tap the General disclosure arrow to show the General parameters.
4. Tap the Reverse switch.
Edit the timing of audio
Intro to Flex Time in Logic Pro for iPad
Flex Time simplifies the process of editing the timing of notes, beats, and other events in
audio regions. You can compress or expand the time between specified events in an audio
region without the need for trimming, moving, nudging, or crossfading.
When you choose a Flex Time algorithm, the contents of the audio track are analyzed
for transients, or significant peaks, and any detected transients are marked in the audio
regions. Editing the timing of notes and beats in audio regions relies on those markers.
Note: Flex Time is also integrated into the Smart Tempo feature. To learn more about Smart
Tempo and how it interacts with Flex Time, see Intro to Smart Tempo.
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Importing Logic Pro projects with Flex Time and Flex Pitch
You can import Logic Pro for Mac projects that contain Flex Time and Flex Pitch edits.
Logic Pro for iPad will play back those edits, but you can’t edit the flex markers. However,
in the Track inspector, you can choose different Flex Time parameters that might improve
the sonic results.
Turn on flex in the Track inspector
1. Select an audio track.
2. Tap the Inspector button , then choose Track in the Level menu.
3. Tap the Flex switch to turn on flex for the track.
Depending on the chosen algorithm, up to four flex-related parameters appear in the
Track inspector that let you optimize the results.
For audio regions to adjust to the project tempo or use any time quantization, you have to
turn on flex for their track. Apple Loops, however, can follow the project tempo without flex
being turned on.
Flex Time algorithms and parameters in Logic Pro for iPad
Flex Time algorithms are track-based settings that determine how the timing or pitch of
your audio material can be altered—using time compression or expansion, manipulating
invisibly sliced segments, or speeding up or slowing down the material. You can choose an
algorithm based on the type of audio material you’re working with. Each algorithm comes
with its own individual parameters, located in the Track inspector below the Flex Mode
parameter.
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Choose and adjust a Flex Time algorithm
1. Tap the track icon of the audio track you want to edit.
2. Tap the Inspector button in the view control bar or press I on your external keyboard
to open the Track inspector.
3. In the inspector, tap the Level menu and choose Track.
4. Tap the Flex switch to turn on flex for the track.
The Flex Mode parameter and any additional settings are only displayed when the Flex
switch is turned on.
5. Tap the Flex Mode pop-up menu and choose an option.
6. Adjust any of the additional flex parameters if necessary.
Note: Any audio region that has its Flex & Follow parameter set to Off in the Region
inspector automatically changes to On when you enable flex on that track.
Use the Monophonic algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Monophonic.
Monophonic is designed to be used on melodic instruments only playing a single note at
a time, and is therefore good for solo vocals and monophonic solo instruments—melody
and bass lines, for example. When you use this flex algorithm, your recording should
be relatively dry, without audible reverberation. Otherwise, you may want to try using
Polyphonic. Monophonic comes with a single parameter:
• Percussive: Preserves the area around transient markers to protect the percussive
part of the sound. If selected, it allows better timing for all kinds of percussive
monophonic tonal material, such as plucked strings (guitar, bass) or tonal
percussion. If unselected, it prevents glitches on transient markers in nonpercussive
tonal material, such as bowed strings or wind instruments.
Use the Slicing flex algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Slicing.
Slicing cuts the audio material at transient markers, then shifts the audio while playing
each slice at its original speed. No time compression or expansion is applied to the
shifted audio. Any gaps that occur as a result of shifting the audio can be filled using
the decay function. Slicing is a good choice for drums and percussion and comes with
the following parameters:
• Fill Gaps: Turns the decay function on or off, allowing you to fill any gaps that occur
between sounds as a result of shifting the audio.
• Decay: Sets the decay time between sounds because no time stretching takes place
to compensate for the gaps.
• Slice Length: Shortens each slice by a percentage value. Shortening slices can be
helpful for removing unwanted pre-attack sounds from the following slice, or to
create a gated effect.
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Use the Rhythmic flex algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Rhythmic.
Rhythmic time stretches the material, looping audio between slices in order to fill any
gaps. This algorithm is most suitable for material such as rhythmic guitars, keyboard
parts, and Apple Loops. Rhythmic comes with the following parameters:
• Loop Length: Sets the length of the looped section at the end of a slice that is used
for time expansion.
• Decay: Defines a decay value for the looped area.
• Loop Offset: Allows you to move the looped area up to 100 ms to the left, preventing
pre-attack sounds from the following transient from appearing in the looped and
crossfaded area.
Use the Polyphonic flex algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Polyphonic.
Polyphonic time stretches material based on a process called phase vocoding—a
process that uses phase information to time stretch an audio signal without touching
its pitch. It is the most processor intensive of all the flex algorithms, but it delivers
high sonic quality with suitable polyphonic material. It’s recommended for complex
polyphonic material and is good for all kinds of chords—such as guitar, piano, and
choir—and also complex mixes. Polyphonic comes with a single parameter:
• Complex: Activates more internal transients in the audio material.
Use the Speed (FX) flex algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Speed (FX).
Speed time stretches material by playing the source material faster or slower, including
pitch change. Because of the pitch shifting, this flex algorithm is mainly useful for
percussive material, but it can be used on all material for interesting creative effects.
Use the Tempophone (FX) flex algorithm
• In the Track inspector, tap the Flex switch to turn on flex, then tap the Flex Mode pop-
up menu and choose Flex Time - Tempophone (FX).
Tempophone emulates the effect of a historical tape-based time-stretching device
known as a tempophone, and results in a mechanical sound with many artifacts similar
to those produced with granular synthesis techniques. Tempophone is intended to be
used creatively for special effects and comes with the following parameters:
• Grain Size: Sets the size of the grains that are played or repeated in their original
speed and crossfaded to create time compression or expansion.
• Crossfade: Adjusts the crossfade length from 0.00, which produces hard artifacts, to
the full grain length of 1.00, which tends to sound softer.
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Set Flex & Follow for audio regions in Logic Pro for iPad
Use the Flex & Follow setting in the Region inspector to turn on Flex Time for an audio
region on a flex-enabled track. The audio region can then follow the project tempo and use
Smart Tempo beat markers for quantize commands. See Smart Tempo.
Flex & Follow is a region parameter, which means you can set each audio region
individually. You can choose from four options that determine how Flex Time shifts the
audio material to a time grid.
• Off: The region isn’t flex enabled and doesn’t follow changes to the project tempo.
• On: The region is flex enabled, so it follows any manual flex edits. It also follows any
changes to the project tempo.
Note: Audio regions in imported projects that have been created in Logic Pro for Mac
can contain manual flex edits, but these edits are not visible in Logic Pro for iPad.
• On + Align Bars: The region is flex enabled, and Smart Tempo beat markers are used to
conform the region to the project tempo at every downbeat (bar).
• On + Align Bars and Beats: The region is flex enabled, and Smart Tempo beat markers
are used to conform the region to the project tempo at every beat.
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Important: For a selected audio Apple Loop, the Region inspector shows the Follow Tempo
switch instead of the Flex & Follow pop-up menu if the corresponding track has flex turned
off in the Track inspector.
Choose a Flex & Follow option for an audio region
1. Tap an audio region to select it, or select multiple audio regions.
2. Tap the Inspector button in the view control bar or press I on your external keyboard
to open the Region inspector.
3. Tap the General disclosure arrow to show those parameters.
4. Tap the Flex & Follow pop-up menu and select one of the four options.
Quantize audio regions or cells in Logic Pro for iPad
When quantizing a MIDI region, Logic Pro for iPad moves the individual notes to the chosen
quantize grid. An audio region, however, represents a waveform, a continuous flow of
alternating values. To use a quantize command on an audio region, Logic Pro first performs
the Smart Tempo analysis to detect transients (sudden level changes) in the audio signal
and marks those positions with transient markers. The quantize command then moves
those transient markers (and that portion of the underlying waveform) to the quantize grid,
and as a result, stretches sections of the audio signal so that it appears to be quantized
based on the settings.
The Region inspector provides four Quantize parameters for audio regions: Quantize,
Q-Swing, Q-Strength, and Q-Range.
In addition to the Flex & Follow parameter that has to be enabled, the Flex parameter in
the Track inspector has to be enabled for the corresponding track. The various Flex mode
algorithms affect the sonic quality of the quantization results. See Intro to Flex Time.
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Quantize audio regions
1. Tap an audio region to select it, or select multiple audio regions.
2. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
3. Tap the Quantize disclosure arrow to show the Quantize parameters.
4. Tap the Quantize pop-up menu to choose a quantize grid.
The audio region will be tempo analyzed, and the Flex & Follow parameter in the Region
inspector will automatically be set to On (if it hasn’t been done yet).
5. Adjust the values for the Q-Swing, Q-Strength, and Q-Range parameters as needed.
Tip: Tap the Level Up button at the top of the Region inspector to show the Track
inspector, where you can adjust the Flex Time parameters displayed below the Flex switch.
Change the playback speed of Apple Loops in
Logic Pro for iPad
You can quickly change the tempo of an audio Apple Loop by a multiple using the Speed
parameter in the Region inspector.
Note: The Speed parameter is only available if an audio Apple Loop is selected.
Change the playback speed of an audio Apple Loop
1. In the Audio Editor menu bar, tap the Trim button .
2. Tap an audio region to select it, or select multiple audio regions.
3. Tap the Inspector button on the left side of the view control bar or press I on your
external keyboard to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Tap the Speed pop-up menu and choose a multiple.
The length of the audio region changes accordingly. For example, a value of 2x time
compresses the region so that it is half the length, and with a value of ½x, the region is
time stretched so that it appears twice as long.
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Change the original tempo of audio regions in
Logic Pro for iPad
The Original Tempo field in the Region inspector shows the tempo the audio file was
recorded in. This is a read-only field that becomes active when Flex & Follow is enabled for
that region. Setting the parameter to a different value affects the playback speed of the
audio file.
For example, if the project tempo is set to 120 bpm and you record an audio file, it shows
120 as the Original Tempo value. Changing the project tempo to 60 bpm causes the audio
file to play back at half the speed (if the Flex parameter in the Track inspector and the Flex
& Follow parameter in the Region inspector are turned on). Now, when you change the
Original Tempo parameter from 120 to 60, the audio file plays at its original speed.
Set the Original Tempo value for audio regions
1. Tap an audio region to select it, or select multiple audio regions.
2. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
3. Tap the General disclosure arrow to show the General parameters.
4. Tap the Original Tempo field to open the numeric input dialog and enter a numeric value.
Note: The Original Tempo parameter can only be changed in audio files that have Flex &
Follow enabled. Changing the Original Tempo value will automatically set the Flex & Follow
parameter to On.
Play Apple Loops at their original tempo in Logic Pro for iPad
Audio Apple Loops with tempo information automatically adapt to the project tempo. If
you want such Apple Loops to play at their original recorded tempo, you can turn off their
Follow Tempo parameter in the Region inspector.
Play Apple Loops at their original tempo
1. Select one or multiple audio Apple Loops.
2. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
3. Tap the General disclosure arrow to show the General parameters.
4. Tap the Follow Tempo switch to turn it off.
Note: The Follow Tempo parameter is only displayed if the audio region is an Apple Loop
and the Flex parameter is turned off in the corresponding Track inspector.
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Transpose and fine-tune audio regions in Logic Pro for iPad
You can transpose audio regions by semitones (12 semitones = 1 octave) and cents (100
cents = 1 semitone).
Transpose and fine-tune audio regions
1. In the Audio Editor menu bar, tap the Trim button .
2. Tap a region to select it, or select multiple regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Do any of the following:
• Drag the Transpose value up or down, or tap the Transpose field to open the numeric
input dialog and enter a numeric value.
The value ranges from -36 to +36 semitones (±3 octaves).
• Drag the Fine Tune value up or down, or tap the Fine Tune field to open the numeric
input dialog and enter a numeric value.
The value ranges from -50 to +50 cents (±½ semitone).
Edit MIDI regions in the Piano Roll Editor
Effect of Tracks area edits on the Piano Roll Editor
Overview of MIDI region editing in the Tracks area in Logic Pro for iPad
The parameters you change when editing MIDI regions in the Tracks area are playback
parameters. That means the MIDI notes inside the regions are not altered, and only an
offset value is applied while playing back the region.
Basic editing tasks for MIDI regions
The basic editing tasks for regions in the Tracks area also apply to MIDI regions:
• Add regions
• Name and color regions
• Move regions
• Delay regions
• Copy regions
• Repeat regions
• Loop regions
• Trim regions
• Split regions
• Join regions
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• Mute regions
• Delete regions
• Lock region time position
• Region automation
MIDI region–specific editing tasks
The basic region editing tasks performed in the Tracks area only affect the region (that
contains the data), and the editing tasks performed in the Piano Roll Editor affect the
“content,” the MIDI data inside the region. However, the following parameters (available in
the Region inspector when you select a MIDI region in the Tracks area) change the data
inside the MIDI region, the MIDI notes. The Transpose parameter, for example, will not
change the pitch of the note events and only applies a pitch offset during playback, but
other parameters in the Region inspector, such as Quantize, will overwrite any edits you
have made in the Piano Roll Editor.
• Transpose
• Velocity
• Dynamics
• Gate time
• Clip Length
• Quantize
• Time stretch
Transpose MIDI regions in the Tracks area in Logic Pro for iPad
The Transpose parameter in the Region inspector transposes all note events in the
selected regions up or down in semitones during playback. Even complete folders can be
instantly transposed in this way. If several individual MIDI regions within the folder have
already been transposed, the relative differences between them are retained.
To guard against drum notes and so on being transposed, turn on the No Transpose switch
in the More category of the Track inspector. When turned on, Logic Pro for iPad ignores the
Transpose parameter in all MIDI regions on that track.
Note: The MIDI notes in the Piano Roll Editor are not changed, meaning that the note pitch
you see in the Piano Roll Editor doesn’t reflect the note pitch you hear.
Transpose MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Drag the Transpose value up or down, or tap the Transpose field to open the numeric
input dialog and enter a numeric value.
The value range is ±96 semitones, which equals ±8 octaves.
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Set the velocity for MIDI regions in the Tracks area in Logic Pro for iPad
The Velocity parameter in the Region inspector offsets all MIDI note velocities in the
selected MIDI regions during playback. Positive values add to the current velocity, and
negative ones subtract from it. If you select a velocity offset that exceeds the maximum
or minimum possible value for a particular note (0–127), that note will play at the extreme
possible range. For example, a setting of +20 will cause a note with a velocity of 120 to
play at 127.
Note: The MIDI note velocities displayed in the Piano Roll Editor are different from what you
hear because they are not changed visually by the Region inspector Velocity value.
Apply a velocity offset in MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Drag the Velocity value up or down, or tap the Velocity field to open the numeric input
dialog and enter a numeric value.
The value range is ±100.
Change the Dynamics value in MIDI regions in the Tracks area in
Logic Pro for iPad
The Dynamics parameter in the Region inspector affects the velocity values of notes during
playback, but instead of adding or subtracting a fixed amount, the differences between
soft and loud notes (the dynamics) are increased or decreased by a percentage value. This
works in a similar way to an audio compressor or expander.
• Values above 100% expand the dynamics, thereby increasing the difference between
high and low velocity values.
• Values below 100% compress the dynamics, reducing the differences between high and
low velocity values.
• The Fixed setting causes all notes to play with the same velocity value. This works in
conjunction with the Velocity parameter in the Region inspector. If it is set to 0, then the
fixed velocity will be 64, and if the Velocity parameter is set to any other value, then all
notes in the selected region will play with that Velocity value.
Note: The MIDI note velocities displayed in the Piano Roll Editor are different from what you
hear because they are not changed visually by the Region inspector Dynamics value.
Change the Dynamics in MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Tap the Dynamics pop-up menu and choose a value.
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Change the gate time for MIDI regions in the Tracks area in
Logic Pro for iPad
The term gate time stems from analog synthesizers and refers to the time between
pressing and releasing a key. This parameter in the Region inspector affects the absolute
note duration or length, which can be different from the actual note length displayed in
the Piano Roll Editor. The practical effect is to make notes in the region more staccato or
legato. The parameter range is related to the original note lengths.
• Fixed plays all notes staccato (as very short notes).
• Values below 100% shorten the notes.
• Values above 100% lengthen the notes.
• Legato plays all notes legato. That means each note ends precisely at the beginning of
the following note in the selected region.
Change the Gate Time value in MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Tap the Gate Time pop-up menu and choose a value.
Set Clip Length for MIDI regions in the Tracks area in Logic Pro for iPad
This function lets you alter the length of the last notes in a region directly from the Tracks
area, by adjusting the length of the MIDI region.
• Off: Notes are played to their normal end point, regardless or where the region ends.
• On: Any notes sounding when the region ends are abruptly cut off.
Turn on Clip Length in MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the General disclosure arrow to show the General parameters.
5. Tap the Clip Length switch to turn it on or off.
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Choose a quantize algorithm for MIDI regions in the Tracks area in
Logic Pro for iPad
The Q-Algorithm parameter in the Region inspector lets you choose from two quantization
types for MIDI regions: Classic Quantize and Smart Quantize. Whatever type you choose is
also displayed for the Algorithm parameter in the Note inspector and used when quantizing
notes in the Piano Roll Editor.
• Classic Quantize quantizes MIDI notes to the nearest grid using the current Quantize
settings and any advanced Quantize parameters.
• Smart Quantize works similarly to quantize for audio regions. MIDI events near grid
positions (defined by the Q-Range setting) are analyzed. Based on a combined
weighting of proximity to the target grid position and velocity, a reference point (“center
of gravity”) is set for each group and moved to the target grid positions. All (nearby)
MIDI events move proportionally to the reference point. How far each event moves is
determined by the Q-Strength setting. Unlike Classic Quantize, all MIDI events keep
their original order, similar to an audio region edited using Flex Time. This includes not
only notes but all MIDI data types (such as Pitch Bend and Control Change events).
In many cases, Smart Quantize can produce more natural-sounding results than Classic
quantization. For example, in a MIDI piano performance, the notes of quickly arpeggiated
chords keep their relative positions, as do sustain pedal (on/off) events. Another useful
situation is in MIDI drum performances that need some quantizing but where Classic
quantization would distort rolls, flams, and other notes not played strictly on the beat (and
also possibly the relative position of hi-hat on/off events). In both cases, Smart Quantize
keeps the relative position of note on, note off, and CC events.
Choose the MIDI quantization type
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the Quantize disclosure arrow to show the Quantize parameters.
5. Tap the Q-Algorithm pop-up menu and choose Classic Quantize or Smart Quantize.
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Quantize parameters for MIDI regions in the Tracks area in
Logic Pro for iPad
The Quantize parameters in the Region inspector move the position of the MIDI notes
inside the MIDI region. You can see those changes when viewing the region in the Piano
Roll Editor. However, the Quantization parameters are non-destructive, and you can move
the notes back to their original position at any time by setting the Quantize parameter to
Off. In addition to the parameter that sets the quantization grid, you have six advanced
parameters to further adjust the quantization, plus two quantize algorithms to choose from.
Quantize parameters
• Quantize: All note events in the MIDI region are time corrected to the (quantize) grid
format chosen in the pop-up menu. There are two types of region quantization: Classic
Quantize and Smart Quantize. You select the type by tapping the Q-Algorithm menu in
the Region inspector. For information, see MIDI quantization types.
• Q-Swing: This percentage value alters the position of every second point in the current
quantization grid. Values over 50% delay the beats, and values under 50% pre-delay
them. The most practical settings fall between 50% and 75%, imparting a swing feel to
strictly quantized (or tightly played) audio or MIDI regions.
• Q-Strength: This percentage value determines how far a note is shifted toward the
nearest grid position. 100% results in full quantization; 0% leaves the note at its
recorded position.
• Q-Range: Defines which notes are quantized based on their proximity to quantization
grid positions. At the default value of 0, every note is quantized. At positive Q-Range
values, only notes outside the set range (that is, farther away from the grid position)
are quantized, and notes in the range keep their original position. At negative Q-Range
values, only notes in the set range are quantized, and notes outside the range remain
unchanged. The amount by which notes shift toward the grid positions depends on the
Q-Strength setting.
For example, with Q-Range set to 20 ticks and Q-Strength to 50%, only notes that
are more than 20 ticks off are quantized. Those notes are quantized by 50%, which
improves the timing without making the performance sound mechanical.
• Q-Flam: Notes with the same time position (chords) are spread out by this parameter.
Positive values produce an ascending (upward) arpeggio; negative values a descending
(downward) arpeggio. The position of the first note (either the bottom or top note,
assuming all notes start at the same position) in the arpeggio is unaltered.
• Q-Velocity: When used with a groove template, this parameter (expressed as a
percentage) determines the amount that the velocity values of quantized notes are
affected by the velocity values of a template MIDI region. At a value of 0%, the notes
retain their original velocity. At 100%, they adopt the velocity values of the template.
Negative values alter the velocity, making the deviation from the template even greater.
• Q-Length: When used with a groove template, this parameter (also expressed as a
percentage value) determines how the lengths of quantized notes are affected by
the equivalent note lengths (notes at the same position) of a template MIDI region.
A value of 0% has no effect, while at 100%, the notes adopt the exact note lengths
of the template region. Negative values alter note lengths further, resulting in a more
significant deviation from the template.
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Quantization grids
The values of the Quantize parameter in the Region inspector are grouped in the following
categories:
• No quantization: The Off setting plays the notes at the finest possible timing resolution:
1/3840 note, which is unquantized playback, for practical purposes.
• Normal quantization: The 1/1-Note, 1/2-Note, 1/4-Note, 1/8-Note, 1/16-Note, 1/32-Note,
and 1/64-Note settings quantize the MIDI region to the equivalent note value.
• Triplet quantization: The Triplet settings quantize the MIDI region to triplet note values.
The equivalent values are shown in parentheses.
• Swing quantization: The 1/16 Swing A-F settings delay the position of every second
point in the quantization grid by a fixed percentage. You can also manually alter the
swing factor of any Quantize value.
• Odd quantization: The 5-Tuplet/4 setting is quarter quintuplets (1 bar = 5 beats),
5-Tuplet/8 is eighth quintuplets (1 bar = 10 beats), 7-Tuplet is septuplets (1 bar = 7
beats), and 9-Tuplet setting denotes novetuplets (1 bar = 9 beats).
• Mixed quantization: These combine “straight” and tuplet values of 1/16 and 1/8. Mixed
quantization always applies to both note values and requires greater playing precision
when recording.
Quantize setting Swing percentage
Swing F 71%
Swing E 66%
Swing D 62%
Swing C 58%
Swing B 54%
Swing A 50%
Quantize MIDI regions
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, or select select multiple MIDI regions.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Region inspector.
4. Tap the Quantize disclosure arrow to show the Quantize parameters.
5. Tap the Quantize pop-up menu and choose a quantize grid.
6. To further adjust that quantization, set any of the advanced quantize parameters:
Q-Swing, Q-Strength, Q-Range, Q-Flam, A-Velocity, Q-Length, and Q-Algorithm.
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Edit MIDI data in the Piano Roll Editor
Overview of the Piano Roll Editor in Logic Pro for iPad
The main tasks in the Piano Roll Editor are viewing and editing the content of a MIDI
region, which are MIDI events and region automation. It provides a close-up view of the
software instrument track selected in the Tracks area, showing all its MIDI regions on that
single track lane (the working area of the Piano Roll Editor). The MIDI notes, displayed
as horizontal bars in a time grid and a specific color code, can be edited with various
tools. The vertical lines in the working area (extending to the ruler on top) show the time
position, while horizontal lines indicate pitch referenced to a vertical keyboard along the
left edge. The Piano Roll Editor displays its own playhead, ruler, and cycle area linked to
the Tracks area.
The main controls in the Piano Roll Editor are located in its menu bar above the working area.
• View buttons: You can choose the Default View button (for editing notes) or the
Automation View button (for editing region automation).
• Function buttons: The function buttons in the center let you choose the edit modes.
They change the functionality of the gestures like tap, drag, touch and hold, and so on.
• Trim button: Use the Trim button to trim and move or copy notes. This is the
default mode that also lets you select individual notes or open their shortcut menus.
In this mode you also open the shortcut menu of the working area.
• Pencil button: Use the Pencil button to add and delete notes. It also lets you trim
notes and copy notes.
• Brush button: Use the Brush button to add a series of notes. It also lets you
delete a note when you touch and hold it.
• Velocity button: Use the Velocity button to edit note velocities.
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• Modifier buttons: The two buttons next to the function buttons modify their functionality.
• Multiple Select button: The Multiple Select button lets you select multiple notes
or automation points. When selected, it temporarily deselects the current function
button.
You can momentarily enable Multiple Select mode when you touch and hold the
Multiple Select button (or press and hold the Shift key on your external keyboard),
tap the notes you want to select, and then release the button or key to deselect it.
• Copy Mode button: When the Copy Mode button is selected, dragging any note
copies the note instead of moving it.
You can momentarily enable Copy mode when you touch and hold the Copy Mode
button (or press and hold the Option key on your external keyboard), drag the notes
you want to copy, and then release the button or key to deselect it.
• Additional controls: Use the controls on the right side of the menu bar to set the Snap
value, set various view settings, and resize the view vertically.
Auto zoom and auto scroll
When you select one or more MIDI regions in the Tracks area and open the Piano Roll Editor,
its working area auto zooms and auto scrolls to show the notes of the selected regions. With
a single region selected, the working area ranges from the left border to the right border of
the selected region. With multiple regions selected, the working area ranges from the left
border of the first selected region to the right border of the last selected region.
With the Piano Roll Editor open, you can manually scroll and zoom the working area
horizontally and vertically.
Show or hide the Piano Roll Editor
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region.
3. Tap the Editors button in the middle of the view control bar.
The Piano Roll Editor opens below the Tracks area.
4. To hide the Piano Roll Editor, do any of the following:
• Tap the Editors button .
• Double-tap the view control bar.
This gesture closes all areas except the Tracks area.
Resize the Piano Roll Editor vertically
• Do any of the following:
• On the right side of the Piano Roll Editor menu bar, drag the resize handle (or
the menu bar) up or down.
Dragging it all the way down closes the Piano Roll Editor.
• Tap the resize handle to increase the view of the Piano Roll Editor to its maximum
position (which minimizes the Tracks area to show only a single mini track).
Tap the handle again to return the editor to its default size.
Note: To hide the Tracks area completely, drag the resize handle all the way up.
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Show note labels in the Piano Roll Editor
• Tap the More button on the right side of the Piano Roll Editor menu bar, then choose
Show Note Labels.
When this option is selected, the horizontal note bars in the working area show their note
pitch and note velocity (if the working area is zoomed in far enough).
Set note colors in the Piano Roll Editor
• Tap the More button on the right side of the Piano Roll Editor menu bar, then tap Set
Note Color in the menu and choose one of three options:
• By Region Color: Colors notes to correspond with the color of the MIDI region.
• By Velocity: Colors notes to show their MIDI note velocity.
The increasing velocity value from 1 to 127 is reflected by gradually changing colors
from purple to blue, to green, to red.
• By MIDI Channel: Colors notes to correspond with the MIDI channel value embedded
in the note event.
Each MIDI channel has a dedicated color.
Preview notes in the Piano Roll Editor
• In the Piano Roll Editor menu bar, tap the Trim button or Velocity button , then
touch and hold a note bar.
To preview the note again, you have to tap outside to deselect it first, and then tap the
note again.
The vertical keyboard on the left highlights the corresponding key of the selected note.
You can also tap this keyboard to play notes.
Choose an edit mode in the Piano Roll Editor
• In the Piano Roll Editor menu bar, tap any of the four function buttons: Trim , Pencil
, Brush , or Velocity .
Each button, when selected, shows the addition Multiple Select button and/or Copy
Mode button.
Important: Tapping the Multiple Select button to enable it deselects the current function
button until you deselect the Multiple Select button.
Set a Snap value in the Piano Roll Editor
• In the Piano Roll Editor menu bar, tap the Snap pop-up menu and choose a Snap value.
The Snap value in the Piano Roll Editor is independent of the Snap value set in Tracks view
or Automation view.
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Select notes in the Piano Roll Editor in Logic Pro for iPad
Selecting notes in the Piano Roll Editor is similar to selecting other items in
Logic Pro for iPad.
Select a single note
1. In the Piano Roll Editor menu bar, tap the Trim button or Velocity button , then tap
a note bar to select it.
The vertical keyboard on the left highlights the corresponding key to show the note
pitch.
2. Tap the working area to deselect any selected notes.
Select multiple notes
You can apply most of the editing tasks to a group of notes at once and change the
parameter value of those notes to a specific value (absolute) or apply a value offset to all
notes (relative).
1. In the Piano Roll Editor menu bar, tap the Multiple Select button .
The current function button is deselected automatically.
2. Tap individual notes to select or deselect them.
3. Once you’ve selected the group of notes, tap the Multiple Select button to deselect
it.
The previous function button is selected again, and you can perform the edit, which
applies to all selected notes.
To select multiple adjacent notes, you can also touch and hold the working area next to the
first note you want to select, then drag across multiple notes.
Select multiple notes using momentary mode
You can apply most of the editing tasks to a group of notes all at once and change the
parameter value of those notes to a specific value (absolute) or apply a value offset to all
notes (relative).
1. In the Piano Roll Editor menu bar, touch and hold the Multiple Select button or press
and hold the Shift key on an external keyboard.
The current function button is deselected momentarily.
2. While still holding the button (or pressing the Shift key), tap individual notes to select or
deselect them.
3. Once you’ve selected the group of notes, release the Multiple Select button (or
release the Shift key).
The previous function button is selected again, and you can perform the edit, which
applies to all selected notes.
Note: The Multiple Select button remains selected if you don’t tap any item before
releasing it.
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Select all notes in the Piano Roll Editor
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap the working area to deselect any selected notes, then tap again to open its menu
and choose Select All.
Select notes on conditions in the Piano Roll Editor
You can select notes based on various conditions in reference to a selected note.
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, then tap again to open its menu, tap Select, and choose one of
the following options:
• Select All Following: Selects all notes starting from the selected to the end of the
track.
• Select Same Subposition: For example, if the selected note is positioned on the third
beat of bar 5, then all notes that are on the 3rd beat of any bar on that track are
selected.
• Select Same Articulation: Selects all notes with the same Articulation value on the
track. See Set articulation numbers.
• Select Same Pitch: Selects all notes with the same pitch on the track.
3. You can also tap the working area, then tap again to open its menu and choose one of
those options:
• Select Overlapped Notes: Selects all notes that overlap to a note with the same
pitch.
See Shorten overlapping notes in the Piano Roll Editor.
• Select Muted Notes: Selects all muted notes on that track (indicated by a gray
color).
See Mute notes in the Piano Roll Editor.
Invert note selection in the Piano Roll Editor
This task is useful in combination with any of the conditional selections. You could select
all notes with a certain pitch (for example, C1, assigned to the kick drum), then invert the
selection and apply the Delete command. As a result, all notes except the kick drums are
deleted.
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, then tap again to open its menu, tap Select, and choose Invert
Selection.
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Add notes in the Piano Roll Editor in Logic Pro for iPad
In addition to recording MIDI notes using Play Surfaces or your external MIDI controller, you
can add notes manually in the Piano Roll Editor.
Add a single note in the Piano Roll Editor
You can tap anywhere in the working area of the Piano Roll Editor to add a new MIDI
note event. The horizontal tap position determines the start time, the vertical position
determines the pitch, and the note length is 1/16 by default. If you change the length of an
existing note, then that is the new default length for any newly added note.
1. In the Piano Roll Editor menu bar, tap the Pencil button .
2. Do one of the following:
• Tap anywhere in the working area.
A new note (Velocity value 80) will be added at the tap position that defines the time
position and pitch.
• Touch and hold anywhere in the working area, then drag vertically (to determine the
note pitch) and horizontally (to determine the time position).
The horizontal movement is restricted by the boundaries of the region.
The Snap value you set in the Snap pop-menu in the Piano Roll Editor menu bar applies to
placing and moving the note event horizontally.
Add a series of notes in the Piano Roll Editor
1. In the Piano Roll Editor menu bar, tap the Brush button .
2. Touch and hold at a point in the working area that determines the timing position and
pitch of the first note, then drag right or left.
The repetition rate of added notes is based on the current Snap value set in the Snap
pop-up menu of the Piano Roll Editor menu bar. The pitch of each note is determined by
the vertical position of your movement, and their Velocity values are 80.
3. Release your finger to stop creating the note sequence.
Note: If a MIDI region exists at the tap position, the new note is added to that region. If
there is no MIDI region present in the working area within two bars of the last region, a new
one-bar region is created for that note.
Delete notes in the Piano Roll Editor in Logic Pro for iPad
You can delete individual notes from MIDI regions or apply certain criteria when selecting a
group of notes (for example, delete all notes of a certain pitch).
Delete notes
• In the Piano Roll Editor menu bar, do any of the following:
• Tap the Trim button , tap the note to select it, tap it again to open its menu, then
choose Delete.
• Tap the Pencil button , then tap the note.
• Tap the Brush button , then touch and hold the note.
• Select multiple notes, tap one of the selected notes to open its menu, then choose
Delete.
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Mute notes in the Piano Roll Editor in Logic Pro for iPad
You can mute individual notes in the Piano Roll Editor, letting you experiment with different
note choices in a melody, or different chord voicings, for example.
Mute or unmute notes
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap the note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters, and then tap the Mute
switch to mute or unmute the selected notes.
Muted notes turn gray.
Tip: You can use the Select Muted Notes command if you want to quickly unmute them
again, or delete them if you decide you don’t need those notes in your arrangement.
Trim notes in the Piano Roll Editor in Logic Pro for iPad
You can trim notes in the Piano Roll Editor to change their length (duration). Notes can be
resized from either their start or their end point. You can trim individual notes or a group of
notes together.
Trim notes by dragging
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
Trim handles at the start and end of the note will appear. Depending on the note length,
you might need to zoom in to the working area to make the handles visible.
3. Touch and hold one of the handles and drag it left or right.
Dragging the left handle will change the start position of the note and its length. Dragging
the right handle will change the length of the note without changing its start position.
With the Pencil button selected, you can drag the left or right edge of a note to trim it
even though there are no trim handles visible.
Tip: When you wait for a second after you touch and hold the note, the working area
zooms in horizontally to let you adjust the start or end point more precisely.
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Trim notes in the inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Drag the Length value up or down, or tap the Length field to open the numeric input
dialog and enter a numeric value.
With multiple notes selected, dragging the value up or down will change their length
proportionally, and entering a value in the numeric input dialog will set all notes to that
same length.
Move notes in the Piano Roll Editor in Logic Pro for iPad
You can move notes horizontally in the Piano Roll Editor to change their time position.
Move notes by dragging
When moving notes by dragging, it might be necessary to zoom in to the working area to
increase the visible note length.
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, then touch and hold the center of the note and drag it left or
right.
The notes can only move according to the current Snap value set in the Snap pop-up
menu of the Piano Roll Editor menu bar.
You can select multiple notes, and then move them as as a group by dragging one of the
selected notes.
Move notes in the inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button in the view control bar (or press I on your external
keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Drag the Position value up or down, or tap the Position field to open the numeric input
dialog and enter a numeric value.
With multiple notes selected, dragging the value up or down will change their position
proportionally, and entering a value in the numeric input dialog will set all notes to that
same position.
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Move notes with cut and paste
You can use cut and paste to move notes on the same track or to different MIDI tracks.
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, then tap again to open its menu and choose Cut (or press
Command-X on your external keyboard).
The note is moved to the clipboard.
3. Tap the ruler to move the playhead to the time position where you want to move the
note.
4. Tap anywhere in the working area to open its menu, then choose Paste (or press
Command-V on your external keyboard).
The note is placed at the playhead position and remains selected, and the playhead
moves to the end of the note.
You can move multiple notes as a group by selecting them first, and then choosing the Cut
and Paste commands.
Copy notes in the Piano Roll Editor in Logic Pro for iPad
Copy notes with copy and paste
You can copy notes on the same track or to different tracks.
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, then tap again to open its menu and choose Copy (or press
Command-C on your external keyboard).
3. Tap the ruler to move the playhead to the position where you want to paste the note.
4. Tap anywhere in the working area to open the menu and choose Paste (or press
Command-V on your external keyboard).
The note is placed at the playhead position and remains selected, and the playhead
moves to the end of the note.
You can copy multiple notes as a group by selecting them first, and then choose the Copy
and Paste commands.
Copy notes in Copy mode
1. In the Piano Roll Editor menu bar, tap the Trim button , then tap the Copy Mode button
to turn on Copy mode.
2. Tap the region to select it, then touch and hold the note and drag it to the new position.
You can drag a note horizontally to a new time position (the Snap value applies) and
vertically to change the note pitch.
3. Tap the Copy Mode button to turn off Copy mode.
With an external keyboard, you can press and hold the Option key (which selects the Copy
Mode button), drag the notes you want to copy, and release the Option key (the Copy Mode
button is deselected).
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Copy notes using momentary mode
1. In the Piano Roll Editor menu bar, touch and hold the Copy Mode button or press and
hold the Option key on your external keyboard.
2. While still holding the button (or pressing the Option key), drag individual notes to copy
them.
3. Once you’ve copied the notes, release the Copy Mode button (or release the Option
key).
Note: The Copy Mode button remains selected if you don’t tap any item before releasing it.
Shorten overlapping notes in the Piano Roll Editor in Logic Pro for iPad
When editing MIDI notes, you may end up with two notes of the same pitch, where the
second note starts before the first has ended. During playback, the first note stops playing
when it receives the Note Off command of the second note. Those same-note overlaps,
which are sometimes hard to see in the Piano Roll Editor, can be fixed with the command
Remove Overlaps.
Remove overlapping notes
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap the working area to deselect any selected notes, then touch and hold next to the
overlapping notes and drag over to select both notes.
You can also drag over a section of multiple notes to fix any occurring overlaps
3. Tap one of the selected notes to open its menu and choose Remove Overlaps.
Any overlapping note will be shortened to end right before the following note.
Force legato notes in the Piano Roll Editor in Logic Pro for iPad
Legato is a playing style where you perform a sequence of single notes without gaps in
between.
In Logic Pro for iPad, when you have a series of notes in the Piano Roll Editor that are
not played legato, you can select those notes and use the Force Legato command, which
adjusts the length of each note so that it ends right before the start of the following note.
You can also set the Gate Time parameter in the Region inspector together with the Force
Legato parameter to produce specific playing styles.
Change notes to play legato
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap one of the selected notes to open its menu and choose Force Legato.
Any selected note has its length adjusted to end at the start of the following note. If a
selected note is the last note in a region, it is extended to the end of the region.
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Lock the note position in the Piano Roll Editor in Logic Pro for iPad
You can lock the position of individual notes in Logic Pro for iPad to make sure you are not
moving them by accident.
Lock the note position
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button in the view control bar (or press I on your external
keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters, then tap the Lock Time
Position switch.
Note: The Piano Roll Editor has no indication whether a note is locked. However, when you
try to drag a locked note, it jumps back to its original position. Dragging a note vertically to
change its pitch is still possible.
Change the note pitch in the Piano Roll Editor in Logic Pro for iPad
You can change the pitch of a single note or group of notes in Logic Pro for iPad by
dragging them vertically in the Piano Roll Editor or changing them numerically in the
inspector.
You can also change the pitch of notes according to a selected scale. See Quantize the
note pitch in the Piano Roll Editor.
Change note pitch in a region
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Drag a single note up or down, or select multiple notes first, and then drag one of the
selected notes up or down.
Change note pitch in the inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Drag the Note value up or down, or tap the Note field and choose a pitch.
Change the note pitch by octaves
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap one of the selected notes to open its menu, and from the Transpose submenu
choose Transpose Octave Up or Transpose Octave Down.
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Change the note velocity in the Piano Roll Editor in Logic Pro for iPad
Velocity indicates how hard the key was struck when the note was played, which usually
corresponds to the note’s loudness (the MIDI velocity range is 1–127, with 127 being the
loudest). Velocity can also control other synthesizer parameters, such as filter resonance
or cutoff, alone or in conjunction with volume level.
In Logic Pro for iPad, inside the horizontal note bar that represents the MIDI note in the
Piano Roll Editor is a horizontal line (visible if you zoom in close enough). The vertical
position of the line relative to the overall height of the note bar shows the note’s velocity.
You can also display velocity using different colors, by choosing Set Note Color > By
Velocity from the More menu in the Piano Roll Editor menu bar. Colors gradually change
from purple to green to red.
Color coding makes it easy to see the velocity of individual notes and the overall range of
velocities in a MIDI region. As you change the velocity of the notes, their color changes in
real time.
Note: Note velocities can be offset during playback by the Velocity parameter and
Dynamics parameter in the Region inspector.
Change note velocity graphically
1. In the Piano Roll Editor menu bar, tap the Velocity button .
2. Tap a note to select it, or select multiple notes.
3. Drag one of the selected notes up or down.
The vertical line in the note bar moves up or down accordingly, and a tag appears,
showing the velocity value.
When you edit the velocity of multiple notes, the relative differences in their velocity values
are retained. If the velocity value of any of the selected notes reaches the minimum or
maximum value (1 or 127), none of the notes can be adjusted further.
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Change note velocity in the Note inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button in the view control bar to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Drag the Velocity value up or down, or tap the Velocity field to open the numeric input
dialog and enter a numeric value.
Change the release velocity in the Piano Roll Editor in Logic Pro for iPad
Release velocity refers to how fast your finger releases a key on a musical keyboard after
you press it down. Not many physical keyboards support that functionality. A software
instrument plug-in also has to support the release velocity feature to assign it to a specific
parameter. For example, if the release velocity is assigned to the release time of an
envelope generator, then the faster you release a key, the shorter the ring-out of a note
will be.
Change release velocity in the inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button in the view control bar to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Drag the Release Velocity value up or down, or tap the Release Velocity field to open
the numeric input dialog and enter a numeric value.
You can set the value from 0 to 127, or drag all the way up to set it to off.
Change the MIDI channel in a note in the Piano Roll Editor in
Logic Pro for iPad
Each MIDI note event has an embedded MIDI channel number that you can change in the
Logic Pro for iPad Note inspector.
Change the note MIDI channel
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
The MIDI Channel pop-up menu shows the current MIDI channel for the selected note.
5. Tap the MIDI Channel pop-up menu and choose a channel number.
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Set the articulation IDs in the Piano Roll Editor in Logic Pro for iPad
A MIDI note in Logic Pro for iPad can embed an articulation ID, which is a number from 1
to 255, or it is set to off. A software instrument plug-in (for example, Studio Strings) that
supports articulation IDs can be programmed so that individual patches representing
various playing styles (for example, legato, pizzicato, or staccato) are mapped to individual
articulation IDs. When the plug-in receives MIDI notes during playback, it not only reacts to
the pitch and velocity, it can also switch to a specific playing style based on the articulation
ID it receives from a MIDI note. For example, when the plug-in receives a note with ID 1, it
switches to staccato, and when it receives a note with ID 2, it switches to pizzicato.
In Logic Pro for Mac, you can use the Articulation Set Editor to create Articulation Sets that
let you add names to articulation IDs, making mapping easier. An Articulation Set, when
loaded on a software instrument track, is used on all MIDI regions on that track.
By default, when you open the Articulation menu, it only shows the numbers 1 to 255.
With an Articulation Set loaded on a track, the Articulation pop-up menu displays those
articulation names instead of numbers.
An Articulation Set is loaded in Logic Pro when you import a Logic Pro for Mac project
that uses those Articulation Sets or when you load a software instrument plug-in with an
embedded Articulation Set, such as Studio Strings or Studio Horns.
When editing MIDI notes in the Piano Roll Editor, you can quickly assign notes or a group of
notes to specific articulations by selecting the articulation ID from the menu.
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Change the note articulation ID in the Piano Roll Editor
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the selected note to open its menu, tap Articulation, then choose an articulation, or
choose the hyphen (-) to remove any articulation ID from the MIDI note.
Change the note articulation ID in the inspector
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Details disclosure arrow to show the Details parameters.
5. Tap the Articulation pop-up menu and choose an articulation, or choose the hyphen (-)
to remove any articulation ID from the MIDI note.
Quantize the timing of notes in the Piano Roll Editor in Logic Pro for iPad
The Quantize parameters in the Logic Pro for iPad Region inspector apply the quantize
values to all note events of a selected MIDI region. With the Quantize parameters in the
Note inspector, you can quantize selected notes and also apply different quantization to
different notes.
Important: The Quantize values displayed in the inspector are not the values of the
selected region or notes; they are the values that are applied when you execute the
command. Applying a quantization in the Region inspector will overwrite the quantization
applied in the Note inspector and vice versa.
Quantize Algorithm
The first parameter in the Time Quantize section of the Note inspector, Algorithm,
shows the Quantize type. This is a read-only field that shows the selection made for the
Q-Algorithm parameter in the Region inspector of that MIDI region, either Classic Quantize
or Smart Quantize. See Choose a quantize algorithm for MIDI regions in Tracks view.
Time quantize notes in the Piano Roll Editor
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Time Quantize disclosure arrow to show the Time Quantize parameters.
5. Tap the Quantize pop-up menu and choose a Quantize value.
If the correct Quantize value is already shown in the inspector, tap Time Quantize Again
to apply that quantization.
Setting the Quantize value to Off moves the selected notes back to their original timing
position.
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Quantize the note pitch in the Piano Roll Editor in Logic Pro for iPad
Scale Quantize in Logic Pro for iPad applies quantization to the pitch of notes in a MIDI
region. Notes are shifted vertically to conform to a particular scale and key. This is
especially useful when you want to reuse a repeating pattern of notes but transpose them
to a different key.
Any selected note that doesn’t exist in the chosen key and scale is shifted to the nearest
note. For example, if you have F notes in your region and set the key to D and scale to
Major, every F note is shifted up a semitone to F#.
Scale quantize notes in the Piano Roll Editor
1. In the Piano Roll Editor menu bar, tap the Trim button .
2. Tap a note to select it, or select multiple notes.
3. Tap the Inspector button on the left side of the view control bar (or press I on your
external keyboard) to open the Note inspector.
4. Tap the Scale Quantize disclosure arrow to show the Scale Quantize parameters.
5. Tap the Key pop-up menu to choose any of the 12 keys, and tap the Scale pop-up menu
to choose any of the 20 scales.
If the correct Key and Scale values are already shown in the inspector, tap Scale
Quantize Again to apply that quantization.
Edit Live Loops in the Cell Editor in
Logic Pro for iPad
In Logic Pro for iPad, you can arrange and edit Live Loops cells in the Live Loops grid. Cells
are like containers that have one or more regions inside. To view and edit that content,
select the cell and open the Editors area, which shows the Cell Editor. Depending on what
type of cell you select (audio, MIDI, Drummer, or pattern), the Cell Editor displays the
corresponding editor interface (Audio Editor, Piano Roll Editor, Drummer Editor, or Step
Sequencer). See Work in the Cell Editor.
Open the Cell Editor
1. In the Tracks area menu bar, tap the Grid View button to switch to Live Loops.
2. In the Live Loops menu bar, tap the Cell Edit button to turn on Cell Edit mode.
3. Tap the cell you want to edit, then tap the Editors button in the view control bar (or
press E on your external keyboard) to view it in the Cell Editor.
As long as you stay in Cell Edit mode, you can tap other cells to view and edit their content
in the Editors area.
Start and stop preview in the Cell Editor
• In the Cell Editor, double-tap the ruler area to start preview.
Double-tap again anywhere on the ruler to stop preview.
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Create automation in the Cell Editor
1. In the Cell Editor menu bar, tap the Automation View button to view and edit the
region automation.
2. Use the same editing tasks available in the other editors, such as the Piano Roll Editor.
See region automation.
A cell that contains automation shows the automation symbol in the lower-right corner (you
need to zoom in to see it).
Convert regions
Convert regions to different region types in Logic Pro for iPad
You can convert a region to a different region type in Logic Pro for iPad. The new region
replaces the previous region on the same track.
Convert a MIDI region to a pattern region or Drummer region
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a MIDI region to select it, then tap again to open its menu.
3. Tap Convert, then tap Convert to Pattern Region or Convert to Drummer Region.
Convert a pattern region to a MIDI region or Drummer region
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a pattern region to select it, then tap again to open its menu.
3. Tap Convert, then tap Convert to MIDI Region or Convert to Drummer Region.
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Convert a Drummer region to a MIDI region or pattern region
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a Drummer region to select it, then tap again to open its menu.
3. Tap Convert, then tap Convert to MIDI Region or Convert to Pattern Region.
Copy regions to Live Loops in Logic Pro for iPad
In Logic Pro for iPad, you can copy any region to a new cell in the Live Loops grid. The new
cell will be placed on the same track in the next empty cell position.
Copy regions to Live Loops
1. In the Tracks area menu bar, tap the Trim button .
2. Tap a region to select it, then tap again to open its menu and choose Edit > Copy
Regions to Live Loops.
You can also use the command on multiple selected regions.
Copy a section to Live Loops
1. In the Tracks area menu bar, tap the Trim button .
2. Position the cycle area in the ruler to mark the section you want to copy, and tap the
Cycle Mode button to select it.
3. Tap the More button on the right side of the Tracks area menu bar and choose Copy
Section to Live Loops.
All regions (or portions of the region) that encompass the cycle area are copied to the Live
Loops grid as cells in a new Live Loops scene.
Bounce regions to a new track in Logic Pro for iPad
in Logic Pro for iPad, you can mix any regions in your project to a new audio region.
See Bounce one or more regions in place.
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Add drummers to your project
Intro to Drummer in Logic Pro for iPad
You can use Drummer to quickly add authentic drum performances to your project.
Logic Pro for iPad includes different drummer types (Acoustic, Electronic, and Percussion)
and genres. Each drummer comes with their own acoustic or electronic drum kit or
percussion kit and distinct playing style. You can create multiple Drummer regions on a
track, with a different drummer and playing style for each region. However, you can only
have one kit (patch) on a track.
In the Drummer Editor, you can change the drummer’s playing style by choosing different
presets, tweaking the generated pattern using various settings, or having Drummer regions
follow the rhythm of another track in the project.
You can further influence the sound of the drums and percussion by choosing patches
in the Browser, by editing the settings of individual kit pieces in Drum Kit Designer, or by
exchanging and editing kit pieces in Drum Machine Designer. For details about Drum Kit
Designer and Drum Machine Designer, see Drum Kit Designer overview and Drum Machine
Designer overview.
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When you add a new track with a Drummer region to your project, a drummer and a default
patch associated with that drummer are loaded.
The Loops view in the Browser features Drummer loops that you can add to your project
the same way as other loops. See Add Apple Loops to your project .
When you use electronic drummers, a track stack automatically loads with the selected
drum instruments, so you always have full access to all mix options. To learn more about
track stacks, see Intro to track stacks.
Note: You can convert Drummer regions to MIDI regions so that you can edit them in other
editors.
Add a track with a Drummer region
1. In Logic Pro, tap the Add Tracks button above the track headers.
2. In the New Tracks dialog, do one of the following:
• To create a software instrument track with a Drummer region and patch, tap the
Drummer Region Type button.
• To choose a drummer and patch for the track, tap the More button in the lower-
right corner of the Drummer Region Type button, tap the Drummer Genre pop-up
menu, choose a drummer genre, then tap Create.
A new track is created with an eight-bar Drummer region, and the Drummer Editor
opens.
Note: For more information about how to set the default region type, see Create tracks.
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Work with drummers and Drummer regions
The Drummer Editor in Logic Pro for iPad
The Drummer Editor is where you choose a drummer type and drummer for a Drummer
region, edit the region-based performance of a drummer, and choose which settings to
keep when changing drummers. The changes you make to a performance influence the
complexity, intensity, and other aspects of a Drummer region. You can also choose presets
for Drummer regions. Presets offer a quick way to browse predefined, region-based
Drummer Editor settings, including percussion and kit piece pattern variations and fill
settings.
The Drummer Editor also features an Automation View button on the left side of
the Drummer Editor menu bar that you can tap to show region automation. For more
information about automation, see Intro to automation.
Note: You edit Drummer regions in the Tracks area in much the same way that you edit MIDI
regions.
Open the Drummer Editor
In Logic Pro, do one of the following:
• Tap a Drummer region to select it, then tap the Editors button in the view control bar.
• Double-tap a Drummer region, tap Edit, then tap Show in Editor.
The Drummer Editor opens below the Tracks area. When you tap a different Drummer
region, the Drummer Editor shows the drummer and settings for that region.
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Choose a drummer type and drummer in Logic Pro for iPad
Each drummer type (Acoustic, Electronic, and Percussion) in Logic Pro for iPad comes with
a number of drummers that have their own drum kit or percussion instruments and distinct
playing style.
You can choose a drummer for each region on a track, which allows you to vary the playing
style for different sections of your project. When you choose a drummer type and a
drummer for a region, the default patch associated with the drummer is loaded if it’s the
only region on the track. When you have multiple regions on a track, you can add or change
a drummer without loading the default patch, or you can load the default patch. It’s also
possible to choose a new drummer without changing the drum kit or performance settings.
Note: Some drum kits are available only after you download additional sound packs in the
Sound Library.
Choose a drummer type and a drummer
1. In the Drummer Editor in Logic Pro, tap the Drummers button.
2. Choose a drummer type and a drummer.
Choose a drummer without changing performance settings
• In Logic Pro, tap the Lock Settings button on the right side of the Drummer Editor
menu bar, then turn on Settings to lock Drummer Editor settings when changing
drummers in a drummer type.
Choose a drummer without changing the drum kit
• In Logic Pro, tap the Lock Settings button on the right side of the Drummer Editor
menu bar, then tap Drum Kit to lock the drum kit when changing drummers in a
drummer type.
Load the default patch for a drummer
• In Logic Pro, tap the More button on the right side of the Drummer Editor menu bar,
then tap Load Default Patch.
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Choose drummer presets in Logic Pro for iPad
After choosing a drummer in Logic Pro for iPad, you can choose from a collection of
drummer-specific presets in the Drummer Editor. Presets offer a quick way to browse
predefined, region-based Drummer Editor settings, including kit piece pattern variations
and fill settings. You can use the default settings, or you can edit the default settings to
change the performance.
Whenever you choose a different preset or edit settings for the current one, you can
preview the selected region to hear the changes. You can also play back a subtly different
version of the selected region without editing any of the region settings.
Preview the current preset for the selected region
• In Logic Pro, tap the Preview button on the left side of the Drummer Editor menu bar.
Play a subtly different version of the selected region (without editing region
settings)
• In Logic Pro, tap the Refresh button on the right side of the Drummer Editor menu
bar.
Choose a different preset for the selected region
• In Logic Pro, tap the Preset pop-up menu on the left side of the Drummer Editor menu
bar, then choose a new preset.
The region settings in the editor update to reflect the chosen preset, and the selected
region in the Tracks area is regenerated.
Recall the default settings for a preset
• In Logic Pro, tap the More button on the right side of the Drummer Editor menu bar,
then tap Recall Default.
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Edit a drummer’s performance in Logic Pro for iPad
There are several settings in the Drummer Editor in Logic Pro for iPad that affect the
drummer’s playing style. You can access these settings using the Main button and Details
button in the Drummer Editor menu bar.
In the Main view, you can edit the complexity and intensity of the performance; choose
whether a pattern is played on the toms, cymbals, hi-hat, or percussion instruments;
and mute and unmute the drum and percussion kit pieces. You can also choose between
variations for the drum and percussion kit pieces.
The Details view provides settings for fine-tuning a drummer performance, including
swing, hi-hat opening for acoustic drummers, and humanize for electronic and percussion
drummers. The controls shown in the Details view are different for acoustic and electronic
drummers.
Adjust the complexity or intensity of the performance
• In the Drummer Editor in Logic Pro, drag the Complexity slider or Intensity slider to
adjust the performance.
The higher you drag the respective slider, the greater the complexity or intensity of the
performance.
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Mute or unmute a drum or percussion instrument
In the Drummer Editor in Logic Pro, do one of the following:
• To include the piece in the performance: Tap the kit piece so that it’s yellow (unmuted).
• To remove a piece from the performance: Tap the kit piece so that it’s dimmed (muted).
Some kits allow you to select only one kit piece in a row for a performance.
Choose a pattern variation for drum or percussion instruments
• In the Drummer Editor in Logic Pro, tap a kit piece, then choose an increment from the
Pattern Variations slider.
In some cases, you can select more than one instrument in a row.
Edit fills and swing settings
• Reduce or increase the number and length of fills: In the Drummer Editor in Logic Pro,
drag the Fills slider vertically.
• Adjust the shuffle feel of the currently playing pattern: In the Drummer Editor menu bar,
tap the Details button, then drag the Swing knob.
Tip: 63% is often an ideal value for swing.
• Determine whether the swing is based on eighth notes or sixteenth notes: In the
Drummer Editor menu bar, tap the Details button, then tap the 8th button or 16th
button.
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Edit other acoustic drum performance settings
• In Logic Pro, tap the Details button in the Drummer Editor menu bar, then do any of the
following:
• Drag the Feel knob to the right to have the performance play ahead of the beat, or to
the left to have it play behind the beat.
• Turn on the Auto Hi-Hat button to control the degree to which the hi-hat is opened
and closed during the drum performance.
• Drag the Hi-Hat Opening slider to adjust the degree to which the hi-hat is opened
and closed during the drum performance.
Note: This is only relevant if the hi-hat is unmuted in the Main view.
• Drag the Ghost Notes slider to adjust the level of ghost notes—syncopated snare
and kick hits—in the beat.
Note: The presence of ghost notes depends on the chosen drummer and the
complexity setting.
Edit other electronic drum and percussion performance settings
• In Logic Pro, tap the Details button in the Drummer Editor menu bar, then do any of the
following:
• Turn on the Auto Half-time button to have Drummer regions generated in half time, if
the project tempo is a multiple of the preferred tempo.
• Drag the Humanize slider to generate drum patterns that are not perfectly quantized,
making the performance more realistic, or human. You can tap the Lock Settings
button in the Drummer Editor menu bar to prevent any changes to the humanize
setting when switching presets or drummers.
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• Drag the Phrase Variation slider to determine the amount of rhythmic change that
occurs over the course of several bars within a region. You can tap the Lock Settings
button in the Drummer Editor menu bar to prevent any changes to the phrase
variation setting when switching presets or drummers.
Lock performance settings
After you make changes to the drummer’s performance, you can lock the performance
settings to prevent any changes when switching presets. You can lock the settings for fills,
swing, humanize, and phrase variation.
• In Logic Pro, tap the Lock Settings button on the right side of the Drummer Editor
menu bar, then choose the settings you want to lock.
Set Drummer to follow another track’s rhythm in
Logic Pro for iPad
In Logic Pro for iPad, you can have the kick and snare portions of a Drummer region follow
another track so that the beat the drummer plays is influenced by another instrument’s
rhythm. You may find, for example, that it makes more musical sense to have the chorus
beat influenced by a guitar track, while the rest of the performance follows a bass track.
The following types of audio material are best suited to lending their structure to Drummer
regions:
• Audio files recorded using monophonic, polyphonic, or percussive instruments.
• Audio files containing notes played on the same beat—no overlapping chord notes.
• Audio files recorded without distortion, overdrive, compressor, or modulation effects.
1. In Logic Pro, select a Drummer region in the Tracks area.
2. In the Drummer Editor, tap the Follow Rhythm button .
Because this behavior has an effect on the main rhythmic portion of the beat (for
example, kick and snare), the lower Pattern Variation slider changes to a Follow pop-up
menu.
3. Choose a track from the Follow pop-up menu.
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Convert Drummer regions to MIDI regions in
Logic Pro for iPad
In the Drummer Editor in Logic Pro for iPad, you edit the performance settings of Drummer
regions but not specific notes. To edit specific notes, you need to use the Piano Roll
Editor. To do this, you first convert your Drummer regions to MIDI regions. Once you
have converted them, they no longer interact with Drum Kit Designer and Drum Machine
Designer as Drummer regions.
After converting a Drummer region to a MIDI region, you can convert it back to a Drummer
region at a later point. However, any MIDI edits you have made to the region will be lost.
Note: Drummer regions can be edited in the Tracks area in much the same way as MIDI
regions.
Convert a Drummer region to a regular MIDI region
1. In the Logic Pro Tracks area, tap a Drummer region to select it, then tap it again.
2. Tap Convert, then tap Convert to MIDI Region.
The resulting MIDI region behaves the same way as any other MIDI region, and you can edit
it in the Piano Roll Editor. For more information about editing MIDI regions, see Overview of
the Piano Roll Editor.
Convert a regular MIDI region back into a Drummer region
1. In the Logic Pro Tracks area, tap a Drummer region to select it, then tap it again.
2. Tap Convert, then tap Convert to Drummer Region.
The resulting Drummer region does not contain any MIDI edits you may have made.
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Create patterns with Step Sequencer
Intro to Step Sequencer in Logic Pro for iPad
Step Sequencer in Logic Pro for iPad is inspired by classic hardware step sequencers with
rows of configurable switches or knobs used to generate repeating musical patterns. In
Step Sequencer, you create patterns by editing multifunctional steps in the step grid. Each
row controls either a sound (which can be a drum kit piece, a note on an instrument, or a
range of notes) or an automation parameter (letting you create automation changes over
time in the pattern). Each step represents a definable length of musical time–by default,
steps are of equal length, but you can change the length for individual rows or steps. You
can adjust a wide range of parameters for individual steps, including velocity, pitch, gate
time, and more; and edit pattern and row settings, including pattern length, row loop start
and end points, playback position, and rotation.
Step Sequencer appears in the Editors working area of Logic Pro. The Step Sequencer
interface includes the following:
• Step Sequencer menu bar: Contains a Preview button, a Live Record button, MIDI In and
MIDI Out buttons, a Mono Mode button, the Edit Mode buttons, a Step Select button, a
Vertical Auto Zoom button, and a More button.
• Step grid header: Contains a Pattern Key pop-up menu, a Pattern Scale pop-up menu,
a Pattern Length pop-up menu, and a More button for changing the pattern in the step
grid.
• Step grid: The main working area, where you turn steps on and off and graphically edit
step settings using edit modes. See Edit Step Sequencer steps.
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• Pattern controls: Located in the area above the first row header, these consist of a set
of controls for the pattern and a Page Switch button that you use to cycle through the
sets of controls in the pattern controls, row headers, and subrow headers.
• Row headers: Each header contains a subrow disclosure arrow to show subrows and
a set of controls for the row that you can cycle through using the Page Switch button
in the pattern controls. See Modify Step Sequencer pattern playback and Edit Step
Sequencer rows.
Pattern regions and pattern cells
Step Sequencer patterns are contained in pattern regions (in the Tracks area) and pattern
cells (in the Live Loops grid). Pattern regions and cells are used primarily in MIDI-based
(software instrument and external instrument) tracks. Pattern regions (but not pattern
cells) can also be used on audio tracks to automate effect and channel strip parameters. A
project can contain any number of pattern regions or cells.
Each pattern region or cell functions as an independent step sequencer, with its own
pattern, configuration, and settings. You can copy and move pattern regions like other
regions in the Tracks area. Pattern cells can be copied, moved, triggered, and queued like
other Live Loops cells. You can modify pattern region and cell parameters in the inspector.
All pattern, row, and step settings, as well as Step Sequencer view settings, are stored
with the pattern. You can also save a pattern as a template, which contains all the current
settings except for the step values, so you can use it as a starting point for creating new
patterns.
Patterns can include two types of rows:
• Note rows: Generate MIDI note events (for each active step). By default, all notes in a
note row have the same pitch, but you can change the pitch for individual steps using
the Note and Octave edit modes.
• Automation rows: Generate stepped automation events for an automatable parameter.
You can assign an automation row to any automatable parameter, including MIDI
continuous controller (CC) parameters, channel strip controls, and plug-in parameters.
Each row can have its own length, step rate, playback mode, start offset, and other
settings. Patterns can be from 12 to 64 steps in length, allowing for different time
signatures and multiple bar patterns.
You can add rows to a pattern manually or using Learn mode. When Learn mode is active,
rows are added when you play notes for which no row exists, or when you manipulate
an automation parameter for which no row exists. Using Learn (Assign) mode, you can
reassign existing note rows to match incoming note events, or reassign automation rows to
match automation parameters.
See Pattern creation basics and Change the musical length of a pattern.
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Edit modes
Using edit modes, you can control different attributes of the note or event triggered by a
step. Some edit modes apply to only one row type, while others are common to both types.
For note rows, you can change the velocity, pitch, gate time, number of note repetitions
in a step, and other attributes. For automation rows, you can change the value of the
automated parameter. Edit modes common to both row types include skipping and tying
steps, changing the loop start and end point, and changing the step rate.
You select the edit mode for all rows in the pattern using the Edit Mode buttons in the
Step Sequencer menu bar. You can also view and edit multiple edit modes per row using
subrows. Rows always match the edit mode selected, while you can choose any unused
edit mode for a subrow. You can add and delete subrows as needed.
See Use Step Sequencer edit modes.
Use Step Sequencer with Drum Machine Designer
in Logic Pro for iPad
Step Sequencer is especially suited to creating drum patterns using Drum Machine
Designer patches in Logic Pro for iPad. When you create a new pattern region on a track
with a Drum Machine Designer patch, note rows show names and icons matching the kit
pieces in the patch (rather than MIDI note names), and the Row Assignment pop-up menu
shows the kit piece names rather than MIDI note names.
When using Step Sequencer with a Drum Machine Designer patch, changing the note or
octave values for steps transposes the pad kit piece rather than changing the drum sound.
Unlike with other types of instruments, the row name retains the name of the kit piece
rather than changing to Melodic.
Using Drum Machine Designer patches and the Drum Machine Designer Play Surface, you
can quickly record Step Sequencer patterns live.
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A pattern region that uses a Drum Machine Designer patch can be separated into multiple
pattern regions so that each row is separated into its own one-row pattern region. The
separated regions are placed on the subtracks of the Drum Machine Designer track stack
matching the originating kit piece rows. This can be useful when you want to work with the
resulting rows as separate regions. This function is similar to the MIDI Separate by Note
Pitch function.
Separate a Drum Machine Designer pattern region per kit piece
1. In the Logic Pro Tracks area, tap the pattern region to select it, then tap it again.
2. Tap Convert, then tap Separate by Kit Piece.
3. To view and edit the new pattern region for each row, tap the disclosure arrow to open
the track stack.
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Create Step Sequencer patterns
Pattern creation basics in Logic Pro for iPad
Using Step Sequencer in Logic Pro for iPad, you can create rhythm-based drum patterns
and note-based instrument patterns using software instruments. You can start with an
empty pattern or use an existing pattern or template as a starting point.
You create a pattern by turning steps on and off, modifying steps using edit modes, and
editing aspects of the overall pattern, including the pattern length, the step rate for the
pattern, and the pattern key. You can increase the number of notes or drum sounds in a
pattern by adding rows and choosing the row assignment. When you activate Learn mode,
you can quickly add rows by playing notes or manipulating automation parameters.
Create an empty pattern region in the Tracks area
• In Logic Pro, tap an empty software instrument track, then tap Create Pattern Region.
Create an empty pattern cell in the Live Loops grid
• In Logic Pro, tap an empty software instrument cell, then tap Create Pattern Cell.
Open Step Sequencer
• Tap a pattern region, then tap the Editors button in the middle of the view control bar
to display that region in Step Sequencer in the Editors area.
Turn steps on or off
• In Logic Pro, tap the Step On/Off button in the Step Sequencer menu bar, then tap an
inactive step in the grid to turn it on.
• Tap an active step to turn it off.
Enter steps monophonically
Using Mono mode, you can easily create monophonic lines by suppressing the creation of
more than one note per step position. When you turn on a step, and another step is already
active at the same vertical position, the previously active step is turned off. This can be
useful, for example, when creating patterns for a monophonic instrument.
Turning on Mono mode does not turn off steps that are already active, but once you
activate a new step, Step Sequencer turns off all other active steps at the same vertical
step position.
• To turn on Mono mode, tap the Mono Mode button in the Step Sequencer menu bar.
Preview a pattern
• In Logic Pro, with the project stopped, tap the Preview button in the Step Sequencer
menu bar.
Tap the Preview button again to stop the pattern playing.
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Add a row
You can add a row and choose the kit piece (for kit piece rows), pitch (for note rows), or
automation parameter (for automation rows) directly using the Add Row button. You can
also add rows using Learn mode.
1. In the pattern controls in Logic Pro, tap the Add Row button , then do one of the
following:
• To add a kit piece row: Choose Kit Pieces, then choose a kit piece from the submenu.
• To add a note row: Choose Notes, then do one of the following:
• Choose a fixed pitch or a drum sound for the row from the Notes submenu.
• Choose Melodic if you plan to add a note row with steps set to different pitches.
• To add an automation row: Choose Automation, then choose the automation
parameter for the row from one of the submenus.
• To activate Learn mode: Choose Learn (Add) or Learn (Assign).
2. After adding a row, you can turn steps on or off and edit other settings using edit
modes.
Add rows using Learn (Add) mode
You can add rows by playing MIDI notes or manipulating automatable parameters using
Learn mode. When Learn (Add) mode is active, Step Sequencer creates a new note row
for any played MIDI note or parameter for which a row does not already exist. Similarly, it
creates a new automation row for any received parameter controller event for which a row
does not exist. Learn (Add) mode simplifies the process of creating a step grid with the
notes, drum sounds, and automation parameters you want to use in your pattern.
1. To activate Learn (Add) mode, tap the Add Row button , then tap Learn (Add).
While Learn (Add) mode is active, the Add Row button is red.
2. Do either of the following:
• To add note rows: Play notes on a Play Surface in Logic Pro or a connected MIDI
keyboard or other MIDI controller.
• To add automation rows: Manipulate a control for an automatable parameter (such as
a plug-in parameter), either in Logic Pro or using a connected MIDI controller.
3. To turn off Learn (Add) mode, tap the Add Row button.
After adding a row, you can turn steps on or off and edit other settings using edit modes.
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Reassign rows using Learn (Assign) mode
You can reassign existing rows by playing MIDI notes or manipulating automatable
parameters using Learn (Assign) mode. When Learn (Assign) mode is active, Step
Sequencer reassigns the selected row to match any played MIDI note for which a row does
not already exist, or to match any received parameter controller event for which a row does
not exist.
1. To activate Learn (Assign) mode, tap the Add Row button , then tap Learn (Assign).
While Learn (Assign) mode is active, the Add Row button is yellow.
2. Tap the icon of the row you want to reassign.
3. Do either of the following:
• To reassign a note row: Play notes on a Play Surface in Logic Pro or on a connected
MIDI keyboard or MIDI controller.
• To reassign an automation row: Manipulate a control for an automatable parameter
(such as a plug-in parameter), either in Logic Pro or using a connected MIDI controller.
4. To turn off Learn (Assign) mode, tap the Add Row button.
After adding a row, you can turn steps on or off and edit other settings using edit modes.
Step Sequencer provides many controls and functions for working with patterns. You can
modify pattern playback, edit steps and rows, and edit pattern, row, and step settings in
the inspector. You can also customize different aspects of Step Sequencer to suit your
workflow. See Customize the Step Sequencer interface.
Change the musical length of a pattern in Logic Pro for iPad
Several factors determine the musical length of a Step Sequencer pattern (the time in bars
and beats before the pattern repeats) in Logic Pro for iPad. The most fundamental are the
pattern length, which defines the maximum number in steps available to each row, and the
pattern step rate, which defines the length of each step in musical divisions (note values).
Another important factor affecting the musical length of a pattern is the Loop Start/
End edit mode. Using Loop Start/End, you can set the number of steps for each row
independently from the pattern length and the length of other rows. Technically, the
musical length of a pattern is the length of the longest row. For example, if all rows in a
pattern loop after 4 steps, and each step has a step rate of 1/16, then the musical length is
only one beat (1/4), even if the pattern length is 16 steps or longer.
When row lengths are evenly divisible, the overall length is equal to the length of the
longest. For example, if you shorten several rows in a 16-step pattern to 4 or 8 steps (which
both divide evenly into 16), the pattern remains a one-bar pattern. When row lengths are
not evenly divisible, however, the musical length is increased (sometimes substantially)
because the pattern doesn’t repeat until all rows start at the same time again.
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Using the Skip edit mode can also result in the length of rows changing, which affects the
overall musical length of the pattern in a similar manner to changing the Loop Start/End
setting.
The playback mode can also affect the musical length of the pattern. Choosing Ping
Pong as the playback mode doubles the pattern length, while setting any row to Random
playback mode can result in the musical length of the pattern being essentially infinite.
Ultimately, how long a pattern plays in a project depends on the length of the pattern
region or pattern cell. If the musical length of the pattern exceeds the region or cell length,
it plays only until the end of the region or cell is reached. When the region or cell length
exceeds the pattern length, the pattern repeats until the end of the region or cell, or
restarts if the region or cell is looping. If the musical length of the pattern, or of any row,
does not fit equally into the region length (or cell length), the rows in the pattern restart
before they complete a full cycle.
Change the pattern length
• In Logic Pro, choose a new length from the Pattern Length pop-up menu in the step grid
header.
When you increase the pattern length, the added steps duplicate the existing pattern. You
can edit the added steps to add variation or change the pattern.
When the pattern length is more than 16 beats, the entire pattern may not be visible in the
step grid, depending on the zoom level. In this case, the pattern is divided into sections
called pages, each showing a part of the complete pattern. An overview of each page
appears above the step grid. You can tap the page overviews to quickly switch between
different parts of the pattern.
You can also change the pattern length in the inspector.
Change the step rate for the pattern
The step rate sets the duration of steps in the step grid as a note value. You can set the
step rate for the overall pattern, and set a different step rate for individual rows and steps.
1. In Logic Pro, tap the Page Switch button in the pattern controls until you see the Step
Rate button .
2. Tap the Step Rate button, then choose a new step rate.
You can also change the step rate for the pattern in the inspector.
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Use Step Sequencer edit modes in Logic Pro for iPad
You can control different aspects of the event triggered by a step using edit modes . You
can choose the edit mode for a pattern, and view multiple edit modes for each row using
subrows. Some edit modes are common to both note rows and automation rows, while
others are specific to one row type.
The Edit Mode buttons in the middle of the Step Sequencer menu bar control the edit mode
for all rows in the pattern. Tap the Page Switch button to alternate between the two rows
of buttons.
Edit modes for both row types
• Step On/Off: Tap steps to turn them on or off. Active steps appear highlighted in the
step grid, while inactive steps appear darker.
• Tie: Tap the right edge of a step to tie it to the following step, or tap the left edge to tie
it to the previous step. The duration of the step is lengthened by the value of the step it
is tied to.
• Loop Start/End: When this mode is active, a frame appears around the row. Drag the
left edge of the frame to set the start of the row relative to the overall pattern. Drag the
right edge of the frame to set the end of the row relative to the overall pattern. You can
also tap a step to set the start or end point (whichever is closest) to that step, and drag
vertically to other rows to set their start or end positions.
• Chance: Drag vertically in the step to set the chance percentage. Chance controls the
probability that the step plays each time the pattern repeats. The active state of the
step is determined when you edit the chance value and does not change until you edit
it again.
• Start Offset: Drag vertically in the step to move the start offset of the step from –50 to
+50 percent of the step rate.
• Step Rate: Drag vertically in the step to set the length of the step (in note values,
relative to the project tempo). This determines how long it takes for the playhead to
move across the step, whether or not it is active.
• Skip: Tap a step to turn skipping on or off. When skipping is on, the step is skipped
and playback moves immediately to the next step, in effect shortening the row by the
duration of the skipped step.
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Edit modes for note rows
• Velocity: Drag vertically in the step to set the velocity value from 1 to 127. Velocity
typically controls the loudness of the note attack, but can control other parameters
depending on the parameter mapped to Velocity for the patch.
• Gate: Drag vertically in the step to set the gate value as a percentage of the step. The
gate value shortens the note length to less than the duration of the step.
• Note: Drag vertically in the step to set the note value from –12 to 12 semitones,
transposing the pitch of the step in notes.
When you change the pitch of a step in a fixed-pitch note row, the row header label
changes to Melodic to indicate that the row contains multiple pitches.
• Octave: Drag vertically in the step to set the octave value from –2 to 8 octaves,
transposing the pitch of the step in octaves.
• Note Repeat: Drag vertically in the step to set the note repeat value from 1 to 16. Note
Repeat controls how often the note repeats during the duration of the step.
Edit modes for automation rows
There is only one edit mode specific to automation rows:
• Value: Drag vertically to set the value for the automation parameter controlled by the
row. The value range depends on which parameter the row is set to control.
Note: Tapping the Velocity / Value button sets the edit mode to velocity for note rows,
and to the automation value for automation rows. In row headers, Velocity appears in
the Edit Mode menu for note rows only.
View and edit multiple edit modes for a row using subrows
You can view and edit multiple edit modes for a row using subrows. When you tap the
subrow disclosure arrow in the row header, a default set of subrows, each with its own edit
mode, appears. When you add a subrow, it defaults to the next available edit mode for that
row type. Two subrows of a row cannot have the same edit mode.
Choose the edit mode for the pattern
The Edit Mode buttons are located in the middle of the Step Sequencer menu bar. They are
arranged in two rows, of which only one is visible at a time. Use the Page Switch button
to switch between the two rows.
• Tap the corresponding Edit Mode button in the Step Sequencer menu bar.
If the button is not visible, tap the Page Switch button to show the other row of buttons.
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Change edit mode values for steps in the grid
1. In Logic Pro, in the Step Sequencer menu bar, tap an Edit Mode button.
By default, each step shows the current value for the selected mode. You can change
the display of step values in the step grid.
2. In the step grid, edit the value of each step.
For most edit modes (except On/Off , Tie, Loop, and Skip), you edit the value by
dragging vertically in the step. The value appears above the step as you drag. Some edit
modes have only on and off states, rather than a range of values. In this case, tapping
the step switches between the two states. For Loop Start/End, tapping a step sets the
loop start or loop end position (whichever is closer) to that step.
Create ramped values across steps
• In Logic Pro, drag across the steps you want to include in a ramp.
Show subrows for a row
You can view and edit multiple edit modes for a row at the same time using subrows.
• In Logic Pro, tap the subrow disclosure arrow on the left side of the row header.
By default, several subrows appear below the row, depending on the row type.
You can add subrows and change the edit mode for a subrow.
Change the edit mode for a subrow
• In Logic Pro, choose a new edit mode from the Edit Mode menu, located in the upper-
right area of the subrow header.
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Add a subrow
When you add a subrow, it defaults to the next available edit mode for that row type. Two
subrows of one row cannot have the same edit mode.
1. In Logic Pro, tap the More button on the left side of a subrow header, then tap Add
Subrow.
A subrow appears below the subrow, set to the next available edit mode for the row.
2. Tap the Edit Mode menu in the upper-right area of the subrow header, then choose an
edit mode for the subrow.
The steps in the subrow show the values for the selected edit mode.
Delete a subrow
• In Logic Pro, tap the More button on the left side of a subrow header, then tap
Remove Subrow.
Pattern creation examples in Logic Pro for iPad
The following examples provide steps to follow as well as general guidelines for working
with different types of patterns in Step Sequencer in Logic Pro for iPad.
Drum pattern example
For drum and percussion (rhythm-based) patterns, edit modes such as Velocity and Note
Repeat can be effective for creating interesting-sounding patterns. You can also create
interesting variations by copying the pattern and changing the pattern length of the copy.
1. In Logic Pro, open the Browser and choose an Electronic Drum Kit patch that uses Drum
Machine Designer.
2. Create an empty pattern region in the Tracks area or an empty pattern cell in the Live
Loops grid.
3. Turn on some steps in the pattern to create a basic beat. It’s often good to begin with
a simple kick pattern to set the foundation, followed by a few snare hits and a hi-hat
pattern.
4. Tap the Preview button in the Step Sequencer menu bar to hear the pattern as you
work.
5. Tap the Velocity / Value button in the Step Sequencer menu bar and adjust the
velocity of steps.
6. Choose Note Repeat button in the Step Sequencer menu bar and add note repetition
to some steps. This can work especially well with closed hi-hats or other sounds with a
quick decay.
7. Tap the Preview button again to stop the pattern playing.
8. Choose a different pattern length from the Pattern Length pop-up menu in the step grid
header.
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Instrumental pattern example
Edit modes such as Velocity, Note, Octave, and Tie can be useful for creating interesting
instrument and melodic patterns.
1. In Logic Pro, open the Browser and choose a patch featuring a relatively fast note
attack.
2. Create an empty pattern region in the Tracks area or an empty pattern cell in the Live
Loops grid.
3. Tap the Preview button in the Step Sequencer menu bar to hear the pattern as you
work.
4. Turn on some steps in the pattern to create the basic feel.
5. Tap the Velocity / Value button in the Step Sequencer menu bar and adjust the
velocity of steps.
6. Tap the Tie button in the Step Sequencer menu bar and tie some steps to lengthen
some notes.
7. Tap the subrow disclosure arrow on the left side of a row header to show subrows for
that row.
8. In the Gate subrow, choose Note from the Edit Mode menu to change the edit mode for
the subrow.
9. Drag vertically in some steps to change their pitch. The new pitch appears above the
step as you edit it.
Note: When you change the pitch of individual steps in a row, the row is labeled Melodic
to indicate that the steps in that row no longer trigger the same pitch.
Adding automation example
Using Learn mode to quickly add automation rows by manipulating plug-in parameters for a
software instrument simplifies the process of adding automation to a pattern.
1. In Logic Pro, open Loops in the Browser, choose a melodic pattern, and drag it to a new
software instrument track or Live Loops cell.
2. Tap the Preview button in the Step Sequencer menu bar to hear the pattern as you
work.
3. Tap the Plug-ins button to show the plug-ins for the software instrument.
4. Tap the Add Row button located above the row headers, then tap Learn (Add) to
activate Learn mode.
5. Manipulate a plug-in control in Plug-in view and look for the row created for that
parameter in Step Sequencer.
Notice how the parameter moves abruptly from one value to the next.
Note that changes to the parameter value will be audible only on steps that are turned
on.
6. In Step Sequencer, tap the Page Switch button in the pattern controls until you see
the Automation Mode button, then choose Slide .
Notice that automation parameters now move smoothly between values.
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Record Step Sequencer patterns live in
Logic Pro for iPad
With Live Record, you can record both MIDI note events and automatable parameter events
to a pattern region or pattern cell while the pattern is playing in Logic Pro for iPad. Notes
matching existing note rows are recorded as steps in those rows, and new note rows are
created for notes that do not match an existing row. Similarly, automation parameters for
which a row exists are recorded to those rows, and new automation rows are created for
parameters with no existing row.
When you play intervals or chords, steps on note rows matching the pitches played are
turned on, unless Mono mode is active. Mono mode restricts note input so that only one
step for each time position is active. That is, when multiple notes are played, only the last
note received in the time range of the step is active.
During Live Record, when the selected row is a Melodic row, incoming note events turn
on steps on that row only, with each active step set to the correct Note and Octave value.
Live Pattern Recording on Melodic note rows is always monophonic. If notes are played
simultaneously, the last note received during the time range of the step determines the
pitch of that step.
When incoming note or automation events fall between steps, the step closest to the time
position of the event is activated.
Drum Machine Designer is particularly suited to creating patterns with live recording.
Live Record options
You can control whether to capture note velocity and length during Live Record, as well as
whether to quantize the recorded note or automation events to the start of the step they
activate. The Live Record options include:
• Velocity: When selected, the velocity of the incoming note events is applied to the
newly activated steps. When deselected, the new steps retain the existing value of the
step.
• Note Length: When selected, the duration of notes played during recording is captured
and played back. Step gate and tie values are modified to make the step the same
length as the recorded MIDI event. If the played note is shorter than the step length,
Step Sequencer reduces the gate value to shorten the step to match the played note.
If the played note is held longer than the step length, a tie is activated for the step to
increase its duration. The gate value is also adjusted for the tied step to match the
length of the played note as closely as possible. When Note Length is deselected,
tie and gate values do not change to reflect the duration of held notes. Only the step
closest to the start of the incoming event is activated, at its standard step length.
In general, it’s best to keep Note Length off when recording drums, and turn it on when
recording pitched instrument events.
• Quantize: When Quantize is selected, notes snap to the start of active steps so that
they play in perfect metronomic time, with no offset. When deselected, a Step Offset
value is added to each active step so that the event is triggered at the precise time
position of the played note.
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Set Live Record options
1. In Logic Pro for iPad, do one of the following:
• Touch and hold the Live Record button .
• Tap the More button in the Step Sequencer menu bar, then tap Live Record.
2. Choose one of the following:
• To have recorded steps match the velocity of incoming note events, choose Velocity.
• To have recorded steps match the duration of incoming note events, choose Note
Length.
• To add an step offset to recorded steps to match the start time of incoming note
events, choose Quantize.
Create a live pattern recording
1. In Logic Pro, start the pattern playing by doing one of the following:
• Tap the Preview button in the Step Sequencer menu bar.
• Start the project playing. When the playhead reaches the start of the pattern region,
recording starts, and continues until the playhead reaches the end of the pattern
region.
Note: You can extend recording time for the pattern by setting the cycle area to the
start and end of the pattern region.
• For a pattern cell, tap the cell to start playback. Recording continues until the cell
stops playing.
2. Tap the Live Record button in the Step Sequencer menu bar.
3. Perform the parts you want to record. Both played notes and controller-driven
automation changes are recorded.
4. When you finish, tap the Live Record button again to stop recording.
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Step record Step Sequencer patterns in
Logic Pro for iPad
With step recording, you can record both MIDI note events and automatable parameter
events to a pattern region or pattern cell in sequence. You can step record to a pattern with
the playhead either running or stopped in Logic Pro for iPad.
When step recording is active, incoming MIDI events turn on steps in sequence (one step
at a time), starting from the position of the currently selected step. If a row assigned to
the incoming MIDI event exists, the step on that row is activated. If no corresponding row
exists, a row assigned to that event is created, similar to the way Learn mode and Live
Record work.
For incoming note events, once the Note Off message for the last held note event is
received, the next step in the row is selected. For example, if you are using a standard
MIDI keyboard controller, the step is enabled when you press a key on the controller, and
the next step is selected when you release the key. If you press additional keys on the
controller before releasing the currently held ones, the next step is not selected until you
release the last held key. This makes it easier to input chord notes.
Unlike note events, MIDI CC and automaton events do not move to the next step
automatically. When Logic Pro detects a new incoming event, either the matching row is
selected or a new one is created, and then a step is activated at the current location with
the current parameter value. The value of that step continues to change as long as the
parameter or CC value is manipulated, until you select a new step.
Create a pattern using step recording
1. Tap the MIDI In button in the Step Sequencer menu bar to turn on step recording.
2. Play the notes, and manipulate any parameter automation changes.
3. When you finish, tap the MIDI In button again to turn off step recording.
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Load and save patterns in Logic Pro for iPad
The Browser in Logic Pro for iPad includes Patterns view, where you can choose and save
patterns and templates. Patterns view contains a variety of premade patterns for drums,
bass, keys, and other instrument categories that you can use in your projects. Patterns
view also features templates, which include pattern, row, and step settings but with an
empty step grid that you can use as a starting point for creating patterns.
Patterns can also be contained in pattern loops. A pattern loop contains the patch for the
pattern’s sound as well as the pattern, row, and step settings and the step values. Loops
view in the Browser includes a collection of pattern loops that you can use in your projects.
You add pattern loops to the Tracks area or the Live Loops grid in the same way as other
loops.
Choose a pattern from Patterns view in the Browser
1. In Logic Pro, tap the More button in the Step Sequencer menu bar.
2. Tap Patterns, then tap Show Patterns.
Patterns view opens in the Browser on the left side of the screen.
3. In Patterns view, choose a Pattern folder (such as Bass or Chords), then choose a
pattern.
Search for patterns by name
• In Logic Pro, tap the search field in Patterns view, enter a search term.
• As you type, matches for patterns containing your search term are updated in the list
below the search field.
• Tap one of the matching results.
Transpose the selected pattern to the project key
1. In Logic Pro, with the pattern open in Step Sequencer, tap the More button in the
step grid header.
2. Tap Transpose, then tap Transpose to Project Key.
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Save a pattern to the Browser
1. In Logic Pro, with the pattern open in Step Sequencer, tap the More button in the
Step Sequencer menu bar.
2. Tap Patterns, then tap Save Pattern.
3. Enter a name for the pattern, then tap OK.
The pattern is saved to the User folder in Patterns view in the Browser.
Save a pattern as a template
1. In Logic Pro, with the pattern open in Step Sequencer, tap the More button in the
Step Sequencer menu bar.
2. Tap Patterns, then tap Save Template.
3. Enter a name for the template, then tap OK.
The template is saved to the User folder in Patterns view in the Browser.
Convert a MIDI region or cell to a pattern region or cell
1. In Logic Pro, tap a region or cell to select it, then tap it again.
2. Tap Convert, then tap either Convert to Pattern Region or Convert to Pattern Cell.
Note: You can only convert MIDI regions or cells that have four or fewer bars.
Convert a pattern region or cell to a MIDI region or cell
1. In Logic Pro, tap a region or cell to select it, then tap it again.
2. Tap Convert, then tap Convert to MIDI Region.
Add a pattern loop from Loops view in the Browser
1. In Logic Pro, tap the Browser button on the left side of the view control bar to open
the Browser.
2. Tap the Loops button, then tap the All Filters button to open the All Filters window.
3. In the Type category, tap Pattern Loop, then tap outside the All Filters window to close
it.
4. Touch and hold a pattern loop, then drag it to a software instrument track. If regions
already exist on the track, the pattern loop uses the existing track instrument; if the
track is empty, the track uses the patch (including the instrument) saved with the
pattern. You can also drag a pattern loop to the area below the last track header.
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Modify Step Sequencer pattern playback in
Logic Pro for iPad
Some options in Step Sequencer in Logic Pro for iPad control how and when steps play
back, and can be fun to manipulate while the pattern is playing. For example, you can
mute and solo rows, rotate rows (moving all steps in a row left or right, including their step
values and other edit mode settings), change the playback mode for the pattern or for a
row, and perform other actions while the pattern is playing. There are three rows of buttons
in each row header; use the Page Switch button to switch between them.
Mute a row
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the Mute
button in the row header, then tap the button.
Solo a row
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the Solo
button in the row header, then tap the button.
Rotate a row
When you rotate a row, all steps in the row, including their edit mode values, are shifted
either left (counterclockwise) or right (clockwise). When you rotate a subrow, the edit
mode value for that subrow is shifted left or right.
• To rotate the row left (counterclockwise): Tap the Page Switch button in the pattern
controls until you see the Rotate Left button in the row header, then tap the button.
• To rotate the row right (clockwise): Tap the Page Switch button in the pattern controls
until you see the Rotate Right button in the row header, then tap the button.
Rotate all steps in the pattern
• In Logic Pro, do one of the following in the pattern controls:
• To rotate steps left (counterclockwise): Tap the Rotate Left button .
• To rotate steps right (clockwise): Tap the Rotate Right button .
Rotate edit mode values for steps in a row
When you use the Rotate controls in a subrow, you can rotate edit mode values for the
subrow independently of the step values (on or off). You can use this technique to, for
example, keep the same rhythm while changing the pitches being played.
1. In Logic Pro, tap the subrow disclosure arrow in a row header to show subrows for a row.
2. If necessary, change the edit mode for a subrow to show the one you want to rotate.
3. Tap the Page Switch button in the pattern controls until you see the Rotate buttons
in the subrow header.
4. Tap the Rotate Left button or Rotate Right button in the subrow header to rotate edit
mode values.
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Change the playback mode for the pattern
By default, steps in a pattern sound from left to right, similar to how the playhead moves
from left to right in the Tracks area. You can change the playback mode for the overall
pattern and choose a different playback mode for individual rows.
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Playback Mode button , then tap the button in the pattern controls and choose a
playback mode.
The choices are:
• Forward: Steps play from left to right.
• Reverse: Steps play from right to left.
• Ping Pong: Playback alternates between left to right and right to left.
• Random: Steps play in an undetermined order.
You can also change the playback mode in the inspector.
Change the playback mode for a row
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Playback Mode button , then tap the button in the row header and choose a playback
mode.
The choices are:
• Forward: Steps play from left to right.
• Reverse: Steps play from right to left.
• Ping Pong: Playback alternates between left to right and right to left.
• Random: Steps play in an undetermined order.
Choose the transition type for an automation row
When automating a parameter on an automation row, you can choose whether the
transition between steps is a sudden or gradual change.
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Automation Mode button, then choose Latch or Slide in the row header.
You can also change the automation mode in the inspector.
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Edit Step Sequencer steps in Logic Pro for iPad
You can edit individual steps in several ways, including cutting, copying, and pasting
steps. You can also repeat a step, decrement or increment the values of all steps in a row,
transpose all steps in a pattern by semitones or octaves, randomize values for all steps in a
row or all steps in the pattern, and reset steps to default values.
Pattern regions can be edited only in Step Sequencer in Logic Pro for iPad, not in the other
MIDI editors. You can convert a pattern region to a MIDI region, which can be edited in the
Tracks area and in the Piano Roll Editor.
Cut a step
1. In Logic Pro, tap the Step Select button in the Step Sequencer menu bar.
2. Tap the step to select it, tap it again, then tap Cut.
When you cut a step, the step value and edit mode settings are cut, but the empty step
remains in the step grid. The order of following steps does not change.
Copy and paste a step
You can copy a step, including all of its step settings. When you paste a copied step, the
destination row should be of the same row type (note or automation) as the source row.
1. In Logic Pro, tap the Step Select button in the Step Sequencer menu bar.
2. Tap the step to select it, tap it again, then tap Copy.
3. Tap the destination step to select it, tap it again, then tap Paste.
Repeat a step
1. In Logic Pro, tap the Step Select button in the Step Sequencer menu bar.
2. Tap the step to select it, tap it again, then tap Repeat.
Raise or lower the value of all steps in the pattern
In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Decrement and Increment buttons , then do one of the following:
• To lower the value of all steps in the pattern: Tap the Decrement button in the pattern
controls.
• To raise the value of all steps in the pattern: Tap the Increment button in the pattern
controls.
You can also continuously change the value for all steps in the pattern by touching and
holding either button and dragging vertically.
When the edit mode is set to Step On/Off, tapping the Increment button turns on all
inactive steps, and tapping Decrement button turns off all active steps. When the edit
mode is set to Tie, tapping the Increment button ties all steps, and tapping the Decrement
button unties all tied steps.
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Raise or lower the values of all steps in a row
In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Decrement and Increment buttons , then do one of the following:
• To lower the value of all steps in the pattern: Tap the Decrement button in the row header.
• To raise the value of all steps in the pattern: Tap the Increment button in the row header.
Transpose all steps in a pattern
In Logic Pro, tap the More button in the step grid header, tap Transpose, then do one of
the following:
• To transpose the pattern up one semitone: Choose Transpose +1 Semitone.
• To transpose the pattern down one semitone: Choose Transpose –1 Semitone.
• To transpose the pattern up one octave: Choose Transpose +1 Octave.
• To transpose the pattern down one octave: Choose Transpose –1 Octave.
• To transpose the pattern to the project key: Choose Transpose to Project Key.
Randomize step values in a pattern for the active edit mode
• In Logic Pro, tap the Page Switch button in the pattern controls until you see the
Randomize button , then tap the button in the pattern controls.
Randomize step values in a row for the active edit mode
In Logic Pro, do one of the following:
• Tap the Page Switch button in the pattern controls until you see the Randomize button
, then tap the button in the row header.
• Tap the row icon to select the row, tap it again, then choose Randomize for the active
edit mode.
Reset step values to default settings
When you create a pattern in Logic Pro for iPad, many Step Sequencer settings, including
all edit modes and the playback mode, have a default value. After you change the value
for a step, it no longer retains the default value. You can clear steps, which resets all their
edit mode values to default values (for the step rate, the default is defined by the row step
rate). You can clear a single step, all steps in a row, or all steps in the pattern. You can also
clear the values for the currently selected edit mode in a single row, for all note rows or all
automation rows, or for steps in all rows in the pattern.
• To clear edit mode values for a step: Tap the Step Select button in the Step
Sequencer menu bar, tap the step to select it, tap it again, then tap Clear Step.
• To clear edit mode values for all steps in a row: Tap the row icon to select the row, tap it
again, then choose Clear Row.
• To clear edit mode values for all steps in all note rows: Tap the More button in the
step grid header, tap Clear, then tap Clear for Note Rows for the active edit mode.
• To clear edit mode values for all steps in all automation rows: Tap the More button in
the step grid header, tap Clear, then tap Clear Value for Automation Rows.
• To clear all steps in the pattern: Tap the More button in the step grid header, tap
Clear, then tap Clear Pattern.
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Edit Step Sequencer rows in Logic Pro for iPad
You can edit Step Sequencer rows in a variety of ways. You can copy and paste rows or
row settings, duplicate a row with the same row assignment and row and step properties,
change a row assignment, reset row values to a default setting, and delete a row.
Rename a row
1. In Logic Pro, tap the row icon to select the row, tap it again, then choose Edit Row
Name.
2. Enter a name for the row, then tap OK.
Copy and paste rows
1. In Logic Pro, tap the row icon to select the row, tap it again, then choose Copy Row.
2. Tap the row icon of the row that you want to replace with the pasted row, tap it again,
then choose Paste Row.
When the copied and pasted rows are both fixed note rows, the Note and Octave values are
ignored. You can copy and paste a row to duplicate the rhythm of the copied row to a row
with a different drum sound or pitch. When you copy from a Melodic note row, however, the
Note and Octave values are maintained.
Copy and paste row settings
1. In Logic Pro, tap the row icon to select the source row, then choose Copy Row.
2. Select the destination row (in the same or another pattern region), then choose Paste
Row Settings.
Duplicate a row
• In Logic Pro, tap the row icon to select a row, then choose Duplicate.
The row and the step settings are duplicated using the same row assignment. If you
duplicate a row when Mono mode is turned on, the active steps in the original row are
turned off.
Change the row assignment
You can change the row assignment for a row, including changing the row type.
• In Logic Pro, tap the Row Assignment pop-up menu in the row header, then do one of
the following:
• For a note row: Choose Notes, then choose a different note value from the submenu,
or else choose Melodic (if you plan to assign different pitches to different steps).
Note: When a pattern using a Drum Machine Designer patch is selected, the Row
Assignment pop-up menu shows the kit piece names rather than MIDI note names.
• For an automation row: Choose Automation, then choose an automation parameter
from one of the submenus.
You can also change the row assignment in the inspector.
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Reset values in a row to default settings
In Logic Pro, do one of the following to clear values in a row for the active edit mode:
• Tap the Page Switch button in the pattern controls until you see the Clear button ,
then tap the button in the row header.
• In the Step Sequencer menu bar, tap the Edit Mode button for the values you want to
clear, tap the row header icon, then tap Clear for the active edit mode. For example, if
Velocity mode is selected, Clear Velocity appears in the Row menu.
Delete a row
• In Logic Pro, tap the row, then choose Delete Row.
Delete all unused rows
• In Logic Pro, tap the More button in the step grid header, then choose Delete Unused
Rows.
You can also view and edit many row settings in the inspector.
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Edit pattern, row, and step settings in the inspector
in Logic Pro for iPad
You can edit a variety of settings for patterns, rows, and individual steps in the inspector in
Logic Pro for iPad.
Some controls in the inspector are also available in other parts of Step Sequencer (for
example, some pattern settings are available in the step grid header, and many row
settings are available in the row headers). By viewing and editing them in the inspector, you
can more easily compare values and copy and paste values between settings.
Open the inspector
• In Logic Pro, tap the Inspector button to open the inspector.
Edit pattern settings
1. In Logic Pro, with Step Sequencer focused, tap the Level menu in the inspector, then
tap Pattern to show the pattern settings.
2. Do any of the following:
• To change the pattern length: Choose the number of steps in the pattern from the
Pattern Length pop-up menu.
• To change the step rate: Choose the note value for steps in the pattern from the
Step Rate pop-up menu.
• To change the playback mode: Choose a playback option from the Playback Mode
pop-up menu. The choices are:
• Forward: Steps play from left to right.
• Reverse: Steps play from right to left.
• Ping Pong: Playback alternates between left to right and right to left.
• Random: Steps play in an undetermined order.
• To change the swing percentage: Set the swing percentage by dragging the value in
the Swing field.
• To set the swing division: Choose either 8th or 16th notes in the Swing Note Division
pop-up menu.
• To change the key of the pattern: Choose a musical key for the pattern from the Key
pop-up menu.
By default, when you choose a key from the Pattern Key menu, all rows are
transposed to the new key.
• To set the scale of the pattern: Choose a scale type from the Scale pop-up menu.
• To not transpose steps when changing the key of a pattern or loading the saved
pattern: When No Transpose is turned on and you choose a new key from the
Key menu, only rows with notes that are not in the new key are transposed. If No
Transpose is turned on when you save a pattern, the pattern won’t transpose when
you load it in a project with a different key.
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• To set all rows in the pattern to use Legato mode: Turn on Legato.
When Legato is turned on, a 100% gate value is increased by one tick so that it
overlaps slightly with the following step. When triggering notes on a synthesizer or
other software instrument, this ensures that the steps trigger the legato behavior of
the instrument.
• To set the MIDI channel for all automation rows in the pattern: Choose a channel
from the MIDI Channel pop-up menu. Changes overwrite any existing settings and
are used when new rows are created.
• To set the automation mode for the pattern: Choose a mode from the Automation
Mode pop-up menu. Changes overwrite any existing settings and are used when new
rows are created. The choices are:
• Latch: Transitions for automation changes between steps are sudden.
• Slide: Transitions for automation changes between steps are gradual.
Edit row settings
1. In Logic Pro, do one of the following:
• Tap a row header to select the row.
• In the inspector, with Step Sequencer focused, tap the Level menu, then tap Row to
show the row settings for the currently selected row.
2. Do any of the following:
• To change the row assignment:
• For note rows: Choose a note value or drum sound from the Kit Pieces or Notes
submenu in the Row Assignment pop-up menu.
When a pattern using a Drum Machine Designer patch is selected, the Row
Assignment pop-up menu shows the kit piece names rather than MIDI note
names.
• For automation rows: Choose a parameter from the Automation submenu in the
Row Assignment pop-up menu.
• To add a custom name for the row: Tap the Row Name field and enter the name for
the row. The row name is displayed on the row header, replacing the row assignment
label.
• To change the color for the row: Tap the color well and choose a color.
• To change the icon for the row: Tap the icon and choose a new icon.
• To change the step rate for the row: Choose a note value for the steps in the row
from the Step Rate pop-up menu.
• To change the playback mode for the row: Choose a playback option from the
Playback Mode pop-up menu. The choices are:
• Forward: Steps play from left to right.
• Reverse: Steps play from right to left.
• Ping Pong: Playback alternates between left to right and right to left.
• Random: Steps play in an undetermined order.
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• To set the MIDI channel for the row: Choose a channel from the MIDI Channel pop-up
menu.
• To set the automation mode for the row: Choose a mode from the Automation Mode
menu. The choices are:
• Latch: Once set, the automation parameter value remains constant until a step
with a different value is triggered.
• Slide: Interpolates between the last automation parameter value and the next one
to produce a smooth, gradual change.
• To change the loop start and end for the row: Choose values in the Loop fields.
Edit step settings
1. In Logic Pro, do one of the following:
• Tap the Step Select button in the Step Sequencer menu bar, then tap a step to
select it.
• In the inspector, tap the Level menu, then tap Step to show the step settings for the
currently selected step.
2. Do any of the following:
• To turn the step on or off: Tap the Step On switch.
• To change the velocity level for the step: Set the velocity value from 1 to 127 in the
Velocity field.
• To change the gate amount for the step: Set the gate value from 1 to 127 in the Gate
field.
• To tie the step during playback: Tap the Tie switch.
• To change the note or sound for the step: Set the note or drum sound in the Note
field.
• To change the note repeat value for the step: Set the value from 1 to 16 in the Repeat
field.
• To change the chance value for the step: Set the percentage in the Chance field.
• To change the offset value for the step: Set the percentage in the Start Offset field.
• To change the step rate for the step: Choose a note value from the Step Rate pop-up
menu.
• To skip the step during playback: Tap the Skip switch.
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Customize the Step Sequencer interface in
Logic Pro for iPad
You can customize several aspects of Step Sequencer in Logic Pro for iPad to suit the
pattern you are working on and the task you want to accomplish. You can zoom in and out
to work in greater detail or view a larger part of the step grid, show or hide step values,
color rows and steps, and reorder rows and subrows. You can also save the current pattern
configuration as the default template for the channel strip, and revert to the original default
template for the channel strip.
Zoom the step grid
• In Logic Pro, tap the Vertical Auto Zoom button to fill the available vertical space.
Note: When Vertical Auto Zoom is on, controls in the row headers are not visible if you
have many rows in Step Sequencer.
Zoom the focused row
• In Logic Pro, tap the More button in the Step Sequencer menu bar, then tap Zoom
Focused Row.
The size of the focused row is increased vertically. Selecting another row switches the
zoom to that row.
Show or hide step values
In Logic Pro, tap the More button in the Step Sequencer menu bar, tap Display Edit Mode
Values, then choose one of the following from the submenu:
• To display step values only when editing a step: Choose Only When Editing Values.
• To display step values for the selected row: Choose Always for Selected Row.
• To display step values for all rows: Choose Always for All Rows.
Sort rows by type, name, and note assignment
You can sort the rows in a Step Sequencer pattern (region or cell) in several ways,
including by row type, note assignment, row name, or a combination of several of these.
For patterns using Drum Machine Designer patches, you can also sort by the order in which
the subtracks appear in the Tracks area. When sorting, you can choose to display rows in
either ascending or descending order.
In addition to reorganizing rows in the pattern, the sort options determine where rows created
using Learn (Add), live pattern recording, or step recording are added to the pattern. The
selected sort order is maintained until you manually move a row from the sort order.
• In Logic Pro, tap the More button in the Step Sequencer menu bar, tap Sort Rows,
then tap Row Sort Type and choose one of the following from the submenu:
• By Type: Sorts rows by type without changing the current order within each type.
Types are ordered as follows: notes, Melodic, MIDI CC, pitchbend, channel pressure,
channel strip parameters, plug-in parameters.
• By Type and Note: Sorts all rows by type and then sorts note rows by their note
assignment. If you use this option with a pattern region or cell using a Drum Machine
Designer patch, Step Sequencer references the input note for the drum pad when
sorting the row.
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• By Type and Name: Sorts all rows by type and then by row name. The row name is
the name displayed on the row header. By default, this is the row assignment unless
you have created a custom row name.
• By Type and DMD Subtrack: Sorts all rows by type and then sorts rows for Drum Machine
Designer subtracks by the order in which the subtracks appear in the Tracks area.
To determine the sort direction regardless of which of the above options is selected,
tap the More button in the Step Sequencer menu bar, tap Sort Rows, then tap Row Sort
Direction and choose Ascending or Descending.
Change step colors in a row
1. In Logic Pro, tap the icon in a row header to select the row.
2. Tap the Inspector button to open the inspector.
3. Tap the color well and choose a new color.
Note: The custom colors for individual rows appear only if Set Step Color is set to By
Row in the More menu in the Step Sequencer menu bar.
Set step color in a pattern to region color
• In Logic Pro, tap the More button in the Step Sequencer menu bar, tap Set Step
Color, then tap By Region.
Reorder rows
• In Logic Pro, touch and hold a row header, then drag the row up or down.
Turn on MIDI Out for note rows and steps
When the MIDI Out button is turned off, no sounds are previewed when you work and edit
in Step Sequencer.
When the MIDI Out button in the Step Sequencer menu bar is turned on, the note or drum
sound for a fixed note row is previewed when you select a different row or step, and when
you tap a step to change its value. For the Note and Octave edit modes, the note or drum
sound for a fixed note row is also previewed as you drag a step to change its value.
• Tap the MIDI Out button in the Step Sequencer menu bar to turn it on.
Tap the MIDI Out button again to turn it off.
Save a pattern as the default template
You can save the current row assignments and view state of Step Sequencer as the default
template for new patterns created on the same track, or another track using the same
channel strip. This also determines the default view of the editor when the track is selected
and there is no region on the track.
• In Logic Pro, with the pattern open in Step Sequencer, tap the More button in the
Step Sequencer menu bar, tap Track Template, then tap Save as Template for Track.
Revert to the original default template
You can clear the pattern configuration data so that new patterns, and the default view,
appear as they did before the Save as Template for Track option was used.
• In Logic Pro, with the pattern open in Step Sequencer, tap the More button in the
Step Sequencer menu bar, tap Track Template, then tap Clear Template for Track.
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Work with plug-ins
Intro to plug-ins in Logic Pro for iPad
Logic Pro for iPad includes a large collection of professional-quality effect and instrument
plug-ins. It also supports third-party plug-ins in the Audio Unit Extensions format. There
are three types of plug-ins in Logic Pro:
• Audio effects: Can be inserted on all channel strip types (audio, instrument, aux, and
output) except the master channel strip.
• MIDI effects: Can be inserted on instrument channel strips only.
• Software instruments: Can be inserted on instrument channel strips only.
This chapter includes information about working with plug-ins in the Plug-ins area. Some
information also applies to the Mixer, particularly information about working with plug-ins
in Details view. For information about the Mixer, see Intro to mixing. For information about
specific plug-ins, see the relevant sections in Effect plug-ins in Logic Pro and Instrument
plug-ins in Logic Pro.
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Work in the Plug-ins area
Intro to the Plug-ins area in Logic Pro for iPad
You can view and edit the plug-ins for a track (or channel strip) in the Plug-ins area. You can
also view and edit the sends on the track and the plug-ins for the output channel of the track.
When you open the Plug-ins area, it appears above the view control bar. The track name
appears on the left side of the Plug-ins area menu bar. Plug-ins appear as rectangles
calledtiles, each showing key editable parameters.
The Plug-ins area features three views–Track view, Sends view, and Output view–that you
access using the View buttons in the center of the Plug-ins area menu bar.
• Track view: Add, replace, reorder, and remove plug-ins on the selected track. You can
edit key plug-in parameters directly on plug-in tiles or open plug-ins in Details view to
access all plug-in parameters.
When a channel strip is selected rather than a track, the name changes to Channel view.
• Sends view: Add sends, change send destinations, and adjust the send level.
• Output view: Add, replace, reorder, and remove plug-ins from the output channel strip
for the track. You can edit key plug-in parameters directly on plug-in tiles or open plug-
ins in Details view to access all plug-in parameters.
When you select a track in the Tracks area, the Plug-ins area shows the plug-ins and sends
for the selected track. This makes it easy to move between tracks to view plug-in and send
settings and to edit plug-ins, sends, and other aspects of the signal flow.
Details view
In the Plug-ins area, plug-ins appear as tiles, but you can open a plug-in in Details view
from either Track or Output view. In Details view, the plug-in expands to fill the width of the
Logic Pro window, and all plug-in parameters are available to view and edit (sometimes by
scrolling or using an overview). You can move between plug-ins in Details view by tapping
the mini plug-in tiles at the bottom of the view.
For more information, see Intro to Details view for plug-ins.
Open the Plug-ins area
• In Logic Pro, tap the Plug-ins button in the center of the view control bar.
The Plug-ins area also includes options to choose the automation mode for the track, copy
and paste channel strip settings, remove all effect plug-ins or all bypassed plug-ins, and
reset the channel strip. See Additional Plug-ins area options.
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Track view
In Track view, you can view and edit the plug-ins on the selected track. You can add,
replace, reorder, and remove plug-ins or you can open a plug-in in Details view to view and
edit all of its parameters.
In Track view, plug-ins appear in the following order, from left to right: MIDI effect plug-ins,
an instrument plug-in (on software instrument tracks), and audio effect plug-ins.
When you add a plug-in, it appears to the right of the current plug-in (equivalent to below
the plug-in on a channel strip). The order of plug-ins is important to the sound, and you
can reorder plug-ins to change the order in which they affect the signal.
Open Track view
• In Logic Pro, tap Track in the Plug-ins area menu bar.
Sends view
In Sends view, you can view the sends for a track, add and assign sends to busses, and
control send levels.
When you open Sends view, you see the sends that currently exist on the track. You can
add sends, choose the bus to use for a send, create a new bus, and adjust send levels.
Open Sends view
• In Logic Pro, tap Sends in the Plug-ins area menu bar.
Add a send in Sends view
1. In Sends view in the Plug-ins area, tap the Add Send button .
The Add Send button is numbered, showing the number of the next send to be created.
2. Choose a bus to use for the send, or tap Create New Bus.
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Adjust the send level in Sends view
• In Sends view in the Plug-ins area, swipe the Send Level knob next to the Sends menu
for the send.
Change the bus for a send in Sends view
• In Sends view in the Plug-ins area, tap the Bus menu for the send, then choose a new
bus from the Bus submenu, or tap No Send.
Output view
In Output view, you can view and edit the audio effect plug-ins on the output channel for
the track. You can add, replace, reorder, and remove plug-ins or you can open a plug-in in
Details view to view and edit all of its parameters.
Open Output view
• In Logic Pro, tap Output in the Plug-ins area menu bar.
Add, replace, reorder, and remove plug-ins in the Plug-ins
area in Logic Pro for iPad
You can add plug-ins, replace a plug-in with a different one, reorder plug-ins, and remove
plug-ins in the Plug-ins area in either Track view or Output view. You can also open a plug-
in in Details view.
Add a plug-in
In the Plug-ins area in Logic Pro, do one of the following:
• To add a MIDI effect plug-in (on a software instrument track), tap the Add MIDI FX
button .
• To add an instrument plug-in (on a software instrument track), tap the Add Instrument
button .
• To add an audio effect plug-in, tap the Add Audio FX button .
The plug-is is added at the end of the signal chain for that plug-in type on the track.
Add a plug-in before the current plug-in
1. In the Plug-ins area in Logic Pro, touch and hold the plug-in name, then tap Add Plug-in
Before.
2. Choose the plug-in category, then choose the plug-in you want to add.
The plug-in is added before (above) the current plug-in on the track.
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Open a plug-in in Details view
In the Plug-ins area in Logic Pro, do one of the following:
• Double-tap the plug-in name.
• Touch and hold the plug-in name, then tap Open.
Tip: You can open a selected plug-in by tapping the plug-in name once.
Replace a plug-in
1. In the Plug-ins area in Logic Pro, touch and hold the plug-in name, then tap Replace.
2. Choose a plug-in from the menu.
Reorder plug-ins
1. In the Plug-ins area in Logic Pro, tap the Edit button in the Plug-ins area menu bar.
2. Touch and hold a plug-in, then drag the plug-in horizontally before or after other plug-
ins in the signal chain.
3. When you finish, tap the Edit button again to leave Edit mode.
Remove a plug-in
In Logic Pro, do one of the following:
• In the Plug-ins area, touch and hold the plug-in name, then tap Remove.
• Tap the Edit button in the Plug-ins area menu bar, then tap the Remove button in
the upper-right corner of a plug-in tile.
You can also add, replace, reorder, and remove plug-ins in the Mixer in Setup mode and
open plug-ins in Details view from both Setup mode and Mix mode.
Additional Plug-ins area options in Logic Pro for iPad
You can choose the automation mode for the selected track in the Plug-ins area menu
bar (for both track automation and region automation). For information about automation
modes, see Automation modes.
The More menu in the Plug-ins area menu bar also includes commands to copy and paste
channel strip settings, remove all effect plug-ins or all bypassed plug-ins, and reset the
channel strip.
Choose the automation mode for the track in the Plug-ins area
• Tap the Automation Mode pop-up menu in the Plug-ins area menu bar, then tap an
automation mode, or tap Off.
You can choose separate automation modes for track automation and region
automation.
Copy a channel strip setting
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Copy
Channel Strip Setting.
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Paste all or part of a copied channel strip setting
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then do one of the
following:
• To paste the complete channel strip setting, tap Paste Channel Strip Setting.
• To paste only the plug-ins, tap Paste Plug-ins Only.
• To paste only the sends, tap Paste Sends Only.
Turn off all effect plug-ins on a track
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Switch Off
All Effect Plug-ins.
Remove inactive plug-ins
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Remove
Inactive Plug-ins.
Remove all effect plug-ins
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Remove All
Effect Plug-ins.
Remove all sends
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Remove All
Sends.
Reset a channel strip
• In Logic Pro, tap the More button in the Plug-ins area menu bar, then tap Reset
Channel Strip.
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Work with plug-ins in Details view
Intro to Details view for plug-ins in Logic Pro for iPad
You can open a plug-in in Details view from either Track view or Output view in the Plug-ins
area, or from the Mixer. In Details view, the plug-in fills the width of the Logic Pro window,
and all of the plug-in’s parameters are available to view and edit.
Logic Pro for iPad Effects includes descriptions of every effect plug-in, including lists
of plug-in parameters and usage tips. Similarly, Logic Pro for iPad Instruments includes
descriptions of every instrument plug-in, including lists of plug-in parameters and
usage tips.
Open a plug-in in Details view
• In the Plug-ins area, double-tap the name of any plug-in tile.
• In the Mixer, do one of the following:
• Tap the Setup button , tap a plug-in in any effect or instrument slot, then tap
Open.
• Tap the Mix button , tap a plug-in in any effect or instrument slot.
Resize a plug-in in Details view
• To resize the plug-in, drag the resize handle on the right side of the plug-in menu
bar up or down.
You can also tap the resize handle to expand the plug-in to its maximum size, and tap
the handle again to return to the previous size.
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Adjust plug-in parameters in Details view
1. In Logic Pro, open a plug-in in Details view.
2. Do any of the following:
• To adjust a slider: Swipe on the slider vertically or horizontally (depending on its
orientation).
• To adjust a rotary knob: Swipe up or down on the knob.
• To adjust a numeric value: Do one of the following:
• Drag the value up or down to edit it.
• Tap the value, then edit the value in the numeric input dialog that appears using
the Decrement/Increment buttons, the scroll wheel, or the numeric keypad.
Change the size of plug-in controls
1. Tap the More button in the plug-in menu bar, then tap Plug-in Control Size.
2. Choose a new size for plug-in controls.
Quickly navigate to plug-in sections
You can show an overlay of the sections of a plug-in and quickly navigate to different parts
of the plug-in. This is especially useful for complex plug-ins that require scrolling to view
all plug-in parameters.
1. Tap the More menu in the plug-in menu bar, then tap Show/Hide Section Overlay.
2. In the Section overlay, tap the section you want to access.
3. Adjust any plug-in parameters.
4. When you finish, tap the Close button in the upper-right corner of the Section
overlay.
Choose the source for a side chain signal to a plug-in
For plug-ins with a Side Chain pop-up menu, you can use audio from an audio or software
instrument track, hardware input, or bus to trigger the plug-in. For example, the dynamics
of a drum groove can be used to rhythmically change the compression, and therefore
dynamics, of a guitar, synthesizer, or bass part. The side chain signal is used to control the
plug-in, but is not processed by the plug-in.
• In the plug-in menu bar, tap the Side Chain menu, then choose one of the available
sources.
When a plug-in has a side chain source, an indicator with a left-pointing arrow appears
after the plug-in name in the plug-in slot.
Switch between plug-ins in Details view
• Tap the mini plug-in tiles that appear below the plug-in in Details view.
Close Details view and return to the Plug-ins area
• Tap the Back button on the left side of the plug-in menu bar.
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Work with plug-in presets in Logic Pro for iPad
Each plug-in includes presets, which are sets of parameters used to achieve a particular
sound from the plug-in. The current preset for each plug-in is stored with the project and
automatically recalled the next time the project is opened.
You can choose plug-in presets in the Browser from a plug-in tile in the Plug-ins area or
when a plug-in is open in Details view.
Choose a plug-in preset in the Browser
1. In Logic Pro, do one of the following:
• In the Plug-ins area, touch and hold the plug-in name on a plug-in tile, then choose
Show Presets.
• In the Mixer, with Mix mode active, tap the plug-in to open it in Details view.
• In Details view, tap the More button in the plug-in menu bar, then tap Show Presets.
The Browser opens, showing available presets for the plug-in. You can browse
presets and search by name or using filters in the Browser.
2. Tap a preset in the Browser to replace the current preset used by the plug-in.
Work with Audio Unit Extensions in
Logic Pro for iPad
In addition to the effect and instrument plug-ins included with Logic Pro for iPad, you can
use plug-ins in the Audio Unit Extensions format. Unlike the included plug-ins, Audio Units
need to first be installed onto your iPad for you to use them. Some Audio Units may already
be installed on your iPad, and many more are available from other sources. You can buy
Audio Units plug-ins from a variety of third-party vendors and can find free Audio Units
plug-ins on the internet. Please check the documentation for your Audio Units plug-in for
installation instructions and to ensure compatibility with the latest version of Logic Pro.
You use Audio Units plug-ins the same way as built-in plug-ins. Audio Units plug-ins
installed on your iPad are located in the Audio Units section of the Audio FX and Instrument
menus, below all built-in plug-in categories.
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Mix a project
Intro to mixing in Logic Pro for iPad
When you mix a project, you balance the different parts and blend them into a cohesive
whole. You can add effects to shape the sound, use routing and grouping to control the
signal flow, and add automation to create changes over time. In Logic Pro for iPad, you can
perform these tasks and more in the Mixer.
Although there are no hard rules for mixing, it typically involves the following steps:
• Set channel strip volume levels to balance different instruments.
• Set channel strip pan or balance positions to place instruments in the stereo field.
• Add and edit effect and instrument plug-ins to change the sound of individual tracks or
the overall project.
• Control the signal flow to route a signal to multiple destinations, create subgroups, or
process sounds individually.
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In the Mixer you can adjust channel strip controls; add, replace, and remove plug-ins on
channel strips; open individual plug-ins in Details view to access their parameters; add
sends to route signals to auxiliary (aux) channel strips; and adjust send levels. Some tasks
are performed in one of two modes: Setup mode or Mix mode. You select the mode using
the buttons in the center of the Mixer menu bar:
• Setup mode: Add, replace, reorder, and remove plug-ins, add sends, and adjust send
levels on the channel strips in the Mixer.
• Mix mode: Quickly open plug-ins in Details view so you can view and adjust all plug-in
parameters, and turn plug-ins on or off.
Below the Mixer menu bar is a level meter bridge, which you can swipe to scroll through
channel strips from left to right. This is useful in projects with a large number of channel
strips, especially when using your iPad in portrait orientation. You can also hide the level
meter bridge to create more vertical space in the Mixer.
When you resize the Mixer to fill most of the Logic Pro window, the track corresponding
to the selected channel strip appears above the Mixer. You can select a different channel
strip, and the corresponding track appears above the Mixer. Using the resize handle, you
can resize the area above the Mixer to show or hide the ruler and the controls above the
track header, or expand the Mixer to fill the Logic Pro window.
You can also view and edit the plug-ins and sends for the selected track in the Plug-ins
area and perform many of the same functions as in the Mixer.
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Open the Mixer
• In Logic Pro, tap the Mixer button in the view control bar.
Work in Setup mode
• Tap the Setup button in the Mixer menu bar.
In Setup mode, you can add, replace, reorder, and remove plug-ins, add sends, and
adjust send levels.
Work in Mix mode
• Tap the Mix button in the Mixer menu bar.
In Mix mode, you can adjust channel strip controls, turn plug-ins on or off, adjust send
levels, and open plug-ins in Details view to edit their parameters.
Show or hide the level meter bridge
• In Logic Pro, tap the More button in the Mixer menu bar, then tap Show Meter Bridge
to hide the level meter bridge.
When the level meter bridge is hidden, repeat the process to show it.
Work with channel strips
Channel strip types in Logic Pro for iPad
The Mixer shows the channel strips in your project. When you create a project, the Mixer
includes channel strips for audio and software instrument tracks in the project, as well
as a stereo output channel strip and a master channel strip. Each time you add a track to
a project, Logic Pro adds a corresponding channel strip to the Mixer. When you select a
channel strip in the Mixer, the corresponding track is selected in the Tracks area.
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• Audio channel strips: Used to control the playback and recording of audio signals on
audio tracks. All data on the audio track is routed to the audio channel strip.
• Instrument channel strips: Used to control software instruments. You insert a software
instrument using the Instrument slot. The instrument channel strip can then produce
sound from any MIDI regions on the associated track, or from notes you play on a MIDI
keyboard.
• Auxiliary (aux) channel strips: Used for various signal-routing purposes. Aux channel
strips are used to set up send returns, where a channel strip signal is routed to an aux
channel strip for effects processing. They are also used for grouping and for distributing
a signal to multiple destinations via sends.
• Output channel strips: Represent the physical audio outputs of your iPad and any
connected audio interface. They are used to adjust the overall level and stereo balance
or pan position of the channel strips routed to them. Every project has at minimum one
stereo output channel strip and may have additional outputs if an audio interface is
connected to your iPad.
• Master channel strip: Used as a global volume control for all output channel strips. The
master channel strip changes the gain of all output channel strips without affecting
their relative levels.
Select channel strips
• In Logic Pro, tap the color bar (showing the channel strip name and number) on the
bottom of a channel strip in the Mixer.
• To select multiple channel strips, tap the Multiple Select button in the Mixer menu
bar, then tap the color bars of channel strips to select them.
Note: By default, when you select a channel strip, the Mixer autoscrolls to show the
channel strip. To turn off autoscrolling, tap the More button in the Mixer menu bar, then
tap Autoscroll to Selection to deselect it.
Filter channel strips by type
• In Logic Pro, tap the Filter button on the left side of the Mixer, then tap channel strip
types to show or hide them, or tap Deselect All to hide all channel strips.
• When all channel strip types are deselected, you can also tap Select All to select all
types.
Note: When the level meter bridge is hidden, tap the More button in the Mixer menu
bar, tap Type Filter, then tap channel strip types to show or hide them.
Rename channel strips
1. Tap the channel strip name (at the bottom of the channel strip) to select it.
2. Tap the channel strip name again, then tap Rename.
3. Enter a new name for the channel strip.
Note: When you rename a track, the corresponding channel strip is also renamed, and vice
versa.
You can select and rename multiple channel strips. If you rename the channel strips with
a name ending in a number (for example, Channel 01), they are numbered sequentially
starting from that number (Channel 01, Channel 02, Channel 03, and so on).
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Delete channel strips
• When you delete a track in the Tracks area associated with a channel strip, the
corresponding channel strip is also deleted in the Mixer. See Delete tracks.
Channel strip controls in Logic Pro for iPad
Each channel strip has a set of controls, some of which vary for different channel strip
types. You can adjust channel strip volume and pan or balance position, mute and solo
channel strips, add and adjust effects, and send the output to auxiliary or output channel
strips.
• MIDI Effect slot: Inserts a MIDI effect into the software instrument channel strip. See
MIDI plug-ins overview.
• Input slot: Choose the channel strip’s input source—the input source that your
microphone or instrument is connected to (Audio and aux channel strips only).
• Instrument slot: Choose a software instrument to generate the sound for the channel
strip (Instrument channel strips only).
• Output slot: Choose the channel strip’s output destination—where the channel strip
signal is sent to. This can be a hardware output or a bus. You can also choose the type
of output, and choose pan options for stereo channel strips.
• Audio Effect slot: Inserts an audio effect into the channel strip. Use effects to alter the
sound of the channel in real time.
• Send slot: Routes the signal to an aux channel strip. Use sends to process effects for
multiple signals at the same time. See Use auxiliary channel strips.
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• Send Level knob: Controls the amount of signal sent to an aux channel strip. Use sends
to process effects for multiple signals at the same time. See Use auxiliary channel
strips.
• Group menu: Controls a channel strip’s group assignment. See Create Mixer groups.
• Automation Mode menu: Choose the automation mode or turn automation off for the
channel strip. See Choose the automation mode.
• Pan/Balance knob: Sets the channel strip signal’s position. On mono channel strips, it
controls the signal’s left/right position. On stereo channel strips, it controls the balance
or stereo position between the left and right signals. See Set channel strip pan or
balance
• Peak level display: Updates during playback to show the highest peak level reached. A
red display indicates signal clipping. See Peak level display and clipping.
• Volume display: Shows the volume level of the channel strip during playback.
• Volume fader: Drag vertically to adjust the playback volume of the channel strip signal.
• Level meter: Shows the signal level of the channel during playback. Orange and yellow
signals are safe. Red indicates a level above 0 dB.
• Record Enable button: Tap the Record Enable button to arm the track or channel strip
for recording.
• Input Monitoring button: (Audio channel strips only) Tap the Input Monitoring button to
hear incoming audio on audio tracks that aren’t armed for recording. Use to hear your
performance in the mix to practice parts before recording. The Input Monitoring button
is available only when Software Monitoring is active. See General Audio settings
• Mute button: Tap the Mute button to remove the signal from the overall project so it
is not heard. See Mute and solo channel strips.
• Solo button: Tap the Solo button to isolate the signal from the overall project so it is
heard without any unsoloed channels. See Mute and solo channel strips.
Filter which channel strip controls appear in the Mixer
• In Logic Pro, tap the Filter button on the right side of the Mixer, then tap components
to show or hide them, or tap Deselect All to hide all channel strip components.
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Peak level display and clipping in Logic Pro for iPad
Check channel strip levels
Each channel strip has a segmented level meter next to the volume fader that shows the
playback level (or, when an audio track is record enabled, shows the input monitoring
level). The colors that appear in the level meter provide a quick visual indication of channel
strip monitoring levels:
• Green: The signal is at a safe level, and does not clip the channel strip output.
• Orange and yellow: A higher signal level, but still safe from clipping.
• Red: The signal is above 0 dB and is considered “hot.” On an output channel strip, this
can cause clipping or distortion and should be avoided.
The peak level is displayed numerically above the level meter. It updates during playback
to show the peak level reached since the beginning of playback, and provides a guide for
setting the Volume fader.
Signal clipping
Signal clipping occurs when a signal that is too loud is fed through the output channel
strip, exceeding the limit of what can be accurately reproduced, resulting in distorted
sound. The value shown in the peak level display lights red (on output channel strips) or
orange (on other channel strip types) when the signal rises above 0 dB. This part of the
peak level display is called the clipping indicator.
Note: It’s not an issue if individual channel strips show evidence of clipping, as long as
the output channel strip—the summed level of all channel strips in the signal flow—does
not clip.
To avoid clipping, lower the Volume fader by the same value that is shown in the peak level
display.
Reset all peak level displays
• In Logic Pro, tap a peak level display on any channel strip.
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Set channel strip volume in Logic Pro for iPad
You can set the volume level of each channel strip to balance the relative volume of the
tracks in your project.
Set channel strip volume level
• In Logic Pro, drag the Volume fader up or down to the desired level.
Set channel strip input format in Logic Pro for iPad
The input format determines the mono or stereo state of the channel strip.
• Mono: The channel has a mono input format. The level meter shows a single column.
• Stereo: The channel has a stereo input format. The level meter shows two independent
columns.
• Left: The channel has a left channel input format. Only the left channel of a stereo audio
file is played back. The level meter shows a single column.
• Right: The channel has a right channel input format. Only the right channel of a stereo
audio file is played back. The level meter shows a single column.
Set the channel strip input format
1. In Logic Pro, tap the Input slot on a channel strip.
2. Under Channel Format, tap the input format for the channel strip.
3. Tap outside the dialog to close it.
Set the output for a channel strip
You can choose the stereo output pair for a channel strip in the Mixer. The Stereo Output
(Speaker 1/2) sends output to the iPad’s audio system. Other outputs may be available
when an audio interface or other audio device is connected to the iPad. See Audio Devices
settings for information about audio devices.
Choose the stereo output for a channel strip
1. In Logic Pro, tap the Output slot on a channel strip.
2. Tap the Output pop-up menu, then choose a stereo output.
3. Tap outside the dialog to close it.
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Set channel strip pan or balance in Logic Pro for iPad
You can control the position of individual channel strips using the pan/balance controls
to position them (and their corresponding tracks) across the stereo field. Whether you
are positioning important parts in the center, hard-panning to create a wide mix, or want
to achieve an unusual effect, you can use the pan/balance controls to control the overall
stereo width of the mix and the placement of each part within it.
The Pan/Balance knob (pan is short for panorama) controls the left-to-right position from
which the channel is heard in the stereo field. You can set the pan or balance position for
each track in a project.
Logic Pro includes several different panning modes. Mono channel strips have a Pan knob,
and stereo channel can use either a Balance knob or a Stereo Pan knob:
• Pan: Mono channel strips have a Pan knob that determines the position of the signal in
the stereo field. At the center position, equal amounts of the signal are sent to the left
and right sides. If you move the knob to the left, more of the signal is sent to the left
side and less is sent to the right.
• Balance: This is the default mode for stereo channel strips. In Balance mode, turning the
knob to the left lowers the level of the right channel, and turning it to the right lowers
the level on the left channel.
• Stereo Pan: This mode is also available for stereo channel strips. In Stereo Pan mode,
you can control both the pan position and the width (spread) of the stereo image.
Signals at the center of the stereo field might sound louder than those panned hard right
or hard left. To compensate for this perceived increase in volume at the center position,
Logic Pro applies a standard amount of volume reduction for signals panned to the center
(called pan law).
Choose the pan mode for stereo channel strips
1. In Logic Pro, tap the Output slot on a channel strip.
2. Under Pan Options, tap either Stereo Pan or Balance.
3. Tap outside the window to close it.
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Adjust channel strip pan or balance position
• In Logic Pro, drag the Pan or Balance knob of a channel strip vertically to adjust the pan
or balance position.
Adjust the spread for a Stereo Pan channel strip
1. In Logic Pro, tap the Stereo Pan knob for a channel strip to show the numeric input
dialog.
2. In the numeric input dialog, do one of the following:
• Drag the green ring vertically to adjust the Spread amount.
• Tap the Spread amount, then adjust the amount using the Decrement/Increment
buttons.
• Tap the Spread amount, tap the Number Pad button , then adjust the amount using
the numeric keypad.
3. When you’re done, tap Done or tap outside the numeric input dialog to dismiss it.
Note: You can invert the left and right channel by entering a negative Spread amount.
When the Spread amount is negative, the ring changes to orange (both in the numeric input
dialog and on the channel strip).
Mute and solo channel strips in Logic Pro for iPad
You can mute a channel strip so that it is silent when you play the project. Muting channel
strips is useful when you want to compare how the project sounds with and without the
track, compare alternative versions of a track, or try different loops in a project.
You can also listen to a channel strip alone (solo), silencing all unsoloed channel strips.
Soloing channel strips is useful when you want to work on a track or region individually; for
example, when you’re editing regions on the track, re-recording a part, or adjusting volume
curves.
The first time any track in a project is soloed, a large Clear/Recall Solo button appears in
the area above the track headers. You can quickly unsolo or resolo all soloed tracks by
tapping the Clear/Recall Solo button.
Mute a channel strip
• In Logic Pro, tap the Mute button in the channel strip.
Tap the Mute button again to unmute the channel strip.
Solo a channel strip
• In Logic Pro, tap the Solo button in the channel strip.
Tap the Solo button again to unsolo the channel strip.
When you solo a channel strip, the Mute buttons of all unsoloed channel strips flash to
show that these channels are silent.
Quickly mute or solo multiple channel strips
• In Logic Pro, touch and hold either a Mute or a Solo button, then (without lifting your
finger) swipe horizontally across the other channel strips you want to mute or solo.
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Work with plug-ins in the Mixer in
Logic Pro for iPad
In addition to working with plug-ins in the Plug-ins area, you can work with plug-ins in
channel strips in the Mixer. You can add plug-ins, replace a plug-in with a different one,
and remove plug-ins in the Mixer. You can also reorder plug-ins and open plug-ins in
Details view in the Mixer.
Add a plug-in to a channel strip in the Mixer
1. In Logic Pro, tap the Setup button in the Mixer menu bar (if it is not already selected).
2. Do one of the following:
• To add a MIDI effect plug-in (on a software instrument track), tap an empty MIDI
Effect slot, then choose a MIDI effect.
• To add an audio effect plug-in, tap an empty Audio Effect slot, then choose an audio
effect.
Open a plug-in in Details view from the Mixer
In Logic Pro, in the Mixer, do one of the following:
• In Setup mode, tap a plug-in slot, then tap Open.
• In Mix mode, tap a plug-in slot.
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Replace a plug-in in the Mixer
1. In Setup mode, tap a plug-in slot, then tap Replace.
2. Choose a plug-in from the menu.
Move a plug-in to a different channel strip
• In Setup mode, touch and hold a plug-in slot, then drag it to a different channel strip.
Copy a plug-in to a different channel strip
• In Setup mode, tap a plug-in slot, then tap Copy.
• On a different channel strip, tap an empty plug-in slot, then tap Paste.
Reorder plug-ins in the Mixer
• In Setup mode, touch and hold a plug-in slot, then drag it up or down to reorder it.
Remove a plug-in in the Mixer
• In Setup mode, tap a plug-in slot, then tap Remove.
Quickly turn plug-ins on or off in the Mixer
1. Tap the Mix button in the Mixer menu bar (if it is not already selected).
2. Tap the On/Off button in the Mixer menu bar.
3. Tap any plug-in slot in a Mixer channel strip to turn the plug-in off, or, if the plug-in is
turned off, to turn it on.
When multiple channels strips contain the same plug-in, you can turn the plug-in on or off
on all of them by selecting the channel strips, tapping the On/Off button, then tapping the
plug-in on one of the selected channel strips.
For detailed information about using plug-ins, see Work with plug-ins in Logic Pro.
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Control signal flow in the Mixer
Intro to signal flow in Logic Pro for iPad
While you are working in the Mixer, you can insert plug-ins directly on channel strips, so
that the signal on each channel strip is routed directly through its plug-ins; or you can
route the audio from multiple channel strips to an aux channel strip with effect plug-ins and
use the same effects on multiple channel strips.
Route audio via insert effects
When you insert an effect plug-in directly on a channel strip, it is called an insert effect.
The channel strip’s entire signal is processed by the effect plug-in. This behavior is
suitable for equalizers or dynamic effects such as compressors. If you have enough
processing capacity, you can use up to 15 insert effects on each channel strip.
When multiple effect plug-ins are inserted on a channel strip, they are said to be routed in
series. When routed in series, the output of one effect is added to the incoming signal and
becomes the input of the next effect in the chain. The image below illustrates this process.
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Route audio via send effects
When you route part of the signal from multiple channel strips via a send to an aux channel
strip, you use send effects on the aux channel strip to alter the signal from the originating
channel strips. When you create a send, you split the channel strip’s signal. The channel
strip’s main signal continues to the chosen output, while the other part of the signal is
routed on a parallel path via a bus to an aux channel strip. You control the amount of signal
that is sent via the bus using the Send Level knob. This is called routing in parallel. You can
route the signal back into the main signal flow at a later point, or you can output the signal
from the aux channel strip to another destination.
The primary advantage of parallel routing using sends over series routing using inserts is
efficiency: the signals from multiple channel strips can be processed by the same effects,
which saves both processing power and time compared to inserting the same effect into
multiple channel strips. Additionally, you can quickly switch between wet and dry versions
of all channel strips that are sent to an aux channel strip by simply muting the aux channel
strip (or turning off the effects on it), and completely change the effects configuration for
multiple channel strips by choosing different effects for the aux channel strip.
The following image illustrates channel strips routed to an aux channel strip via sends—
with reverb and EQ effects assigned to the aux channel strip.
The channel strip signal is split and routed via a send (Bus 1) from three channel strips
to an aux channel strip with two inserted effects. You can create up to 12 sends on each
audio, instrument, or aux channel strip.
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You configure where in the channel strip the send occurs, and you set the destination for
the parallel routing of the send in the Sends window. There are three options for where the
send can occur in the signal flow:
• Post Pan: The signal is sent after the fader and the Pan knob; the send signal is affected
by adjustments to both channel strip volume and pan adjustments.
• Post Fader: The signal is sent after the fader but before the Pan knob; the send signal is
affected by volume adjustments but not pan adjustments.
• Pre Fader: The signal is sent before the fader and Pan knob; the send signal is affected
by neither volume nor pan adjustments.
You can both insert effects on channel strips and use sends with aux channel strips in
the Mixer. You can also route audio (for send effects) for the selected track in the Plug-
ins area.
Choose the destination for a send in the Mixer
1. In Logic Pro, tap the Setup button in the Mixer menu bar (if it is not already selected).
2. Tap a send, then choose a destination from the Bus pop-up menu, or choose Create
New Bus.
You can also choose send destinations in Sends view in the Plug-ins area.
Choose the mode for a send
Sends in Logic Pro can use one of three modes that control whether the signal is affected
by volume adjustments, pan adjustments, or both.
1. In Logic Pro, tap the Setup button in the Mixer menu bar (if it is not already selected).
2. Tap an active send, then choose one of the send modes:
• Post Pan: The signal is sent after the fader and the Pan knob; the send signal is
affected by both channel strip volume and pan adjustments. When a send is Post
Pan, the Send knob ring is green.
• Post Fader: The signal is sent after the fader but before the Pan knob; the send
signal is affected by volume adjustments but not pan adjustments. When a send is
Post Fader, the Send knob ring is blue.
• Pre Fader: The signal is sent before the fader and Pan knob; the send signal is not
affected by volume or pan adjustments. When a send is Pre Fader, the Send knob
moves to the left of the Send pop-up menu, and the Send knob ring is blue.
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Use auxiliary channel strips in Logic Pro for iPad
Auxiliary (aux) channel strips can be used as effects returns, to create subgroups, to
submix, and to route a signal to multiple output destinations. You can create aux channel
strips as needed in the Mixer.
Create mix subgroups
You can route the signal from multiple channel strips via a single bus to an aux channel
strip, which provides you with one set of controls over the entire group.
For example, say your mix contains multiple drum tracks that you want to manage using
a single set of channel strip controls, or you want to use a compressor across the whole
drum kit. You can do so using sends to route the signal from each of the drum tracks to the
same bus with the same aux channel strip as the destination. You could route your vocal
tracks to a second aux channel strip, providing a separate way to control those channel
strips as a group. Finally, you could output both subgroups (drums and vocals) to the same
destination or to separate destinations.
Creating a mix subgroup using an aux channel strip is similar to using a summing stack.
The main difference is that you can add channel strips to an aux channel strip subgroup
without their being part of a track stack.
There are also some similarities between using aux channel strips as subgroups and
working with Mixer groups. You can control the group/subgroup properties from one set of
channel strip controls. However, Mixer groups are typically used to control channel strip
group properties, and not the signal flow.
Route signals to multiple output destinations
You can route a signal to several different output destinations using aux channel strips.
For example, you might have a main signal with the output destination set to external
speakers. At the same time, you want to hear the signal as a separate headphone mix,
at a different level or with some additional effects. To do this, you would set up two
separate output destinations for your signal, with the aux channel strips controlling the
headphone mix.
Create an aux channel strip
When you make a send assignment from a channel strip using a bus not already in use as
an input source on another channel strip, an aux channel strip is created automatically.
Show a track for an aux channel strip in the Tracks area
• In Logic Pro, with the Mixer in Mix mode, tap the bottom of a channel strip, then tap
Create Track.
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Create a subgroup using an aux channel strip
1. In Logic Pro, select multiple channel strips in the Mixer.
2. Tap the Output slot of a selected channel strip, then choose a bus from the pop-up
menu.
The Output slots of all selected channel strips reflect the chosen bus. A new aux
channel strip is created, except when the chosen bus is already in use as an input
source on another channel strip. Its Input slot contains the channel strip signal flow
coming via the chosen bus.
3. Tap the Output slot of the aux channel strip, then choose the output destination for the
main mix.
4. Use the aux channel strip controls to process the submix—adding inserts, setting
volume and pan, and so on.
Route a channel strip to two output destinations
1. In Logic Pro, tap the Output slot of the channel strip, then choose the main output
destination for the mix.
2. Tap the channel strip’s Send slot, then choose the bus to route part of the signal to.
An aux channel strip is created, with the bus in its Input slot.
3. Tap the Output slot of the aux channel strip, then choose an additional output
destination for the mix, such as headphones.
The signal is now routed to two separate output destinations. The main signal flow is
routed through the channel strip to the speakers. The second signal flow is routed via
a bus to the aux channel strip, and output to the headphones. The relative level of the
signal can be adjusted using the Send Level knob.
Use output channel strips in Logic Pro for iPad
By default, a Logic Pro project contains one stereo output channel strip that represents
the physical stereo outputs for the iPad. All the individual tracks in the project are routed
to the output channel strip. If you are using an audio interface connected to your iPad, the
available outputs reflect the hardware outputs on the audio interface.
The Effect slots of output channel strips allow signal processing for all the channel strips
routed to the output during mixing, and they can also be used for mastering. Typical
mastering plug-ins include compressors, limiters, de-essers, and equalizers. For technical
reasons, you can only use plug-ins that don’t require mono to stereo conversions–in other
words, you can use stereo to stereo plug-ins on stereo output channel strips, and mono to
mono plug-ins on mono output channel strips.
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Work with Mixer groups
Create Mixer groups in Logic Pro for iPad
While working on a mix, you may find it useful to create Mixer groups. You could create
a drum group, for example, to group all drum channel strips together to adjust group
parameters (volume, pan, mute, solo, sends, and so on) using a single control, while
still maintaining the relative parameter values of volume and pan for each channel strip.
You can:
• Create new groups and add and remove channel strips from a group.
• Control volume, pan, mute, and solo for every channel strip in a group.
• Select or edit a region in the track of a group member and have the selection or edits
apply to the corresponding range of all tracks in the group.
• Automate a group.
For all channel strips that are members of a group, you can control volume and pan
settings, mute or solo state, and automation together, while maintaining the individual
settings of each channel strip. You can have a maximum of 64 groups.
It is also possible to use auxiliary channel strips for grouping purposes, but Mixer groups
provide greater flexibility.
Create a new Mixer group
• Tap the Group slot on a channel strip, then tap Create New Group.
Add a channel strip to a Mixer group
• Tap the Group slot on a channel strip, then choose a group.
Note: You can also add multiple channel strips from a group by selecting the channel
strips, tapping the Group slot in a selected channel strip, then choosing a group.
Remove a channel strip from a Mixer group
• Tap the Group slot on a channel strip, then tap Remove Group Assignment.
Note: You can also remove multiple channel strips from a group by selecting the channel
strips, tapping the Group slot in a selected channel strip, then choosing Remove Group
Assignment.
Note: If the Group slots are not visible, tap the Filter button in the upper-right area of
the Mixer and select Groups in the Component Filter list.
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Automate Mixer groups in Logic Pro for iPad
By automating groups, you can easily change the values of parameters for a group of
channel strips over time. For example, you may wish to group all of your guitar channel
strips together and have all of their relative volumes change at the same time throughout
a project.
When you automate mixing functions (such as volume, pan, mute, or sends), any member
of the group can be used to control the values of all members. When you write an
automation parameter value on one group member, the same value (for mute and solo
states) or offset (for volume and pan values) is written for the other group members,
depending on their automation mode.
The data is written individually for each channel strip. As a result, you can disable the
group later without affecting the automation of any group member, and you can edit or
change channel strips individually when you remove them from the group.
To learn more about automation, see Intro to automation.
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Automate your mix
Intro to automation in Logic Pro for iPad
Automation refers to recording, editing, and playing back the movements of faders and
knobs and the status of switches. Using automation, you can create changes over time to
volume, pan, and other settings in the channel strips or plug-ins. For example, you can use
automation to change the volume of an instrument throughout a project, create left-right
pan movement and filter sweeps, mute a track during a section of the project, or create a
fade-out at the end of a song.
In Automation view, you select an automation parameter to show and edit its individual
automation points. The automation curve (the representation of the parameter’s value
change over time) is automatically created by connecting those points with a straight line.
You can also bend the lines to change the shape of the automation curve.
You can add automation to all track types and even add automation to regions and cells.
Logic Pro also lets you embed automation data in Step Sequencer for creating tempo-
based automation.
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Track automation vs. region automation
Logic Pro offers two types of automation: track automation and region automation. Track
automation (available in the Tracks area) applies to the entire track, from the beginning
to the end of your project. Region automation (available in the Editors area) is embedded
in the individual region. With track automation, if you re-record, move, or copy regions
(either to another point on the same track or to another track entirely), the automation data
remains tied to the initial point on the track in which it was created. However, with region
automation, if you re-record the region, the automation is overwritten; if you move or copy
the region (either to another point on the same track or to another track), the automation
remains with the region. Region automation is particularly useful when you are automating
instrument parameters.
Important: If you create region automation and track automation for the same parameter
on a track, region automation has priority. Automation data created in Step Sequencer has
priority over region automation.
Writing automation vs. drawing automation
You can create and edit automation in two ways:
• You write automation in real time by adjusting controls during playback to record those
movements as automation data.
• You can also draw and edit automation graphically by using various functions and
gestures.
Each parameter that can be automated is listed in the Automation Parameter pop-up menu.
You can turn off individual automation parameters or turn off all automation parameters on
a track.
Automation points vs. MIDI data points
In addition to channel strip and plug-in controls, you can also automate MIDI data.
• Automation points: Any parameter value of a channel strip or plug-in control stored as
automation data is called an automation point, visible in Automation view of the Tracks
area or Editors area.
• MIDI data points: You can also automate MIDI events, such as program change,
expression, and MIDI control. Those values are referred to as MIDI data points, which
look and behave like automation points in Automation view. They are only available with
MIDI regions and Drummer regions in the Editors area.
Tip: Using the pinch gesture to zoom in vertically and horizontally helps create and edit
automation points. Performing these edit tasks can be easier and more precise with Apple
Pencil.
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Show automation in Logic Pro for iPad
Automation curves are not displayed by default. You have to turn on Automation view to
make them visible so you can view and edit them. There are two independent Automation
View buttons , one in the Tracks area that shows the track automation and one in the
Editors area (for the Audio Editor, Piano Roll Editor, and Drummer Editor) that shows the
region automation or cell automation.
Show track automation
1. In the Tracks area menu bar, tap the Tracks View button .
Track automation can’t be displayed in Grid view.
2. Tap the Automation View button .
The following changes occur:
• The track lanes show the automation curves.
• Any regions on the track lane are still visible but cannot be edited.
• The track headers show three new components: the Automation Mode pop-up menu,
the Automation Parameter pop-up menu, and the Automation Value field.
• The function buttons in the Tracks area menu bar change to a set of four automation-
related buttons: Move , Pencil , Brush , and Curve .
• The Multiple Select button , when activated, temporarily turns off the currently active
function button so that you can select multiple automation points.
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• The Stepped Automation button is displayed instead of the Copy Mode button
when any function button besides the Move button is selected.
• The Snap pop-up menu in the menu bar now determines the Snap value when you move
or draw automation points. This value is independent of the Snap value set in the Tracks
area.
Show region automation
1. In the Tracks area menu bar, do one of the following:
• To view a region’s automation, tap the Tracks View button , tap the Default View
button , then tap the Trim button .
• To view the region automation for a cell, tap the Grid View button , then tap the
Edit button .
2. Tap the region for which you want to show region automation.
3. Tap the Editors button in the middle of the view control bar (or press E on your
external keyboard), then tap the Automation View button in the Editors area menu
bar.
The following changes occur in the Editors area when Automation view is selected:
• The Automation Parameter pop-up menu and Automation Mode pop-up menu are
displayed next to the Automation View button .
• Any regions for that track are still displayed in the Editors area, but they cannot be
edited.
• All regions display their automation curves. Any MIDI events or waveforms are dimmed.
• The function buttons change to a set of four automation-related buttons: Move ,
Pencil , Brush , and Curve .
• The Multiple Select button , when activated, temporarily turns off the currently active
function button so that you can select multiple automation points.
• The Stepped Automation button is displayed instead of the Copy Mode button
when any function button besides the Move button is selected.
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• The Snap pop-up menu in the Editors area menu bar now determines the Snap value
when you move or draw automation points. This value is independent of the Snap value
selected in Default view.
Write automation in real time in Logic Pro for iPad
Writing automation in real time means changing the controls in a channel strip or plug-
in while playing back your project and recording those changes as automation data. For
example, say you increase the volume of the vocal track during the chorus or mute the
drum track at a specific bar. After that, whenever you play back (or bounce) your project,
those parameter changes are performed automatically.
The automation data is written as track automation or region automation, depending on the
selection in the Automation Mode pop-up menu.
Automation modes
There are several automation modes that determine whether to play existing automation or
not, or what happens to any existing automation data when you write new automation.
Each track can be set independently to one of the following automation modes:
• Read: Plays back all automation data that exists on the track (track automation and
region automation). Any onscreen control in the track header, channel strip, or plug-ins
(sliders, knobs, and switches) will move accordingly during playback (in Play mode or
Record mode) based on automation data. When you stop playback, you can change the
value of any parameter, but once you start playback, the control jumps back to follow
the values of the existing automation data.
• Touch: Plays back automation in the same way as Read mode. However, once you
touch a control, that parameter now writes that new value based on your movements,
overwriting any existing automation data. After you release the fader or knob, the
parameter follows existing automation again. You can then touch the same control or a
different control to write or overwrite another section in your project.
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• Latch: Works like Touch mode, but after the fader or knob is released (while still playing
back the project), that value continues to be written, replacing existing automation for
that automation parameter until you stop playback. From that point on, the existing
automation remains unchanged.
• Off: Temporarily turns off all existing automation data, track automation, and region
automation. The automation curves turn gray. This is useful when you have already
written automation but want to experiment with parameter changes without overwriting
existing data.
Note: Selecting Touch or Latch in the Tracks area creates track automation, and selecting
Touch or Latch in the Editors area creates region automation. The Mixer and Plug-ins area
have separate Region and Track options for Touch and Latch.
Set the automation mode for the track
1. In the Tracks area menu bar, tap the Automation View button .
Make sure to swipe the track list to the right to reveal the track controls in the track
headers.
2. In the track header of a track, tap the Automation Mode pop-up menu and choose one
of the four options.
Note: Selecting an automation mode on a track that is a member of a Mixer group sets
all tracks in that group to the same automation mode. See Create Mixer groups.
The Automation Mode button in the track header changes color depending on the chosen
mode. Read mode has two appearances: green text on a gray background indicates that
there is no existing automation data on that track, and white text on a green background
indicates that there is automation that will be active when playing back your project.
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If Touch or Latch is selected in the track header, the Automation Mode pop-up menu in the
Editors area menu bar displays that mode preceded by the letter T (either “T: Touch” or “T:
Latch”). This indicates that any movement of an onscreen control will be written as track
automation. The Mixer and Plug-ins area show similar indications, whether automation is
written as track automation or region automation.
Set the same automation mode for selected tracks
1. In the Tracks area menu bar, tap the Automation View button .
2. Tap the Multiple Select button to select it, then select all the tracks you want to
change their automation mode by tapping the track icon in their track header.
You can also touch and hold the Multiple Select button in momentary mode or press
and hold the Shift key on your external keyboard, make the track selection, and then
release the button or the Shift key.
3. On one of the selected tracks, tap the Automation Mode pop-up menu and choose one
of the four options.
4. Tap the Multiple Select button again to deselect it.
Once you’re done performing an action on multiple selected tracks, tap the empty area
below the last track header to deselect the tracks and avoid applying edits to multiple
tracks unintentionally.
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Set the automation mode for region automation
1. In the Tracks area menu bar, tap the Tracks View button , then tap the regions that
you want to write automation to.
2. Tap the Editors button in the view control bar, tap the Automation View button in
the Editors area menu bar, then tap the Automation Mode pop-up menu next to it and
choose one of the four options.
Choosing Read or Off changes the automation modes in the corresponding track header to
the same mode. Choosing Touch or Latch will also change the track header’s Automation
Mode pop-up menu to Touch and Latch (if Automation view is selected), but now with the
letter R (either “R: Touch” or “R: Latch”). This indicates that any automation is written to
the region (region automation) and not to the track (track automation).
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Set the automation mode in the Plug-ins area
1. In the Tracks area, tap the track icon of the track you want to write automation to.
2. Tap the Plug-ins button in the middle of the view control bar (or press B on your
external keyboard).
You can also double-tap the track icon to open the Plug-ins area (and for software
instrument tracks also the Play Surfaces).
3. Tap the Automation Mode pop-up menu on the right side of the Plug-ins area menu bar
and choose one of the options.
The pop-up menu has a Track and a Region section; both provide the option Touch and
Latch so that you can choose whether you want to write track automation or region
automation.
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Set the automation mode in the Mixer
1. Tap the Mixer button in the middle of the view control bar to show the Mixer.
2. Tap the Filter button at the top of the output track on the far right to open the
Component Filter list, tap Automation to select it, then tap the Filter button again to
close the list.
This step is only necessary if the Automation Mode pop-up menu is not displayed in the
channel strips. By default, Automation is selected with a checkmark.
3. Tap the Automation Mode pop-up menu in any of the channel strips and choose one of
the options.
The pop-up menu has a Track and a Region section; both provide the option Touch and
Latch so that you can choose whether you want to write track automation or region
automation.
Note: Selecting an automation mode in an aux channel strip, output channel strip, or
master channel strip creates the corresponding track in the Tracks area.
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Set the automation mode for a Mixer group
When you choose an automation mode on a track that is part of a Mixer group, all tracks in
that group change to the same automation mode. See Create Mixer groups.
1. Tap the Mixer button in the middle of the view control bar.
2. Tap the Filter button in the upper-right area of the Mixer and select Groups in the
Component Filter list to make the Group slot visible in the channel strips.
3. In each channel strip you want to add to a group, tap the Group slot and choose the
same group.
You can also select the channel strips first and then tap the Group slot in one of the
selected channel strips to choose a group.
4. Tap the Automation Mode pop-up menu in any of the channel strips and choose one of
the options.
Write automation in real time
1. Choose either Touch or Latch from the Automation Mode pop-up menu on the track
where you want to write automation.
2. Tap the Play button in the control bar, or press the Space bar on your external
keyboard to start playback.
You can also write automation while in Record mode.
3. Adjust any controls (faders, knobs, or switches), and the values for those parameters
are written as automation data based on your movements.
As the playhead moves across the timeline, the automation curve is being created on
the track lane at the playhead position. Region automation can only be written between
the left and right borders of a region.
4. Tap the Stop button in the control bar or press the Space bar on your external
keyboard to stop playback.
You can place the playhead at any position and start playback again to continue
writing automation or overwriting existing automation. Alternatively, you can edit the
automation data graphically.
Note: While still writing automation during playback, you can scroll to other tracks or
switch the view to open different plug-ins on that track to access the controls you want to
adjust. You can also use Multi-Touch gestures to move multiple controls and write that as
automation data at the same time.
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Create automation graphically
Automation drawing tools in Logic Pro for iPad
Sometimes it is easier and more musical to write automation in real time by performing
movements of onscreen controls while the project is playing. However, drawing automation
can be faster and more precise. You draw the automation curve using touchscreen
gestures with your finger or Apple Pencil. It also lets you easily experiment with movements
that are difficult to perform in real time.
Creating or editing automation graphically requires the following steps:
• Switch to Automation view. See Show automation.
• Choose the parameter you want to automate. See Automation parameters.
• Select the drawing mode. See Adjust automation.
• Start drawing on the screen with various gestures using your fingers or Apple Pencil.
See Add automation points.
Drawing tools
Similar to selecting a drawing tool, in Logic Pro, you tap a function button to select an edit
mode that determines what happens when you tap or drag on the screen.
• Move button: Lets you move individual automation points or the automation curve
(sections or the entire curve).
• Pencil button: Lets you add, move, and delete individual automation points.
• Brush button: Lets you draw an automation curve (a series of automation points) or
delete automation points.
• Curve button: Lets you bend the straight lines between automation points.
• Multiple Select button: Lets you select multiple automation points.
The current function button will turn off as long as this button is selected.
• Copy Mode button: The Copy Mode button changes the move gesture to a copy
gesture.
The Copy Mode button is only available when the Move button is selected.
• Stepped Automation button: Lets you create horizontal lines between automation points
instead of lines that gradually change values between points.
The Stepped Automation button is only available when the Pencil button or Brush button
is selected.
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Automation parameters in Logic Pro for iPad
Each track in your project has an Automation Parameter pop-up menu listing all the
parameters that can be automated on that track.
Default menu items
With no plug-ins loaded on a track and no automation created yet, the Automation
Parameter pop-up menu only displays the header Automation Parameter and two items:
• Volume: The parameter used most often, volume is always listed first for quick access.
• Main: This submenu contains all the controls in the track’s channel strip. By default,
only four items are listed:
• Volume is a submenu containing two independent automation parameters, Absolute
and Relative (±), to automate the Volume fader.
• Pan is a submenu containing two independent automation parameters, Absolute and
Relative (±), to automate the Pan/Balance knob.
• Solo lets you automate the Solo button.
• Mute lets you automate the Mute button.
• MIDI: This submenu contains all the MIDI events that can be automated. It is only
displayed for region automation in the Piano Roll Editor and Drummer Editor.
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Absolute vs. Relative (±)
The Volume fader and the Pan/Balance knob are the only controls that have two automation
parameters:
• Absolute: The default automation curve for that parameter.
• Relative (±): A secondary automation curve that functions as an offset to existing
automation in the track or region. See Create relative volume and pan automation.
Extended menu items
The Automation Parameter pop-up menu is highly dynamic, and the listed menu items and
submenus depend on various circumstances. There are up to three sections displayed in
the menu:
• Activate/Deactivate Visible Automation: The only item in this section shows the
currently selected (visible) automation parameter. A checkmark indicates that that
automation data is active. You can tap it to temporarily deactivate that automation
parameter if you want to control that parameter manually.
• Automation Parameters: This section is always displayed. It shows all the controls in the
track’s channel strip that can be automated.
• MIDI: The MIDI submenu is part of the Automation Parameter section but visually
separated to indicate that these types of automation create MIDI data points and not
automation points. The menu lists nine types of MIDI messages plus two submenus
containing the MIDI controls 0–127. The first item lets you filter the displayed messages
based on their MIDI channel. This MIDI section is only displayed in the Editors area
for region automation on MIDI regions and Drummer regions.
• Used: This section displays all the automation parameters that have existing automation
data on that track or the region.
The plug-in submenus are numbered and named after the slot position and plug-in 9for
example, 2 Channel EQ).
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Main submenu
The Main submenu in the Automation Parameter pop-up menu has its own subsections with
more submenus.
• Volume and Pan submenus: Both submenus contain the items Absolute and Relative (±).
• Solo and Mute: These parameters automate the Mute button and Solo button on the
track.
• Aux Sends: Each aux send on a track is listed as a separate item in the menu (for
automating the corresponding Send knob).
• On/Off: The remaining items in the menu represent plug-ins or aux sends on that track.
They automate their On/Off button .
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Automation curve appearance
Automation parameters and their corresponding automation curves have a specific
appearance:
• In Automation view, the track lane or region displays all active automation curves.
• The automation curve of the currently selected automation parameter is the dominant
line, and all other automation curves are dimmed but still visible.
• Automation parameters have different colors used for the automation curve, their
automation points, and the text on the Automation Parameter pop-up menu.
• The currently selected automation points and sections of the automation curve are white.
Choose an automation parameter for track automation
1. In the Tracks area menu bar, tap the Automation View button .
2. In a track header, tap the Automation Parameter pop-up menu and choose a parameter.
Make sure to swipe the track list right to reveal the track controls in the track headers.
The track lane of that track will display the automation curve for the selected automation
parameter from the beginning to the end of the project.
Tip: Tap any control in a channel strip or plug-in to automatically select it in the
Automation Parameter pop-up menu.
Choose an automation parameter for region automation
1. In the Tracks area menu bar, do one of the following:
• To select the automation parameter of a region, tap the Tracks View button , tap
the Default View button , then tap the Trim button .
• To select the automation parameter of a cell, tap the Grid View button , then tap
the Edit button .
2. Tap the region or cell for which you want to select the automation parameter.
3. Tap the Editors button in the middle of the view control bar (or press E on an external
keyboard), then tap the Automation View button in the Editors area menu bar.
Only the Audio Editor, Piano Roll Editor, Drummer Editor, and their corresponding Cell
Editors will show the Automation View button (not the Step Sequencer).
4. Tap the Automation Parameters pop-up menu in the Editors area menu bar and choose a
parameter.
The automation curve for the selected automation parameter will be displayed in each
region that is displayed in the Editors area.
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Add automation points in Logic Pro for iPad
You add automation points to a track’s automation curve to create changes over time to
volume, pan, and virtually any control in your channel strips and plug-ins. You can adjust
automation points by moving them up or down to change their value or by moving them left
or right to change their position along the timeline.
Default automation curve in track automation
In Automation view in the Tracks area, selecting an automation parameter with no
automation data created yet will show the automation curve as a gray horizontal line from
the beginning to the end of the project. It has no automation points. The vertical position
of this line represents the current value of the corresponding control, and adjusting the
control moves the line up or down accordingly.
Default automation curve in region automation
In Automation view in the Editors area with no automation data created yet, a thin
horizontal line is displayed without any automation points or MIDI data points from the
beginning to the end of each region in the Editors area.
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Default automation point
Once you add your first automation point, the following will happen:
• The automation point will be added as a dot on the automation curve at the tap position.
• With track automation, an additional default automation point with the same value will
automatically be added at the beginning of the automation curve, which is the beginning
of the project.
• With region automation, an additional default automation point with the same value
will automatically be added at the beginning of the automation curve, which is the left
border of the region.
• The automation curve and the automation points will be displayed in the color of the
corresponding automation parameter (for example, yellow = volume, green = pan, and
turquoise = mute).
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Add single automation points to an automation curve
The steps for creating automation points are the same for track automation and region
automation.
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Pencil button , then do any of the following to create a single automation
point:
• Tap a track lane (for track automation), or tap a region in the Editors area (for region
automation).
• Touch and hold the track lane (for track automation) or a region in the Editors area
(for region automation). Now you can drag up-down or left-right before releasing
your finger to adjust the position of the automation point.
A tag shows its corresponding parameter value, and a vertical line indicates the time
position while dragging the automation point. The current Snap value restricts the
horizontal movement.
The horizontal position of an automation point determines its position along the timeline,
and the vertical position determines the parameter’s value. A new automation point will
change the shape of the automation curve unless it is placed directly on the line.
Draw an automation curve
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Brush button .
3. Touch and hold a track lane (for track automation) or a region in the Editors area
(for region automation), then drag left-right and up-down, drawing the shape of the
automation curve.
Once you release your finger, your newly drawn automation curve overwrites the
existing automation points in that section.
The following rules apply:
• Automation points are created along the path you draw on the screen.
• Vertical directions determine the parameter values.
• The points are automatically connected, forming the automation curve that resembles
your drawing.
• The more slowly you move your finger, the more automation points will be created, and
the finer the resolution of the curve will be.
• The value in the Snap pop-up menu restricts the density of the automation points. See
Snap automation to grid position.
• The shape of the automation curve depends on the status of the Stepped Automation
button . See Stepped automation curve.
• Using Apple Pencil lets you draw the automation curve more precisely.
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Add automation points by splitting a region
When splitting a region that contains region automation, an automation point is
automatically added to the automation curves of the original region and the new region at
the split point. This guarantees the integrity of the automation curve of the two regions
when moving them apart or placing other regions in between. For more information, see
Split regions in Tracks view.
Stepped automation curve in Logic Pro for iPad
By default, an automation curve between two automation points is a straight line that
results in gradually changing parameter values from one point to the next one.
Any controls that represent switches (for example, Mute button, Solo button, On/Off
button, or sustain pedal) create automation curves, known as Stepped Automation. From
any automation point to the next, the automation curve remains a straight horizontal line,
not changing its value until that following automation point, where it jumps to that new
value, creating a step (a vertical line).
You can create stepped automation curves for any automation parameter using the
Stepped Automation button .
Create stepped automation
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Pencil button or the Brush button .
The Copy Mode button changes to the Stepped Automation button .
3. Tap the Stepped Automation button to select it, or press and hold the Option key on
your external keyboard.
4. Tap the Pencil button or Brush button and create new automation points; any new
automation point will be connected to the following automation point with a stepped
automation curve.
Tip: Touch and hold the Stepped Automation button or press and hold the Option key
on your external keyboard to engage momentary mode (the button is selected). Draw
the automation, and when you release the button or the key, the Stepped Automation
button is deselected.
Note: The automation curve of a track or region can be a mixture of both gradual lines and
stepped lines.
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Create relative volume and pan automation in
Logic Pro for iPad
Volume and Pan controls on a track have two automation parameters, Absolute and Relative
(±), that you can choose from the Automation Parameter pop-up menu. They represent two
separate automation curves that together produce the combined automation result for that
control.
Absolute automation curve
The absolute automation curve is the default automation that determines the value
changes for the volume or pan parameter over time.
Relative automation curve
The relative automation curve is available as a separate option in the Automation Parameter
pop-up menu as “Volume (±)” and “Pan (±).” When selected, it displays its own automation
curve. By default, its value is 0, which means it has no effect on the absolute parameter.
You can add automation points and edit them the same way as any other automation
points. This relative curve then functions as an offset for the corresponding absolute
automation curve.
If you’ve created a complex curve to automate the volume of a vocal track, you can create
a relative automation curve–for example, a straight line at –3 dB. The result will be the
movement of the absolute curve, played back 3 dB lower. Or you can create a fade-out with
the relative curve while maintaining the absolute automation curve you might have created
for the volume parameter.
Note: Relative volume and pan automation can only be created by adding those points
manually. Writing automation in real time will always create absolute volume and pan
automation.
Absolute volume and pan parameters, when selected, are displayed in the track header as
Volume and Pan, and relative volume and pan parameters are displayed as “± Volume” and
“± Pan.”
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Add and edit relative automation
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Automation Parameter pop-up menu and choose one of the following:
• Main > Volume > Volume (±)
• Main > Pan > Pan (±)
3. Add new automation points or edit existing ones for the relative parameter using the
same procedures as for absolute parameters.
Snap automation to grid position in Logic Pro for iPad
You can snap automation points to grid positions. With Snap to Grid enabled, moving
automation points horizontally will be restricted by the currently selected Snap value. It
also affects creating new automation points with the Brush button selected but not with
the Point button .
Snap automation is helpful if you want to reduce the number of automation points created
when in Brush mode by setting the Snap value to 1/2 or Bar.
You can also use the snap automation feature creatively. For example, create a stereo ping-
pong effect by automating the pan parameter in stepped automation to create alternate
left-right values synced to the beat grid or any other musical value.
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Snap automation points to a grid value
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Snap pop-up menu in the Tracks area menu bar or the Editors area menu bar,
and choose a grid value.
The first option, Snap to Grid, is automatically selected (indicated by a checkmark) when
you choose a grid value. You can tap Snap to Grid again to turn off snap while keeping the
current Snap value selection. See Snap items to the grid.
Important: The Snap pop-up menu is visible in Default view and Automation view in the
Tracks area and Editors area, but you can set each one to its own value. Each value will be
remembered when you switch between those views.
Edit automation
Select automation in Logic Pro for iPad
After you create automation points and the resulting curves, you can use move and copy
commands and other procedures to edit automation points. For many of those edit tasks,
you have to select the automation points first and then apply the various actions.
To better select and edit automation, zoom in using pinch gestures, or use Apple Pencil for
more precise editing.
Select automation points
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in the menu bar of one of the two areas, then do one of the
following:
• Tap an automation point.
That automation point and the line before and after it is highlighted.
• Tap the automation curve (between two automation points).
The automation points at the beginning and end of that line segment plus the lines
before the first point and after the second point are highlighted.
3. You can also tap the Pencil button , then touch and hold an automation point to select
it.
That automation point and the line before and after it is highlighted.
With the Move button selected, tap outside the automation curve to deselect all
automation points.
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Select a section on the automation curve
You can select a section of the automation curve and all the automation points in that
section.
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Touch and hold outside the automation curve (a pulsating gray rectangle appears), then
drag to the left or right.
The gray rectangle extends to follow your movement, and when you release your finger,
all automation points in that range are selected. A gray strip appears in the ruler to mark
the length of that selection.
To create a new selection, repeat the steps, and the previously selected automation points
will be deselected.
Select noncontiguous automation
You can select individual automation points on the automation curve to apply edits to only
specific segments of the automation curve.
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Multiple Select button to select it, then do any of the following:
• Tap any automation point to select or deselect individual points anywhere on the
automation curve.
• Tap any segment of the automation curve to select or deselect the two automation
points at the beginning and end of that segment.
• Touch and hold outside the automation curve, then drag to the left or right to select
that range of automation points.
• Tap outside the automation curve to deselect all automation points.
3. When you’re done with the selection, tap the Multiple Select button to deselect it.
Tip: Touch and hold the Multiple Select button or press and hold the Shift key on
your external keyboard to engage momentary mode (the button is selected). Select the
automation points, and when you release the button or the key, the Multiple Select button
is deselected again.
Select the entire automation curve
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Tap outside the automation curve to deselect any selected automation points.
4. Tap outside the automation curve again to open its menu, then choose Select All.
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Move automation in Logic Pro for iPad
You can move automation points just by dragging them on the track lane, or you can use
standard cut-and-paste procedures. The cut-and-paste action places the automation
points on the Clipboard, and you can paste them to multiple places on the same track or to
other tracks even if you are not in Automation view.
With an external keyboard, you can use the keyboard shortcuts Command-X for cut and
Command-V for paste.
In addition, you can move track automation when moving regions on the track lane. See
Automation settings.
Move automation on the same track
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Select the automation points you want to move and, therefore, the resulting segments
of the automation curve.
4. Touch and hold one of the selected automation points, then drag the selection left or
right on the track lane.
The selected automation moves, overwriting any existing automation points at the new
position. A vertical line through the automation point that extends to the ruler helps with
positioning. The current Snap value applies.
Tip: When you move an automation point or a segment of the automation curve, you can
also move the selection vertically to change its values proportionally.
Move automation on a track or between tracks
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Select the automation points you want to move and, therefore, the resulting segments
of the automation curve.
4. Tap one of the selected automation points to open its menu, then choose Cut (or press
Command-X on your external keyboard).
The selected automation points are moved to the Clipboard.
5. Tap the ruler to place the playhead at the position to where you want to move the
automation.
6. On the track lane where you want to paste the automation (on either the same track
or a different track), tap the area outside the automation curve once to deselect any
automation points, then tap again and choose Paste from the pop-up menu (or press
Command-V on your external keyboard).
The automation curve that was cut is placed at the playhead position on that track lane,
with the first automation point aligned to the playhead position. Any existing automation
points are overwritten, with a gray strip in the ruler indicating the affected range.
Important: When you move or copy automation points of a specific automation parameter
to a different track, that track has to have that same automation parameter available (for
example, parameters of a specific plug-in or aux send).
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Move automation with regions
When you move a region on the track lane, any track automation in that range (from the left
border to the right border of the region) can be moved with that region.
This functionality is determined by the Automation settings:
1. Tap the More button on the right side of the control bar, then tap Settings .
2. Tap App Settings, then tap Automation in the sidebar.
3. Tap the Move Track Automation with Regions pop-up menu, then choose one of the
three options:
• Never: Does not move automation when you move regions.
• Always: Always moves automation when you move regions. The automation area
encompassed by the region boundaries is moved.
• Ask: A dialog prompts you to move the automation—or leave it where it is—whenever
you move a region.
Copy automation in Logic Pro for iPad
You copy automation points with the Copy Mode button selected by dragging them on
the track lane; you can also use standard copy-and-paste procedures. The copy/paste
action places the automation points on the Clipboard, and you can paste them to multiple
places on the same track or other tracks even if you are not in Automation view.
With an external keyboard, you can use the standard keyboard shortcuts Command-C for
copy and Command-V for paste.
In addition, you can copy track automation to a new track when duplicating tracks.
Copy automation on the same track
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Select the automation points you want to copy and, therefore, the section of the
automation curve.
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4. Tap the Copy Mode button to select it, then touch and hold one of the selected
automation points or line segments and drag the selection left or right on the track lane.
The selected automation is copied, overwriting any existing automation points at the
new position. A vertical line through the automation point that extends to the ruler helps
with positioning. The current Snap value applies.
5. Repeat from step 3 if you want to copy more automation points, or tap the Copy Mode
button to turn it off if you are done.
When you copy an automation point or a segment of the automation curve, you can also
move the selection vertically to change its values proportionally.
Tip: Touch and hold the Copy Mode button , or press and hold the Option key on
your external keyboard to engage momentary mode (the button is selected). Drag the
automation points to copy them, and when you release the button or the key, the Copy
Mode button is deselected again.
Copy automation on a track or between tracks
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button in one of the two areas.
3. Select the automation points you want to copy and, therefore, the section of the
automation curve.
4. Tap one of the selected automation points to open its menu, then choose Copy (or
press Command-C on your external keyboard).
The selected automation is copied to the Clipboard.
5. Tap the ruler to place the playhead at the position to where you want to copy the
automation.
6. On the track lane where you want to paste the automation (on either the same track
or a different track), tap the area outside the automation curve once to deselect the
automation points, then tap again and choose Paste from the pop-up menu (or press
Command-V on your external keyboard).
The automation curve that was copied is placed at the playhead position, with the first
automation point aligned to the playhead position. Any existing automation points are
overwritten, and a gray strip in the ruler indicates the affected range.
Copy automation when duplicating a track
1. In the Tracks area, tap the track icon of a track to select it.
2. Touch and hold the Duplicate Track button above the track headers to open its menu,
then choose Duplicate Track with Content.
The selected track is copied, including all its track automation. Any region automation
contained in any regions on that track is also carried over.
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Adjust automation in Logic Pro for iPad
You can adjust any automation point by dragging it or by selecting multiple automation
points and then dragging them together. Pay attention to the following:
• A value tag appears above the automation point that displays the current value when
you drag it up or down.
• A vertical line through the automation point appears that reaches up to the ruler. With
this guide you can see where you move the automation point along the timeline when
you drag left or right.
• The horizontal movement is restricted by the Snap setting. See Snap automation to grid
position.
• Moving automation points left or right overwrites any existing automation point along
that path once you release your finger.
Adjust individual automation points
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button or Pencil button .
3. Drag an automation point in any direction.
Any horizontal movement changes the position of the automation point, and any vertical
movement changes the parameter value.
Adjust multiple automation points
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button and make a selection. See Select automation points.
3. Touch and hold one of the selected automation points or lines between points to move
the entire section in any direction.
Note: The values of all selected automation points change proportionally when you drag
the curve up or down.
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Edit automation in the inspector in Logic Pro for iPad
In addition to adjusting automation points graphically by moving them on the track lane or
the region, you can change their value and position numerically using the inspector. When
you select an automation point, the Automation Point pop-up menu appears at the top of
the inspector.
Edit automation points numerically
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Inspector button in the view control bar, or press I on your external keyboard.
3. Tap an automation point, then do one of the following in the inspector to change the values:
• Drag the number field of the Value or Position parameter up or down to change it.
• Tap the number field of the Value or Position parameter to open the numeric input
dialog and enter a numeric value.
4. A MIDI data point shows the additional MIDI channel parameter with a pop-up menu
where you can choose a different MIDI channel for that MIDI data point.
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Bend automation curves in Logic Pro for iPad
By default, the automation curve is a series of straight lines that connect one automation
point to the next one. However, you can bend each line segment individually to create
curved lines.
Change the shape of automation curves
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Curve button in the menu bar, then drag any line between two automation
points in a specific direction:
• Dragging up or down bends the line to an exponential curve. The dragging direction
determines whether the “knee” is at the beginning of the line (the value tag displays
a negative value during the drag movement) or toward the end of the line (the value
tag displays a positive value).
• Dragging left or right bends the line into an S-shaped curve. The direction
determines whether the orientation of the S shape is upright (the value tag displays
a positive value and the letter S) or the S shape appears sideways (the value tag
displays a negative value and the letter S).
Note: You can first select a section of the automation curve (even noncontiguous), and
then dragging one of the selected lines will apply the same shape to all selected lines.
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Use automation with Mixer groups in
Logic Pro for iPad
In Logic Pro for iPad, you can create Mixer groups by assigning a group of tracks (for
example, all drum tracks) to a specific group number. See Create Mixer groups.
When you adjust any control (for example, the Mute button or the Volume control) on
a track belonging to a group, that change applies to all group members. This group
functionality also works with automation.
Automation modes and automation parameters
• Automation mode: When you choose an option from the Automation Mode pop-up
menu on one track, all tracks in that group change to the same automation mode. See
Automation modes.
• Automation parameter: When you choose an option from the Automation Parameter
pop-up menu on one track, all tracks in that group change to the same automation
parameter. See Automation parameters.
• Auto-select automation parameter: When you tap a control on one track (for example,
the Volume slider), the automation parameter pop-up menus in all tracks switch to that
automation parameter.
Editing automation graphically
In Automation view in the Tracks area, when you create or edit automation points or modify
the automation curve on one track, those edits apply to all tracks in that group. See
Automation drawing tools.
Writing automation in real time
When you write real-time automation for one track, that automation data is written to
all tracks in that Mixer group. There are a few conditions on how the automation data is
applied:
• Relative change: When writing automation for a continuous control, such as volume,
pan, send, or other sliders, it applies the automation as an offset to the original value.
• Absolute change: When writing automation to a switch, such as the Mute button or an
On/Off button, that status applies to all member tracks regardless of the original state
of their buttons.
• Existing automation: New automation overwrites any existing automation on any
member tracks, applying it as an offset to the original value at the start of the new
automation.
Note: When you write automation in a Mixer group, you create automation data on each
member track. That means you can remove a track from a group later without affecting its
automation data, and further edit it individually.
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Automate cells in Live Loops in Logic Pro for iPad
Automation can also be created in cells when you work in the Live Loops grid. Cells are
containers that include one or more regions of any of the four region types (audio region,
MIDI region, Step Sequencer pattern region, or Drummer region). Adding and editing
automation in cells is technically region automation for the region contained in the cell.
Selecting a cell and opening the Editors area shows the Cell Editor, which can have four
different interfaces depending on the region type. It can be an Audio Editor, a Piano Roll
Editor, a Step Sequencer, or a Drummer Editor, each one with some cell-specific controls.
The Cell Editor also has the Automation View button to view and edit region automation.
Note: A cell that contains region automation shows the automation symbol in the lower-
right corner of the cell (visible when zoomed in).
Add cell automation
1. In the Tracks area menu bar, tap the Grid View button .
2. Tap the Edit button in the Live Loops menu bar, then tap a cell to select it.
3. Tap the Editors button in the middle of the view control bar to open the Cell Editor.
The Cell Editor shows the user interface of the editor related to the region type. For
example, if the cell contains a MIDI region, the Cell Editor will show the Piano Roll Editor.
4. Tap the Automation View button in the Editors area.
The Cell Editor doesn’t have an Automation View button if it shows a pattern region.
5. Perform any of the graphical automation editing tasks.
Note: You can also write region automation in real time when you record to Live Loops
cells.
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Undo, turn off, or delete automation in
Logic Pro for iPad
You can undo the last step or multiple steps of automation you performed (writing,
adding, or adjusting) by tapping the Undo button on the right side of the control bar. To
temporarily turn off existing automation, you can turn off individual automation parameters
or set a track’s automation mode to Off to turn off all automation parameters on a track.
You can delete individual automation points or multiple automation points or simply
overwrite existing automation with new automation graphically or in real time.
Undo automation
To undo an automation step, do any of the following:
• Tap the Undo button in the control bar to undo the previous action.
• Tap the Undo button multiple times to undo the previous few actions.
• Touch and hold the Undo button , then choose the Redo command to redo the last
step.
With your external keyboard, you can use the standard keyboard shortcuts Command-Z for
undo and Shift-Command-Z for redo.
Turn off track automation parameters
If you create automation for a specific control (for example, a left-right movement for
the Pan/Balance knob), that control will follow its automation curve during playback, and
you will no longer be able to control it manually. To try out different movements, you can
temporarily turn off the automation for that parameter without losing the automation data.
The automation curve for the parameter that is deactivated will turn gray.
1. In the Tracks area menu bar, tap the Automation View button .
2. On the track that contains the automation you want to deactivate, tap the Automation
Parameter pop-up menu in its track header and choose that parameter, listed below the
Used header.
3. Tap the Automation Parameter pop-up menu again and choose that parameter, which is
now listed with a checkmark at the top under the Deactivate Visible Automation header.
The Automation Parameter pop-up menu in the track header that shows the currently
visible automation parameter is dimmed, and the automation curve is gray.
4. To activate the currently selected automation parameter again, tap the Automation
Parameter pop-up menu and choose the first item in the menu under the header
Activate Visible Automation.
Deactivating or activating an automation parameter is a two-step process because you
have to first make that parameter visible by selecting it from the Automation Parameter
pop-up menu.
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Turn off region automation parameters
1. In the Tracks area menu bar, do any of the following:
• For track automation, tap the Tracks View button , tap the Default View button ,
then tap the Trim button .
• For region automation in a cell, tap the Grid View button , then tap the Edit button
in the menu bar.
2. Tap the region or cell you want to edit.
3. Tap the Editors button in the middle of the view control bar (or press E on your
external keyboard).
4. Tap the Automation Parameter pop-up menu in the Editors area menu bar and choose
the parameter listed below the Used header.
5. Tap the Automation Parameter pop-up menu again and choose that parameter, which is
now listed with a checkmark at the top under the Deactivate Visible Automation header.
The automation curve for that automation parameter is gray.
6. To activate the currently selected automation parameter again, tap the Automation
Parameter pop-up menu and choose the first item in the menu under the header
Activate Visible Automation.
Turn off all automation on one or more tracks
1. In the Tracks area menu bar, tap the Automation View button .
2. Tap the Multiple Select button to select it, tap the track icon of all tracks you want to
select, then tap the Multiple Select button again to deselect it.
If you want to change only a single track, you can skip this step.
3. In the track header, tap the Automation Mode pop-up menu of one of the selected
tracks, then choose Off.
To turn the automation back on, repeat the steps, and this time, choose Read from the
Automation Mode pop-up menu.
Selecting Read or Off from the Automation Mode pop-up menu on a track applies to track
automation and region automation.
Turn off all automation on a track in the Mixer
1. Tap the Mixer button in the middle of the view control bar to show the Mixer.
2. Tap the Filter button at the top of the output track on the far right to open the
Component Filter dialog, tap Automation to select it, and then tap the Filter button again
to close the menu.
This button is selected by default to show the Automation Mode pop-up menu in all
channel strips.
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3. Tap the Automation Mode pop-up menu in the channel strips where you want to turn the
automation off, and then choose Off.
To turn automation back on for a track, choose Read from its Automation Mode pop-up
menu or the Automation Mode pop-up menu in the track header in the Tracks area.
Turn off all automation on a track in the Plug-ins area
1. In the Tracks area, tap the track icon of the track you want to change.
2. Tap the Plug-ins button in the view control bar (or press B on your external
keyboard), tap the Automation Mode pop-up menu in its menu bar, then choose Off.
You can also double-tap the track icon to open the Plug-ins area.
To turn automation back on for that track, choose Read from its Automation Mode pop-up
menu or the Automation Mode pop-up menu in the track header in the Tracks area.
Delete a single automation point
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Do any of the following:
• Tap the Pencil button , then tap an automation point to delete it.
• Tap the Move button , tap a single automation point to select it, tap it again to
open its menu, then choose Delete.
• Tap the Move button , tap a single automation point to select it, then press Delete
on your external keyboard.
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Delete multiple automation points
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button , then tap the Multiple Select button to select it.
3. Tap all automation points or line segments you want to delete, then tap the Multiple
Select button again to deselect it.
4. Tap any of the selected automation points or lines, then choose Delete from the menu,
or press Delete on your external keyboard.
You can also touch and hold the Multiple Select button in momentary mode or press
and hold the Shift key on your external keyboard, tap the automation points to select
them, and then release the button or the Shift key.
Delete an entire automation curve
1. Tap the Automation View button in the Tracks area menu bar (for track automation)
or the Editors area menu bar (for region automation).
2. Tap the Move button , then tap outside the automation curve to deselect any
automation point. Tap again to open its menu, and choose Select All.
3. Tap the automation curve to open its menu, then choose Delete or press Delete on your
external keyboard.
Play automation in Logic Pro for iPad
Your project will play back with automation as long as you have set the automation mode to
Read on all tracks that have automation data, and no individual automation parameters are
turned off.
Automation Value field
The Automation Value field, visible on all track headers in Automation view, shows the value
of the currently selected automation parameter on a track at the current playhead position.
It updates in real time during playback.
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Play back your project with automation
1. In the Tracks area menu bar, tap the Automation View button .
2. Scroll through the track list to see if the automation mode on all tracks is set to Read.
3. To set all tracks to Read mode, tap the Multiple Select button to select it, tap the
track icon of all tracks to select them, and then tap the Multiple Select button again to
deselect it.
4. Tap the Automation Mode pop-up menu on one of the tracks and choose Read.
All tracks are now set to Read mode.
5. Tap the Play button or press the Space bar on your external keyboard to start
playback of your project with all the controls on the tracks changing based on the
automation data.
When bouncing your project, all the automation performance will be included the same
way as when you play back your project.
Automation will also play back when the automation mode is set to Touch or Latch;
however, in that mode, you will also create new or overwrite existing automation when you
touch any control in the channel strips or plug-ins.
Bounce in place with volume and pan automation
When you use the Bounce in Place command to bounce single or multiple regions to a
track, you have the option to include volume and pan automation.
1. In the Tracks area menu bar, tap the Default button , and then tap the Move button
.
2. Tap a single region or select multiple regions with the Multiple Select button .
3. Tap the selected region to open its menu, then choose Bounce and Join > Bounce in
Place.
The Bounce in Place dialog opens with various settings. See Bounce in place.
4. Tap the Include Volume/Pan Automation switch to turn it on.
5. Tap Bounce in the top-right corner of the dialog to perform the bounce.
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Create automation with Step Sequencer in
Logic Pro for iPad
Instead of creating automation points along a timeline that, connected, form an automation
curve, you can create automation in Logic Pro for iPad using Step Sequencer.
The concept of Step Sequencer in Logic Pro is based on classic hardware step sequencers
with rows of configurable switches and knobs used to generate repeating musical patterns
or drum patterns. Instead of storing notes in a series of steps along the row, you can assign
a row to a specific automation parameter, and each step in that row then contains a single
value for that automation parameter. See Pattern creation basics.
Creative use of Step Sequencer automation
The steps in a Step Sequencer pattern represent a specific time grid (for example, 16th
or 8th notes), and storing specific values for an automation parameter (for example, pan,
volume, or filter cutoff) in those steps makes it easy to create tempo-based automation.
That means you can easily change the value of an automation parameter based on the bar/
beat grid of your project. You need to create those automation patterns only for one bar
and then extend that pattern region to repeat that pattern or move it on the track lane to
any other position where you want to perform that automation.
For example:
• Create 1/4 note steps for the Pan parameter to alternate left and right pan positions on
the beat.
• Create 1/16 note steps for one bar for the Volume parameter to decrease the level with
each step gradually.
• Create 1/8 note steps for two bars for the Resolution parameter of the Bitcrusher plug-
in and set each step to a different value.
• Create 1/2 note steps for the cutoff frequency of a synth to close and open the filter
over two bars periodically.
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Add automation steps to a pattern region
The following steps assume that you already have a pattern region in your project.
1. In the Tracks area, tap the pattern region to select it, and then tap the Editors button
in the view control bar.
The Editors area shows Step Sequencer.
2. Tap the Add button above the row headers to open the Row Assignment menu and
choose Automation > Main > Pan.
You can choose any other automation parameter from the menu.
3. On the new row, for example, tap the 1st, 5th, 9th, and 13th step to turn them on.
4. Tap the Row disclosure arrow to show the Value attribute.
5. Drag the value of the first and third selected step up to +63 and the second and fourth
value down to -64.
The pattern region plays back with the pan position jumping left and right on each
downbeat.
Control track stacks with an automation pattern region
Placing a pattern region on the main track of a track stack controls its subtracks based on
the Step Sequencer automation.
1. Create a track stack.
2. Tap the disclosure arrow in the track header of the track stack.
All the subtracks are displayed below the main track.
3. Tap the track lane of the main track, then tap again and to open its menu, and choose
Create Pattern Region.
4. With the pattern region selected, tap the Editors button in the view control bar.
The Editors area now shows Step Sequencer.
5. Follow the steps described in Add automation steps to a pattern region.
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Work with markers, time and key signatures,
and tempo
Work with markers, time and key signatures, and
tempo in Logic Pro for iPad
In addition to working with individual tracks, regions, and channel strips, you can
manipulate different aspects of an overall project in Logic Pro for iPad.
• You can tag different parts of a project using markers.
• You can add time and key signature changes that affect the ruler.
• You can control the project tempo by adding tempo changes, which affect project
playback.
• You can use Smart Tempo to analyze and adjust the tempo of imported audio recordings
to match the project’s tempo.
Logic Pro features several ways to control aspects of the overall project. A set of global
tracks (including the Marker track, Time Signature track, Key Signature track, and Tempo
track) is available in the Tracks area.
You can also add effects to output or aux tracks, and automate effects and other
parameters on output or aux tracks, which can affect the overall project.
For information about automating project parameters, see Introduction to automation.
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Use the global tracks
Intro to global tracks in Logic Pro for iPad
Logic Pro for iPad includes a set of global tracks that you can use to control different
aspects of the overall project. You can show global tracks in the Tracks area. When you
show the global tracks, they appear above the tracks.
The following global tracks are available:
• Marker track: Contains markers, which are used to label bar positions and parts of the
project. Their length can be edited freely. For more information, see Intro to markers.
• Time Signature track: Contains the time signature of the project along with any
signature changes. For more information, see Intro to time signatures.
• Key Signature track: Contains the key signature of the project along with any signature
changes. For more information, see Intro to key signatures.
• Tempo track: Contains the project tempo and all tempo changes in the project. For more
information, see Intro to tempo.
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Show and hide global tracks in Logic Pro for iPad
Global tracks can be displayed above the tracks in the Tracks area in Logic Pro for iPad.
You can select which global tracks you want to see. By default, the Marker and Tempo
tracks are visible when you show the global tracks.
Show or hide the global tracks
• In Logic Pro, tap the Global Tracks button above the track headers.
In the Tracks area, the global tracks appear above the tracks.
Show or hide individual global tracks
• In Logic Pro, touch and hold anywhere in the global tracks header area, then choose
which global tracks to show or hide.
The tracks you choose to show only affect the open project.
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Work with markers
Intro to markers in Logic Pro for iPad
You can use markers to tag different parts of your project in Logic Pro for iPad and quickly
set the cycle area from section to section.
Markers are displayed as rectangular sections in the global tracks. You can select, copy,
move, or resize markers in the Marker track and edit existing markers in the inspector.
Show the Marker track
• In Logic Pro, tap the Global Tracks button above the track headers.
If the Marker track is not visible, touch and hold anywhere in the global tracks header area,
then choose Marker. For more information, see Show and hide global tracks.
Use markers in Logic Pro for iPad
You can add a marker at any position in your project in Logic Pro for iPad. You can move
markers, adjust their lengths, and rename them. You can also set the cycle area in the ruler
to a marker. If you no longer want to use markers in your project, you can delete them.
Add a marker
In the Logic Pro Marker track, do one of the following:
• Place the playhead at the position where you want to create a marker, then tap the Add
Marker button .
• Tap the Pencil button in the global tracks header area, then tap where you want to
add a marker.
Move a marker to a new position
• In the Marker track in Logic Pro, tap the Move button , then do one of the following:
• Touch and hold a marker and drag it left or right to a new position.
• Tap a marker to select it, tap the Inspector button in the view control bar, then
drag the Position values up or down or tap a Position value and edit it in the numeric
input dialog.
Note: The increments by which markers can be moved in the Marker track depend on the
setting in the Snap pop-up menu.
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Change the length of a marker
• In the Marker track in Logic Pro, tap the Move button , tap a marker to select it, then
do one of the following:
• Drag the left or right edge of the marker to change the length.
• Tap the Inspector button in the view control bar, then drag the Length values up
or down or tap a Length value and edit it in the numeric input dialog.
Markers cannot overlap. Dragging the front of a marker over the previous marker
automatically shortens the previous marker.
Rename a marker
1. In the Marker track in Logic Pro, tap the Move button , then tap a marker to select it.
2. Tap the Inspector button in the view control bar.
3. Enter a new name in the Marker Name field.
Set the cycle area to a marker
• In the Marker track in Logic Pro, tap the Move button , double-tap a marker, then do
one of the following:
• Tap Set Cycle to set the cycle area to the length of the marker.
• Tap Set Cycle Rounded to set the cycle area to the nearest bars at the beginning and
at the end of the marker.
Delete a marker
• In the Marker track in Logic Pro, tap the Move button , double-tap the marker, then
tap Delete.
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Work with time signatures
Intro to time signatures in Logic Pro for iPad
Time signatures are global events that affect all tracks in a project in Logic Pro for iPad.
When you create a new project, the time signature defaults to 4/4, unless you choose a
different time signature. You can view, add, and edit time signatures in the Time Signature
track and the display in the control bar.
The initial time signature is a project property. For information on setting the initial time
signature, see Set the project time signature.
Time signatures determine the number of beats in each bar (as shown in the ruler), and so
define the editing grid in the Tracks area and the time-based editors (including the Audio
Editor and Piano Roll Editor). Time signature changes do not affect the playback of audio or
MIDI regions.
You can add any number of time signature changes to a project. When you add a time
signature change, it changes the time signature from the insertion point forward, until the
next time signature change is reached.
Show the Time Signature track
• In Logic Pro, touch and hold anywhere in the global tracks header area, then choose
Time Signature.
Use time signature changes in Logic Pro for iPad
When you create a new project in Logic Pro for iPad, by default it has one time signature
that lasts for the entire project. You can add time signature changes using the Time
Signature track. When a project has multiple time signatures, you can edit and move them
in the Time Signature track. If a project has only one time signature, you can change the
initial time signature in the display. You can delete time signature changes in a project, but
you can’t delete the initial time signature.
Create a time signature change
1. In the Time Signature track in Logic Pro, do one of the following:
• Place the playhead at the position where you want to add a time signature change,
then tap the Add Time Signature button .
• Tap the Pencil button in the global tracks header area, then tap a point in the Time
Signature track.
2. Edit the values in the Time Signature dialog, then tap Done.
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Edit a time signature
For projects in Logic Pro with multiple time signatures, do one of the following:
• In the Time Signature track, tap the Move button , double-tap a time signature, then
edit the time signature.
• Place the playhead at the start of the time signature that you want to change, tap the
Signatures display in the control bar, then choose a new time signature and tap Done.
• Tap the Move button , tap a time signature in the Time Signature track, tap the
Inspector button in the view control bar, then drag the Signature values up or down
or tap a Signature value and edit it in the numeric input dialog.
Move a time signature
• In the Time Signature track in Logic Pro, tap the Move button , tap a time signature to
select it, then do one of the following:
• Drag a time signature to a new position.
• Tap the Inspector button in the view control bar, then drag the Position values up
or down or tap a Position value and edit it in the numeric input dialog.
Note: The increments by which time signatures can be moved in the Time Signature track
depend on the setting in the Snap pop-up menu in the Tracks area menu bar.
Delete a time signature
• In the Time Signature track in Logic Pro, tap the Move button , double-tap the time
signature, then tap Delete.
Work with key signatures
Intro to key signatures in Logic Pro for iPad
Key signatures are global events that affect all tracks in a project in Logic Pro for iPad.
When you create a new project, the key signature defaults to C major unless you choose
a different key signature. You can view, add, and edit key signatures in the Key Signature
track and the display in the control bar.
The initial key signature affects the playback of Apple Loops in the project. Key signature
changes do not have an effect on MIDI playback. The initial key signature is a project
property. For information on setting the initial key signature, see Set the project key.
You can add any number of key signature changes to a project. When you add a key
signature change, it changes the key from the insertion point forward, until the next key
signature change is reached.
Show the Key Signature track
• In Logic Pro, touch and hold anywhere in the global tracks header area, then choose Key
Signature.
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Use key signature changes in Logic Pro for iPad
When you create a new project in Logic Pro for iPad, by default it has one key signature
that lasts for the entire project. You can add key signature changes using the Key Signature
track. When a project has multiple key signatures, you can edit and move them in the Key
Signature track, and edit them in the display. If a project has only one key signature, you
can change the initial time signature in the display. You can delete key signature changes in
a project, but you can’t delete the initial time signature.
Create a key signature change
1. In the Key Signature track in Logic Pro, do one of the following:
• Place the playhead at the position where you want to add a time signature change,
then tap the Add Key Signature button .
• Tap the Pencil button in the global tracks header area, then tap a point in the Key
Signature track.
2. Edit the values in the Key Signature dialog, then tap Done.
Edit a key signature
For projects with multiple key signatures in Logic Pro, do one of the following:
• In the Key Signature track, tap the Move button , double-tap a time signature, then
edit the key signature.
• Place the playhead at the start of the key signature you want to change, tap the
Signatures display in the control bar, then choose a new key signature and tap Done.
• Tap the Move button , tap a key signature in the Key Signature track, tap the Inspector
button in the view control bar, then choose a new key from the Key pop-up menu.
Move a key signature
• In the Key Signature track in Logic Pro, tap the Move button , tap a key signature to
select it, then do one of the following:
• Drag a key signature to a new position.
• Tap the Inspector button in the view control bar, then drag the Position values up
or down or tap a Position value and edit it in the numeric input dialog.
Note: The increments by which key signatures can be moved in the Key Signature track
depend on the setting in the Snap pop-up menu in the Tracks area menu bar.
Delete a key signature
• In the Key Signature track in Logic Pro, tap the Move button , double-tap the key
signature, then tap Delete.
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Work with tempo
Intro to tempo in Logic Pro for iPad
Every Logic Pro for iPad project has a tempo, which is expressed in beats per minute
(bpm). You can set the tempo in the New Project Chooser when you create a project and
change it later while you are working. You can set the project tempo in the display in the
control bar. By default, the tempo for new projects is 120 bpm.
You can add multiple tempo changes to a project in the Tempo track and create tempo
curves to smoothly transition between different tempos.
You can also use Smart Tempo to to analyze and adjust the tempo of imported audio
recordings to match the project’s tempo or adapt the project tempo to an audio file.
Work with the Tempo track
Intro to Tempo tracks in Logic Pro for iPad
You can add tempo changes to a project using the Tempo track in Logic Pro for iPad. In the
Tempo track, tempo changes are represented by tempo points. You create tempo changes
by adding tempo points and editing their values.
Tip: You can use Apple Pencil to select and edit tempo points with greater precision.
Show the Tempo track
• In Logic Pro, tap the Global Tracks button above the track headers.
If the Tempo track is not visible, touch and hold anywhere in the global tracks header
area, then choose Tempo. For more information, see Show and hide global tracks.
Use tempo points in Logic Pro for iPad
In the Tempo track in Logic Pro for iPad, tempo changes appear as tempo points. You
create tempo changes by adding tempo points and then editing their values. You can
create tempo curves, and edit and move tempo points. You can also apply smoothing to
tempo points or replace selected tempo points with an average tempo.
Add a tempo point
• In Logic Pro, tap the Pencil button in the global tracks header area, then tap the
target time position.
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Change the value of a tempo point
In Logic Pro, do one of the following:
• Drag the tempo point up or down. A help tag displays the tempo value.
You can also drag the line connecting two tempo points, changing the values of both
tempo points.
• With a tempo point selected, tap the Inspector button , then drag the value in the
Tempo field in the inspector.
Moving a tempo point to the upper or lower limit of the tempo range extends the tempo range.
Note: To prevent unintentional changes, tempo points are restricted to either vertical or
horizontal movement. You can change either the value of a tempo change event or the
position of a tempo change event, but not both at once.
Replace selected tempo points with the average tempo
1. In Logic Pro, tap the Multiple Select button in the Tracks area menu bar, then tap
tempo points to select them.
2. Tap the Multiple Select button again, tap a selected tempo point, then tap Replace by
Average.
Move a tempo point in time
In Logic Pro, do one of the following:
• In the Tempo track, drag the tempo point left or right.
• With a tempo point selected, tap the Inspector button , then drag the values in the
Position field in the inspector.
Move the selected tempo point, replacing the previous one
• In the Tempo track in Logic Pro, tap the Move button , double-tap a tempo point, then
choose Extend Left.
The selected tempo point is moved left to the position of the previous one, which it
replaces.
Delete a tempo point
In Logic Pro, do one of the following:
• Tap the Move button in the global tracks header area, double-tap the tempo point,
then tap Delete.
• Tap the Pencil button in the global tracks header area, then tap the tempo point.
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Use tempo curves in Logic Pro for iPad
In Logic Pro for iPad, you can create a continuous transition, or tempo curve, between two
tempo points using curve nodes. Curve nodes appear as small black dots and are located
between tempo points.
Create a tempo curve between two tempo points
• In the Tempo track in Logic Pro, touch and hold a curve node between two tempo
points, then drag to set and alter the curve shape.
Change the snap value of a tempo curve
• In Logic Pro, choose a value from the Snap pop-up menu in the Tracks area menu bar to
define the number of tempo changes that are actually performed when using curves.
Delete a tempo curve
• In the Tempo track in Logic Pro, tap the Move button , double-tap the curve node,
then tap Delete.
Use the Tempo track with Ableton Link in Logic Pro for iPad
When Ableton Link is turned on in General Synchronization project settings, the Tempo
track is deactivated in Logic Pro for iPad. You can reactivate the Tempo track to add tempo
changes.
After you reactivate the Tempo track, any tempo points you add are sent to other Link
users in the session when played by the sequencer. The Tempo track is automatically
deactivated again if a tempo change is received by another Link user in the session.
• In the Tempo track in Logic Pro, tap anywhere, then tap Reactivate Tempo Track.
The Tempo track is reactivated, allowing you to make tempo changes to the project.
To deactivate the Tempo track, tap anywhere in the Tempo track, then tap Deactivate
Tempo Track.
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Intro to Smart Tempo in Logic Pro for iPad
Use Smart Tempo in Logic Pro for iPad to analyze and adjust the tempo of audio recordings
to match the project's tempo. This allows for more seamless integration of different
recordings, regardless of their original tempo, into a single project. This can be helpful for
music production, remixing, and other audio editing tasks.
Here are some practical uses for Smart Tempo:
• Improved workflow: Smart Tempo can save you time and effort by adjusting the tempo
of audio recordings to match the project’s tempo, so that you don't have to manually
adjust the tempo of each recording.
• Consistency: Smart Tempo can help maintain a consistent tempo throughout the
project, which can be important for creating a cohesive and polished final product.
• Flexibility: Smart Tempo also allows you to import loops, samples, and other audio files
that have been recorded at different tempos, and use them in your project without the
need to manually time stretch them to match your project tempo.
• Experimentation: You can use Smart Tempo as a creative tool to experiment with
different tempos and grooves to see how they sound in your project.
Open the Smart Tempo menu
1. In Logic Pro, tap an audio region to select it.
2. Tap the audio region again, then tap Tempo.
Smart Tempo Menu
• Analyze Tempo: Perform a new tempo analysis of the region. For example, when you
import an audio recording into a Logic Pro project, Smart Tempo automatically detects
the tempo of the recording and adjusts it to match the project’s tempo. If a recording
does not contain tempo information, or if the automatic detection is not accurate, you
can use Analyze Tempo to edit or reset the tempo of a recording manually.
• Edit Smart Tempo: Opens the Smart Tempo pop-up menu with the following options:
Note: Edit Smart Tempo is only available if the audio file the region refers to contains
tempo information. If it’s unavailable, tap Analyze Tempo, then open the Smart Tempo
pop-up again.
• Tempo: Doubles or halves the tempo of the audio file. This item also shows the
detected file tempo; if multiple tempo events are detected (shown as Variable), the
bpm value shows the average tempo of the file. You can select the tempo and enter
a new file tempo.
• Mode: Select Variable or Constant tempo.
• Variable Tempo: Lets the detected tempo follow the natural fluctuations
that may occur in the recording (such as in live recording of drums or a solo
musician). This mode is likely more accurate on performances recorded without a
metronome.
• Constant Tempo: Forces the detected tempo to find a constant one. This
mode will likely be more accurate on recordings involving a drum machine or a
sequencer.
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• Time Signature: Shows the detected time signature. Drag the time signature values
to manually adjust the time signature from the pop-up menu.
• Shift Downbeat: Adjust the timing of the downbeat. For example, if you have a 4/4
time signature with the correct tempo detected, but the upbeat (beat 4) is detected
as the downbeat (beat 1), you can use shift downbeat to correct this (move the
downbeat from beat 4 to beat 1). Tap the left arrow if the downbeat is ahead, or tap
the right arrow if the downbeat is behind.
• Apply Region Tempo to Project: Applies the tempo of the selected region to the project
tempo. This can be useful when working with recordings that have a consistent tempo
throughout, such as electronic drum loops or samples, and you want to use that tempo
for the whole project.
• Apply Project Tempo to Region and Downbeat: Keeps the project tempo, adapts the
region tempo to the project tempo, and aligns the region downbeat with the project.
This option can be particularly useful when working with electronic drum loops or
samples because they often have a consistent tempo throughout, and aligning them
with the project’s tempo and downbeat can make it easy to incorporate them into the
project. It can also be useful when working with live recordings, where the tempo and
downbeat may not be consistent or may not match the project’s tempo and downbeat.
• Write Project Tempo to Audio File: Save the tempo information of the project into the
audio file. This feature is helpful if the project’s tempo curve was modified and you
want to print that tempo into the file. This option is also beneficial when you are sharing
audio files with other musicians or producers, and you want to ensure that the tempo of
the audio file will match the tempo of their project.
• Remove Tempo Information: Discards all tempo information from the audio file, including
the tempo analysis results. Use only when you’re sure you don’t want to preserve any
tempo information in the file.
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Export and share projects
Intro to exporting and sharing in Logic Pro for iPad
Logic Pro for iPad provides various options for exporting and distributing your projects. You
can export your project to different audio file formats, or export tracks as individual audio
files. You can also share your project file with others, allowing them to open and work on
your project in Logic Pro on another iPad.
Export a project
Export a project to an audio file in Logic Pro for iPad
You can export a project to a single audio file, choosing to export an AIFF, Wave, or M4A
format. All parameters, effects, and automation on the unmuted tracks in the project are
recorded as part of the export file.
Stereo Out is the output channel strip used for exports, and produces an interleaved stereo
audio file.
Export files can be reused in Logic Pro for iPad, saving processing resources by replacing
or bypassing multiple regions, instruments, and effects. Export files can be saved to
storage media, used with other music apps and on other devices, added to playlists,
uploaded to the internet, or sent to streaming services and mastering facilities.
Export your project to an audio file
1. In the Mixer in Logic Pro, make sure that the tracks you want to include in the export are
routed to the main stereo output and are not muted.
2. Tap the Projects button in the top-left corner of the screen, then tap Export.
3. Use the Entire Project Length switch to choose whether to export the entire project.
To limit the project to only a part of the project, turn the switch off, then adjust the
values in the Start Position and End Position fields. You can tap the fields and then edit
the values in the numeric input dialog.
Note: If Cycle mode is on when you tap the Projects button and then Export, the part of
the project enclosed by the cycle area determines the start and end positions.
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4. Choose which file type you want to export the audio file as. There are two options:
• Uncompressed: AIFF or Wave. See AIFF and Wave file options.
Note: Choosing Uncompressed provides an additional option to export all or selected
tracks as individual audio files. See Export tracks as individual audio files.
• Compressed: M4A, with two encoding types. See M4A file options.
Note: Exporting a compressed audio file requires more storage space than the
resulting export file size, as an uncompressed file is also exported before encoding.
The uncompressed file is removed after conversion.
5. Tap Processing Details to show and set additional options. See Set the processing
details when exporting projects.
6. Tap Share, then wait for the project to export.
Note: Share is dimmed if you don’t have enough storage space on your iPad.
7. In the list of export and sharing destinations that appears, do one of the following:
• Save the file to iCloud Drive or your iPad: Tap Save to Files, choose a destination in
the sidebar and a folder on the right, then tap Save.
• Share the file with an nearby Apple device: Tap AirDrop, tap the device you want to
share to, then tap Done.
• Share the file in an app: Tap an app icon, provide any requested information, share
the file, then tap Done.
Note: Only apps that support the file type appear in the list.
You can also Bounce (tracks or) regions in place and Export tracks as individual audio files.
Export tracks as individual audio files in Logic Pro for iPad
In Logic Pro for iPad, you can choose to export all tracks in a project or only selected
tracks as individual audio files. The resulting file is a zip file containing an audio file for
each track.
When you choose to export tracks as individual audio files, an alternative set of options is
shown in the Processing Details dialog.
Note: The option to export all or selected tracks as individual audio files is available only
when you choose Uncompressed as the file type in the Export dialog.
Export all tracks as individual audio files
1. In the Export dialog in Logic Pro, make sure the Entire Project Length switch is turned
on.
2. Turn on the Export All Tracks as Individual Audio Files switch.
3. Tap Processing Details to show and set additional options. See Set the processing
details when exporting tracks.
4. Tap Share, then wait for the project to export.
A zip file containing the tracks as individual audio files is created.
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5. In the list of export and sharing destinations that appears, do one of the following:
• Save the file to iCloud Drive or your iPad: Tap Save to Files, choose a destination in
the sidebar and a folder on the right, then tap Save.
• Share the file with an nearby Apple device: Tap AirDrop, tap the device you want to
share to, then tap Done.
• Share the file in an app: Tap an app icon, provide any requested information, share
the file, then tap Done.
Export selected tracks as individual audio files
1. In the Tracks area in Logic Pro, select the tracks you want to export.
2. In the Export dialog, make sure the Entire Project Length switch is turned on.
3. Turn on the Export Selected Tracks as Individual Audio Files switch.
4. Tap Processing Details to show and set additional options. See Set the processing
details when exporting tracks.
5. Tap Share, then wait for the project to export.
A zip file containing the selected tracks as individual audio files is created.
6. In the list of export and sharing destinations that appears, do one of the following:
• Save the file to iCloud Drive or your iPad: Tap Save to Files, choose a destination in
the sidebar and a folder on the right, then tap Save.
• Share the file with an nearby Apple device: Tap AirDrop, tap the device you want to
share to, then tap Done.
• Share the file in an app: Tap an app icon, provide any requested information, share
the file, then tap Done.
Set the export file type options
AIFF and Wave file options in Logic Pro for iPad
When you tap the Information button to the right of Uncompressed in the Export dialog
in Logic Pro for iPad, the following options appear:
• AIFF: Audio Interchange File Format, providing high, lossless quality.
• Wave: Waveform audio file format, providing high, lossless quality.
• Resolution: Define the bit depth of 16 bit or 24 bit for the export file.
• Sample Rate: Choose the sample rate for your bounce file.
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M4A file options in Logic Pro for iPad
When you tap the Information button to the right of Compressed in the Export dialog in
Logic Pro for iPad, the following options appear:
• M4A: An audio file format with two encoding options.
• Encoding: Choose Advanced Audio Codec (AAC) or Apple Lossless (ALAC) to set the
encoding for your M4A file. Although both encoding algorithms provide high-quality
audio, the AAC format uses a higher compression ratio, resulting in smaller file sizes.
• Bit Rate: Choose a rate from 64 kbps to 320 kbps.
• Encode with variable bit rate (VBR): Variable bit rate encoding compresses simpler
passages more heavily than passages that are harmonically rich, generally resulting in
higher-quality files.
Note: Choosing ALAC disables the options for bit rate and encode with variable bit rate.
Set the processing details
Set the processing details when exporting projects in Logic Pro for iPad
When you choose to export a project as an uncompressed or compressed file in
Logic Pro for iPad, the following processing details are available:
• Include Audio Tail: When this is turned on, the export file is extended as far as
necessary to include any instrument release and effect tail.
• Normalize: Choose from three options:
• Off: No normalization is applied.
• On: The project (incoming audio) is scanned for the highest amplitude peak, then
the level is increased so that the peak is at the maximum possible level (without
clipping).
• Overload Protection Only: Downward normalization takes place only for overloads
(levels above 0 dB, which would lead to clipping), but no normalization takes place
for lower levels.
• Include Master Effect Plug-ins: Choose whether to include or bypass all plug-ins
inserted on the output channel strip.
• Write Song Information: When this is turned on, you can add song information to
the export file, including song title, artist, composer, and an International Standard
Recording Code (ISRC) for song identification.
Note: This switch is available only when you have chosen to export a compressed file.
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Set the processing details when exporting tracks in Logic Pro for iPad
When you choose to export all or selected tracks as individual audio files in
Logic Pro for iPad, the following processing details are available:
• Include Audio Tail: When this is turned on, the audio files are extended as far as
necessary to include any instrument release and effect tail.
• Normalize: Choose from three options:
• Off: No normalization is applied.
• On: The project (incoming audio) is scanned for the highest amplitude peak, then
the level is increased so that the peak is at the maximum possible level (without
clipping).
• Overload Protection Only: Downward normalization takes place only for overloads
(levels above 0 dB, which would lead to clipping), but no normalization takes place
for lower levels.
• Include Effect Plug-ins: Choose whether to include or bypass all plug-ins inserted on
the tracks’ channel strips.
• Include Volume/Pan Automation: Choose whether to include any automation for volume
and panning.
Share a Logic Pro for iPad project
You can share a Logic Pro for iPad project so that you or others can open and work on it in
Logic Pro for iPad on another iPad or in Logic Pro for Mac.
Share your project
1. In the Logic Pro Projects Browser, touch and hold the project, then tap Share.
2. In the list of export and sharing destinations that appears, do one of the following:
• Save the project to iCloud Drive or your iPad: Tap Save to Files, choose a destination
in the sidebar and a folder on the right, then tap Save.
• Share the project with an nearby Apple device: Tap AirDrop, tap the device you want
to share to, then tap Done.
• Share the project in an app: Tap an app icon, provide any requested information,
share the file, then tap Done.
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Best practices for working with projects from
Logic Pro for Mac
You can open and edit projects in Logic Pro for iPad that were created in Logic Pro for Mac.
There are best practices to be aware of when sharing projects from Logic Pro for Mac to
Logic Pro for iPad.
You can consolidate your project in Logic Pro for Mac, which combines the assets used and
copies them into the project. This helps you avoid attempting to load projects with missing
files.
Tip: If you want to regularly exchange projects or work on a project on another
device, all assets and files used in a project need to be available for the project to open
correctly. So before sharing to your iPad, be sure to save all assets into your project in
Logic Pro for Mac. To do this, make sure you select all checkboxes for “Copy the following
files into your project” when saving your project in Logic Pro for Mac.
Depending on what content is used in your project, Logic Pro for iPad might ask you to
download the relevant content packs if they are not already installed.
If your project in Logic Pro for Mac uses AU plug-ins that are not installed or available on
your iPad, you can bounce any tracks with the AU plug-ins before you share and open the
project in Logic Pro for iPad.
Some instruments and effects featured in Logic Pro for Mac are not included in
Logic Pro for iPad. You can still load projects in Logic Pro for iPad that use these plug-ins;
however, you can’t edit their parameters.
Projects created in Logic Pro for Mac with any of the following features can’t be opened in
Logic Pro for iPad (in such cases, a dialog appears telling you which features are present
when trying to load the project):
• Surround
• Binaural panning
• Projects saved in folders (not as packages)
• Sample rates greater than 96 kHz
• Producer Kits
• Projects in which the primary ruler is set to time instead of bars and beats
• Projects starting at a position other than 1 1 1 1
• Arrange folders (with multiple tracks)
• External MIDI tracks (without External Instrument plug-ins)
• No output tracks
For more information about the individual features and how to remove them, see the Share
projects chapter in the Logic Pro for Mac User Guide.
Note: Projects saved in Logic Pro for Mac version 9 or earlier (with the filename extension
.logic) don’t appear in the Projects browser in Logic Pro for iPad and can’t be opened.
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Settings, gestures, and keyboard shortcuts
App settings
Overview of app settings in Logic Pro for iPad
In Logic Pro for iPad, you can define and modify settings to customize the app to suit your
workflow. There are three types of settings:
• App settings: These configurations apply to all projects and are automatically saved
whenever you quit Logic Pro.
Configurations for Customize Control Bar and Customize Track Header are also saved
as app settings.
• Project settings: These configurations are specific to an individual project. They are
saved with the project and are restored whenever you open that project.
• Settings app: Use the Settings app to set a few more options for Logic Pro, such as
resetting it to its default settings or turning on MIDI 2.0.
Open and configure app settings
1. Tap the More button on the right side of the control bar, then tap Settings .
2. Tap App Settings, then tap one of the six buttons on the left to display app settings
options.
3. Tap Done in the upper-right corner or swipe down to close the settings.
The next time you open the settings, the view you last opened is shown.
Tip: You can tap Project Settings at the top to display the project settings and change
the configurations that apply only to the current project. See Overview of project settings.
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General settings in Logic Pro for iPad
• Run in Background: When this is turned on, Logic Pro can continue to play or record
while you use other apps.
Tip: If another app is active and Logic Pro is running in the background, you can tap the
orange microphone in the top-right corner of your screen to switch back to Logic Pro.
• Select Regions on Track Selection: Selecting a track selects all regions on that track
lane.
• Select Track on Region Selection: Selecting a region also selects its corresponding
track and channel strip.
Audio settings
Audio Devices settings in Logic Pro for iPad
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Audio devices
These settings determine what audio device Logic Pro for iPad uses to record audio signals
in your project and what audio device it uses to play back the audio signal from your
project.
The visibility of these settings depends on what audio devices are connected to your iPad
via cable, Bluetooth, or Wi-Fi and what you’ve selected.
• Autoselect Audio Devices: Tap the switch to turn autoselect on or off. The status of the
switch determines how audio devices are selected:
• On: Connecting an audio device to your iPad automatically selects that device as the
input and output device.
The Input and Output pop-up menus below the switch are read-only, listing the
devices that are in use.
• Off: You can choose any device from the Input and Output pop-up menus.
If a previously selected audio device is disconnected, the Input and Output pop-
up menus switch to iPad Microphone and Speaker respectively, displayed in
parentheses.
• Input pop-up menu: Choose one of the available options as the audio input device:
• iPad Microphone: Uses the iPad’s built-in microphones with the microphone
orientation selected in the iPad Microphone pop-up menu.
• Connected audio interface: If a supported audio interface is connected to your iPad,
its name is listed in the menu.
Note: The Input option is not displayed if AirPlay Multi-Destination is selected as the
Output device.
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• Output pop-up menu: Choose one of the available options as the audio output device to
play back your project.
• Speaker: The built-in iPad speakers are selected by default.
• Bluetooth device: If you have AirPods connected to your iPad via Bluetooth, the
name of the paired AirPods are displayed in the menu.
• Connected audio interface: If a supported audio interface is connected to your iPad,
its name is listed in the menu.
• AirPlay Single Destination: You can choose one available AirPlay destination to play
back your project when you tap the Select AirPlay Device button.
• AirPlay Multi-Destination: You can choose multiple AirPlay destinations when you tap
the Select AirPlay Device button to play back your project simultaneously on those
devices.
• iPad Microphone pop-up menu: Choose one of the five options that determine the
microphone orientation and polar pattern. The available options depend on the iPad model.
• Top - Omnidirectional: Mono signal.
• Back - Subcardioid: Mono signal.
• Back - Stereo: Stereo signal.
• Front - Cardioid: Mono signal.
• Front - Stereo: Stereo signal.
The selection is remembered when you switch to an external audio device and back to
iPad Microphone.
• Input Gain slider: Set the input level of the currently selected audio input device.
Note: The Input Gain slider is not displayed if AirPlay Multi-Destination is selected as
the Output device.
AirPlay devices
When playing back your project, you can send the audio signal wirelessly from your iPad
to any device that supports AirPlay (computer, speakers, TV, and so on). When you choose
AirPlay Single Destination or Airplay Multi-Destination from the Output pop-up menu, a
button appears that lets you select one or multiple AirPlay destinations.
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• Select AirPlay Device button: Tap the blue AirPlay button to open the AirPlay dialog,
where you can choose any available AirPlay destinations on your network.
Note: With AirPlay Multi-Destination selected, you can tap multiple destinations in the
AirPlay dialog. Each selected device shows a checkbox and a volume slider to adjust the
playback volume for each destination (if supported by the device).
Multichannel audio devices
When you select a connected audio interface in the Output pop-up menu that has more
than one stereo output channel, two additional options become available.
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• Stereo Output pop-up menu: The menu lists all the stereo output channels available
on the selected device. The stereo output channel strip in your project is routed to the
output channel you choose from this menu.
• Mirroring: When you choose an output channel other than channel 1/2 from the Stereo
Output pop-up menu, this switch becomes available. When you turn on mirroring, the
stereo output channel strip is routed to output channel 1/2 in addition to the output
channel you choose from the Stereo Output pop-up menu.
I/O buffer size
The I/O buffer size setting represents a compromise between CPU performance and low
latency (delay). You might change those settings during the production, depending on
whether you’re recording or mixing.
• I/O Buffer pop-up menu: Determines the size of the buffer used by the audio device for
both input and output.
Tip: Considerations for choosing the I/O buffer size:
• During recording of audio tracks and software instrument tracks, the musician is
monitoring through Logic Pro (with software monitoring enabled), and any noticeable
delay caused by latency can negatively impact their performance. Setting the I/O buffer
to the smallest amount minimizes the monitoring delay but also places a higher strain
on your iPad’s processor.
• The more processor-intensive plug-ins you use in your project, the higher the demand
on your iPad’s processor during playback, which begins to affect playback in the form of
clicks, pops, and crackles in your audio. Setting the I/O buffer to a higher value allows
you to use more plug-ins during mixing without overpowering the CPU.
• The CPU display in the control bar indicates how high the demand on your processor is
when you play back or record in your project.
Tap the CPU/Memory display to show either CPU usage or memory usage.
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• You can tap the Low Latency Monitoring Mode button in the control bar to
automatically turn off plug-ins in your project that cause high latency. See General
Audio settings.
General Audio settings in Logic Pro for iPad
• Software Monitoring: Tap to turn software monitoring on or off. It is automatically turned
off to avoid feedback when you use the internal microphone together with the internal
speakers on your iPad.
When software monitoring is on, you can monitor the incoming audio signal through any
effects that are inserted on that track, and a certain amount of audible delay (commonly
referred to as latency) is inevitable. If you’re listening to the recorded signal through
your mixing console or your audio interface that supports hardware monitoring, you can
turn this option off.
The following happens when software monitoring is turned off:
• The Input Monitoring buttons (with the “I” icon) in the track headers and channel
strips are not displayed.
• The Input Monitoring switch in the Customize Track Header dialog is not available.
• Auto Freeze: When Auto Freeze is on, Logic Pro automatically freezes a track if the iPad
can’t process all audio in time. This could happen when a project has many channel
strips with processor-intensive plug-ins. Auto Freeze also unfreezes frozen tracks when
a track is being edited.
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• Low Latency Monitoring Mode switch and Limit: When you tap the switch to turn on Low
Latency Monitoring mode, the Limit field appears below it, determining the maximum
amount of allowable latency (delay) caused by a plug-in. Low Latency Monitoring
mode bypasses latency-inducing plug-ins that would surpass that limit to ensure
that all delays (across the entire signal flow of the current track) remain under the
Limit value. This is useful when you want to play a software instrument with several
latency-inducing plug-ins inserted in the channel strip. Low Latency Monitoring mode is
automatically turned off when you close a project.
Tip: Low Latency Monitoring mode can also be turned on and off with the Low
Latency Monitoring Mode button in the control bar. See Customize the control bar.
Recording settings in Logic Pro for iPad
Overlapping MIDI recordings
This setting determines the behavior when recording over existing MIDI regions. You can
choose from two options, independently, when Cycle mode is turned on or off during
recording:
• Create Take Folder: Each recording pass creates a separate take region that is stored
inside a take folder. See Intro to takes.
• Merge: Merges newly recorded MIDI data with the existing MIDI data in the same MIDI
region. The region extends the length of the existing MIDI region when recording
beyond its boundaries.
Important: The Overlapping MIDI Recordings settings are ignored when the Replace button
is enabled in the control bar. In Replace mode, any existing MIDI data is overwritten.
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MIDI settings
MIDI In/Out settings in Logic Pro for iPad
Bluetooth MIDI Devices
The Bluetooth MIDI Devices button opens a dialog that lets you set up your external
Bluetooth MIDI controllers to use with Logic Pro for iPad.
MIDI Input Ports
Any MIDI device that can send MIDI messages and is recognized by Logic Pro is listed
under MIDI Input Ports with a switch to turn the device on or off. Only devices that are
turned on can be used in Logic Pro and displayed in the MIDI In Port pop-up menu in the
Track inspector.
Various types of MIDI devices are recognized in Logic Pro:
• Network Session 1: This option represents the network connection you create in
the Audio MIDI Setup app on a Mac to send MIDI between Logic Pro for Mac and
Logic Pro for iPad.
• Logic Pro Virtual In: Receive MIDI data from any app on your iPad that supports this
virtual MIDI bus, such as GarageBand for iPad. Third-party iPad music apps might
display this option as a selectable MIDI output.
• Internal app: Most iPad music apps that can send MIDI data internally between apps are
listed automatically when you open them on your iPad.
• Bluetooth connection: Any Bluetooth MIDI device needs to be added manually in
Logic Pro in the Bluetooth MIDI Devices dialog.
• Physical connection: A MIDI device that is Core MIDI compliant is automatically
displayed in the MIDI Input Port list if you connect it to the iPad’s Lightning or USB-C
port.
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Add Bluetooth MIDI devices
1. Tap the More button on the right side of the control bar, then tap Settings .
2. Tap App Settings, tap MIDI on the left, tap In/Out, and then tap Bluetooth MIDI Devices
to show the list of current and previous Bluetooth MIDI devices.
3. Tap the row with the label Not Connected, indicating a device ready to be connected.
The label next to the device name changes to Connected, and you can tap the device
name if you want to disconnect it.
4. Tap Close or swipe down to return to the MIDI In/Out settings.
The MIDI In/Out settings now lists the connected devices.
Note: There are three possible status labels on the Bluetooth MIDI Devices dialog for a
listed device:
• Not Connected: Logic Pro receives a pairing signal from the device, and you can tap Not
Connected to connect the device.
• Connected: The device is currently connected (paired), and you can tap Connected to
disconnect it.
• Offline: This is a previously connected device that is currently not available. Once a
pairing signal is detected, the status changes to Not Connected. If an offline device
is no longer needed, you can swipe left on that row and tap the red Forget button (or
swipe it all the way to the left) to remove it immediately.
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The MIDI In Port pop-up menu in the Track inspector of a software instrument track lists all
the available MIDI input devices that are turned on in the MIDI In/Out app settings. You can
choose which MIDI device is the input for the individual software instrument tracks. See
Record multiple MIDI devices to multiple tracks.
Note: The Play Surface option is always available in the MIDI In Port pop-up menu. Tap
Bluetooth MIDI Devices to open the Bluetooth MIDI Devices dialog (the same one you
access in the MIDI In/Out app settings) to connect and disconnect Bluetooth devices.
Articulation Switches MIDI settings in Logic Pro for iPad
You can set the following three parameters for articulation switches:
• MIDI Remote Parameter switch: Determines whether articulation switching is on or off.
• MIDI Channel Parameter pop-up menu: Sets the MIDI channel for articulation switches.
• Octave Offset Parameter pop-up menu: Sets the octave offset for articulation switches.
You can choose between –10 and +10 octaves.
Each parameter can be set to one of two conditions:
• Global: Apply the parameter value to every track.
• Per Track: Set the parameter value individually on each track (the parameter is dimmed).
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Automation settings in Logic Pro for iPad
• Move Track Automation with Regions pop-up menu: Determines what happens to track
automation data when you move regions on the track lane.
• Never: Does not move track automation when you move regions.
• Always: Always moves track automation when you move regions. The automation
data area
encompassed by the region boundaries is moved.
• Ask: A dialog prompts you to move the track automation data—or leave it where it
is—whenever you move a region.
Note: All Copy or Move actions include the automation trails. That means the value of
an automation parameter at the right border of the region quickly ramps up/down to the
automation value at that position instead of creating a sudden value jump.
View settings in Logic Pro for iPad
Track Appearance
• Region Color pop-up menu: Set whether you can color regions individually or whether
they follow the track color. Choose from two options:
• Individual: You can color regions individually independent from the track color.
• As Track Color: Regions conform to the color of the track they are on, but they
remember the individual color of a region if you switch back to Individual.
This option hides the Automatically Colorize Takes switch in the Recording project
settings.
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Project settings
Overview of project settings in Logic Pro for iPad
In Logic Pro for iPad, you can define and modify settings that apply to the current project.
You do this in the project settings. These settings are automatically saved with a project,
meaning that different projects can have different settings. You can save your preferred
settings in a default template, which can be used to automatically create a new project
when you open Logic Pro.
Open and configure the project settings
1. Tap the More button on the right side of the control bar, then tap Settings .
2. Tap Project Settings, then tap one of the six buttons on the left to display project
settings options.
3. Tap Done in the upper-right corner or swipe down to close the settings.
The next time you open the settings, the view you last opened is shown.
You can tap App Settings at the top to display the Logic Pro for iPad settings and change
the configurations that apply to all projects. See Overview of app settings.
Audio project settings in Logic Pro for iPad
• Sample Rate pop-up menu: Choose the sample rate for the project.
WARNING: Avoid changing the sample rate in a project once you’ve recorded audio
tracks.
Important: You cannot import Logic Pro for Mac projects with a sample rate higher than
96 kHz.
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Recording project settings in Logic Pro for iPad
• Count-in pop-up menu: Sets the length of the count-in that precedes a recording.
• None: The recording begins with no count-in.
• x Bars: The recording begins with a count-in of between one bar and four bars.
• x/4: The recording begins with a count-in of between one beat (1/4) and nine beats
(9/4). These settings are useful when the count-in falls across a bar change.
• Automatically Colorize Takes: Assigns a take folder the color chosen from the Color
palette for the first take recording, but different colors for each of the following takes
in that take folder. All colors used in a take folder are chosen from the same color row
in the Color palette, advancing by a predefined number of columns after each take. See
Record multiple audio takes.
Note: The switch is only available in the Recording project settings if Region Color is set
to Individual in the View settings.
Flex project settings in Logic Pro for iPad
• Flex & Follow pop-up menu: Sets the Smart Tempo behavior when recording or
importing new audio.
• Off: Smart Tempo does not analyze the tempo of new recordings.
• On: Smart Tempo analyzes the tempo of the recorded audio and places tempo
markers at each point a tempo change is detected.
• On + Align Bars: Smart Tempo analyzes the tempo of the recorded audio and places
a tempo marker at each bar a tempo change is detected.
• On + Align Bars and Beats: Smart Tempo analyzes the tempo of the recorded audio
and places a tempo marker at each beat a tempo change is detected.
The selected option is displayed in the Flex & Follow parameter in the Region inspector.
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• Trim Start of New Regions: Automatically sets the start of newly recorded regions to the
first downbeat of the file.
Synchronization project settings
General Synchronization project settings in Logic Pro for iPad
• Sync Mode pop-up menu: Defines how the tempo in Logic Pro for iPad syncs with other
devices.
• Internal: Selects the internal timer of Logic Pro, with Logic Pro transmitting MIDI
clock to synchronize external devices.
• Ableton Link: Selects Ableton Link mode, which uses a technology that synchronizes
the musical beat, tempo, and phase of Logic Pro with multiple applications running
on one or more devices on the same network.
Two additional options become available once you choose Ableton Link from the Sync
Mode pop-up menu:
• Transmit and Receive Start/Stop: When turned on, transport start and stop commands
are shared between all Link users in a session who have the feature turned on.
• Peers connected display: The number shows how many other devices (on your iPad and
on the local network) are participating in the Ableton Link session.
This is the same number inside the circular progress bar shown in the display in the
control bar.
Ableton Link
Choosing Ableton Link in the Sync Mode pop-up menu results in the following changes in
your project:
• The Sync button appears in the control bar next to the display.
You can tap the button to switch the sync mode between Ableton Link (blue button)
and Internal (gray button), which is linked to the Sync Mode setting in the General
Synchronization project settings.
• The Ableton Link status field is added to the right side of the display; it shows a circular
progress bar that represents one measure with a full rotation, with the 12 o’clock
position indicating the downbeat. The number inside the ring shows the number of other
participants in your Ableton Link session.
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• The tempo digits in the display are blue to indicate that the Ableton Link session
controls the project tempo.
• The Tempo track in your project is turned off. Tap the Tempo track to open its menu
with a new option, Reactivate Tempo Track. See Use the Tempo track with Ableton Link.
• The playhead turns blue.
Turn on Ableton Link in the project settings
1. Tap the More button on the right side of the control bar, then tap Settings.
2. Tap Project Settings, then tap Synchronization.
3. Tap the Sync Mode pop-up menu and choose Ableton Link.
4. Tap the Done button or swipe down to close the settings.
The Sync button appears in the control bar, indicating by its blue color that Ableton
Link is turned on.
Turn on Ableton Link with the Sync button
1. Tap the More button on the right side of the control bar, then tap Customize Control
Bar.
2. Tap Modes, then tap the Sync switch.
The Sync button appears in the control bar.
3. Tap outside the Customize Control Bar dialog to close it.
4. Tap the Sync button in the control bar to select it.
The Sync button turns blue to indicate that Ableton Link is on.
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MIDI Synchronization project settings in Logic Pro for iPad
Destination
Configure the MIDI clock signal that Logic Pro for iPad sends to other MIDI devices.
• Port Name column: The MIDI output ports that receive the MIDI clock signal from
Logic Pro.
• Network Session 1: This option represents the network connection you create in
the Audio MIDI Setup app on a Mac to send MIDI between Logic Pro for Mac and
Logic Pro for iPad.
• Logic Pro Virtual Out: Send MIDI clock to any app on your iPad that supports
this virtual MIDI bus. Third-party iPad music apps might display this option as a
selectable MIDI input.
• Any MIDI device connected to the iPad is listed. See MIDI In/Out settings.
• Clock switch: Activates MIDI clock transmission for the MIDI output port of that row.
MIDI clock can easily be sent with other MIDI messages, such as notes and controllers.
• Delay field: This value (ranging from –200 ms to 500 ms) delays the transmission of
MIDI clock signals for the MIDI output port of that row. Negative values mean that the
MIDI clock signal is transmitted earlier. This allows you to compensate for any reaction
delays in external devices receiving MIDI clock.
• PDC switch: Activates plug-in delay compensation (PDC) for the MIDI output port of
that row. This compensates for delays (latency) that can be introduced when using
software plug-ins.
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MIDI Clock Synchronization project settings in Logic Pro for iPad
Clock
• Mode pop-up menu: Determines the MIDI clock transmission mode for synchronized
MIDI devices.
• Send Song Position Pointer: MIDI clock is sent with a Song Position Pointer and a
Continue command to begin sequencer playback, so that clock receivers with their
own song structure can follow your project’s playhead position.
• Restart Clock at Pattern Start: MIDI clock is sent without a Song Position Pointer
command, which is ideal for step sequencers or drum machines in pattern mode.
When repositioning the playhead, MIDI clock restarts at the beginning of the next
pattern.
• Pattern Length (Bar): Determine the length of the pattern by the number of bars.
This parameter is only displayed when you choose Restart Clock at Pattern Start from
the Mode pop-up menu.
Clock start
• Bar Position field: Defines the musical position at which the MIDI clock output should
start. Every time you start playback, a Song Position Pointer (SPP) message is also sent.
Because not all devices can process SPP, the MIDI system real-time Continue message
is also sent. The exception is when you start at position 1 1 1 1. In this situation, the real-
time Start message is sent.
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Metronome project settings in Logic Pro for iPad
The Metronome project settings let you configure two components for the click, which
is generated when the Metronome is turned on. You determine when the metronome
produces a click (for example, only on the downbeat or on every beat) and also how the
click sounds.
The click sound in Logic Pro for iPad is generated by a software instrument plug-in
called Klopfgeist, loaded on a hidden channel strip. The metronome uses your settings
to generate MIDI notes that it sends to the Klopfgeist plug-in, which generates the actual
click sounds. See Use the metronome.
Note: You can adjust the metronome settings while playing back your project with the
Metronome turned on to hear the results.
Source
The four note events listed represent the timing in each bar where the click will sound. You
can turn them on and off independently using their corresponding switches.
• Bar: Generates a click at the downbeat.
• Group: Projects created in Logic Pro have compound and composite signatures turned
off by default. In that case, the Group note event produces a click on each beat.
Logic Pro supports beat grouping when importing a Logic Pro for Mac project that uses
such a time signature. For example, a beat grouping of 2 + 3 for a 5/4 time signature
produces a click on the first and third beat of each bar when you turn on the Group note
event. Grouping also allows you to get a usable quarter-note pulse in “triplet”-based
time signatures such as 6/8 (group click on 1 and 4) or 12/8 (group click on 1, 4, 7, and
10).
• Beat: Generates a click on each beat.
• Division: Generates a click on each 16th note.
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Sound
Note and velocity are the parameters of the MIDI notes generated by the metronome and
sent to the Klopfgeist plug-in that produces the sound. They can be set individually for
each of the four note events and determine the sound of the clicks.
• Note field: Defines the MIDI note number of the corresponding notes and, therefore, the
pitch of the note events.
• Velocity field: Defines the velocity of the corresponding MIDI notes.
Using a higher velocity for the Bar than the Beat events creates accents on the
downbeat.
The following parameters adjust the controls of the Klopfgeist plug-in and the channel strip
it is loaded on. The adjustments affect the sound of all clicks.
• Tone field: Changes the click sound of the metronome from a short click to a pitched
percussion sound, similar to a wood block or claves.
• Volume field: Sets the output level of the click sound.
• Output pop-up menu: Allows you to route the click sound to a different set of hardware
outputs if the audio hardware has more than two outputs. See Multichannel audio
devices.
Tuning project settings in Logic Pro for iPad
Logic Pro for iPad includes a real-time tuning system for use with the included software
instruments. You can change the tuning system in the Tuning project settings.
Software Instrument Pitch
• Tune field: Determines the global tuning of all software instruments. Detuning is in ±
cent (1/100 of a semitone) steps. The default value of 0 cents refers to the concert pitch
A (440 Hz).
• Software Instrument Scale pop-up menu: Choose from two different tuning scales:
• Equal Tempered: Equal tempered is the most commonly used scale in classical music
and Western music today.
• Hermode Tuning (HMT): A microtonal tuning system that adjusts 3rd, 5th, and 7th
intervals to make them sound harmonically richer.
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• Hermode Type pop-up menu: Only displayed when you choose Hermode Tuning (HMT)
from the Software Instrument Scale pop-up menu.
• Pop/Jazz (3/5/7-All): 3rds, 5ths, and 7ths are changed in this mode. It’s great for
pop and jazz styles, especially when using sustained chords. It’s less suitable for
polyphonic music because the detuning of the natural 7th is significant. This mode
should always be used with a Depth of 90% or 100% because other values render
the natural 7th acoustically ineffective.
• Classic (3/5-All): This mode provides a broad and regular tuning of pure 3rds and
5ths. In cases of conflict, the degree of purity is temporarily reduced. This mode
can be used for all types of music. The value of the Depth parameter indicates the
degree of the 3rd and 5th purity. A setting of 100% determines maximum purity.
A 10% value is the lowest purity setting. Off sets the tuning to an equal tempered
scale.
• Baroque (3/5-Adaptive): This mode tunes pure 3rds and 5ths (with changing
characteristics). In tonal music, with a clear harmonic center, the middle chords are
tuned very purely, whereas more distant chords are tuned with less purity. If the
harmonic center becomes unclear, all chords are tuned with equal purity. As with the
other mode parameters, a Depth value of 100% determines the highest purity, and a
value of 10%, the lowest purity.
• Depth field: Only displayed when you choose Hermode Tuning (HMT) from the Software
Instrument Scale pop-up menu. It allows you to set the degrees of 3rd and 5th purity
between 0% and 100%.
Logic Pro for iPad settings in the Settings app
In addition to the settings in Logic Pro for iPad, you can configure a few more options in the
Settings app on your iPad.
Allow Logic Pro to access the microphone
Use the Settings app to allow Logic Pro to access various software and hardware
components on your iPad. For example, to use your iPad’s built-in microphone on your iPad
to record in Logic Pro, you have to allow it with the Settings app.
Logic Pro settings
• MIDI 2.0: Turn on to receive, record, and play back MIDI data using the newer MIDI 2.0
protocol.
• Reset Logic Pro: Turn on the switch to reset Logic Pro to its original settings the next
time you open it.
Privacy
• Reset Identifier: Turn on to reset the identifier used by Logic Pro to report statistics to
Apple. The identifier resets the next time you open Logic Pro.
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Access the Logic Pro for iPad settings in the Settings app
1. On the iPad Home Screen, tap the Settings app to open it.
2. Do any of the following:
• In the sidebar, scroll through the list of apps until you see Logic Pro, then tap it.
• Scroll up in the sidebar, tap the search field, enter “Logic Pro”, then close the keyboard.
• In the sidebar, tap the Microphone button in the search field, say “Logic Pro” , then
close the keyboard.
Gestures
Overview of gestures in Logic Pro for iPad
Gestures let you directly manipulate onscreen objects with your fingers to interact with an
app without needing any additional input devices, such as a keyboard, mouse, or trackpad.
You control Logic Pro for iPad using the same simple gestures you use with any iPad app.
Gesture Function
Tap Quickly touch and release to select a control or item;
equivalent to clicking on a Mac.
Double-tap Tap an item twice.
Touch and hold Touch an item on the screen until something happens.
Swipe Move one or more fingers across the screen quickly.
Scroll Move one finger across the screen without lifting.
Drag Move one finger across the screen to drag items or
controls, or pan around items.
Pinch Place two fingers on the screen near each other.
Spread them apart to zoom in, or move them toward
each other to zoom out.
You can use additional gestures to interact with the Logic Pro interface.
Multi-Touch gestures
Logic Pro supports Multi-Touch gestures, using two or more fingers on the screen to move
multiple objects or use multiple gestures at the same time:
• Momentary buttons: To momentarily switch to a specific edit mode, touch and hold a
function button or modifier button with one finger, perform a task with another gesture,
then release the button. See Work with function buttons.
• Play Surfaces: You can use Multi-Touch gestures when playing the various Play
Surfaces, such as keyboards, strings, or drums. See Intro to Play Surfaces.
• Mixer: Use multiple fingers to control faders, knobs, and buttons in the Mixer at the
same time, the way you would operate a hardware mixing console.
• Plug-ins: You can also use Multi-Touch gestures to create a live performance with effect
plug-ins (such as Remix FX) in a more intuitive and interactive way.
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External input devices
Although you can fully operate Logic Pro by using only your fingers on the screen, you
can add external input devices to your iPad that work similarly to gestures or extend their
functionality and add precision.
• Trackpad: Use the same gestures as on your touchscreen.
• Apple Pencil: You can use Apple Pencil for one-finger gestures, which allows for more
precise tap and drag operations. See Automation drawing tools. You can also use it as a
text input device with handwriting for naming tracks or regions in the inspector.
• External alphanumeric keyboard: Use it for text and number input and triggering
keyboard shortcuts.
• External hardware MIDI controller (wired or wireless): Record MIDI regions or use to
write automation.
• iPad apps: You can use other apps running on the iPad as input devices to record MIDI
or control Logic Pro.
Gestures tables
Drag gestures in Logic Pro for iPad
Logic Pro for iPad has a few special gestures that you use when dragging items, such as
regions, MIDI notes, automation points, and tracks in the tracks list.
Gesture Function
Drag a selected item Tap an item to select it, then drag it.
Drag an unselected item When you touch an unselected item, you have to wait
a split second for it to be selected (or for an alignment
guide to appear) before you drag it. If the item is not
selected, you scroll the working area when dragging.
Touch and hold a region, then drag it When you wait for a second between touching the
region and dragging it, it changes to a different gesture
(touch and hold, then drag.) Instead of dragging the
region along the track lanes, you can only drag the
region over a track header in the track list to add it
to a sampler instrument. A banner appears over the
control bar indicating the actions, and a waveform
icon separates from the region to follow your finger
movement.
Touch and hold a trim handle, then drag it If you wait for one second after you touch and hold the
trim handle of a region or a MIDI note, the working area
zooms in so that you can perform the drag gesture
more precisely. Once you release the region or note,
the working area zooms out again.
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Main gestures in Logic Pro for iPad
Gesture Function Remarks
Swipe down on dialog Close dialog Examples include the Settings
dialog and Export dialog.
Double-tap view control bar Close all views except Tracks area/
Live Loops grid
Drag resize handle or menu Vertically resize area Drag all the way up to hide the
bar Tracks area completely. Drag all the
way down to close the area.
Tap resize handle Switch the vertical size of the area The maximum position reduces the
between the default position and Tracks area to a single mini track, or
the maximum position when dragged all the way up, hides
the Tracks area completely.
Tap double arrow Open the pop-up menu
Tap left arrow Step up display level The exception is the Projects
Browser button in the top-left
corner of the screen, which closes
the project.
Tap disclosure arrow Show or hide items Examples include inspector
categories, track stack, and Step
Sequencer subrows.
Tap name field Highlight the text field to enter a Examples include the track name
new name and region name in the inspector.
Tap color well Show or hide the Color palette Examples include the track color in
the inspector.
Drag up/down in number field Increase or decrease numeric value With multiple selected items, values
increase or decrease proportionally.
Shortcut menu gestures in Logic Pro for iPad
Gesture Function Remarks
Touch and hold control bar buttons Open shortcut menus The gesture works for Play
, Record , Cycle , Count-in
, and Metronome buttons.
Touch and hold selected item Open shortcut menu of selected The gesture works on regions, MIDI
item notes, automation points, and track
icons.
Touch and hold working area Open shortcut menu of working area All items (such as regions, notes,
background or automation points) must be
deselected.
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Tracks area gestures in Logic Pro for iPad
Gesture Function Remarks
Pinch Tracks area or Live Loops grid Zoom vertically in the Tracks area or
vertically Live Loops grid
Double-tap a track icon Open and close the Plug-ins area On audio tracks, only the Plug-ins
and Play Surfaces area opens.
Tap the icon of the selected track Open the Select Track menu to Available if the Tracks area is
choose a track resized to show only one track.
Double-tap the ruler Start playback at the tap position or Also works in the Audio Editor, Piano
stop playback Roll Editor, and Cell Editor.
Touch and hold a region trim handle Automatically zoom in on the region Also works on note events in the
(release to automatically zoom back Piano Roll Editor.
out)
Mixer gestures in Logic Pro for iPad
Gesture Function Remarks
Double-tap slider or knob Reset to default position Also works on plug-in controls and
track header Volume sliders.
Multi-Touch gestures on objects Use multiple fingers to adjust more Para
than one fader or knob at the same
time
Plug-ins area gestures in Logic Pro for iPad
Gesture Function
Tap an unselected plug-in tile Select the plug-in tile
Tap a selected plug-in tile Open the plug-in Details view
Double-tap a plug-in tile Open the plug-in Details view
Touch and hold a plug-in tile Open the plug-in shortcut menu
Drag down the Plug-ins area menu bar Close the Plug-ins area
Special gestures in Logic Pro for iPad
Gesture Function
Touch and hold the Logic Pro for Mac app on the Home Open menu to create a new project or open a recently
Screen opened project
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Keyboard shortcuts
Overview of keyboard shortcuts in Logic Pro for iPad
You can perform various functions in Logic Pro for iPad using an external computer
keyboard with your iPad. Keyboard shortcuts may consist of either a single alphanumeric
key or an alphanumeric key and one or more modifier keys (Fn, Shift, Control, Option, and
Command). The keyboard shortcuts show the symbols for the corresponding modifier keys.
Tip: With the Universal Control feature in macOS, you can use the keyboard and
trackpad on your desktop or laptop computer to control Logic Pro on your iPad. Move your
mouse pointer against the edge of your computer screen, and it appears on your iPad
screen.
Modifier key Symbol
Command ⌘
Shift
Option ⌥
Control
Function Fn ( )
A gray frame around an area or view in Logic Pro indicates that the area has key focus. This
is the target of the keyboard shortcut.
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Show the keyboard shortcuts
1. Press and hold the Command key ⌘ on your external keyboard until the page appears.
Only keyboard shortcuts that are relevant to the area that has focus are displayed.
2. Swipe left or right to browse through the list.
3. Press the arrow keys to navigate the list, then press Return to execute the selected
command.
To close the keyboard shortcuts, do one of the following:
• Press the Command key ⌘ on your external keyboard.
• Press the Esc key on your external keyboard.
• Tap outside the list.
Search for a keyboard shortcut
1. Press and hold the Command key ⌘ on your external keyboard until the keyboard
shortcuts appear.
2. Press Shift-Command-/.
You can also tap the Search button .
3. Start typing the first few letters of the shortcut’s name. As you type, the matching
keyboard shortcuts are listed.
4. To proceed, do any of the following:
• Press the Esc key to close the search field and return to the keyboard shortcuts. You
can also tap Cancel next to the search field.
• Tap outside the search field or press Esc twice to close the keyboard shortcuts.
Keyboard shortcuts tables
Keyboard shortcuts for the main views in Logic Pro for iPad
Function Keyboard shortcut
Show/Hide Logic Pro for iPad Keyboard Shortcuts Command (press and hold)
Show/Hide System Keyboard Shortcuts Fn (press and hold)
Close Menu or Dialog Esc
Quit Logic Pro for iPad Command-W
Show/Hide Browser Y
Show/Hide Inspector I
Show/Hide Fader V
Show/Hide Editor E
Show/Hide Plug-ins Area B
Show/Hide Mixer X
Show/Hide Play Surface P
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Function Keyboard shortcut
Change Focus to Next Area Tab
Change Focus to Previous Area Shift-Tab
Play/Pause Space bar
Go to Beginning Return
Record R
Solo S
Mute M
Toggle Cycle Mode C
Select All Command-A
Delete Delete
Cut Command-X
Copy Command-C
Paste Command-V
Undo Command-Z
Redo Shift-Command-Z
Turn on Multiple Select Mode Momentarily Shift (press and hold)
Turn on Copy Mode Momentarily Option (press and hold)
Turn on Stepped Automation Mode Momentarily Option (press and hold)
(Automation view)
Turn on On/Off Mode Momentarily (Mixer) Option (press and hold)
Mute Playback Volume F10
Increase Playback Volume F11
Decrease Playback Volume F12
Keyboard shortcuts for the Tracks area in Logic Pro for iPad
Function Keyboard shortcut
Select Previous Track Up Arrow
Select Next Track Down Arrow
Select Previous Region Left Arrow
Select Next Region Right Arrow
Loop Regions On/Off L
Duplicate Selected Track Command-D
Delete Selected Track Command-Delete
Toggle Live Loops and Tracks Area T
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Keyboard shortcuts for the Live Loops grid in Logic Pro for iPad
Function Keyboard shortcut
Select Upper Cell or Previous Track Up Arrow
Select Lower Cell or Next Track Down Arrow
Select Previous Cell or Scene Left Arrow
Select Next Cell or Scene Right Arrow
Trigger Cells or Scene Return
Toggle Live Loops and Tracks Area T
Keyboard shortcuts for Step Sequencer in Logic Pro for iPad
Function Keyboard shortcut
Select Step Above Up Arrow
Select Step Below Down Arrow
Select Previous Step Left Arrow
Select Next Step Right Arrow
Repeat Step Command-R
Clear Row Control-Command-Delete
Copy Row Control-Shift-C
Paste Row Control-Shift-V
Paste Steps Shift-Command-V
Paste Row Config Option-Shift-V
Duplicate Row Command-D
Delete Row Command-Delete
Clear Pattern Control-Shift-Command-Delete
Preview Option-Space bar
Live Record Shift-R
Keyboard shortcuts for the Browser in Logic Pro for iPad
Function Keyboard shortcut
Select Previous Item Up Arrow
Select Next Item Down Arrow
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Keyboard shortcuts for the Projects browser in Logic Pro for iPad
Function Keyboard shortcut
Create Document (Logic Pro project) Command-N
New Folder Shift-Command-N
New Folder with Selection Control-Command-N
Select Item Above Up Arrow
Select Item Below Down Arrow
Select Time to the Right Right Arrow
Select Time to the Left Left Arrow
Show/Hide Sidebar Control-Command-S
Swap Focus Between Sidebar and Browser Tab
Open Command-O
Save Command-S
Get Info Command-I
Rename Return
Duplicate Command-D
Show in Enclosing Folder Command-R
Favorite Control-Command-T
Delete Command-Delete
Eject Command-E
Find Command-F
Undo Command-Z
Redo Shift-Command-Z
Copy Command-C
Paste Command-V
Select All Command-A
View as Icons Command-1
View as List Command-2
View as Column Command-3
Use Groups Control-Command-0
Sort by Kind Control-Option-Command-2
Sort by Date Control-Option-Command-5
Sort by Size Control-Option-Command-6
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Function Keyboard shortcut
Sort by Tags Control-Option-Command-7
Group by Kind Control-Command-2
Group by Date Control-Command-5
Group by Size Control-Command-6
Group by Shared by Control-Command-8
Go to Enclosing Folder Command-Up Arrow
Go Back Command-Left Bracket ([)
Go Forward Command-Right Bracket (])
Go to Recents Shift-Command-F
Go to Documents Shift-Command-O
Go to Desktop Shift-Command-D
Go to Downloads Option-Command-L
Go to Shared Shift-Command-S
Go to iCloud Drive Shift-Command-I
Go to Folder… Shift-Command-G
Connect to Server… Command-K
Keyboard shortcuts for the numeric input dialog in Logic Pro for iPad
Function Keyboard shortcut
Select Previous Value Left Arrow
Select Next Value Right Arrow
Select Next Value Tab
Increase Selected Value by 1 Up Arrow
Decrease Selected Value by 1 Down Arrow
Enter Numeric Value 0 to 9
Switch Between Positive and Negative Values Minus
Delete Right-most Digit Delete
Apply Value Return
Close Dialog (if Return button is grayed-out) Return
Close Dialog without Applying a Value Change Esc
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Logic Pro Effects
Effects overview
Effect plug-ins in Logic Pro for iPad
Logic Pro for iPad provides an extensive suite of software effect plug-ins that can be used
in your productions. See Intro to plug-ins.
Effects categories include both insert effects and processors that are principally designed
for mastering use. Because you’re free to use almost all plug-ins as you see fit, there
are few restrictions on the use of effects anywhere in the signal path. See Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Most effects can be used in mono, stereo, or dual mono channels.
Effects categories cover essential studio processors, such as compression, gating,
limiting, equalization, and metering utilities. Both vintage and modern style compressors
are emulated, making it easy to attain the sonic characteristics you need. See dynamics
processors and metering tools.
EQ options are extensive. The Channel and Linear Phase EQ’s are perfect for sculpting
your primary vocal and instrument parts. Match EQ analyzes existing audio and allows you
to impose an analyzed sonic “fingerprint” on other audio parts. The vintage EQ collection
delivers emulations of three classic analog EQ units known for their distinctive sonic
coloration. See Equalizers overview.
A comprehensive collection of reverb, delay, and modulation effects is available to enhance
your productions. Among these are the unique ChromaVerb, and the sophisticated and
highly configurable Delay Designer and Space Designer plug-ins. Delay Designer lets you
create precise, complex, rhythmic delays. Space Designer is a convolution reverb that uses
recordings of real-world spaces, such as concert halls and canyons that you can impose
on your audio, effectively placing your instrument or vocal in the space. See reverb effects
and delay effects. Modulation processors include phasing, flanging, ring modulation,
vintage rotary speaker emulation, and rich chorus effects. See modulation effects.
If you’re a guitarist or are using the included vintage B3 organ, Rhodes, Clavinet, or
Mellotron emulations, you can choose from a vast collection of retro and modern effect
pedals and amplifier simulations. See Amps and pedals overview.
A number of powerful distortion effects and filter effects further expand your options. The
filters include vocoder-like utilities and the Spectral Gate plug-in that offer control over the
formant and spectral characteristics of your sounds.
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Adding a further string to your bow are the flexible, powerful, and fun multi effects units
that combine a collection of processors and modulators in one place. These are ideal for
use with urban and dance floor-oriented tracks, but can truly transform any sound you
want to run through them.
You can manipulate pitch with the Pitch Correction, Pitch Shifter and Vocal Transformer
effects. These can be used for subtle corrections or for heavy Cher-like processing of
vocals and instruments. See pitch effects.
A selection of MIDI plug-ins includes a flexible arpeggiator, chord memorizer, transposer,
and more. These can be inserted in instrument channels and process MIDI data in real
time. The Scripter plug-in lets you run a range of MIDI processing and generation utilities
created with JavaScript. See MIDI plug-ins overview.
Rounding out the collection are spatial and frequency enhancement plug-ins, and useful
studio utilities such as a test oscillator. See imaging processors, specialized effects, and
utility plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Amps and pedals
Amps and pedals in Logic Pro for iPad
Logic Pro for iPad features an extensive collection of guitar and bass amplifiers and classic
pedal effects. You can play live—or process recorded audio and software instrument
parts—through these amps and effects.
The amplifier models recreate vintage and modern tube and solid-state amps. Built-
in effect units, such as reverb, tremolo, or vibrato, are also reproduced. The modeled
amplifiers can be paired with a number of emulated speaker cabinets. These amplifiers
and speaker cabinets can be used as a matching set or combined in other ways to create
interesting hybrids.
Also emulated are a number of “classic” foot pedal effects—or stompboxes—that were, and
remain, popular with guitarists and keyboardists. As with their real-world counterparts, you
can chain pedals in any order to create your sound.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Amp Designer
Amp Designer in Logic Pro for iPad
Amp Designer emulates the sound of more than 20 famous guitar amplifiers and the
speaker cabinets used with them. Each preconfigured model combines an amp, a cabinet,
and EQ that recreates a well-known guitar amplifier sound. You can process guitar signals
directly, reproducing the sound of your guitar played through these amplification systems.
You can also use Amp Designer for experimental sound design and processing. You can use
it with other instruments as well, applying the sonic character of a guitar amp to a trumpet
or vocal part, for example.
The amplifiers, cabinets, and EQs emulated by Amp Designer can be combined in
numerous ways to alter the tone. Virtual microphones are used to pick up the signal of
the emulated amplifier and cabinet. You can choose from, and position, seven different
microphone types. Amp Designer also emulates classic guitar amplifier effects, including
spring reverb, vibrato, and tremolo.
To add Amp Designer to your project, choose Amps and Pedals > Amp Designer in the
Plug-ins area or a channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also see
Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in
the Mixer.
The Amp Designer interface is divided into several parameter sections.
• Combo parameters: The Model pop-up menu at the top is used to choose a
preconfigured model, consisting of an amplifier, a cabinet, an EQ type, and a
microphone type. Individual pop-up menus enable you to independently choose the
type of amplifier, cabinet, and microphone. See Build a custom Amp Designer combo.
• Amp parameters: These parameters are used to set the input gain, presence, and output
level of an amp. See Amp Designer amplifier controls.
• EQ parameters: These parameters are used to set the equalization parameters. See
Amp Designer EQ.
• Effects parameters: These parameters control the integrated reverb effect and tremolo
and vibrato.
• Microphone parameters: These parameters set the type and position of the microphone
that captures the amplifier and cabinet sound. See Amp Designer microphone
parameters.
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• Output Gain slider: The Output Gain slider serves as the final level control for
Amp Designer output that is fed to ensuing effect slots in the channel strip or directly to
the channel strip output.
Note: This is different from the Master knob in the Amp parameters, which serves the
dual purpose of sound design and level control of the Amp section.
Choose an Amp Designer model
You can use the Model pop-up menu to choose a preconfigured model, or you can build
a customized model using the Amp, Speaker, and Mic Type pop-up menus. See Build a
custom Amp Designer combo. Your choices remain visible in the pop-up menu fields.
• Model pop-up menu: Choose a preconfigured model, consisting of an amplifier, a
cabinet, an EQ type, and a microphone type.
Amp Designer models in Logic Pro for iPad
You can learn about different Amp Designer models, their tone and sonic character, and the
musical styles they have traditionally been associated with.
Tweed Combos
The Tweed models are based on American combos from the 1950s and early 1960s that
helped define the sounds of blues, rock, and country music. They have warm, complex,
clean sounds that progress smoothly through gentle distortion to raucous overdrive as you
increase the gain. Even after half a century, Tweeds can still sound contemporary. Many
modern boutique amplifiers are based on Tweed-style circuitry.
Model Description
Small Tweed Combo A 1 x 12” combo that transitions smoothly from clean to crunchy, making it
a great choice for blues and rock. For extra definition, set the Treble and
Presence controls to a value around 7.
Large Tweed Combo This 4 x 10” combo was originally intended for bassists, but it was also
used by blues and rock guitarists. It is more open and transparent-
sounding than the Small Tweed Combo, but it can deliver crunchy sounds.
Mini Tweed Combo A small amp with a single 10” speaker, used by countless blues and rock
artists. It is quite punchy-sounding and can deliver the clean and crunch
tones that Tweed combos are known for.
Tip: Tweed combos are responsive to playing dynamics. Adjust the knobs to create a
distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone.
Turn up your guitar volume knob when soloing.
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Classic American Combos
The Black Panel, Brown Panel, and Silver Panel models are inspired by American combos
of the mid 1960s. These tend to be loud and clean with a tight low-end and restrained
distortion. They are useful for clean-toned rock, vintage R & B, surf music, twangy country,
jazz, or any other style where strong note definition is essential.
Model Description
Large Black Panel Combo A 4 x 10” combo with a sweet, well-balanced tone favored by rock, surf,
and R & B players. Great for lush, reverb-saturated chords or strident
solos.
Silver Panel Combo A 2 x 12” combo with a loud, clean tone. It has a percussive, articulate
attack that is suitable for funk, R & B, and intricate chord work. It can be
crunchy when overdriven, but most players favor it for clean tones.
Mini Black Panel Combo A 1 x 10” combo that is bright and open-sounding, with reasonable low
end impact. It excels at clean tones with a minimal overdrive.
Small Brown Panel Combo A 1 x 12” combo that is smooth and rich-sounding, but retains a level of
detail.
Blues Blaster Combo A 1 x 15” combo that has a clear top end with a tight, defined low end.
This model is favored by blues and rock players.
Tip: Although these amps tend toward a clean and tight sound, you can use a distortion
stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end
definition. See Distortion pedals.
British Stacks
The British Stack models are based on the 50- and 100-watt amplifier heads that have
largely defined the sound of heavy rock, especially when paired with 4 x 12” cabinets. At
medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain
yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across
the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used.
Model Description
Vintage British Stack Captures the sound of a late 1960s 50-watt amp famed for its powerful,
smooth distortion. Notes retain clarity, even at maximum gain. After four
decades this remains a definitive rock tone.
Modern British Stack 1980s and 1990s descendants of the Vintage British amplifier head, which
were optimized for hard rock and metal styles of the time. Tonally, it has a
deeper and brighter sound at the low and high end, with a more “scooped”
midrange than the Vintage British amp.
Brown Stack Unique tones can be coaxed from a British head by running it at lower
voltages than its designers intended. The resulting “brown” sound—often
more distorted and loose than the standard tone—can add interesting
thickness to a guitar sound.
Tip: The classic British head and 4 x 12” cabinet combo is ideal for riffs at high gain
levels. These heads can also sound good through small cabinets, or at clean, low-gain
settings.
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British Combos
The British Combos capture the brash, treble-rich sound associated with 1960s British rock
and pop. The sonic signature of these amps is characterized by their high-end response,
yet they are rarely harsh-sounding due to a mellow distortion and smooth compression.
Model Description
British Blues Combo This 2 x 12” combo has a loud, aggressive tone that is cleaner than the
British heads, yet delivers rich distorted tones at high gain settings.
British Combo A 2 x 12” combo based on early 1960s amps. Perfect for chiming chords
and crisp solos.
Small British Combo A 1 x 12” combo with half the power of the British Combo, this amp offers
a darker, less open tone.
Boutique British Combo A 2 x 12” combo that is a modern take on the original 1960s sound. The
tone is thicker, with stronger lows and milder highs than the other British
Combos.
Tip: You can often use higher Treble and Presence knob settings with the British
Combos than with other amp types. If the British Blues Combo is too clean for your needs,
combine it with the Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz
stompbox for a heavy rock tone. See Distortion pedals.
British Alternatives
The late 1960s amplifier heads and combos that inspired the Sunshine models are loud and
aggressive, with full mid frequencies. These amps are useful for single note solos, power
chords, and big, open chords—making them popular with the “Brit-pop” bands of the
1990s. The Stadium amps are famed for their ability to play at extremely high levels without
dissolving into an indistinct distortion. They retain crisp treble and superb note definition,
even at maximum gain settings.
Model Description
Sunshine Stack A robust-sounding head paired with a 4 x 12” cabinet. It is a good choice
for powerful pop-rock chords. If the tone is too dark, use a high Treble
knob setting to open up the sound.
Small Sunshine Combo A 1 x 12” combo based on a modern amp known for a “big amp” sound. It
is brighter than the Sunshine Stack head and has tonal qualities similar
to the 1960s British Combo. This amp also sounds good with a 4 x 12”
cabinet.
Stadium Stack A classic head and 4 x 12” cabinet configuration popular with 1970s arena
rock bands. Its tones are cleaner than other Amp Designer 4 x 12” stacks,
but it retains body and impact. A good choice if you need power and
clarity.
Stadium Combo A 2 x 12” combo based on a modern amp. The tone is smoother than the
Stadium Stack.
Tip: The Stadium amps can be slow to distort, so most famous users have paired them
with aggressive fuzz pedals. Try combining them with the Candy Fuzz or Fuzz Machine
stompboxes. See Distortion pedals.
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Metal Stacks
The Metal Stack models are inspired by the powerful, high gain amplifier heads favored by
modern hard rock and metal musicians. All are paired with 4 x 12” cabinets. Their signature
tones range from heavy distortion to extremely heavy distortion. These models are ideal if
you want powerful lows, harsh highs, and long sustain in your guitar tones.
Model Description
Modern American Stack A powerful high-gain amp that is ideal for heavy rock and metal. Use the
Mids knob to set the right amount of scoop or boost.
High Octane Stack Although a powerful, high-gain amp, this model offers a smooth transition
between gain settings and natural compression. It is a good choice for fast
soloing and for two- or three-note chords.
Turbo Stack An aggressive-sounding amp with spiky highs and noisy harmonics,
especially at high gain settings. Use the Turbo Stack when you need a
guitar tone that cuts through a mix.
Tip: Combining the Turbo Stack with distortion and fuzz pedals can diminish the edgy
tone. A dry sound is often the best choice for high-impact riffs.
Additional Combos
The combos and utility models in this category are versatile amps that you can use for a
wide variety of musical styles.
Model Description
Studio Combo A 1 x 12” combo based on boutique combos of the 1980s and 1990s.
These models use multiple gain stages to generate smooth, sustain-heavy
distortion and bold, bright, clean sounds. Can deliver a heavier sound
when paired with a 4 x 12” cabinet.
Boutique Retro Combo A 2 x 12” combo inspired by expensive modern amps that combine the
sounds of several 1960s combos. It excels at clean and crunch tones,
making it a good choice when you want an old-fashioned flavor but with
the crisp highs and defined lows of a modern amplifier. This model has
very sensitive tone controls that can deliver countless guitar tones.
Pawnshop Combo A 1 x 8” combo based on the inexpensive amps sold in American
department stores in the 1960s. Despite their limited features and budget
workmanship, these amps are the secret behind the sound of many rock,
blues, and punk players. The clean sounds are warm, and distorted sounds
are thick, despite the small speaker.
Transparent Preamp A preamp stage with no coloration. Note that Transparent Preamp is
activated in the Amp pop-up menu, not in the Model pop-up menu.
Tip: Combine the Pawnshop Combo amp with the Hi Drive or Candy Fuzz stompboxes to
emulate hard rock tones of the late 1960s. See Distortion pedals.
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Amp Designer cabinets in Logic Pro for iPad
Learn about the properties and tone of each cabinet model available in Amp Designer.
Cabinet Description
Tweed 1 x 12 A 12” open-back cabinet from the 1950s with a warm and smooth tone.
Tweed 4 x 10 A 4 x 10” open-back cabinet from the late 1950s that was originally
conceived for bassists but that guitarists use for its sparkling presence.
Tweed 1 x 10 A single 10” open-back combo amp cabinet from the 1950s with a smooth
sound.
Black Panel 4 x 10 Classic open-back cabinet with four 10” speakers. Its tone is deeper and
darker than the Tweed 4 x 10.
Silver Panel 2 x 12 An open-back model from the 1960s that provides low-end punch.
Black Panel 1 x 10 An open-back 1960s cabinet with glassy highs and low/mid body.
Brown Panel 1 x 12 A balanced 1960s open-back cabinet that is smooth, transparent, and
rich-sounding.
Brown Panel 1 x 15 This early 1960s open-back cabinet houses the largest speaker emulated
by Amp Designer. Its highs are clear and glassy, and its lows are tight and
focused.
Vintage British 4 x 12 This late 1960s closed-back cabinet is synonymous with classic rock. The
tone is big and thick yet also bright and lively, due to the complex phase
cancelations between the four 30-watt speakers.
Modern British 4 x 12 A closed-back 4 x 12” cabinet that is brighter and has a better low end
than the Vintage British 4 x 12, with less midrange emphasis.
Brown 4 x 12 A closed-back 4 x 12” cabinet with a good low end and complex midrange.
British Blues 2 x 12 A bright-sounding open-back cabinet with solid lows and crisp highs, even
at high gain settings.
Modern American 4 x 12 A closed-back 4 x 12” cabinet with a full sound. The lows and mids are
denser than the British 4 x 12” cabinets.
Studio 1 x 12 A compact-sounding open-back cabinet with full mids and glassy highs.
British 2 x 12 A mid 1960s open-back cabinet with an open, smooth tone.
British 1 x 12 A small open-back cabinet with crisp highs and low/mid transparency.
Boutique British 2 x 12 A 2 x 12” cabinet based on the British 2 x 12. It has a richer midrange and
is more powerful in the treble range.
Sunshine 4 x 12 A 4 x 12” closed-back cabinet with a thick, rich midrange.
Sunshine 1 x 12 A single 12” open-back combo amp cabinet with a lively sound that has
bright, sweet highs, and transparent mids.
Stadium 4 x 12 A tight, bright, closed-back British cabinet with bold upper/mid peaks.
Stadium 2 x 12 A nicely balanced modern British open-back cabinet. Tonally, it is a
compromise between the warmth of the Black Panel 4 x 10 and the
brilliance of the British 2 x 12.
Boutique Retro 2 x 12 A 2 x 12” cabinet based on the British 2 x 12. It has a rich, open midrange
and is more powerful in the treble range.
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Cabinet Description
High Octane 4 x 12 A modern, closed-back European cabinet with strong lows and highs and
scooped mids appropriate for metal and heavy rock.
Turbo 4 x 12 A modern, closed-back European cabinet with strong lows, very strong
highs, and deeply scooped mids appropriate for metal and heavy rock.
Pawnshop 1 x 8 A single 8” speaker cabinet that has a strong low-end punch.
Direct This option bypasses the speaker emulation section.
Tip: A creative sound design option is to choose Direct from the Speaker pop-up menu,
insert Space Designer in the next free effect slot, then load one of the “warped” presets.
Build a custom Amp Designer combo in Logic Pro for iPad
You can use one of the default models or you can create your own hybrid of different
amplifiers, cabinets, and so on. You create your own by using the Amp, Speaker, and
Microphone Type pop-up menus, as well as the EQ Model pop-up menu.
Note: If you create your own hybrid amp combo, you can save it as a setting file, which also
includes any parameter changes you’ve made.
Choose an Amp Designer amplifier
• In Logic Pro, choose an amplifier from the Amp pop-up menu. See Amp Designer
models for details on the characteristics of each amplifier type.
Choose an Amp Designer cabinet
Cabinets have a huge impact on the character of a guitar sound (see Amp Designer cabinets).
Whereas certain amplifier and cabinet pairings have been popular for decades, departing
from them can be an effective way to create fresh-sounding tones. For example, most
players automatically associate British heads with 4 x 12” cabinets. Amp Designer lets you
drive a small speaker with a powerful head, or pair a tiny amp with a 4 x 12” cabinet. You
can experiment with random amplifier and cabinet combinations, but you can also make
an educated guess about nontraditional combinations by considering the variables that
determine the “sound” of the cabinet.
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• In Logic Pro, choose a cabinet from the Speaker pop-up menu. Use the following
considerations to guide your decision:
• Combos or Stacks: Combo amps include both an amplifier and speakers in a single
enclosure. These usually have an open back, so the sound resonates in multiple
directions. The resulting sound is open—with bright, airy highs and a spacious sound.
Amplifier stacks consist of an amplifier head, with the speakers in a separate cabinet.
These cabinets generally have a closed back and project the sound forward in a tight,
focused beam. They tend to sound more powerful than open-back cabinets, and
typically have a tighter low-end response at the expense of some high-end transparency.
• Old or New Speakers: Amp Designer models based on vintage cabinets capture the
character of aged speakers. These may be a bit looser and duller sounding than new
speakers, but many players prefer them for their smoothness and musicality. Sounds
based on new cabinets tend to have more snap and bite.
• Large Speakers or Small Speakers: A larger speaker doesn’t guarantee a larger
sound. In fact, the most popular bass guitar cabinet in history uses 8” speakers.
You can often get a deeper, richer tone from a 10” speaker than from a large 4 x 12”
cabinet. Try several sizes and choose the one that works best for your music.
• Single Speakers or Multiple Speakers: Guitarists typically choose cabinets with
multiple speakers for their big sound. The number of speakers is less important than
it may appear. Phase cancelations occur between the speakers, adding texture and
interest to the tone. Much of the “classic rock” sound, for example, is due to tonal
peaks and dips caused by interactions between the speakers in a 4 x 12” cabinet.
Choose a microphone type and placement
1. In Logic Pro, choose a microphone model from the Mic Type pop-up menu.
• Condenser models: Emulate the sound of high-end studio condenser microphones.
The sound of condenser microphones is fine, transparent, and well-balanced.
Choose Condenser 87 or Condenser 414.
• Dynamic models: Emulate the sound of popular dynamic cardioid microphones.
Dynamic microphones sound brighter and more cutting than Condenser models.
The mid-range is boosted, with softer lower-mid frequencies, making dynamic
microphones a good choice for rock guitar tones, especially if you want guitars to
cut through other tracks in a mix. Choose Dynamic 20, Dynamic 57, Dynamic 421, or
Dynamic 609.
• Ribbon 121: Emulates the sound of a ribbon microphone. A ribbon microphone is
a type of dynamic microphone that captures a sound often described as bright or
brittle, yet still warm. It is useful for rock, crunch, and clean tones.
2. Drag the gray dot in the X/Y pad beside the Mic Type pop-up menu to set the
microphone position and distance relative to the cabinet.
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Choose and adjust an EQ type
1. In Logic Pro, tap the Model pop-up menu to choose an EQ model. See Amp Designer
EQ.
2. Rotate the Bass, Mids, and Treble knobs to adjust the EQ model you chose.
Amp Designer amplifier controls in Logic Pro for iPad
The amp parameters include controls for the input gain, presence, and master output.
Amplifier parameters
• Gain knob and field: Set the amount of preamplification applied to the input signal.
This control affects specific amp models in different ways. For example, when you
use the British Amp, the maximum gain setting produces a powerful crunch sound.
When you use the Vintage British Head or Modern British Head, the same gain setting
produces heavy distortion, suitable for lead solos.
• Presence knob and field: Adjust the ultra-high frequency range—above the range of the
Treble control. The Presence parameter affects only the output (Master) stage.
• Master knob and field: Set the output volume of the amplifier signal sent to the cabinet.
For tube amplifiers, increasing the Master level typically produces a compressed and
saturated sound, resulting in a more distorted and louder signal.
WARNING: Because high Master knob settings can produce an extremely loud output
that can damage your speakers or hearing, start with a low Master knob setting and
then slowly increase it.
• Output Level fader and field: Set the final output level of Amp Designer.
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Amp Designer EQ in Logic Pro for iPad
Hardware amplifier tone controls vary among models and manufacturers. For example, the
treble knobs on two different models may target different frequencies or provide different
levels of cut or boost. Some equalizer (EQ) sections amplify the guitar signal more than
others, thus affecting the way the amp distorts.
Amp Designer provides multiple EQ types to mirror these variations in hardware amplifiers.
All EQ types have identical controls—Bass, Mids, and Treble—but these controls can
behave very differently depending on which EQ type you choose.
Selecting an EQ type other than the one traditionally associated with an amplifier usually
results in significant tonal changes. As with hardware amplifiers, Amp Designer EQs are
calibrated to perform well with particular amplifier models. Choosing other EQ types can
sometimes produce a thin or unpleasantly distorted tone.
Despite these less pleasant-sounding possibilities, it is worth experimenting with various
amplifier and EQ combinations, because many can sound good together.
EQ parameters
• Model pop-up menu: Tap to choose an EQ type. Each EQ model has unique tonal qualities.
• Bass, Mids, and Treble knobs and fields: Adjust the EQ frequency ranges as you would
with tone knobs on a hardware guitar amplifier. The behavior and response of these
knobs changes when different EQ models are chosen.
Equalizer types
Learn about the properties and tonal qualities of each Amp Designer EQ type.
EQ type Description
British Bright Inspired by the EQ of British combo amps of the 1960s, it is loud and
aggressive, with stronger highs than the Vintage EQ. This EQ is useful if
you want more treble definition without an overly clean sound.
Vintage Emulates the EQ response of American Tweed-style amps and the vintage
British stack amps that used a similar circuit. It is loud and subject to
distortion. This EQ is useful if you want a rougher sound.
US Classic Derived from the EQ circuit of the American Black Panel amps, it has a tone
of higher fidelity than the Vintage EQ, with tighter lows and crisper highs.
This EQ is useful if you want to brighten your tone and reduce distortion.
Modern Based on a digital EQ unit popular in the 1980s and 1990s, this EQ is
useful for sculpting the aggressive highs, deep lows, and scooped mids
associated with rock and metal music styles of the era.
Boutique Replicating the tone section of a “retro modern” boutique amp, it excels at
precise EQ adjustments, though its tone may be too clean when used with
vintage amplifiers. This EQ is a good choice if you want a cleaner, brighter
sound.
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Amp Designer reverb effect in Logic Pro for iPad
Reverb is always available in Amp Designer, even when you’re using a model based on
an amplifier that provides no reverb function. You can add reverb to either the tremolo or
vibrato effect, or you can use it independently.
Note: The Effects section is placed before the Presence and Master controls in the signal
flow and receives the pre-amplified, pre-Master signal.
Reverb parameters
• On/Off button: Turn the reverb effect on or off.
• Type pop-up menu: Tap to open the pop-up menu, then choose a reverb type.
• Level knob and field: Set the amount of reverb applied to the preamplified signal.
Reverb types
Learn about the properties and sonic character of each Amp Designer reverb type.
Reverb type Description
Vintage Spring This bright, splashy sound has largely defined combo amp reverb since
the early 1960s.
Simple Spring A darker, subtler spring sound.
Mellow Spring An even darker, low-fidelity spring sound.
Bright Spring Has some of the brilliance of Vintage Spring, but with less surf-style
splash.
Dark Spring A moody-sounding spring. More restrained than Mellow Spring.
Resonant Spring Another 1960s-style spring with a strong, slightly distorted midrange
emphasis.
Boutique Spring A modernized version of the classic Vintage Spring with a richer tone in
the bass and mids.
Sweet Reverb A smooth modern reverb with rich lows and restrained highs.
Rich Reverb A rich and balanced modern reverb.
Warm Reverb A lush modern reverb with rich lows/mids and understated highs.
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Amp Designer tremolo and vibrato in Logic Pro for iPad
Tremolo and vibrato are controlled by several switches and two knobs in the Modulation FX
section. Tremolo modulates the amplitude or volume of the sound, and Vibrato modulates
the pitch of the sound.
Note: The Effects section is placed before the Presence and Master controls in the signal
flow and receives the pre-amplified, pre-Master signal.
Modulation FX parameters
• On/Off switch: Turn the tremolo or vibrato effect on or off.
• Type pop-up menu: Tap to choose either Tremolo or Vibrato.
• Depth knob and field: Set the intensity of the modulation for either tremolo or vibrato.
• Speed knob and field: Set the speed of the modulation in hertz. Lower settings produce
a smooth, floating sound. Higher settings produce a rotor-like effect.
• Sync Mode buttons: Choose Sync to synchronize the modulation speed with the host
tempo. Choose Free to set values in Hertz with the FX Speed knob. In Sync mode, you
can use the FX Speed knob to set the modulation speed to different bar, beat, and
musical note values (1/8, 1/16, and so on, including triplet and dotted-note values).
Amp Designer cab and mic controls in Logic Pro for iPad
Amp Designer provides seven virtual microphone types and dozens of speaker models.
As with other components in the tone chain, different selections can yield very different
results. After choosing a cabinet, you can set the type of microphone to emulate and can
place the microphone, relative to the cabinet.
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Cabinet and Microphone parameters
• Speaker pop-up menu: Choose a speaker cabinet. See Amp Designer cabinets and
Choose an Amp Designer cabinet.
• Mic Type pop-up menu: Choose a microphone model.
• Condenser models: Emulates the sound of high-end studio condenser microphones.
The sound of condenser microphones is fine, transparent, and well-balanced.
Choose from: Condenser 87 and Condenser 414.
• Dynamic models: Emulates the sound of popular dynamic cardioid microphones.
Dynamic microphones sound brighter and more cutting than Condenser models.
The mid-range is boosted, with softer lower-mid frequencies, making dynamic
microphones a good choice for rock guitar tones; useful if you want guitars to cut
through other tracks in a mix. Choose from: Dynamic 20, Dynamic 57, Dynamic 421,
and Dynamic 609.
• Ribbon 121: Emulates the sound of a ribbon microphone. A ribbon microphone is
a type of dynamic microphone that captures a sound often described as bright or
brittle, yet still warm. It is useful for rock, crunch, and clean tones.
Tip: Combining multiple microphone types can produce an interesting sound.
Duplicate the guitar track, and insert Amp Designer on both tracks. Select different
microphones in each Amp Designer instance while retaining identical settings for all
other parameters, then set track signal levels.
• X/Y pad: Microphone position is indicated by the gray dot in the XY pad. Drag the dot
to change microphone position and distance. Placement is relative to the cabinet and is
limited to near-field positioning.
By default, the gray dot is placed in the center of the speaker cone (on-axis). This
placement produces a fuller, more powerful sound, suitable for blues or jazz guitar
tones. If you place the microphone on the rim of the speaker (off-axis), you obtain a
brighter, thinner tone, making it suitable for cutting rock or R & B guitar parts. Moving
the gray microphone dot closer to the speaker emphasizes bass response.
Bass Amp Designer
Bass Amp Designer in Logic Pro for iPad
Bass Amp Designer emulates the sound of three famous bass guitar amplifiers and the
speaker cabinets used with them. Each preconfigured model combines an amp and cabinet
that recreates a well-known bass guitar amplifier sound. The amp and cabinet can be
combined with integrated compression and EQ units to alter the tone. You can process
signals directly, reproducing the sound of your bass played through these amplification
systems. Virtual microphones are used to pick up the signal of the emulated amplifier and
cabinet. You can choose from, and position, three different microphone types.
When recording, many bass players use a direct connection to a mixing board or other
recording equipment, often using a passive (non powered) or active (powered) Direct
Box (Direct Injection or D.I. box). The use of a pre-amp with passive or active EQ and a
hardware compressor instead of, or in addition to, a D.I. box is extremely popular too. Bass
Amp Designer emulates a professional-level American D.I. box.
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Bass Amp Designer has a two channel design—one for the pre-amp and one for the Direct
Box. This lets you flexibly change the signal flow for the following playing and recording
configurations: pre-amp with passive or active EQ, compressor, a straight power amp, just
the sound of the cabinets and microphones, Direct Box alone, bass amp alone, or both in
parallel. See Bass Amp Designer signal flow and Bass Amp Designer Pre-amp signal flow.
To add Bass Amp Designer to your project, choose Amps and Pedals > Bass Amp Designer
in the Plug-ins area or a channel strip Audio Effect plug-in menu. See Intro to plug-ins.
Also see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with
plug-ins in the Mixer.
The Bass Amp Designer interface is divided into four main parameter sections.
• Combo parameters: The Model pop-up menu is used to choose a preconfigured model,
consisting of an amplifier, a cabinet, and a microphone type. Individual pop-up menus
enable you to independently choose the type of amplifier, cabinet, and microphone. See
Build a custom Bass Amp Designer combo.
• Amp parameters: These parameters are used to set the input gain, presence, and output
level of the amp. See Bass Amp Designer amplifier controls.
• Effects parameters: These parameters control the integrated EQ and compressor
effects. You can choose either a graphic or parametric EQ. See Bass Amp Designer
effects.
• Microphone parameters: These parameters set the type and position of the microphone
that captures the amplifier and cabinet sound. See Bass Amp Designer microphone
parameters.
• Output slider: The Output slider is found at the lower-right corner of the interface. It
serves as the final level control for Bass Amp Designer output that is fed to ensuing
effect slots in the channel strip, or directly to the channel strip output.
Note: This parameter is different from the Master control, which serves the dual
purpose of sound design as well as controlling the level of the Amp section.
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Choose a Bass Amp Designer model
• Model pop-up menu: In Logic Pro, choose a preconfigured model, consisting of an
amplifier, a cabinet, and a microphone type.
You can use the Model pop-up menu to choose a preconfigured model, or you can build
a customized model using the Amp, Speaker, and Mic Type pop-up menus. See Build a
custom Bass Amp Designer combo. Your choices remain visible in the pop-up menus.
Bass Amp Designer amplifier models in Logic Pro for iPad
Bass Amp Designer emulates the three most iconic tube bass amps and cabinets from the
1960s through to the late 1980s. The table includes the cabinets that each amplifier is
normally matched with.
Amp model Cabinet Description
Classic Amp 8 x 10 inch speakers Emulates a 300-watt tube head
introduced in 1969. It is ideal for
full, fundamental tones.
Flip Top Amp 1 x 15 inch speaker Emulates a classic six-tube bass
amp with a tuned, closed-back
cabinet introduced in 1960. This
model is good for a range of musical
styles.
Modern Amp 3-way speaker array Emulates a 12-tube 360-watt head
introduced in 1989. It is suitable
for many musical styles and is the
ideal choice for highly articulated
performances.
Bass Amp Designer cabinet models in Logic Pro for iPad
The table outlines the properties of each cabinet model available in Bass Amp Designer.
Cabinet Description
Modern Cabinet 15” 1 x 15 inch speaker, closed-back design. Very deep and full tone.
Modern Cabinet 10” 1 x 10 inch speaker, closed-back design. A punchy tone.
Modern Cabinet 6” 1 x 6 inch speaker, closed-back design.
Classic Cabinet 8 X 10” 8 x 10 inch speakers, closed-back design.
Flip Top Cabinet 1 X 15” 1 x 15 inch speaker, closed-back design.
Modern 3 Way 1 x 15 inch speaker, 1 x 10 inch speaker, and 1 x 6 inch speaker. You can
move the microphone vertically and can position it 20, 30, or 40 cm away
from the cabinet.
Direct (PowerAmp Out) A direct signal from the power stage of the emulated amplifier. The
cabinet and microphone are removed from the signal path.
Direct (PreAmp Out) A direct signal from the pre-amplifier stage of the emulated amplifier. The
cabinet, microphone, and power amp are removed from the signal path.
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Build a custom Bass Amp Designer combo in Logic Pro for iPad
You can use one of the default models or you can create your own hybrid of different
amplifiers, cabinets, and so on, using the Amp, Speaker, and Mic Type pop-up menus.
Note: If you create your own hybrid amp combo, you can save it as a setting file, which also
includes any parameter changes you have made.
Choose a Bass Amp Designer amplifier
• In Logic Pro, choose an amplifier from the Amp pop-up menu. See Bass Amp Designer
amplifier models for details on the characteristics of each amplifier.
Choose a Bass Amp Designer cabinet
Cabinets have a huge impact on the character of a bass guitar sound (see Bass Amp
Designer cabinet models).
Whereas certain amplifier and cabinet pairings have been popular for decades, departing
from them is an effective way to create fresh-sounding tones. You can try random
combinations, but if you consider the variables that determine the “sound” of a cabinet,
you can make educated guesses about non-traditional amplifier and cabinet combinations.
• In Logic Pro, choose a cabinet from the Speaker pop-up menu.
• Old or new speakers: Some Bass Amp Designer models capture the character of
aged speakers. These may be a bit looser and duller sounding than new speakers,
but many players prefer them for their smoothness and musicality. Sounds based on
new cabinets tend to have more snap and bite.
• Large speakers or small speakers: Try several sizes and choose the one that works
best for your music.
• Single speakers or multiple speakers: The number of speakers is less important than
it may appear. Phase cancelations occur between the speakers, adding texture and
interest to the tone.
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Choose a microphone type and placement
1. In Logic Pro, choose a microphone model from the Mic Type pop-up menu.
• Condenser 87: Emulates the sound of a high-end German studio condenser
microphone. The sound of condenser microphones is fine, transparent, and well-
balanced.
• Dynamic 20: Emulates the sound of popular American dynamic cardioid
microphones. This microphone type sounds brighter and more cutting than the
Condenser 87 model. The lower-mid frequencies are rolled off, making it a good
choice for miking rock tones. It is especially useful if you want your bass guitar part
to cut through other tracks in a mix.
• Dynamic 421: Emulates the sound of a German dynamic cardioid microphone. It can
capture a wide frequency range and has a slight emphasis of the treble range. It is
useful for clean tones.
2. Drag the gray dot in the X/Y pad beside the Mic Type pop-up menu to set the
microphone position and distance relative to the cabinet.
Bass Amp Designer signal flow in Logic Pro for iPad
Bass Amp Designer has a two-channel design—one for the pre-amp and one for the Direct
Box. You can use these independently or can blend them.
Important: The two channels are always used in parallel if the Amp/DI Mix knob in the
Output section is not set to the full left or full right position.
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The channel signal flow changes when you choose different models from the Speaker pop-
up menu.
Cabinet Amp/DI Mix position Channel 1 routing Channel 2 routing
Any speaker cabinet model Middle Pre-amp, power amp, Direct Box
cabinet, mic
Direct (PowerAmp Out) Middle Pre-amp, power amp Direct Box
Direct (PreAmp Out) Middle Pre-amp Direct Box
Any speaker cabinet model Far left Pre-amp, power amp,
cabinet, mic
Direct (PowerAmp Out) Far left Pre-amp, power amp
Direct (PreAmp Out) Far left Pre-amp
Direct (PreAmp Out) Far right Direct Box
Bass Amp Designer Pre-amp signal flow in Logic Pro for iPad
The pre-amp section is very flexible, and can be used in several ways when you use
different combinations of On/Off and Pre/Post options. The signal flow indicated in the
Mode column is in series when multiple processors are used—that is, the output of one
processor signal is fed into the next processor.
Mode EQ On/Off Compressor Additional EQ Pre/Post switch
On/Off On/Off
All off Off Off Off
EQ only On Off Off
Compressor only Off On Off
Additional EQ only Off Off On
EQ into Compressor only On On Off
EQ into Additional EQ only On Off On
Additional EQ into Compressor only Off On On Pre
Compressor into Additional EQ only Off On On Post
All on (EQ into Additional EQ into On On On Pre
Compressor)
All on (EQ into Compressor into On On On Post
Additional EQ)
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Use the Bass Amp Designer Direct Box in Logic Pro for iPad
The Direct Box is modeled on a highly regarded American D.I. unit.
Direct Box parameters
• Gain knob and field: Set the input gain of the Direct Box.
• Tone knob and field: Set the tonal color of the Direct Box. Each number represents a
preset EQ curve.
• 1: An EQ curve with a -6 dB scoop from 100 Hz to 10 kHz, most pronounced around
800 Hz. Suitable for acoustic and string instruments, electric bass, and keyboards.
• 2: An EQ curve with a very pronounced -24 dB v-shaped notch from 100 Hz to 10
kHz, centered around 800 Hz. Suitable for electric bass guitar.
• 3: An EQ curve with a -3 dB scoop from 100 Hz to 10 kHz, most pronounced around
800 to 1200 Hz. Suitable for acoustics, strings, electric and bass guitar, and
keyboards.
• 4: An EQ curve with a -3 dB scoop from 1 kHz to 10 kHz, most pronounced around
8 kHz. Frequencies between 60 Hz and 1 kHz have a slight boost of 1 or 2 dB above
unity. Frequencies above 10 kHz have a +3 dB boost. Suitable for acoustics, strings,
electric and bass guitars, and keyboards.
• 5: A sloped EQ curve that ramps up from -24 dB at 10 Hz to + 3 dB at around 900
Hz. Suitable for acoustic and electric guitar.
• 6: A sloped EQ curve that ramps up from -24 dB at 10 Hz to +3 dB at around 900
Hz. The signal rolls off by approximately 6 dB between 10 and 20 kHz. Suitable for
electric and bass guitar.
• HF Cut button: Turn on a highpass filter. This is used to reduce noise.
• Tone On/Off button: Turn on the tone control.
• Amp/DI Mix knob: Drag to hear the Direct Box signal alone or in parallel with the
amplifier.
Use the Direct Box only
• In the Logic Pro Bass Amp Designer Output section, set the Amp/DI Mix knob to the full
right position.
Use the Direct Box and the amplifier in parallel
• In the Logic Pro Bass Amp Designer Output section, set the Amp/DI Mix knob to any
central position—not to the full right or the full left position.
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Bass Amp Designer amplifier controls in Logic Pro for iPad
The amp parameters include controls for channel selection, input filter and gain, and
master output. The Gain knob is located in the Amp section, the Master knob is in the Amp
Out section, and the Output Gain slider is found in the Output section.
Amplifier parameters
• Amp pop-up menu: Choose an amplifier model.
• Channel pop-up menu: Choose channel I or channel II.
• Channel I is active, with a gain of 0 dB.
• Channel II is passive, with a gain of -15 dB.
• Bright button: Tap to switch between normal and bright modes. When bright is active,
highs and upper mids are added to the tone.
Note: The increased mid and high range may lead to a perceived low end roll-off. Use
the Bass EQ knob if you feel the bottom end needs a boost.
• Gain knob and field: Set the amount of preamplification applied to the input signal.
The Gain knob affects amp models differently.
• Master knob and field: Set the output volume of the amplifier signal sent to the cabinet.
Increasing the Master level typically produces a compressed and saturated sound,
resulting in a more distorted and louder signal.
Note: If you choose Direct (PowerAmp Out) from the Speaker pop-up menu, the output
signal is routed directly to the Amp/DI Mix knob. However, if you choose Direct (PreAmp
Out) from the Speaker pop-up menu, the Master knob acts as a pre-amp master gain
control before the output signal is routed to the Amp/DI Mix knob.
• Output Gain control and field: Set the final output level of Bass Amp Designer.
Effects
Bass Amp Designer effects in Logic Pro for iPad
Bass Amp Designer provides multiple EQ units and EQ types to sculpt your instrument tones.
It provides a main EQ that mirrors the tonal qualities of the integrated EQ of the amplifier
model you choose, if applicable. All amplifier model EQs have identical controls: Bass,
Mids, and Treble. See Main EQ.
Bass Amp Designer also offers an additional Graphic or Parametric EQ. See Graphic EQ and
Parametric EQ.
Bass Amp Designer also integrates a dedicated, custom-built compression circuit that is
optimized for electric bass. See Compressor.
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Bass Amp Designer Main EQ in Logic Pro for iPad
The Main EQ section contains a larger and more inclusive set of the EQ units found in the
three original bass amps emulated by Bass Amp Designer.
Main EQ parameters
• Main EQ On/Off button: Turn the EQ (tone controls) on or off.
• Low pop-up menu: Choose from three options that affect the tone and behavior of the
Bass EQ knob.
• Mid Range pop-up menu: Switch between three positions that affect the tone and
behavior of the Mids EQ knob.
• High pop-up menu: Switch between two positions that affect the tone and behavior of
the Treble EQ knob.
• Bass, Mids, and Treble knobs: Adjust the frequency ranges of the EQ, similar to the tone
knobs on a hardware amplifier.
Bass Amp Designer Compressor in Logic Pro for iPad
The internal compression circuit is custom-built for use with Bass Amp Designer. It features
an AutoGain function that compensates for volume reductions caused by compression.
Compressor parameters
• Compressor On/Off button: Turn the compressor on or off.
• Attack pop-up menu: Switch between two compression algorithms.
• Soft: Compression with a slow attack and longer sustain phase.
• Hard: Stronger compression, with good control over levels, which makes it easier to
fit the bass into an arrangement.
• Amount knob: Set the amount of compression intensity applied to the input signal.
• Gain slider: Add gain to, or subtract gain from, the gain staging of the internal AutoGain
feature.
Note: AutoGain is always active.
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Bass Amp Designer Graphic EQ in Logic Pro for iPad
Bass Amp Designer offers an additional Graphic EQ or Parametric EQ that is independent
from the Main EQ.
Note: The additional EQ defaults to a pre-Compressor position in the signal flow.
Graphic EQ parameters
• Graphic/Parametric EQ On/Off button: Turn the graphic EQ on or off.
• Type pop-up menu: Choose the Graphic EQ or Parametric EQ.
Graphic and Parametric EQ parameter settings are retained when switching between EQ
types and when the additional EQ is turned off. This allows quick A/B comparisons.
• Position pop-up menu: Choose whether the additional EQ is inserted before or after—
pre or post—the Compressor module in the signal path.
Note: This parameter is relevant only if the Compressor is turned on.
• Frequency sliders: Set the amount of boost or cut for each frequency band.
Bass Amp Designer Parametric EQ in Logic Pro for iPad
Bass Amp Designer offers an additional Graphic EQ or Parametric EQ that is independent
from the Main EQ. The Parametric EQ provides two EQ bands:
• Low-Mid: Controls frequencies in the low and low-mid range. Use the LMF Gain, Freq,
and Q parameters to adjust this frequency band.
• High-Mid: Controls frequencies in the high and high-mid range. Use the HMF Gain,
Freq, and Q parameters to adjust this frequency band.
Note: The additional EQ defaults to a pre-Compressor position in the signal flow.
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Parametric EQ parameters
• Graphic/Parametric EQ On/Off button: Turn the parametric EQ on or off.
• Type pop-up menu: Choose the Graphic EQ or Parametric EQ.
Graphic and Parametric EQ parameter settings are retained when switching between EQ
types and when the additional EQ is turned off. This allows quick AB comparisons.
• Position pop-up menu: Choose whether the additional EQ is inserted before or after—
pre or post—the Compressor module in the signal path.
Note: This parameter is relevant only if the Compressor is turned on.
• LMF/HMF Gain knobs: Adjust the amount of cut or boost applied to the frequency range
set with the corresponding Freq knob.
• LMF/HMF Freq knobs: Set the frequency range you want to cut or boost with the
corresponding Gain knob.
• LMF/HMF Q knobs: Set the width of the band surrounding the frequency set with the
corresponding Freq knob.
The lower the Q knob value, the wider the band, which means that more frequencies are
affected. The higher the Q knob value, the narrower the band, which means that only
the frequencies nearest to the frequency set with the Freq knob are affected.
Bass Amp Designer cab and mic controls in Logic Pro for iPad
Bass Amp Designer offers three virtual microphone types and several speaker cabinet
options. As with other components in the tone chain, different selections can yield different
results. After choosing a cabinet, you can choose the type of microphone to emulate and
you can adjust the position of the microphone, relative to the cabinet.
Logic Pro User Guide for iPad 380
Microphone parameters
• Speaker pop-up menu: Choose a speaker cabinet. See Bass Amp Designer cabinet
models and Choose a Bass Amp Designer cabinet. Also see Use the Bass Amp Designer
Direct Box.
• Mic Type pop-up menu: Choose a microphone model.
• Condenser 87: Emulates the sound of a high-end German studio condenser
microphone. The sound of condenser microphones is fine, transparent, and well-
balanced.
• Dynamic 20: Emulates the sound of popular American dynamic cardioid
microphones. This microphone type sounds brighter and more cutting than the
Condenser 87 model. The lower-mid frequencies are rolled off, making it a good
choice for miking rock tones. It is especially useful if you want your bass guitar part
to cut through other tracks in a mix.
• Dynamic 421: Emulates the sound of a German dynamic cardioid microphone. It can
capture a wide frequency range and has a slight emphasis of the treble range. It is
useful for clean tones.
Tip: Combining multiple microphone types can produce an interesting sound.
Duplicate the bass guitar track, and insert Bass Amp Designer on both tracks. Select
different microphones in each Bass Amp Designer instance while retaining identical
settings for all other parameters, then set track signal levels.
• X/Y pad: Microphone position is indicated by the gray dot in the X/Y pad. Drag the dot
to change microphone position and distance. Placement is relative to the cabinet and is
limited to near-field positioning.
By default, the gray dot is placed in the center of the speaker cone (on-axis). This
placement produces a fuller, more powerful sound. If you place the microphone on the
rim of the speaker (off-axis), you obtain a brighter, thinner tone. Moving the microphone
closer to the speaker emphasizes bass response.
Stompboxes
Stompboxes in Logic Pro for iPad
Logic Pro for iPad Stompboxes simulate the sound of many famous pedal effects.
To add a stompbox to your project, choose Amps and Pedals > Stompboxes > Category >
Stompbox name in a channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also
see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins
in the Mixer.
Each stompbox is grouped into a category, such as distortion. Parameters of individual
pedals are described in these sections:
• Delay pedals
• Distortion pedals
• Dynamics pedals
• Filter pedals
• Modulation pedals
• Pitch pedals
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Delay pedals in Logic Pro for iPad
Blue Echo
Blue Echo is a simple delay effect.
• Time knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Repeats knob: Determine the number of delay repeats.
• Mix knob: Set the level ratio between source and effect signals.
• Sync button: Turn on to synchronize with the host tempo.
• Tone Cut buttons: Choose a fixed frequency internal filter circuit that allows more high
(Hi) or low (Low) frequency content to be heard. Choose Off to disable the filter.
• Mute button: Passes the source signal through to the next pedal, while delay repeats
continue.
Spring Box
Spring Box emulates a spring reverb effect.
• Style pop-up menu: Switches between algorithms, each with different characteristics.
You can choose Boutique, Simple, Vintage, Bright, or Resonant.
• Time buttons: Set the length of the reverberation to short, medium, or long values.
• Tone knob: Set the cutoff frequency, making the effect brighter or darker.
• Mix knob: Set the level ratio between source and effect signals.
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Tie Dye Delay
Tie Dye Delay is a warm-sounding reverse delay effect that’s perfect for fans of 1960s and
1970s psychedelic rock.
• Time knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Feedback knob: Set the amount of effect output sent to the effect input, changing the
tonal color, making the effect more pronounced, or both.
• Tone knob: Set the cutoff frequency, making the effect brighter or darker.
• Sync button: Turn on to synchronize with the host tempo.
• Type buttons: Both Dark and Bright apply a fixed frequency internal EQ.
• Mix knob: Set the level ratio between source and effect signals.
• Input Listen button: Passes the source signal through to the next pedal while delay
repeats continue.
Tru-Tape Delay
Tru-Tape Delay emulates a vintage tape delay effect.
• Time knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Feedback knob: Set the amount of effect output sent to the effect input. The buildup of
repeating signals can be used creatively for dub-delay and other effects by adjusting
Feedback in real time.
• Mix knob: Set the level ratio between source and effect signals.
• Mode buttons: Change the delay playback direction.
• Lo/Hi Cut knobs: Adjust the range of the fixed frequency internal EQ.
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• Dirt knob: Set the amount of input signal gain, which can introduce an overdriven,
saturated quality.
• Flutter knob: Emulate speed fluctuations in the tape transport mechanism.
Distortion pedals in Logic Pro for iPad
Candy Fuzz
Candy Fuzz is a bright, “nasty” distortion effect.
• Drive knob: Set the input gain.
• Level knob: Set the effect output volume.
Double Dragon
Double Dragon is a deluxe distortion effect.
• Drive knob: Set the amount of saturation applied to the input signal.
• Tone knob: Set the cutoff frequency.
• Level knob: Set the effect output level.
• Input knob: Set the effect input level.
• Squash knob: Set the threshold for the internal compression circuit.
• Contour knob: Set the amount of nonlinear distortion applied to the signal.
• Mode buttons: Choose between two fixed high shelving filter frequencies.
• Mix knob: Set the ratio between the source and distorted signals.
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Fuzz Machine
Fuzz Machine emulates an American “fuzz” distortion effect.
• Fuzz knob: Set the input gain.
• Tone knob: Increase treble, while simultaneously reducing low frequencies, as you
move it to higher values.
• Level knob: Set the effect output level.
Grinder
Grinder is a lo-fi dirty “metal” distortion.
• Grind knob: Set the amount of drive applied to the input signal.
• Filter knob: Make the sound harsher and more crunchy at higher values.
• Full/Scoop buttons: Choose between two fixed Gain/Q filter settings. At the Full
position, filtering is less pronounced than at the Scoop position.
• Level knob: Set the effect output level.
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Grit
Grit is a hard and nasty filtered distortion effect that sounds great on keyboards and
guitars.
• Volume knob: Set the amount of drive applied to the input signal.
• Filter knob: Make the sound harsher and more crunchy at higher values.
• Distortion knob: Set the amount of drive applied to the output signal.
Happy Face Fuzz
Happy Face Fuzz is a softer, full-sounding distortion effect.
• Fuzz knob: Set the amount of saturation applied to the input signal.
• Volume knob: Set the effect output level.
Hi-Drive
Hi-Drive is an overdrive effect that can emphasize high frequency content in the signal.
• Level knob: Set the effect output level.
• Boost Mode buttons: Set a fixed shelving frequency, allowing either the treble
portion or the full range input signal to be processed.
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Monster Fuzz
Monster Fuzz is a saturated, slightly harsh distortion.
• Roar knob: Set the amount of gain applied to the input signal.
• Growl knob: Set the amount of saturation.
• Tone knob: Set the overall color of the distortion. Higher values increase treble with a
corresponding decrease in overall volume.
• Texture knob: Smooth or roughen the distortion.
• Grain knob: Set the amount of nonlinear distortion applied to the signal.
• Level knob: Set the effect output level.
Octafuzz
Octafuzz is a fat fuzz effect that can deliver a soft, saturated distortion.
• Fuzz knob: Set the amount of gain applied to the input signal.
• Level knob: Set the effect output level.
• Tone knob: Set the cutoff frequency of the integrated highpass filter.
Rawk! Distortion
Rawk! Distortion is a metal/hard rock distortion effect.
• Crunch knob: Set the amount of saturation applied to the input signal.
• Level knob: Set the effect output gain level.
• Tone knob: Set the tonal color. High values are brighter.
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Tube Burner
Tube Burner emulates a vacuum tube-based distortion that provides a wide palette of
sounds, ranging from warm grain to crispy overdrive.
• Low knob: Set the low frequency cutoff.
• Mid Freq knob: Set the mid frequency cutoff.
• Mid Gain knob: Set the mid frequency level. This affects all frequencies in the range
between the Low and High knob values.
• Bias knob: Adjust to add or avoid crossover distortion.
• Squash knob: Set the threshold for the internal compression circuit.
• Fat button: Set at the top position to enhance low frequency content in the signal.
• High knob: Set the high frequency cutoff.
• Tone knob: Set the tonal color. High values are harsher.
• Drive knob: Set the amount of saturation applied to the signal pre-output.
• Output knob: Set the effect output gain level.
Vintage Drive
Vintage Drive is an overdrive effect that emulates the distortion produced by a field-effect
transistor (FET), commonly used in solid-state amplifiers. When saturated, FETs generate a
warmer-sounding distortion than bipolar transistors, such as those emulated by Grinder.
• Drive knob: Set the amount of saturation applied to the input signal.
• Tone knob: Set the tonal color. High values are harsher.
• Level knob: Set the effect output gain level.
• Fat button: Enable to enhance low frequency content in the signal.
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Dynamics pedals in Logic Pro for iPad
Squash Compressor
Squash Compressor is a simple compressor effect.
• Sustain knob: Set the threshold level. Signals above this value are reduced in level.
• Level knob: Set the overall output gain.
• Attack buttons: Choose Fast for signals with fast attack transients, such as drums.
Choose Slow for signals with slow attack phases, such as strings.
Filter pedals in Logic Pro for iPad
Auto-Funk
Auto-Funk is an auto-wah (filter) effect.
• Sensitivity knob: Set a threshold that determines how the filter responds to incoming
signal levels.
• Cutoff knob: Set the center frequency for the filter.
• BP/LP pop-up menu: BP (Bandpass): Signal frequencies just above and below the cutoff
are filtered. LP (Lowpass): Only signals below the cutoff are allowed through the filter.
• Hi/Lo pop-up menu: Choose a preset filter resonance setting.
• Up/Down pop-up menu: Set a positive or negative modulation direction—the “wah”
filtering occurs above or below the source signal frequency.
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Classic Wah
Classic Wah is a funky wah effect, straight from 1970s TV police show soundtracks.
• Pedal Position control: Adjust the pedal position and therefore the effect intensity
and level.
Graphic EQ
Graphic EQ is a classic 7-band EQ pedal.
• Frequency sliders: Boost or cut the corresponding frequency band.
• Level control: Set the overall output gain.
Modern Wah
Modern Wah is a more aggressive wah effect.
• Pedal Position control: Adjust the pedal position to add expression.
• Mode pop-up menu: Choose a Wah type or control Volume. Each Wah type has a
different tonal quality.
• Q knob: Low Q values affect a wider frequency range, resulting in softer resonances.
High Q values affect a narrower frequency range, resulting in more pronounced
emphasis.
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Modulation pedals in Logic Pro for iPad
Flange Factory
Flange Factory is a deluxe flanging effect with precise sound control features.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Shape knob: Alter the shape of the modulation waveform.
• Curve knob: Smooth the waveform shape.
• Wave buttons: Switch between modulation waveforms.
• Manual knob: Set a delay time between the source and effect signals. This can result in
flanger-chorus effects, or in edgier-sounding modulations.
• Reso knob: Determine the amount of cutoff frequency resonance.
• High knob: Set the high frequency cutoff.
• Low knob: Set the low frequency cutoff.
• Mix knob: Set the level ratio between the flanging and source signals.
Heavenly Chorus
Heavenly Chorus is a rich, sweet-sounding chorus effect that thickens the sound.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Feedback knob: Set the amount of effect output sent to the effect input, thickening the
sound or leading to intermodulations.
• Density knob: Set the ratio between the original and effect signals.
• Bright button: Set at the top position to apply a fixed frequency internal EQ. Bottom
position bypasses the EQ.
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Phase Tripper
Phase Tripper is a simple phasing effect.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Feedback knob: Set the amount of effect output sent to the effect input, changing the
tonal color, making the sweeping effect more pronounced, or both.
Phaze 2
Phaze 2 is a flexible dual-phaser effect.
• Phaser 1/2 Rate knobs: Set the modulation speed in hertz, or synchronized with the host
tempo when you enable the Sync button.
• Phaser 1/2 Sweep Floor/Ceiling knobs: Determine the frequency range that is swept.
• Phaser 1/2 Order knobs: Switch between algorithms, with higher (even) numbers
resulting in a heavier phasing effect. Odd order numbers result in more subtle comb-
filtering effects.
• Phaser 1/2 Feedback knobs: Set the amount of effect output sent to the effect input,
changing the tonal color, making the phasing effect more pronounced, or both.
• Phaser 1/2 Tone knobs: Rotate left to increase the amount of lowpass filtering. Rotate
right to increase the amount of highpass filtering.
• Output Mix knob: Set the level ratio between each phaser.
• Sync button: Turn on to synchronize both LFOs with the host tempo.
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Retro Chorus
Retro Chorus is a subtle vintage chorus effect.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Depth knob: Set the strength of the effect.
• Sync button: Turn on to synchronize with the host tempo.
Robo Flanger
Robo Flanger is a flexible flanging effect.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Feedback knob: Set the amount of effect output sent to the effect input, changing the
tonal color, making the flanging effect more pronounced, or both.
• Manual knob: Set a delay time between the source and effect signals. This can result in
flanger-chorus effects, or in metallic-sounding modulations, particularly when used with
high Feedback values.
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Roswell Ringer
Roswell Ringer is a ring modulation effect that can make incoming audio sound metallic or
unrecognizable, and can deliver tremolos, brighten up signals, and more. See Ringshifter
for information on ring modulation.
• Freq Coarse knob: Set the frequency shift value.
• Freq Fine knob: Fine-tune the frequency shift.
• Type buttons: Set the frequency curve to linear—with 12 notes per octave—or
exponential.
• Feedback knob: Set the amount of effect output sent to the effect input, changing the
tonal color, making the effect more pronounced, or both.
• Mix knob: Set the level ratio between the source and effect signals.
Roto Phase
Roto Phase is a phaser effect that adds movement to, and alters the phase of, the signal.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Intensity knob: Set the strength of the effect.
• Type buttons: Vintage enables a fixed-frequency internal EQ. Modern disables the EQ.
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Spin Box
Spin Box emulates a Leslie speaker cabinet, commonly used with the Hammond B3 organ.
• Cabinet knob: Switch between speaker box types.
• Fast Rate knob: Set the maximum modulation speed; this applies only when the Fast
button is active.
• Speed buttons: Determine speaker behavior: Slow rotates the speaker slowly. Fast
rotates the speaker quickly, up to the maximum speed set with the Fast Rate knob.
Brake stops speaker rotation.
• Response knob: Set the amount of time required for the rotor to reach its maximum and
minimum speed.
• Drive knob: Set the amount of input gain, which introduces distortion.
• Bright button: Switch on to mimic a forward-facing speaker horn in the cabinet,
resulting in a brighter tone.
The Vibe
The Vibe is a vibrato/chorus effect based on the Scanner vibrato effect unit found in the
Hammond B3 organ.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Type knob: Choose from three vibrato (V1–3) or chorus (C1–3) variations.
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Total Tremolo
Total Tremolo is a flexible tremolo effect—modulation of the signal level.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Depth knob: Set the strength of the effect.
• Sync button: Turn on to synchronize with the host tempo.
• Wave knob: Switch between modulation waveforms.
• Smoothing knob: Change the waveform shape.
• Volume knob: Set the post-tremolo gain.
• Speed Up button: Hold down to gradually accelerate the current Rate value to the
maximum possible value.
• Slow Down button: Hold down to gradually reduce the current Rate value to the
minimum possible value.
• Speed buttons: Set a Normal, Half, or Double speed for the current Rate value.
Trem-O-Tone
Trem-O-Tone is a simple tremolo effect—modulation of the signal level.
• Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo
when you enable the Sync button.
• Sync button: Turn on to synchronize with the host tempo.
• Depth knob: Set the strength of the effect.
• Level knob: Set the post-tremolo gain.
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Pitch pedals in Logic Pro for iPad
Dr. Octave
Dr. Octave is a classic octaver effect with two independent octave controls plus an
integrated overdrive.
• Octave 1/2 knobs: Set the level of each octave-shifted signal.
• Direct knob: Set the balance between the direct and Octave 1 or 2 signals.
• Drive knob: Set the amount of saturation applied to the output signal.
Wham
Wham is a pedal-controlled pitch shifter.
• Pedal Position control: Adjust the pedal position and therefore the intensity of the
effect.
• Tune knob: Set the frequency.
• Mix knob: Set the level balance between the source and pitch-shifted signals.
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Delay effects
Delay effects in Logic Pro for iPad
Delay effects store the input signal—and hold it for a short time—before sending it to the
effect input or output.
The delayed signal creates a repeating echo effect after a given time period. Each
subsequent repeat is a little quieter than the previous one. Most delays also let you feed a
percentage of the delayed signal back to the input. This can result in a subtle, chorus-like
effect or cascading, chaotic audio output.
The delay time can often be synchronized to the project tempo by matching the grid
resolution of the project, usually in note values or milliseconds.
You can use delays to double individual sounds to resemble a group of instruments playing
the same melody, to create echo effects, to place the sound in a large “space,” to generate
rhythmic effects, or to enhance the stereo position of tracks in a mix.
Delay effects are generally used as channel insert or bussed effects. They are rarely used
on an overall mix (in an output channel), unless you’re trying to achieve an unusual effect.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Delay Designer
Delay Designer in Logic Pro for iPad
Delay Designer is a multitap delay. Unlike traditional delay units that offer only one or two
delays (or taps) that may or may not be fed back into the circuit, Delay Designer provides
up to 26 individual taps. These taps are all fed from the source signal and can be edited to
create unique delay effects.
Delay Designer provides control over the level, pan position, and pitch of each tap. Each
tap can also be lowpass or highpass filtered.
Further effect-wide parameters include synchronization, quantization, and feedback.
As the name implies, Delay Designer offers significant sound design potential. You can use
it for everything from a basic echo effect to an audio pattern sequencer. You can create
complex, evolving, moving rhythms by synchronizing the placement of taps. This leads to
further musical possibilities when coupled with judicious use of transposition and filtering.
Alternatively, you can set up numerous taps as repeats of other taps, much as you would
use the feedback control of a simple delay effect, but with individual control over each
repeat.
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To add Delay Designer to your project, choose Delay > Delay Designer in the Plug-ins area
or a channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
The Delay Designer interface consists of four main sections:
• Tap Add/Remove: You can record or manually create taps in Delay Designer. See Create
Delay Designer taps.
• Tap Edit: You can view and edit the parameters of the selected tap in this area. See Tap
Edit controls.
• Feedback: You can set all Delay Designer feedback parameters in this area. See
feedback parameters.
• Global and Output: You can set global synchronization, quantization and mix
parameters. See Use Delay Designer sync mode.
Create Delay Designer taps in Logic Pro for iPad
You can create new delay taps in two ways: by recording them in real time or by manually
adding them.
The fastest way to create multiple taps is to record them in real time. If you have a specific
rhythm in mind, you can quickly tap out your pattern.
Taps are assigned letters, based on their order of creation. The first tap to be created
is assigned as Tap A, the second tap is assigned as Tap B, and so on. Once assigned,
each tap is always identified by the same letter, even when moved in time, and therefore
reordered. For example, if you initially create three taps, they are named Tap A, Tap B, and
Tap C. If you then change the delay time of Tap B so that it precedes Tap A, it is still called
Tap B.
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Record taps in real time
1. In Logic Pro, tap the Tap Record button repeatedly.
Delay repeats (taps) are created at the exact moments in time of each of your finger
taps, adopting the rhythm of your pattern.
Note: When you initially tap the Tap Record button, it automatically erases all existing
taps.
2. To finish tap recording, tap the Last Tap button.
The final tap is added, ending tap recording, and assigning the last tap as the feedback
tap (for more information about the feedback tap, see Delay Designer feedback
parameters).
Note: If you do not tap the Last Tap button, tap recording automatically stops after
10 seconds or when the 26th tap is created, whichever comes first.
Create a tap manually
• In Logic Pro, tap the Add Tap button.
A tap is created, named, and positioned automatically. Automatic positioning is in
accordance with the Grid pop-up menu value. You can manually adjust the tap position
with the Tap Time knob.
Edit Delay Designer taps in Logic Pro for iPad
There is always at least one selected tap, shown in the Tap by Name and Tap by Time pop-
up menu fields.
You can move a tap backward or forward in time, or completely remove it.
Note: When you move a tap, you’re actually editing its delay time.
Select a tap
In Logic Pro, do one of the following:
• Choose the tap letter in the Tap by Name pop-up menu.
• Choose the tap number in the Tap by Time pop-up menu.
Move a selected tap in time
• In Logic Pro, adjust the Tap Time knob value.
Tip: You can tap the Tap Time field to open a numeric keypad where you can type in
a value. Tap the Done button to complete your entry.
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Delete a tap
• In Logic Pro, select a tap in the Tap by Name or Tap by Time pop-up menu, then tap the
Delete Tap button.
Delay Designer Tap Edit controls in Logic Pro for iPad
The Tap Edit controls let you edit all parameters of the selected tap.
Tap Edit parameters
• Tap by Name/Time pop-up menus and fields: Choose the selected tap by name
or number. The display of the corresponding fields are updated, along with other
parameter values for the selected tap.
• Tap Mute buttons: Tap the Active button to enable the selected tap, or tap the Muted
button to disable the selected tap.
• Tap Time knob and field: Set the time position of the selected tap.
• Tap Level slider and field: Set the output level for the selected tap.
• Pan Amount knob and field: Set pan position for mono signals or stereo balance for
stereo signals.
• Pan displays a percentage between -100% (full left) and +100% (full right), which
represents the pan position or balance of the tap. A value of 0% represents the
center panorama position.
• Pan Flip Left/Right button: Swap the left and right side of the stereo image, reversing
the tap position from left to right, or vice versa. For example, if a tap is set to 55% left,
tapping the Pan Flip Left/Right button swaps it to 55% right.
• Pan Spread slider and field: Set the width of the stereo spread for the selected tap (in
stereo-to-stereo instances).
• Filter Enable button: Turn the highpass and lowpass filters on or off for the selected tap.
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• Filter Slope pop-up menu: Determine the steepness of the highpass and lowpass filter
slope. Choose 6dB for a gentler filter slope, or 12dB for a steeper, more pronounced
filtering effect.
Note: You cannot set the slope of the highpass and lowpass filters independently.
• HP/LP Freq sliders and fields: Independently set the cutoff frequencies (in Hz) for the
highpass and lowpass filters.
• Filter Resonance knob and field: Set the amount of filter resonance for both filters.
• Pitch Transpose knob and field: Drag to transpose pitch by semitones for the selected
tap.
• Pitch Enable button: Turn pitch transposition on or off for the selected tap.
Delay Designer feedback parameters in Logic Pro for iPad
In simple delays, the only way for the delay to repeat is to use feedback. Because
Delay Designer offers 26 taps, you can use these taps to create repeats, rather than
requiring discrete feedback controls for each tap.
The global Feedback parameter does, however, enable you to send the output of one user-
defined tap back through the effect input, to create a self-sustaining rhythm or pattern.
This tap is known as the feedback tap.
Feedback parameters
• Feedback Enable button: Turn the feedback tap on or off.
• Tap pop-up menu: Choose a tap as the feedback tap.
• Feedback slider and field: Set the feedback tap output level before it is routed back into
the input.
• A value of 0% equals no feedback.
• A value of 100% sends the feedback tap back into the input at full volume.
Note: If Feedback is enabled and you begin creating taps with the Tap Record button,
Feedback is automatically turned off. When you stop recording taps, Feedback is
automatically re-enabled.
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Delay Designer global and output controls in Logic Pro for iPad
Delay Designer can either synchronize to the project tempo or can run independently.
When in synchronized mode (sync mode), taps snap to a grid of musically relevant
positions, based on note durations. You can also set a Swing value in sync mode, which
varies the precise timing of the grid, resulting in a laid-back, less robotic feel for each tap.
When not in sync mode, taps don’t snap to a grid, nor can you apply the Swing value.
When sync mode is on, all taps are moved toward the closest delay time value on the
project timing grid. Subsequently created or moved taps are snapped to positions on
the grid.
When you save a Delay Designer setting, the sync mode status, Grid value, grid position of
each tap, and Swing value are all saved. This ensures that a setting loaded into a project
with a different tempo retains the relative positions, and rhythm, of all taps—at the new
tempo.
Note: Delay Designer has a maximum delay time of 10 seconds. This means that if you load
a setting into a project with a slower tempo (than the tempo saved with the setting), some
taps may fall outside the 10 second limit. In such cases, these taps do not play but are
retained as part of the setting.
Global and Output parameters
• Sync to Tempo button: Turn synchronized mode on or off.
• Grid pop-up menu: Choose a grid resolution from several musical note durations. The
grid resolution (and project tempo) sets the length of each grid increment. As you
change grid resolutions, grid increments change accordingly. This also determines a
step limitation for all taps.
For example, imagine a project with a tempo of 120 bpm. The Grid pop-up menu value
is set to 1/16 notes. At this tempo and grid resolution, each grid increment is 125
milliseconds (ms) apart. If Tap A is currently set to 380 ms, turning on sync mode shifts
Tap A to 375 ms. If you try to move Tap A forward in time, it snaps to 500 ms, 625 ms,
750 ms, and so on. At a resolution of 1/8 notes, the steps are 250 milliseconds apart,
so Tap A automatically snaps to the nearest division (500 ms) and could be moved to
750 ms, 1000 ms, 1250 ms, and so on.
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• Swing slider and field: Determine how close to the absolute grid position every second
grid increment will be.
• A setting of 50% means that every grid increment has the same value.
• Settings below 50% result in every second increment being shorter in time.
• Settings above 50% result in every second grid increment being longer in time.
Tip: Use subtle grid position variations of every second increment (values between
45% and 55%) to create a less rigid rhythmic feel. High Swing values are unsubtle
because they place every second increment directly beside the subsequent increment.
Make use of higher values to create interesting and intricate double rhythms with some
taps, while retaining the grid to lock other taps into more rigid synchronization with the
project tempo.
• Dry and Wet controls: Independently set the levels of the dry input signal and the
post-processing wet signal.
Echo in Logic Pro for iPad
This simple echo effect always synchronizes the delay time to the project tempo, enabling
you to quickly create echo effects that run in time with your composition.
To add Echo to your project, choose Delay > Echo in the Plug-ins area or a channel strip
Audio Effect plug-in menu. See Intro to plug-ins. Also see Add, replace, reorder, and
remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Echo parameters
• Time control and field: Choose the grid resolution of the delay time in musical
note durations, based on the project tempo. Notes (including dotted note values) are
displayed above the Time knob.
• Double and Halve Time buttons: Double or halve the current delay time.
• Feedback knob and field: Determine how often the delay effect is repeated.
• Color knob and field: Set the harmonic content (color) of the delay signal.
• Dry and Wet controls and fields: Set the amount of original and effect signal.
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Sample Delay in Logic Pro for iPad
Sample Delay is more a utility than an effect—you can use it to delay a channel by sample
or millisecond values.
When used in conjunction with the phase inversion capabilities of the Gain effect,
Sample Delay is useful for correcting timing problems that may occur with multichannel
microphones. It can also be used creatively to emulate stereo microphone channel
separation.
Every sample at a frequency of 44.1 kHz is equivalent to the time taken for a sound wave to
travel 7.76 millimeters. If you delay one channel of a stereo microphone by 13 samples, this
emulates an acoustic (microphone) separation of 10 centimeters.
To add Sample Delay to your project, choose Delay > Sample Delay in the Plug-ins area
or a channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Sample Delay parameters
• Left/Right Delay knobs and fields: Set the number of samples or milliseconds the
incoming signal is delayed by.
• Link Left & Right button: Turn on to make corresponding parameter adjustments
for both channels. Adjusting one channel value adjusts the other. Relative values are
maintained.
Note: Link mode can be automatically disabled when you choose a new routing or
setting. Re-enable, if required.
• Unit buttons: Choose Samples or ms to change the appearance and behavior of Delay
knob and field values.
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Stereo Delay in Logic Pro for iPad
Stereo Delay lets you set the Delay, Feedback, and Mix parameters separately for the left
and right channels. The Crossfeed knob (for each stereo side) sets the feedback intensity
level of each signal being routed to the opposite stereo side. You can use Stereo Delay on
mono tracks or busses when you want to create independent delays for the two stereo sides.
Note: If you use Stereo Delay on mono channel strips, the track or bus switches to two
channel operation from the point of insertion—all Audio Effect slots after the chosen slot
are stereo.
To add Stereo Delay to your project, choose Delay > Stereo Delay in the Plug-ins area or
a channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
The parameters for the left and right delays are identical. The following descriptions apply
to both channels. Global and Output Mix parameters are described below the channel
parameters.
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Channel parameters
• Input pop-up menu and field: Choose the input signal for the two stereo sides. Options
include Off, Left, Right, L + R, and L − R.
• Note pop-up menu and field: Set the grid resolution for the delay time when the Beat
Sync button is active.
• Deviation field: Set the amount of deviation from the grid.
• Double and Halve Time buttons: Double or halve the current delay time for the channel.
• Sync or Delay Time knob and field: Set the delay time in milliseconds or in note values
when the Beat Sync button is turned on. Note (including dotted note) values are
displayed in the Note pop-up menu field when Stereo Delay is synchronized with the
project tempo.
Note: Choosing note or dotted values with the Sync Time knob resets the Deviation
parameter value. Choose a value from the Note pop-up menu to retain the current
Deviation value.
• Low/High Cut sliders and fields: Cut frequencies below the Low Cut value and above the
High Cut value from the effect signal.
• Feedback knob and field: Set the amount of feedback for the left and right delay
signals.
• Feedback Phase buttons: Choose a normal or inverted phase of the corresponding
channel feedback signal.
• Crossfeed L->R (R->L) knob and field: Transfer the feedback signal of the left channel
to the right channel, and vice versa.
• Crossfeed L->R (R->L) Phase buttons: Choose a normal or inverted phase of the
crossfed feedback signals.
Global and Output Mix parameters
• Routing Preset pop-up menu: Choose the internal signal routing. Options include:
Rotate L/R, Pan L/R, Ping Pong L/R, 10/90, 90/10, Straight, and Customized.
• Beat Sync button: Synchronize delay repeats with the project tempo. Set note values
with the Note pop-up menu or Sync Time knob.
• Stereo Link button: Turn on to make corresponding parameter adjustments for both
channels. Adjusting one channel value adjusts the other. Relative values are maintained.
Note: Stereo Link mode can be automatically disabled when you choose a new routing
or setting. Re-enable, if required.
• Output Mix sliders and fields: Independently control the level of the left and right
channel signals.
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Tape Delay in Logic Pro for iPad
Tape Delay simulates the sound of vintage tape echo machines. It can run at a free rate or
can be synchronized with the project tempo. The effect is equipped with a highpass and
lowpass filter in the feedback loop, making it easy to create authentic dub echo effects.
Tape Delay also includes an LFO for delay time modulation. This can be used to produce
chorus effects, even on long delays.
To add Tape Delay to your project, choose Delay > Tape Delay in the Plug-ins area or a
channel strip Audio Effect plug-in menu. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Delay parameters
• Tempo Sync button: Synchronize delay repeats with the project tempo (including tempo
changes). The current tempo is shown in the field below the button. Set note values
with the Note pop-up menu or Delay Time knob.
• Note pop-up menu and field: Set the grid resolution for the delay time.
• Deviation field: Set the amount of deviation from the project timing grid.
• Double and Halve Time buttons: Double or halve the current delay time.
• Sync or Delay Time knob and field: Set the delay time in milliseconds or in note values
when the Sync To Tempo button is turned on. Note (including dotted note) values are
displayed in the Note pop-up menu field when synchronized with the project tempo.
Note: Choosing note or dotted note values resets the Deviation parameter value.
Choose a value from the Note pop-up menu to retain the current Deviation value.
• Smoothing slider and field: Even out the LFO and flutter effect. See LFO and Flutter
parameters.
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Character parameters
• Clip Threshold knob and field: Set the level of the distorted tape saturation signal.
Higher values produce no additional audible distortion. Lower values result in an
aggressive distortion. This behavior is influenced by high Feedback values which result
in eventual distortion, irrespective of the Clip Threshold value. You can achieve more
aggressive distortion and signal breakup when you combine high Feedback and low Clip
Threshold values.
• Stereo Spread knob and field: Set the width of the effect signal in stereo instances. This
parameter is not available in mono instances.
• Tape Head Mode buttons: Choose Clean or Diffuse mode to emulate a different tape
head position. This affects the behavior of other parameters, such as Flutter and
Feedback.
• Low/High Cut sliders and fields: You can cut frequencies below the Low Cut value
and above the High Cut value to shape the sound of delay repeats. The highpass and
lowpass filters are located in the feedback circuit, which means that the filtering effect
increases in intensity with each delay repeat. If you want an increasingly muddy and
confused tone, drag the High Cut slider upward. For ever thinner echoes, drag the Low
Cut slider upward. If you can’t hear the effect, check the Dry and Wet controls and the
filter settings.
Feedback, Modulation, and Output parameters
• Feedback knob and field: Set the amount of delayed and filtered signal that is routed
back to the input. Set to the lowest possible value to generate a single echo. Set to
100% to endlessly repeat the signal. The levels of the original signal and echo repeats
tend to accumulate and may cause distortion. Use the Clip Threshold, Spread, Head
Mode, and filter parameters to change the color of these overdriven signals.
• Freeze button: Capture current delay repeats and sustain them until turned off.
• LFO Rate knob and field: Set the speed of the LFO.
• LFO Intensity knob and field: Set the amount of LFO modulation. A value of 0% turns off
delay modulation.
• Flutter Rate/Intensity knobs and fields: Simulate the speed irregularities of tape
transports used in analog tape delay units.
• Flutter Rate knob: Set the speed variation.
• Flutter Intensity knob: Set the intensity of the “flutter” effect.
• Dry/Wet controls and fields: Independently control the amount of original and effect
signal.
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Distortion effects
Distortion effects in Logic Pro for iPad
Distortion effects simulate the distortion created by vacuum tubes, transistors, or digital
circuits.
Vacuum tubes were used in audio amplifiers before the development of digital audio
technology. They are still used in musical instrument amplifiers today. When overdriven,
tubes produce a musically pleasing distortion that has become a familiar part of the sound
of rock and pop music. Analog tube distortion adds a distinctive warmth and bite to the
signal.
There are also distortion effects that intentionally cause clipping and digital distortion of
the signal. These can be used to modify any type of track to produce an intense, unnatural
tone, or to create sound effects.
Distortion effects include parameters for tone, which let you shape the way the distortion
alters the signal (often as a frequency-based filter), and for gain, which let you control how
much the distortion alters the output level of the signal.
WARNING: When set to high output levels, distortion effects can damage your hearing.
When you adjust effect settings, it is recommended that you lower the output level of the
track, and raise the level gradually.
Included are Bitcrusher, Clip Distortion, Distortion, Distortion II, Overdrive, and Phase
Distortion. You’ll also find some great guitar pedal distortion effects. See Amps and pedals.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Bitcrusher in Logic Pro for iPad
Bitcrusher is a low-resolution digital distortion effect. You can use it to emulate the sound
of early digital audio devices, to create artificial aliasing by dividing the sample rate, or to
distort signals until they are unrecognizable.
To add Bitcrusher to your project, choose Distortion > Bitcrusher in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Bitcrusher parameters
• Drive knob and field: Set the amount of gain applied to the input signal.
Note: Raising the Drive level also tends to increase the amount of clipping at the effect
output.
• Clip Level knob and field: Set the point (below the clipping threshold of the track
channel) at which the signal starts clipping.
• Clip Mode buttons: Set the distortion mode to Clip, Wrap, or Fold. Signal peaks that
exceed the clip level are processed.
Note: The Clip Level parameter has a significant impact on the behavior of all three
modes. Try each mode and adjust the Clip Level value to get a feel for how this works.
• Clip: Enable to cause an abrupt distortion when the clipping threshold is exceeded.
• Wrap: Set a moderately severe distortion by offsetting the start, mid, and end levels
of the signal above the threshold. This parameter smooths signal levels when they
cross the threshold. The center portion of the clipped signal is softer than in Clip
mode.
• Fold: Set a softer distortion by halving the level of the center portion of the signal
above the threshold. The start and end levels of the clipped signal are unchanged.
• Resolution knob and field: Set the bit rate (between 1 and 24 bits) to alter the
calculation precision of the process. Lower values increase the number of sampling
errors, generating more distortion. At extremely low bit rates, the amount of distortion
can be greater than the level of the usable signal.
• Downsampling knob and field: Reduce the sample rate. A value of 1x has no effect
on the signal, a value of 2x halves the sample rate, and a value of 10x reduces the
sample rate to one-tenth of the original. For example, if you set Downsampling to 10x, a
44.1 kHz signal is sampled at just 4.41 kHz.
Note: Downsampling has no impact on the playback speed or pitch of the signal.
• Mix slider and field: Set the balance between the dry and crushed signal.
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Clip Distortion in Logic Pro for iPad
Clip Distortion is a nonlinear distortion effect that produces unpredictable harmonic
spectra. It can simulate warm, overdriven tube sounds and can also generate heavy
distortions.
Clip Distortion has an unusual combination of serially connected filters. The incoming
signal is amplified by the Clip Drive knob value, passes through a highpass filter, then is
subjected to nonlinear distortion. Following the distortion, the signal passes through a
lowpass filter. The effect signal is then recombined with the original signal, and this mixed
signal is sent through a further lowpass filter. All three filters have a slope of 6 dB/octave.
This unique combination of filters allows for gaps in the frequency spectra that can sound
good with this sort of nonlinear distortion.
To add Clip Distortion to your project, choose Distortion > Clip Distortion in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Clip Distortion parameters
• Input Gain slider and field: Set the amount of gain applied to the plug-in input signal.
This behaves like a preamplifier for the Drive parameter.
• Clip Drive knob and field: Set the amount of additional gain (distortion) applied
to the input signal. After being amplified by Clip Drive, the signal passes through a
highpass filter.
• Clip Symmetry knob and field: Set the amount of nonlinear (asymmetrical) distortion
applied to the signal.
• Clip Tone slider and field: Set the cutoff frequency (in hertz) of the highpass filter.
• Clip Filter slider and field: Set the cutoff frequency (in hertz) of the first lowpass filter.
• Mix slider and field: Set the ratio between the effect (wet) signal and original (dry)
signals, following the clip filter.
• LP Filter knob and field: Set the cutoff frequency (in hertz) of the lowpass filter. This
processes the mixed signal.
• Hi Shelf Freq knob and field: Set the frequency (in hertz) of the high shelving filter. If
you set the High Shelving Frequency to around 12 kHz, you can use it like the treble
control on a mixer channel strip or a stereo hi-fi amplifier. Unlike these types of treble
controls, however, you can boost or cut the signal by up to ±30 dB with the Hi Shelving
Gain parameter.
• Hi Shelf Gain knob and field: Set the amount of gain applied to the output of signals
above the high shelving filter frequency.
• Output Gain slider and field: Set the amount of gain applied to the plug-in output signal.
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Distortion effect in Logic Pro for iPad
The Distortion effect simulates the low fidelity distortion generated by a bipolar transistor.
You can use it to simulate playing a musical instrument through a highly overdriven
amplifier or to create unique distorted sounds.
To add Distortion to your project, choose Distortion > Distortion in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Distortion parameters
• Drive knob and field: Set the amount of saturation applied to the signal.
• Tone knob and field: Set the frequency for the high cut filter. Filtering the
harmonically rich distorted signal produces a softer tone.
• Output knob and field: Set the output level.
• Level Compensation button: Turn on to reference the overall processing of the signal to
0 dB. This compensates for increases in loudness caused by adding distortion.
Distortion II in Logic Pro for iPad
Distortion II emulates the distortion circuit of a Hammond B3 organ. You can use it on
musical instruments to recreate this classic effect or can use it creatively when designing
new sounds.
To add Distortion II to your project, choose Distortion > Distortion II in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Distortion II parameters
• Pre Gain knob and field: Set the amount of gain applied to the input signal.
• Drive knob and field: Set the amount of saturation applied to the signal.
• Tone knob and field: Boosts the integrated high shelf filter gain both pre- and post-
distortion, which results in a different tone.
• Distortion Type pop-up menu: Choose the type of distortion.
• Growl: Emulates a two-stage tube amplifier similar to the type found in a Leslie 122
speaker cabinet, which is often used with the Hammond B3 organ.
• Bity: Emulates the sound of a bluesy (overdriven) guitar amp.
• Nasty: Produces hard distortion, suitable for creating very aggressive sounds.
• Class AB soft: Emulates a softer crossover distortion encountered in transistorized
amplifiers when driving a higher load.
• Class AB hard: Emulates a harder crossover distortion encountered in transistorized
amplifiers when driving a higher load.
Crossover, in this case, refers to a switching between two matched transistors. In
Class AB designs, both transistors remain on at all times, reducing the effect of hard
switching between them.
• Level slider and field: Set the amount of gain applied to the plug-in output stage.
• Mix knob and field: Set the ratio between the effect (wet) signal and original (dry)
signals, following the clip filter.
Overdrive in Logic Pro for iPad
Overdrive emulates the distortion produced by a field effect transistor (FET), commonly
used in solid-state musical instrument amplifiers and hardware effects devices. When
saturated, FETs generate a warmer-sounding distortion than bipolar transistors, such as
those emulated by the Distortion effect.
To add Overdrive to your project, choose Distortion > Overdrive in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Overdrive parameters
• Drive knob and field: Set the saturation amount for the simulated FET transistor.
• Tone knob and field: Set the frequency of the high cut filter. Filtering the
harmonically rich distorted signal produces a softer tone.
• Output knob and field: Set the output level.
• Level Compensation button: Turn on to reference the overall processing of the signal to
0 dB. This compensates for increases in loudness caused by using overdrive.
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Phase Distortion in Logic Pro for iPad
The Phase Distortion effect is based on a modulated delay line, similar to a chorus or
flanger effect (see Modulation effects). Unlike these effects, however, the delay time is
not modulated by a low frequency oscillator (LFO) but rather by a lowpass-filtered version
of the input signal itself, using an internal side chain. This means that the incoming signal
modulates its own phase position.
The input signal only passes the delay line and is not affected by any other process. The
Mix parameter blends the effect signal with the original signal.
To add Phase Distortion to your project, choose Distortion > Phase Distortion in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Phase Distortion parameters
• Cutoff knob and field: Set the (center) cutoff frequency of the lowpass filter.
• Resonance knob and field: Emphasize frequencies surrounding the cutoff frequency.
• Monitor button: Turn on to hear the input signal in isolation. Turn off to hear the mixed
signal.
• Intensity knob and field: Set the amount of modulation applied to the signal.
• Delay knob and field: Set the maximum delay time.
• Phase Reverse button: Turn on to reduce the delay time on the right channel when
input signals that exceed the cutoff frequency are received. Available only for stereo
instances of the Phase Distortion effect.
• Mix slider and field: Set the percentage of the effect signal mixed with the original
signal.
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Dynamics processors
Dynamics processors in Logic Pro for iPad
Dynamics processors control the perceived loudness of your audio, add focus and punch to
tracks and projects, and optimize the sound for playback in different situations.
The dynamic range of an audio signal is the range between the softest and loudest parts of
the signal—technically, between the lowest and highest amplitudes. Dynamics processors
enable you to adjust the dynamic range of individual audio files, tracks, or an overall
project. This can be to increase the perceived loudness or to highlight the most important
sounds, while ensuring that softer sounds are not lost in the mix. Several dynamics
processors provide a Side Chain input.
There are four types of dynamics processors. These are each used for different audio
processing tasks. Also included is the unique Enveloper which doesn’t fit any single category.
• Compressors: Downward compressors behave like an automatic volume control,
lowering the volume whenever it rises above a certain level, called the threshold.
By reducing the highest parts of the signal, called peaks, a compressor raises the
overall level of the signal, increasing the perceived volume. This gives the signal more
focus by making the louder (foreground) parts stand out, while keeping the softer
background parts from becoming inaudible. Compression also tends to make sounds
tighter or punchier because transients are emphasized, depending on attack and
release settings, and because the maximum volume is reached more swiftly.
In addition, compression can make a project sound better when played back in different
audio environments. For example, the speakers of a television or in a car typically have
a narrower dynamic range than the sound system in a cinema. Compressing the overall
mix can help make the sound fuller and clearer in lower-fidelity playback situations.
Compressors are typically used on vocal tracks to make the singing prominent in an
overall mix. They are also commonly used on music and sound effect tracks, but they
are rarely used on ambience tracks. See Compressor and DeEsser 2.
Some compressors—multiband compressors—can divide the incoming signal into
different frequency bands and apply different compression settings to each band.
This helps to achieve the maximum level without introducing compression artifacts.
Multiband compression is typically used on an overall mix. See Multipressor.
• Expanders: Expanders are similar to compressors, except that they raise, rather than
lower, the signal when it exceeds the threshold. Expanders are used to add life to audio
signals. See Expander.
• Limiters: Limiters (also called peak limiters) work in a similar way to compressors in that
they reduce the audio signal when it exceeds a set threshold. The difference is that
whereas a compressor gradually lowers signal levels that exceed the threshold, a limiter
quickly reduces any signal that is louder than the threshold to the threshold level. The
main use of a limiter is to prevent clipping while preserving the maximum overall signal
level. See Adaptive Limiter and Limiter.
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• Noise gates: Noise gates alter the signal in a way that is opposite to that used by
compressors or limiters. Whereas a compressor lowers the level when the signal is
louder than the threshold, a noise gate lowers the signal level whenever it falls below
the threshold. Louder sounds pass through unchanged, but softer sounds, such as
ambient noise or the decay of a sustained instrument, are cut off. Noise gates are often
used to eliminate low-level noise or hum from an audio signal. See Noise Gate.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Adaptive Limiter in Logic Pro for iPad
Adaptive Limiter is a versatile tool for controlling the perceived loudness of sounds. It
works by rounding and smoothing peaks in the signal, producing an effect similar to an
analog amplifier being driven hard. Like an amplifier, it can slightly color the sound of
the signal. You can use Adaptive Limiter to achieve maximum gain, without introducing
unwanted distortion and clipping, which can occur when the signal exceeds 0 dBFS.
Adaptive Limiter is typically used on the final mix, where it can be placed after a
compressor, such as Multipressor, and before a final gain control, resulting in a mix of
maximum loudness. Adaptive Limiter can produce a louder-sounding mix than can be
achieved by normalizing the signal.
To add Adaptive Limiter to your project, choose Dynamics > Adaptive Limiter in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Note: Adaptive Limiter adds latency when the Lookahead parameter is active. The effect
is most commonly used for mixing and mastering previously recorded tracks, not while
recording. You should bypass Adaptive Limiter while recording.
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Adaptive Limiter parameters
• Input meters: Show input levels in real time. The Margin field shows the peak input level.
• Reduction meter: Show the amount of gain reduction. The Margin field shows the
peak reduction level.
• Output meters: Show output levels of the limited signal. The Margin field shows the
peak output level.
• Gain knob and field: Set the amount of gain after input scaling.
• Out Ceiling knob and field: Set the maximum output level, or ceiling. The signal does
not rise above this.
• TP Detection button: Turn on to detect inter-sample peaks (true peaks) in the signal.
• Remove DC button: Turn on to activate a highpass filter that removes direct current
(DC) from the signal. DC can be introduced by lower-quality audio hardware.
• Lookahead knob and field: Set the playback buffer size (how far in the future the file is
analyzed for peaks). Also see the Optimal Lookahead parameter. Values lower than the
optimal buffer size are indicated in red.
• Apply Lookahead button and field: Use the Apply Lookahead button to set the optimal
playback buffer size. This changes the value shown in the Lookahead field.
Note: The Optimal Lookahead value is automatically determined and cannot be changed
directly.
Compressor
Compressor in Logic Pro for iPad
Compressor emulates the sound and response of several professional-level compressors. It
tightens up your audio by reducing sounds that exceed a certain threshold level, smoothing
out the dynamics and increasing the overall volume—the perceived loudness. Compression
helps bring the key parts of a track or mix into focus, while preventing softer parts from
becoming inaudible. It is probably the most versatile and widely used sound-shaping tool in
mixing, next to EQ.
You can use Compressor with individual tracks, including vocal, instrumental, and effects
tracks, as well as on the overall mix. Usually you insert Compressor directly into a channel
strip, but it can be used on aux channels or elsewhere in the signal path.
To add Compressor to your project, choose Dynamics > Compressor in a channel strip
Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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The interface is divided into two main areas:
• Main parameters: The bulk of the interface contains the meters and Threshold, Ratio,
Knee, Attack, and other controls. See Compressor main parameters.
• Output and Side Chain parameters: The lower portion of the interface is shared by two
discrete groups of parameters. See Compressor output parameters and Compressor
side chain parameters.
Compressor main parameters in Logic Pro for iPad
The upper portion of Compressor contains core parameters you use to choose the type of
compressor circuit and where you can adjust the main settings.
Note: Not all parameters listed are available in each Compressor model.
Compressor parameters
• Circuit Type buttons: Choose the type of circuit emulated by Compressor. The interface
updates when you choose a model. The choices are Platinum Digital, Studio VCA, Studio
FET, Classic VCA, and Vintage VCA, FET, and Opto models.
• Platinum Digital: A clean-sounding compression type with a fast transient response.
It can be used on a variety of sources.
• FET models: Field Effect Transistor compressors are known for fast transient
responses. They can deliver a clean or tone (notably midrange), and can be pushed
toward a “crunchy” tone on transients. Ideal for drums, vocals, guitars, and other
signals with a fast attack phase. FET compressors can only attenuate the signal.
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• VCA models: Voltage Controlled Amplifier compressors can respond slowly or
quickly to incoming transients. They tend towards a clean tone and are well-suited
for bass guitars and low-frequency signals. VCA compressors can attenuate or
amplify the signal.
• Opto: Optical compressors are known for their fast transient response and non-linear
release handling. They are very clean and are ideal for vocals and guitars. They are
also often used as limiting amplifiers across buses or outputs.
• Input Gain knob and field: Set the level at the compressor input.
• Input meter: Displays the level at the compressor input in decibels.
• Reduction meter: Shows the compression amount in decibels.
• Output meter: Displays the level at the compressor output in decibels.
• Threshold knob and field: Set the threshold level—signals above this threshold value
are reduced in level.
• Ratio knob and field: Set the compression ratio—the ratio of signal reduction when the
threshold is exceeded.
• Auto Gain buttons: The Off button disables autogain. The 0 dB and -12 dB buttons
compensate for volume reductions caused by compression.
• Make Up slider and field: Set the amount of gain applied to the compressed signal.
• Knee knob and field: Set the strength of compression at levels close to the threshold.
Lower values result in more severe or immediate compression (hard knee). Higher
values result in gentler compression (soft knee).
• Attack knob and field: Set the time it takes for Compressor to react when the signal
exceeds the threshold.
• Release knob and field: Set the time it takes for Compressor to stop reducing
the signal after the signal level falls below the threshold. This parameter works in
conjunction with the Auto Release function when active.
• Auto Release button: Make the release time dynamically adjust to the audio material.
The behavior of the auto release function (and compression results) change when
different Release knob values are used.
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Compressor output parameters in Logic Pro for iPad
Compressor output parameters are shown in the lower portion of the plug-in.
Compressor output parameters
• Limiter On/Off button: Turn the integrated limiter on or off. Limiting prevents the output
of Compressor from exceeding the threshold value.
• Threshold knob and field: Set the threshold level for the limiter.
• Mix knob and field: Set the balance between dry (source) and wet (effect) signals. This
enables you to either reduce signal peaks (dry), or to increase the level of softer signals
(wet).
• Output Gain knob and field: Set the overall level of the compressor output.
• Distortion buttons: Choose whether to apply clipping above 0 dB, and the type of
clipping. Soft, Hard, and Clip reduce the signal around the 0 dB line in different ways,
resulting in a smoothed or squared off distortion of the signal peaks. Experiment with
these options
• Off: Disable all clipping.
• Soft: Rounds off the signal as it approaches the 0 dB level, reducing the overall
signal, rather than abruptly limiting amplitude.
• Hard Emulates a transistor effect that abruptly limits amplitude above 0 dB.
• Clip: Limits amplitude at the 0 dB mark, but can be more punchy than the Hard
setting, depending on the input material.
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Compressor side chain parameters in Logic Pro for iPad
The side chain parameters allow you to use the signal from another channel or bus to
control Compressor.
You should note that side chain parameters are active even if no external side chain source
is selected. As with hardware VCA compressors, the (compressor) audio input is “normal-
ed” as a side chain source when no external side chain signal is patched.
Note: Not all parameters listed are available in each Compressor model.
Compressor side chain parameters
• Side Chain Detection buttons: Choose the way stereo side chain signals are handled at
the side chain input.
• Max button: Turn on to compress both channels if either stereo channel exceeds or
falls below the threshold.
• Sum button: When enabled, the combined level of both channels must exceed the
threshold before compression occurs.
• Peak/RMS buttons: Use in conjunction with the Max and Sum buttons. Choose Peak or
RMS to determine whether signal peaks or a signal average is used for detection. These
can help with avoiding artifacts such as clicks in the processed signal, depending on the
type of audio material and parameter settings (notably Attack).
• State buttons: Turn the sidechain filter on or off. Tap Listen to monitor the side chain
signal.
• Filter mode buttons: Choose the type of filter used to process the incoming (or internal)
side chain signal. Filtering the side chain input signal can enhance the precision of
trigger signals, resulting in more surgical compression. The choices are LP (lowpass),
BP (bandpass), HP (highpass), Par EQ (parametric), and Hi Shelf (high shelving).
• Frequency knob and field: Set the center frequency for the side chain filter.
• Q knob and field: Set the width of the frequency band affected by the side chain filter.
• Gain knob and field: Set the side chain filter level when Par EQ or Hi Shelf mode is
active.
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Use Compressor in Logic Pro for iPad
This section explains how to effectively use the main Compressor parameters.
Compressor Threshold and Ratio
The most important Compressor parameters are Threshold and Ratio. The Threshold
parameter sets the floor level in decibels. Signals that exceed this level are reduced by the
amount set per the Ratio.
The Ratio parameter is a percentage of the overall level; the more the signal exceeds the
threshold, the more it is reduced. A ratio of 4:1 means that increasing the input by 4 dB
results in an increase of the output by 1 dB, if above the threshold.
For example, with the Threshold set at −20 dB and the Ratio set to 4:1, a −16 dB peak in
the signal (4 dB louder than the threshold) is reduced by 3 dB, resulting in an output level
of −19 dB.
Compressor envelope times
The Attack and Release parameters shape the dynamic response of Compressor. The
Attack parameter determines the time it takes after the signal exceeds the threshold level
before Compressor starts reducing the signal.
Many sounds, including voices and musical instruments, rely on the initial attack phase
to define the core timbre and characteristic of the sound. When compressing these types
of sounds, set higher Attack values to make sure that the attack transients of the source
signal aren’t lost or altered.
When attempting to maximize the level of an overall mix, it is best to set the Attack
parameter to a lower value, because higher values often result in no, or minimal,
compression.
The Release parameter determines how quickly the signal is restored to its original level
after it falls below the threshold level. Set a higher Release value to smooth out dynamic
differences in the signal. Set lower Release values if you want to emphasize dynamic
differences.
Important: The results of your settings for the Attack and Release parameters depend not
only on the type of source material but on the compression ratio and threshold settings.
Compressor Knee
The Knee parameter determines whether the signal is slightly, or severely, compressed as
it approaches the threshold level.
Setting a Knee value close to 0 (zero) results in no compression of signal levels that fall
just below the threshold, while levels at the threshold are compressed by the full Ratio
amount. This is known as hard knee compression, which can cause abrupt and often
unwanted transitions as the signal reaches the threshold.
Increasing the Knee parameter value increases the amount of compression as the
signal approaches the threshold, creating a smoother transition. This is called soft knee
compression.
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Other Compressor parameters
As Compressor reduces levels, the overall volume at its output is typically lower than the
input signal. Beyond the Output Gain control, you can adjust the output level with the Make
Up slider.
You can also use the Auto Gain buttons to compensate for the level reduction caused by
compression (choose either 0 dB or −12 dB).
When the Platinum Digital model is chosen, Compressor can analyze the signal using one
of two methods: Peak or root mean square (RMS). While Peak is technically more accurate,
RMS provides a better indication of how people perceive the signal loudness.
Note: If you turn on Auto Gain and RMS simultaneously, the signal may become
oversaturated. If you hear any distortion, turn off Auto Gain and adjust the Make Up slider
until the distortion is inaudible.
Use a side chain with Compressor
Use of a side chain with a compressor is common. The dynamics (level changes) of another
channel strip is used as a control source for compression. For example, the dynamics of a
drum groove can be used to rhythmically change the compression, and therefore dynamics,
of a guitar, synthesizer, or bass part.
The side chain signal is used only as a detector or trigger in this situation. The side chain
source is used to control the compressor, but the audio of the side chain signal is not
actually routed through the compressor.
1. In Logic Pro, insert Compressor into a channel strip.
2. In the plug-in menu bar, choose the channel strip that carries the signal you want to use
as the side chain source from the Side Chain pop-up menu.
3. Choose the Max or Sum analysis method with the Side Chain Detection buttons.
4. Adjust Compressor parameters.
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DeEsser 2 in Logic Pro for iPad
DeEsser 2 is a fast-acting dynamics compressor designed to isolate and attenuate a
particular band of high frequencies in a complex audio signal. It is commonly used on vocal
recordings to reduce unwanted sibilance (harsh s and t sounds) caused by the microphone
positioning, the vocalist’s delivery of the performance, or compression and saturation
effects.
You can use DeEsser 2 on a vocal track to reduce sibilance without affecting other
frequencies on the track. DeEsser 2 attenuates the selected frequency only if it exceeds
a set threshold level, preventing the sound from becoming darker when no sibilance
is present. It has extremely fast attack and release response times for the shortest of
transients, helping the recording retain a natural sound.
To add DeEsser 2 to your project, choose Dynamics > DeEsser 2 in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
DeEsser 2 provides two operating modes—Relative and Absolute—for working with high- or
low-level audio signals. Also included are two filter shapes and range parameters that you
can use to define and control the affected frequency range.
DeEsser 2 parameters
• Detection meter: Displays the level at the DeEsser 2 input.
• Reduction meter: Shows the reduction (sibilance rejection) amount in decibels.
• Threshold knob and field: Set the Threshold, or amplification level, above which gain
reduction of the selected frequency is applied.
• Max Reduction slider and field: Set the maximum amount of dynamic gain reduction
applied to the selected frequency.
• Threshold Mode buttons: Choose Relative or Absolute mode. Relative is highly
responsive and works with both high and low level signals. Absolute works with high
level signals, fulfilling the role of a classic de-esser.
• Relative: In this mode the level of the filtered signal (determined by the Range,
Frequency and Filter settings) is compared with the full bandwidth level of the
incoming signal. The Threshold parameter value determines the amplification level of
the filtered signal (because the level of the filtered signal will always be lower than
the full bandwidth signal). When the amplified, filtered signal level is lower than the
full bandwidth signal, no processing occurs. When the amplified, filtered signal level
is higher than the full bandwidth level, processing takes place.
• Absolute: When the level surpasses the Threshold parameter value, the incoming
signal is processed. Low level signals can only be processed in Absolute mode if the
Threshold parameter is set to a very low value.
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• Range buttons: Set the filter frequency range. Split affects only signals within the set
frequency band. Wide affects the entire frequency range.
• Filter Solo button: Turn on to hear the filtered signal—the split frequency band—in
isolation, when Split is turned on.
• Frequency knob and field: Set the center or maximum frequency of the detection
filter, depending on the chosen filter mode.
• Filter Mode buttons: Choose a lowpass shelving or peak filter shape. To reduce a broad
range of frequencies, choose Shelving. To reduce specific frequencies in a narrow
range, choose Band Stop. The filter is applied before detection.
Use DeEsser 2
Imagine that you need to reduce unwanted sibilance on a vocal track. The following steps
outline how you might do this.
1. In Logic Pro, start playback of the incoming signal. Ideally, this should be soloed (and
cycled, if a shorter phrase).
2. In DeEsser 2, use the Threshold Mode buttons to choose a mode. The default Relative
mode works for most signals.
3. Identify the frequency you want to attenuate. Sibilance in human voices typically occurs
between 5 and 10 kHZ.
Tip: To help identify the frequency you want to attenuate, insert Channel EQ in an
Audio Effect slot before DeEsser 2 and watch the Channel EQ analyzer as the project
plays.
4. Set the frequency you want to reduce with the Frequency knob. You can tap the Filter
Solo button to make the frequency easier to hear and identify.
To set a narrow frequency range, tap the Split button. To set a broader range, tap the
Wide button.
5. Set the Threshold knob to the level at which DeEsser 2 should start to apply reduction.
6. Set the Max Reduction knob to determine the amount of sibilance reduction.
Note: Be prudent with how much reduction you apply. Sibilance is a natural part of
speech and removing too much may make your vocals sound strange.
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Enveloper in Logic Pro for iPad
Enveloper is an unusual processor that lets you shape the attack and release phases of a
signal—the signal transients, in other words. This makes it a unique tool that can be used
to achieve results that differ from other dynamics processors. In contrast to a compressor
or expander, Enveloper operates independently of the absolute level of the input signal, but
this works only if the Threshold slider is set to the lowest possible value.
To add Enveloper to your project, choose Dynamics > Enveloper in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
The most important Enveloper parameters are the two Gain knobs, that govern the Attack
and Release levels of each respective phase.
Boosting the attack phase can add snap to a drum sound, or it can amplify the initial pluck
or pick sound of a stringed instrument. Attenuating the attack causes percussive signals to
fade in more softly. You can also mute the attack, making it virtually inaudible. A creative
use for this effect is alteration of the attack transients to mask poor timing of recorded
instrument parts.
Boosting the release phase also accentuates any reverb applied to the affected channel
strip. Conversely, attenuating the release phase makes reverb-drenched tracks sound
drier. This is particularly useful when you’re working with drum loops, but it has many other
applications as well.
Enveloper parameters
• Threshold control and field: Set the threshold level. Signals that exceed the
threshold have their attack and release phase levels altered. In general, set Threshold
to the minimum value and leave it there. Only when you significantly raise the release
phase level, which also boosts any noise in the original recording, should you raise the
Threshold slider slightly. This limits Enveloper to affecting only the useful part of the
signal.
• Lookahead knob and field: Set the pre-read analysis time for the incoming signal.
The Lookahead knob defines how far into the future of the incoming signal Enveloper
looks, to anticipate upcoming events. You generally do not need to use this feature,
except when processing signals with extremely sensitive transients. If you do raise the
Lookahead value, you may need to adjust the attack time to compensate.
• Attack Time slider and field: Set the time it takes for the signal to increase from the
threshold level to the maximum Gain level. Attack Time values of around 20 ms and
Release Time values of 1500 ms are a good starting point.
• Attack Gain knob and field: Boost or attenuate the attack phase of the signal. When
set to the center position—0%—the signal is unaffected.
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• Release Time slider and field: Set the time it takes for the signal to fall from the
maximum gain level to the threshold level.
• Release Gain knob and field: Boost or attenuate the release phase of the signal.
When set to the center position—0%—the signal is unaffected.
• Out Level knob and field: Set the level of the output signal. Drastic boosting or cutting
of either the release or attack phase may change the overall level of the signal. You can
compensate for this by adjusting the Out Level value.
Expander in Logic Pro for iPad
Expander is similar in concept to a compressor, but increases, rather than reduces, the
dynamic range above the threshold level. You can use Expander to add liveliness and
freshness to your audio signals.
To add Expander to your project, choose Dynamics > Expander in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Expander parameters
• Input meters: Shows the input signal level.
• Expansion meter: Shows the amount of gain (expansion) applied to the signal.
• Output meters: Shows the overall output signal level.
• Threshold knob and field: Set the threshold level. Signals above this level are
expanded.
• Ratio knob and field: Set the expansion ratio—the ratio of signal expansion when the
threshold is exceeded.
Note: Because Expander is a genuine upward expander—in contrast to a downward
expander, which increases the dynamic range below the Threshold—the Ratio knob
features a value range of 1:1 to 0.5:1.
• Peak/RMS buttons: Determine whether the Peak or RMS method is used to analyze the
signal.
• Knee knob and field: Determine the strength of expansion at levels close to the
threshold. Lower values result in more severe or immediate expansion—hard knee.
Higher values result in a gentler expansion—soft knee.
• Attack knob and field: Set the time it takes for Expander to respond to signals that
exceed the threshold level.
• Release knob and field: Set the time it takes for Expander to stop processing the
signal after it falls below the threshold level.
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• Auto Gain button: Turn on to compensate for the level increase caused by expansion.
When Auto Gain is active, the signal sounds softer, even when the peak level remains
the same.
Note: If you dramatically change the dynamics of a signal (with extreme Threshold and
Ratio values), you may need to reduce the Gain slider level to avoid distortion. In most
cases, turning on Auto Gain adjusts the signal appropriately.
• Output Clip buttons: Choose whether to apply clipping above 0 dB, and the type of
clipping. Off disables clip distortion. Soft and Hard change the signal around 0 dB in
different ways, resulting in a smoothed or squared off distortion of signal peaks.
• Gain slider and field: Set the amount of overall gain applied to the signal.
Limiter in Logic Pro for iPad
Limiter works much like a compressor but with one important difference: where a
compressor proportionally reduces the signal when it exceeds the threshold, a limiter
reduces any peak above the threshold to the threshold level, effectively limiting the signal
to this level.
Limiter is used primarily when mastering. Typically, you apply Limiter as the very last
process in the mastering signal chain, where it raises the overall volume of the signal so
that it reaches, but does not exceed, 0 dB.
To add Limiter to your project, choose Dynamics > Limiter in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Limiter is designed in such a way that if set to 0 dB Gain and 0 dB Output Level, it has no
effect on a normalized signal. If the signal clips, Limiter reduces the level before clipping
can occur. Limiter cannot, however, fix audio that is clipped during recording.
Limiter parameters
• Input meters: Show input levels in real time. The Margin field shows the highest input
level. Tap the Margin field to reset it.
• Reduction meter: Shows the amount of limiting in real time.
• Output meters: Show output levels of the limited signal. The Margin field shows the
highest output level. Tap the Margin field to reset it.
• Gain knob and field: Set the amount of gain applied to the input signal.
• Release knob and field: Set the time it takes for Limiter to stop processing, after the
signal falls below the threshold level.
• Output Level slider and field: Set the output level of the signal.
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• Lookahead knob and field: Adjust how far ahead (in milliseconds) Limiter analyzes the
audio signal. This enables it to react earlier to peak volumes by adjusting the amount of
reduction.
Note: Lookahead causes latency, but this has no perceptible effect when you use
Limiter as a mastering effect on prerecorded material. Set it to higher values if you
want the limiting effect to occur before the maximum level is reached, thus creating a
smoother transition.
• Limiter Mode pop-up menu: Choose between Legacy and Precision algorithms. Use
Precision for hard limiting, but be aware that this can introduce distortion artifacts.
When Legacy mode is active the signal is limited only when it reaches the threshold.
The transition to full limiting is nonlinear, producing a softer, less abrupt effect, and
reducing distortion artifacts that can be produced by hard limiting (in Precision mode).
• TP button (Precision mode): Turn on to detect inter-sample peaks (true peaks) in the
signal.
Multipressor
Multipressor in Logic Pro for iPad
Multipressor (an abbreviation for multiband compressor) is a versatile audio mastering
tool. It splits the incoming signal into different frequency bands—up to four—and enables
independent compression of each band. After compression is applied, the bands are
combined into a single output signal.
The advantage of compressing different frequency bands separately is that it allows more
compression to be applied to bands that need it, without affecting other bands. This avoids
the “pumping” effect often associated with high amounts of compression.
Because the use of higher compression ratios on specific frequency bands is possible,
Multipressor can achieve a higher average volume without causing audible artifacts.
Raising the overall volume level can result in a corresponding increase in the existing
noise floor. Each frequency band features downward expansion, which lets you reduce or
suppress this noise.
Downward expansion works as a counterpart to compression. Whereas a compressor
compresses the dynamic range of higher volume levels, the downward expander expands
the dynamic range of the lower volume levels. With downward expansion, the signal is
reduced in level when it falls below the threshold level. This works in a similar way to a
noise gate, but rather than abruptly cutting off the sound, it smoothly fades the volume
with an adjustable ratio.
See the Multipressor controls and use tips.
To add Multipressor to your project, choose Dynamics > Multipressor in a channel strip
Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Multipressor controls in Logic Pro for iPad
Multipressor controls for each frequency band are identical.
Frequency band parameters
• Band On/Off button: Turn each band on or off. When enabled, the button is highlighted.
• Gain Reduction field: Shows the amount of level reduction.
• Bypass button: Bypass the selected frequency band.
• Solo button: Turn on to hear compression only for the selected frequency band.
• Xover slider and field: Drag to set the crossover frequency between adjacent bands.
• Comp. Threshold knob and field: Set the compression threshold for the selected band.
Setting the parameter to 0 dB results in no compression of the band. This parameter
can also be set with the upper arrow to the left of each level meter.
• Comp. Ratio knob and field: Set the compression ratio for the selected band. Setting the
parameter to 1:1 results in no compression of the band.
• Attack knob and field: Set the time before compression starts for the selected band,
after the signal exceeds the threshold.
• Release knob and field: Set the time before compression stops on the selected band,
after the signal falls below the threshold.
• Response field: Drag vertically to set a smaller value for shorter (peak) detection or a
larger value for longer (RMS) detection, in milliseconds.
• Make Up slider and field: Drag to set the amount of the gain make-up for each band.
• Exp. Threshold knob and field: Set the expansion threshold for the selected band.
Setting the parameter to its minimum value (−60 dB) means that only signals that fall
below this level are expanded. This parameter can also be set with the lower arrow to
the left of each level meter.
• Exp. Ratio knob and field: Set the expansion ratio for the selected band.
• Reduction slider and field: Set the amount of downward expansion for the selected band.
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Global parameters
Multipressor output parameters are global and affect all frequency bands.
• AutoGain button: Turn on to reference the overall processing of the signal to 0 dB,
making the output louder.
• Lookahead field: Drag to set how far ahead the effect analyzes the incoming signal,
allowing faster reactions to peak volumes.
• Master Gain knob and field: Set the overall amount of gain at the Multipressor
output.
Use Multipressor in Logic Pro for iPad
The Gain Reduction field actually shows the amount of overall gain change—not merely
the gain reduction—as with a standard compressor. The display shows a composite value
consisting of the compression reduction, plus the expander reduction, plus the auto gain
compensation, plus the gain make-up.
The Compression Threshold and Compression Ratio parameters are key to controlling
compression. Usually the most useful combinations of these two settings are a low
Compression Threshold with a low Compression Ratio, or a high Compression Threshold
with a high Compression Ratio.
The Expansion Threshold, Expansion Ratio, and Expansion Reduction parameters are the
key parameters for controlling downward expansion. They determine the strength of the
expansion applied to the chosen range.
Adjusting the Response parameter between Peak (0 ms, minimum value) and RMS (root
mean square −200 ms, maximum value) is dependent on the type of signal you want to
compress. An extremely short detection setting (under 50 ms) is suitable for compression
of short and high peaks of low power, which do not typically occur in music. Using a higher
value of around 200 ms measures the power of the audio material over time and thus works
much more musically. This is because human hearing is more responsive to the overall
power of the signal than to single peaks. As a basic setting for most applications, a value of
100 ms is recommended.
The Master Gain knob sets the overall output level. Set Lookahead to higher values when
the Response parameter is set to higher values (around 200 ms). Turn on Auto Gain to
reference the overall processing to 0 dB, making the output louder.
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Noise Gate
Noise Gate in Logic Pro for iPad
Noise Gate is commonly used to suppress unwanted noise that is audible when the audio
signal is at a low level. You can use it to remove background noise, crosstalk from other
signal sources, and low-level hum.
Noise Gate works by allowing signals above the threshold level to pass unimpeded, while
reducing signals below the threshold level. This effectively removes lower-level parts of the
signal, while allowing the desired parts of the audio to pass.
In Ducker mode, the source signal is reduced in level. Ducking is a common technique
used in radio and television broadcasting. When the DJ or announcer speaks while music
is playing, the music level is automatically reduced. When the announcement has finished,
the music is automatically raised to its original volume level.
To add Noise Gate to your project, choose Dynamics > Noise Gate in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Noise Gate parameters
• Threshold knob and field: Set the threshold level. Signals that fall below the
threshold are reduced in level.
• Hysteresis knob and field: Set the difference (in decibels) between the threshold values
that open and close the gate. This prevents the gate from rapidly opening and closing
when the input signal level is close to the threshold level.
• Mode buttons: Set the operating mode: Gate or Ducker. See Use Noise Gate.
• Reduction knob and field: Set the amount of signal reduction.
• Activity indicators: Show current gate state.
• Attack knob and field: Set the time it takes to fully open the gate after the signal
exceeds the threshold.
• Hold knob and field: Set the time the gate remains open after the signal falls below the
threshold.
• Release knob and field: Set the time it takes to reach maximum attenuation after the
signal falls below the threshold.
• Lookahead knob and field: Control how far ahead Noise Gate analyzes the incoming
signal, allowing the effect to respond more quickly to peak levels.
• Key Filter button: Turn on to enable the sidechain filter, allowing you to adjust the Low
Cutoff and High Cutoff parameters.
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• Monitor button: Turn on to hear the side chain signal, including the effect of the
Low Cut and High Cut filters (if enabled).
• Low Cutoff knob and field: Set the lower cutoff frequency for the side chain signal.
Note: When no external side chain is selected, the input signal is used as the side chain
control signal.
• High Cutoff knob and field: Set the upper cutoff frequency for the side chain signal.
• Characteristics buttons: Choose a Bandpass or Band Reject filter type.
Use Noise Gate in Logic Pro for iPad
Set the Reduction knob to the lowest possible value to make sure that sounds below the
Threshold value are completely suppressed. Set to a higher value to reduce low-level
sounds but still allow them to pass. You can also use the Reduction knob to boost the
signal by up to 20 dB, which is useful for ducking effects.
The Attack, Hold, and Release knobs modify the dynamic response of Noise Gate. If you
want the gate to open extremely quickly for percussive signals such as drums, set the
Attack knob to a lower value. For sounds with a slow attack phase, such as string pads, set
Attack to a higher value. Similarly, when working with signals that fade out gradually or that
have longer reverb tails, set a higher Release knob value that allows the signal to fade out
naturally.
The Hold knob determines the minimum amount of time that the gate stays open. You can
use the Hold knob to prevent abrupt level changes—known as chattering—caused by rapid
opening or closing of the gate.
The Hysteresis knob provides another option for preventing chattering, without needing
to define a minimum Hold time. Use it to set the range between the threshold values that
open and close the gate. This is useful when the signal level hovers around the Threshold
level, causing Noise Gate to switch on and off repeatedly, thus producing the undesirable
chattering effect. The Hysteresis knob essentially sets the gate to open at the Threshold
level and remain open until the level drops below another—lower—level. As long as the
difference between these two values is large enough to accommodate the fluctuating level
of the incoming signal, Noise Gate can function without creating chatter. This value is
always negative. Generally, −6 dB is a good place to start.
In some situations, the level of the signal you want to keep and the level of the noise signal
may be close, making it difficult to separate them. For example, when you’re recording a
drum kit and using Noise Gate to isolate the sound of the snare drum, the hi-hat may also
open the gate in many cases. To remedy this, use the side chain controls to isolate the
desired trigger signal with the High Cut and Low Cut filters.
Important: The side chain signal is used only as a detector/trigger in this situation. The
filters are used to isolate particular trigger signals in the side chain source, but they have
no influence on the actual gated signal—the audio being routed through Noise Gate.
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Use the side chain filters
1. In Logic Pro, tap the Monitor button to hear how the High Cut and Low Cut filters affect
the incoming sidechain trigger signal.
2. Drag the High Cutoff knob to set the upper frequency.
Trigger signals above this are filtered.
3. Drag the Low Cutoff knob to set the lower frequency.
Trigger signals below this are filtered.
The filters allow only very high (loud) signal peaks to pass. In a drum kit for example,
you could remove the hi-hat signal, which is higher in frequency, with the High Cut filter
and allow the snare signal to pass. Turn off monitoring to set a suitable Threshold level
more easily.
Use Noise Gate in Ducking mode
1. In Logic Pro, insert Noise Gate into an aux channel strip and tap the Ducker button.
2. Assign all channel strip outputs that you want to “duck” (dynamically lower the volume
of the mix) to a bus—the aux channel strip chosen in step 1.
3. In the Noise Gate plug-in menu bar, choose the bus that carries the ducking (vocal)
signal from the Side Chain pop-up menu.
Note: The ducked side chain is mixed with the output signal after passing through the
plug-in. This ensures that the ducking side chain signal—the voiceover—is heard at the
output.
4. Adjust Noise Gate parameters as required.
Equalizers
Equalizers in Logic Pro for iPad
An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by
changing the level of specific frequency bands.
Equalization is one of the most-used audio processes, both for music projects and in
post-production work for video. You can use EQ to subtly or significantly shape the sound
of an audio file, an instrument, a vocal performance, or a project by adjusting specific
frequencies or frequency ranges.
All EQs are specialized filters that allow certain frequencies to pass through unchanged
while raising (boosting) or lowering (cutting) the level of other frequencies. Some EQs can
be used in a “broad-brush” fashion, to boost or cut a large range of frequencies. Other
EQs, particularly parametric and multiband EQs, can be used for more precise control.
The simplest types of EQs are single-band EQs, which include low cut and high cut,
lowpass and highpass, shelving, and parametric EQs. See Single Band EQ.
Multiband EQs such as Channel EQ or Linear Phase EQ combine several filters in one unit,
enabling you to control a large part of the frequency spectrum. Multiband EQs let you
independently set the frequency, bandwidth, and Q factor of each frequency spectrum
band. This provides extensive and precise tone-shaping of any audio source, be it an
individual audio signal or an entire mix.
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Some EQs, particularly vintage units, are known for the distinctive sonic coloration they
impart on the sound. See Vintage EQ collection.
Other EQs allow you to analyze incoming audio to capture a sonic “fingerprint” which you
can then apply to other audio material. See Match EQ.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Channel EQ
Channel EQ in Logic Pro for iPad
Channel EQ is a versatile multiband EQ. It provides eight color-coded frequency bands,
including lowpass and highpass filters, low and high shelving filters, and four flexible
parametric bands. It also features a Fast Fourier Transform (FFT) Analyzer that shows real
time changes to the frequency curve, allowing you to see which parts of the frequency
spectrum may need adjustment. See Channel EQ parameters.
You can use Channel EQ to shape the sound of individual tracks or audio files or for tone-
shaping on an overall project mix. The Analyzer and graphic controls make it easy to view
and change the audio signal in real time.
Tip: The parameters of Channel EQ and Linear Phase EQ are identical, enabling you to
freely copy settings between them. If you replace a Channel EQ with a Linear Phase EQ (or vice
versa) in the same effect slot, the current settings are automatically transferred to the new EQ.
To add Channel EQ to your project, choose Equalizers > Channel EQ in a channel strip
Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Use the Channel EQ graphic display
The graphic display shows the current curve of each EQ band. The scale is shown in
decibels. The color of each band matches the corresponding button above the display.
Each band (and corresponding Frequency, Gain, and Q field) is highlighted when selected.
Tap a curve line segment, the (center frequency) control point, or anywhere in the space
between the zero line and EQ curve to adjust a band.
Tap the control point to select a band for editing. Once a band is selected, no other band
control point that falls within the active (highlighted) area of the selected band can be
selected.
Tap the graphic display background (outside a highlighted band) to deselect the
selected band.
• Drag anywhere in a selected band to adjust both gain and the center frequency.
• Drag the vertical lines that encompass the selected band to adjust the Q (bandwidth)
only.
• Drag the horizontal line in the selected band to adjust the gain only. If Q-Coupling is
enabled, both the gain and bandwidth are adjusted.
• Drag the intersection of vertical and horizontal lines in the selected band to adjust the
gain and Q simultaneously.
• Drag vertically in the Frequency field of the selected band to adjust the frequency only.
• Drag vertically in the Gain field of the selected band (2 to 6) to adjust the gain only.
• Drag vertically in the Order field of bands 1 or 8 to adjust the filter slope only.
• Drag vertically in the Q field to set the bandwidth of the selected band.
Channel EQ parameters in Logic Pro for iPad
The central area of Channel EQ includes the graphic display and parameters for shaping
each EQ band. The master Gain slider is shown at the right. The Analyzer control is shown
at the lower left.
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Channel EQ parameters
• Band 1 On/Off button: Switch on a high pass filter. Only frequencies above the set
frequency value are allowed to pass.
• Band 1 background or control point: Drag the red control point to change the
frequency and order (filter slope) values.
• Band 1 vertical/horizontal line: Drag vertically to change the slope.
Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to
6 decibels per octave. When the Q parameter is set to an extremely high value, such
as 100, these filters affect only a very narrow frequency band.
• Band 2 On/Off button: Switch on a low shelving filter that cuts or boosts frequencies
below the set frequency.
• Band 2 background or control point: Drag the orange shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the
band.
• Band 2 horizontal line: Drag vertically to change the gain value.
• Band 2 vertical line: Drag horizontally to change the Q value.
• Band 2 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 3 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 3 background or control point: Drag the yellow shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the
band.
• Band 3 horizontal line: Drag vertically to change the gain value.
• Band 3 vertical line: Drag horizontally to change the Q value.
• Band 3 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 4 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 4 background or control point: Drag the green shaded area, curve, or control point
to change the frequency and gain values. Tap the control point to select the band.
• Band 4 horizontal line: Drag vertically to change the gain value.
• Band 4 vertical line: Drag horizontally to change the Q value.
• Band 4 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 5 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 5 background or control point: Drag the aqua shaded area, curve, or control point
to change the frequency and gain values. Tap the control point to select the band.
• Band 5 horizontal line: Drag vertically to change the gain value.
• Band 5 vertical line: Drag horizontally to change the Q value.
• Band 5 vertical/horizontal lines: Drag to change both the gain and Q values.
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• Band 6 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 6 background or control point: Drag the blue shaded area, curve, or control point
to change the frequency and gain values. Tap the control point to select the band.
• Band 6 horizontal line: Drag vertically to change the gain value.
• Band 6 vertical line: Drag horizontally to change the Q value.
• Band 6 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 7 On/Off button: Switch on a high shelving filter that cuts or boosts frequencies
above the set frequency.
• Band 7 background or control point: Drag the purple shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the band.
• Band 7 horizontal line: Drag vertically to change the gain value.
• Band 7 vertical line: Drag horizontally to change the Q value.
• Band 7 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 8 On/Off button: Switch on a low pass filter. Only frequencies below the set
frequency value are allowed to pass.
• Band 8 background or control point: Drag the pink control point to change the
frequency and order (filter slope) values.
• Band 8 vertical/horizontal line: Drag vertically to change the slope.
• Scale display: Drag vertically to offset the scaling of the overall EQ curve. Tap and hold
to open a shortcut menu where you can set the EQ dB Scale Mode.
• Analyzer Range display: Drag vertically to offset the scaling of the Analyzer range.
• Analyzer button: Turn the Analyzer on or off. Play the audio signal and watch the
graphic display to identify peaks and troughs in the frequency spectrum. See Channel
EQ More menu and Channel EQ Analyzer.
• Frequency field: Drag vertically to set the frequency of the selected band.
• Gain/Slope field: Drag vertically to set the amount of gain for the selected band. For
bands 1 and 8, this changes the slope of the filter.
• Q field: Drag vertically to set the Q factor or resonance of the effected range around the
center frequency in the selected band.
Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to
6 decibels per octave. When the Q parameter is set to an extremely high value, such as
100, these filters affect only a very narrow frequency band.
• Master Gain slider and field: Set the overall output level of the signal. Use it after
boosting or cutting individual frequency bands. Tap and hold the graphic display to
open a shortcut menu where you can choose from the following options:
• Linear 12 dB, 30 dB, and 60 dB mode: Set the scale of the Channel EQ graphic
display to a linear value.
• Warped: Set the Channel EQ graphic display to a logarithmic, non-linear scale.
• Show Master Gain switch: Turn on to view an overlay on the Channel EQ graphic
display which shows the overall EQ curve when adjusted by the Master Gain parameter.
Logic Pro User Guide for iPad 439
Channel EQ More menu in Logic Pro for iPad
The Channel EQ graphic display and the Analyzer provide additional parameters that you
can use to enhance the behavior of Channel EQ.
Tap at the top right of the Channel EQ graphic display to open a menu that contains the
following parameters.
More menu parameters
• Analyzer Position pop-up menu: Set to display the frequency curve before (Pre) or after
(Post) EQ is applied, when Analyzer mode is active.
• Gain Q-Coupling switch: Turn on Gain-Q Coupling to automatically adjust the Q when
you change the gain on any EQ band. This preserves the perceived bandwidth of the
bell curve.
• Oversampling switch: Turn on to enable oversampling.
This setting is useful when you’re EQing near the upper end of the spectrum (5kHz
and higher) and your project sample rate is below 96kHz. Without oversampling, filters
(notably peaking filters) can sound harsh because they become narrower at high
frequencies, and have an asymmetric slope.
• Channel Mode pop-up menu: Choose to process both sides of a stereo signal, or
the Left Only, Right Only, Mid Only, or Side Only signal. See Channel EQ use tips for
information on using Channel EQ with Mid-Side recordings.
Channel EQ use tips in Logic Pro for iPad
The way you use Channel EQ depends on the audio material and your intended outcome.
A useful workflow for many situations is as follows: Set the Channel EQ to a flat response
(no frequencies boosted or cut), turn on the Analyzer, and play the audio signal. Watch
the graphic display to see which parts of the frequency spectrum have frequent peaks and
which parts of the spectrum stay at a low level. Pay attention to sections where the signal
distorts or clips. Use the graphic display or parameter controls to adjust the frequency
bands.
You can reduce or eliminate unwanted frequencies, and you can raise quieter frequencies
to make them more pronounced. You can adjust the center frequencies of bands 2 through
7 to affect a specific frequency—either one you want to emphasize, such as the root
note of the music, or one you want to eliminate, such as hum or other noise. While doing
so, change the Q parameter or parameters so that only a narrow range of frequencies is
affected, or widen it to alter a broader frequency area.
Logic Pro User Guide for iPad 440
You can offset the decibel scale of the graphic display by vertically dragging either the left
or right edge of the dB scale when the Analyzer is not active. When the Analyzer is active,
dragging the left edge adjusts the Analyzer dB scale, and dragging the right edge adjusts
the linear dB scale.
Process Mid-Side recordings with Channel EQ
Mid-Side routing effectively splits a stereo signal into separate stereo and mono signals.
This allows discrete processing of each signal. See Stereo miking techniques for a
description of Mid-Side (MS) recordings.
1. In Logic Pro, insert a Channel EQ instance for each mode in the channel strip: one for
Mid, one for Side. You can also choose to insert a third instance for a stereo signal, if an
overall EQ is useful.
2. Tap at the top right of the Channel EQ graphic display and choose a Channel Mode:
• Mid Only: You hear only the sound of identical signals in each side, such as lead
vocals, and mono signals, such as bass or guitar parts.
• Side Only: You hear only the sound of the different signals in each side, such as
reverbs or backing vocals.
3. Turn on the Analyzer if required. See Channel EQ Analyzer.
4. Adjust the frequency parameters of the Channel EQ instance running in Side mode.
One typical use would be to reduce the low frequencies and perhaps boost the upper
frequencies. This cleans up the bottom end and enhances stereo effects present in the
signal.
5. Adjust the frequency parameters of the Channel EQ instance running in Mid mode.
Often used to boost or sculpt the low frequencies of signals such as bass.
Logic Pro User Guide for iPad 441
Channel EQ Analyzer in Logic Pro for iPad
The Analyzer uses a mathematical process called a Fast Fourier Transform (FFT) to provide
a real-time curve of all frequency components in the incoming signal. This is superimposed
over any EQ curves you have set. The Analyzer curve uses the same scale as the
EQ curves, making it easy to recognize important frequencies in the incoming audio. This
also simplifies the task of setting EQ curves to raise or lower the levels of frequencies and
frequency ranges.
The bands derived from FFT analysis are scaled logarithmically—there are more bands in
higher octaves than in lower octaves.
As soon as the Analyzer is activated, you can change the display scaling from the default
dynamic range of 60 dB. Drag vertically on the scale to the right of the graphic display to
set the maximum value to anywhere between +20 dB and −80 dB. The Analyzer display is
always dB-linear. There are additional Analyzer parameters in the Channel EQ More menu.
Here are the steps:
• Tap the Analyzer button, then play the project to view changes to the frequency curve.
This can help you to decide which frequencies to boost or cut.
• While the project plays, a real time frequency curve for the track appears in the EQ
display (when the Analyzer is set to Post EQ), showing which frequencies are louder or
softer. You can adjust bands in the EQ display while watching changes to the frequency
curve.
Note: Be sure to turn off the Analyzer when you’re not using it. When the EQ is visible,
the Analyzer uses additional processing power.
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Linear Phase EQ
Linear Phase EQ in Logic Pro for iPad
The high-quality Linear Phase EQ effect is similar to Channel EQ, sharing the same
parameters and eight-band layout. See Channel EQ. You can copy settings between them.
If you replace Channel EQ with Linear Phase EQ (or vice versa) in the same effect slot, the
current settings are automatically transferred to the new EQ.
Linear Phase EQ uses a different underlying technology to Channel EQ that preserves the
phase of the audio signal. Phase coherency is always maintained, even when you apply
extreme EQ curves to the sharpest signal transients. This differs from Channel EQ, which
can introduce phase shifts of the signal that can have an audible (and often desirable)
effect on the sound.
A further difference between Channel EQ and Linear Phase EQ is that the latter uses a fixed
amount of CPU resources, regardless of the number of active bands. Linear Phase EQ also
introduces greater amounts of latency.
Note: Use the Linear Phase EQ where phase coherence between tracks is needed, such
as multi microphone recordings. The Linear Phase does not introduce any phase shift to
the signal which can also be beneficial in mastering, but it does impact on the onset of the
transient. This is most evident when using steep cut filters, or high boosts/cuts of narrow
filter bands.
To add Linear Phase EQ to your project, choose Equalizers > Linear Phase EQ in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Logic Pro User Guide for iPad 443
Use the Linear Phase EQ graphic display
The graphic display shows the current curve of each EQ band. The scale is shown in
decibels. The color of each band matches the corresponding button above the display.
Each band (and corresponding Frequency, Gain, and Q field) is highlighted when selected.
Tap a curve line segment, the (center frequency) control point, or anywhere in the space
between the zero line and EQ curve to adjust a band.
Tap the control point to select a band for editing. Once a band is selected, no other band
control point that falls within the active (highlighted) area of the selected band can be
selected.
Tap the graphic display background (outside a highlighted band) to deselect the
selected band.
• Drag anywhere in a selected band to adjust both gain and the center frequency.
• Drag the vertical lines that encompass the selected band to adjust the Q (bandwidth)
only.
• Drag the horizontal line in the selected band to adjust the gain only. If Q-Coupling is
enabled, both the gain and bandwidth are adjusted.
• Drag the intersection of vertical and horizontal lines in the selected band to adjust the
gain and Q simultaneously.
• Drag vertically in the Frequency field of the selected band to adjust the frequency only.
• Drag vertically in the Gain field of the selected band (2 to 6) to adjust the gain only.
• Drag vertically in the Order field of bands 1 or 8 to adjust the filter slope only.
• Drag vertically in the Q field to set the bandwidth of the selected band.
Linear Phase EQ parameters in Logic Pro for iPad
The central area of Linear Phase EQ includes the graphic display and parameters for
shaping each EQ band. The master Gain slider is shown at the right. The Analyzer button is
shown at the lower left.
Logic Pro User Guide for iPad 444
Linear Phase EQ parameters
• Band 1 On/Off button: Switch on a high pass filter. Only frequencies above the set
frequency value are allowed to pass.
• Band 1 background or control point: Drag the red control point to change the
frequency and order (filter slope) values.
• Band 1 vertical/horizontal line: Drag vertically to change the slope.
Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to
6 decibels per octave. When the Q parameter is set to an extremely high value, such
as 100, these filters affect only a very narrow frequency band.
• Band 2 On/Off button: Switch on a low shelving filter that cuts or boosts frequencies
below the set frequency.
• Band 2 background or control point: Drag the orange shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the band.
• Band 2 horizontal line: Drag vertically to change the gain value.
• Band 2 vertical line: Drag horizontally to change the Q value.
• Band 2 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 3 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 3 background or control point: Drag the yellow shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the band.
• Band 3 horizontal line: Drag vertically to change the gain value.
• Band 3 vertical line: Drag horizontally to change the Q value.
• Band 3 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 4 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 4 background or control point: Drag the green shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the
band.
• Band 4 horizontal line: Drag vertically to change the gain value.
• Band 4 vertical line: Drag horizontally to change the Q value.
• Band 4 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 5 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 5 background or control point: Drag the aqua shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the
band.
• Band 5 horizontal line: Drag vertically to change the gain value.
• Band 5 vertical line: Drag horizontally to change the Q value.
• Band 5 vertical/horizontal lines: Drag to change both the gain and Q values.
Logic Pro User Guide for iPad 445
• Band 6 On/Off button: Switch on a parametric filter with three controls. Frequency
sets a center frequency. Q sets the width of the frequency band around the center
frequency. Gain sets the level of the band.
• Band 6 background or control point: Drag the blue shaded area, curve, or control point
to change the frequency and gain values. Tap the control point to select the band.
• Band 6 horizontal line: Drag vertically to change the gain value.
• Band 6 vertical line: Drag horizontally to change the Q value.
• Band 6 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 7 On/Off button: Switch on a high shelving filter that cuts or boosts frequencies
above the set frequency.
• Band 7 background or control point: Drag the purple shaded area, curve, or control
point to change the frequency and gain values. Tap the control point to select the band.
• Band 7 horizontal line: Drag vertically to change the gain value.
• Band 7 vertical line: Drag horizontally to change the Q value.
• Band 7 vertical/horizontal lines: Drag to change both the gain and Q values.
• Band 8 On/Off button: Switch on a low pass filter. Only frequencies below the set
frequency value are allowed to pass.
• Band 8 background or control point: Drag the pink control point to change the
frequency and order (filter slope) value.
• Band 8 vertical/horizontal line: Drag vertically to change the slope.
• Scale display: Drag vertically to offset the scaling of the overall EQ curve. Tap and hold
to open a shortcut menu where you can set the EQ dB Scale Mode.
• Analyzer Range display: Drag vertically to offset the scaling of the Analyzer range. Tap
and hold to open a shortcut menu where you can set the Analyzer Range value.
• Analyzer button: Turn the Analyzer on or off. Play the audio signal and watch the
graphic display to identify peaks and troughs in the frequency spectrum. See Linear
Phase EQ More menu and Use the Linear Phase EQ Analyzer.
• Frequency field: Drag vertically to set the frequency of the selected band.
• Gain/Slope field: Drag vertically to set the amount of gain for the selected band. For
bands 1 and 8, this changes the slope of the filter.
• Q field: Drag vertically to set the Q factor or resonance of the effected range around the
center frequency in the selected band.
Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to
6 decibels per octave. When the Q parameter is set to an extremely high value, such as
100, these filters affect only a very narrow frequency band.
• Master Gain slider and field: Set the overall output level of the signal. Use it after
boosting or cutting individual frequency bands. Tap and hold the graphic display to
open a shortcut menu where you can choose from the following options:
• Linear 12 dB, 30 dB, and 60 dB mode: Set the scale of the Channel EQ graphic
display to a linear value.
• Warped: Set the Linear Phase EQ graphic display to a logarithmic, non-linear scale.
• Visualize Master Gain: Turn on to view an overlay on the Linear Phase EQ graphic
display which shows the overall EQ curve when adjusted by the Master Gain parameter.
Logic Pro User Guide for iPad 446
Linear Phase EQ More menu in Logic Pro for iPad
The Linear Phase EQ graphic display and the Analyzer provide additional parameters that
you can use to enhance the behavior of Linear Phase EQ.
Tap at the top right of the Linear Phase EQ graphic display to open a menu that contains
the following parameters.
More menu parameters
• Analyzer Position pop-up menu: Set to display the frequency curve before (Pre) or after
(Post) EQ is applied, when Analyzer mode is active.
• Gain Q-Coupling switch: Turn on Gain-Q Coupling to automatically adjust the Q when
you change the gain on any EQ band. This preserves the perceived bandwidth of the
bell curve.
• Oversampling switch: Turn on to enable oversampling.
This setting is useful when you’re EQing near the upper end of the spectrum (5kHz
and higher) and your project sample rate is below 96kHz. Without oversampling, filters
(notably peaking filters) can sound harsh because they become narrower at high
frequencies, and have an asymmetric slope.
• Channel Mode pop-up menu: Choose to process both sides of a stereo signal, or the
Left Only, Right Only, Mid Only, or Side Only signal. See Linear Phase EQ use tips for
information about using Linear Phase EQ with Mid-Side recordings.
Linear Phase EQ use tips in Logic Pro for iPad
Linear Phase EQ is typically used as a mastering tool that is inserted into master or output
channel strips. The way you use Linear Phase EQ depends on the audio material and your
intended outcome. A useful workflow for many situations is as follows Set Linear Phase EQ
to a flat response (no frequencies boosted or cut), turn on the Analyzer, then play the
audio signal. Watch the graphic display to see which parts of the frequency spectrum
have frequent peaks and which parts of the spectrum stay at a low level. Pay attention to
sections where the signal distorts or clips. Use the graphic display or parameter controls to
adjust the frequency bands.
You can reduce or eliminate unwanted frequencies and you can raise quieter frequencies to
make them more pronounced. You can adjust the center frequencies of bands 2 through 7
to affect a specific frequency—either one you want to emphasize, such as the root note of
the music, or one you want to eliminate, such as hum or other noise. Use the Q parameter
or parameters so that only a narrow range of frequencies is affected.
Logic Pro User Guide for iPad 447
You can offset the decibel scale of the graphic display by vertically dragging either the left
or right edge of the dB scale when the Analyzer is not active. When the Analyzer is active,
dragging the left edge adjusts the Analyzer dB scale, and dragging the right edge adjusts
the linear dB scale.
Process Mid-Side recordings with Linear Phase EQ
Mid-Side routing effectively splits a stereo signal into separate stereo and mono signals.
This allows discrete processing of each signal. See Stereo miking techniques for a
description of Mid-Side (MS) recordings.
1. In Logic Pro, insert a Linear Phase EQ instance for each mode in the channel strip: one
for Mid, one for Side. You can also choose to insert a third instance for a stereo signal,
if an overall EQ is useful.
2. Tap at the top right of the Linear Phase EQ graphic display and choose a Channel
Mode:
• Mid Only: You hear only the sound of identical signals in each side, such as lead
vocals, and mono signals, such as bass or guitar parts.
• Side Only: You hear only the sound of the different signals in each side, such as
reverbs or backing vocals.
3. Turn on the Analyzer if required. See Use the Linear Phase EQ Analyzer.
4. Adjust the frequency parameters of the Linear Phase EQ instance running in Side mode.
One typical use would be to reduce the low frequencies and perhaps boost the upper
frequencies. This cleans up the bottom end and enhances stereo effects present in the
signal.
5. Adjust the frequency parameters of the Linear Phase EQ instance running in Mid mode.
Often used to boost or sculpt the low frequencies of signals such as bass.
Logic Pro User Guide for iPad 448
Use the Linear Phase EQ Analyzer in Logic Pro for iPad
The Analyzer uses a mathematical process called a Fast Fourier Transform (FFT) to
provide a real-time curve of all frequency components in the incoming signal. This is
superimposed over any EQ curves you have set. The Analyzer curve uses the same scale
as the EQ curves, making it easy to recognize important frequencies in the incoming audio.
This also simplifies the task of setting EQ curves to raise or lower the levels of frequencies
or frequency ranges.
The bands derived from FFT analysis are scaled logarithmically—there are more bands in
higher octaves than in lower octaves.
As soon as the Analyzer is activated, you can change the display scaling from the default
dynamic range of 60 dB. Drag vertically on the scale to the right of the graphic display to
set the maximum value to anywhere between +20 dB and −80 dB. The Analyzer display
is always dB-linear. There are additional Analyzer parameters in the Linear Phase EQ
More menu.
Here are the steps:
• Tap the Analyzer button, then play the project to view changes to the frequency curve.
This can help you to decide which frequencies to boost or cut.
• While the project plays, a real time frequency curve for the track appears in the EQ
display (when the Analyzer is set to Post EQ), showing which frequencies are louder or
softer. You can adjust bands in the EQ display while watching changes to the frequency
curve.
Note: Be sure to turn off the Analyzer when you’re not using it. When the EQ is visible,
the Analyzer uses additional processing power.
Logic Pro User Guide for iPad 449
Match EQ
Match EQ in Logic Pro for iPad
Match EQ allows you to analyze and store the average frequency spectrum of an audio
file as a template. You can apply this template to another audio signal so that it matches
the spectrum of the original file. This is also known as a fingerprint EQ, where one sonic
fingerprint is applied to another signal.
Match EQ lets you acoustically match the tonal quality or overall sound of different songs
you plan to include on an album, for example, or to impart the color of any source recording
to your own projects.
Match EQ is a learning equalizer that analyzes the frequency spectrum of an audio signal
such as an audio file, a channel strip input signal, or a template. The average frequency
spectrum of the source file (the template) and of the current material (this can be the
entire project or individual channel strips within it) is analyzed. These two spectra are then
matched, creating a filter curve. This filter curve adapts the frequency response of the
current material to match that of the template. Before applying the filter curve, you can
modify it by boosting or cutting any number of frequencies or by inverting the curve.
Note: Although Match EQ acoustically matches the frequency curve of two audio signals, it
does not match any dynamic differences between the two signals.
See the Use Match EQ and Match EQ parameters sections.
To add Match EQ to your project, choose Equalizers > Match EQ in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Match EQ parameters in Logic Pro for iPad
Match EQ offers the parameters described in this section.
Logic Pro User Guide for iPad 450
Match EQ parameters
• Current Material Learn button: Start or stop the process of learning the frequency
spectrum of the project you want to match with the source file or input.
• Reference Material Learn button: Start or stop the process of learning the frequency
spectrum of the source file or input.
• Crnt/Ref Actions pop-up menus: Choose and execute commands from either the
Current or Reference Actions pop-up menu.
• Clear Current Material/Reference Spectrum: Clears the Current Material Spectrum or
Reference Spectrum.
• Copy Current/Reference Spectrum: Copies the Current Material Spectrum or
Reference Spectrum to the Clipboard.
• Paste Current/Reference Spectrum: Pastes the Current Material Spectrum or
Reference Spectrum from the Clipboard.
• Match button: Match the frequency spectrum of the current material to that of the
template (source) file.
• Phase pop-up menu: Choose the operational principle of the filter curve.
• Linear: Prevents processing from altering the signal phase, but latency is higher.
• Minimal: Alters the signal phase (slightly), but latency is reduced.
• Minimal, Zero Latency: Adds no latency, but has a higher CPU overhead than the
other options.
• Channel Link knob: Change the way the EQ curve is applied to stereo channels.
• When set to 100%, both channels share a common EQ curve.
• When set to 0%, a separate filter curve is applied for the left and right channel.
• Settings between 0 and 100% blend these values with your filter curve changes for
each channel. This results in a hybrid curve.
Note: The Channel Link parameter is disabled when you use the effect on a mono
channel.
• Smoothing knob and field: Set the amount of smoothing for the filter curve, using a
constant bandwidth set in semitone steps. A value of 0.0 has no impact on the filter
curve. A value of 1.0 means a smoothing bandwidth of one semitone. A value of 4.0
means a smoothing bandwidth of four semitones (a major third). A value of 12.0 means
a smoothing bandwidth of one octave, and so on.
Note: Smoothing has no effect on any manual changes you make to the filter curve.
• Apply Amount slider and field: Determine the impact of the filter curve on the signal.
• Values above 100% magnify the effect.
• Values below 100% reduce it.
• Negative values (−1% to −100%) invert the peaks and troughs in the filter curve.
• A value of 100% has no impact on the filter curve.
• Fade Extremes button: Select to set an automatic high cut and low cut threshold.
Matching signals above or below these thresholds are slowly faded to zero.
• Fade LF Bottom/Top sliders: Set the bottom and top frequencies for the filter curve that
is applied to low frequency spectrum signals.
• Fade HF Bottom/Top sliders: Set the bottom and top frequencies for the filter curve that
is applied to high frequency spectrum signals.
Logic Pro User Guide for iPad 451
Use Match EQ in Logic Pro for iPad
These tasks cover use of Match EQ.
Use the matched EQ on a channel strip
Match EQ creates a filter curve based on the differences between the spectrum of the
template and the current material. This curve automatically compensates for differences in
gain between the template and the current material, with the resulting EQ curve referenced
to 0 dB. This curve approximates (mirrors) the average spectrum of your source audio file.
1. In Logic Pro, choose the channel strip that you want to match from the Side Chain pop-
up menu of Match EQ.
2. Tap the Reference Material Learn button.
3. Play the entire source audio file from start to finish. To stop the learn process, tap the
Reference Material Learn button again.
4. Return to the start of your mix, tap the Current Material Learn button, and play your mix
(the current material) from start to finish.
5. When done, tap the Match button.
Refine the Match EQ curve
Each time you match two audio signals, either by loading or learning a new spectrum while
the Match button is activated or by turning on the Match button after a new spectrum has
been loaded, any existing changes to the filter curve are discarded and the Apply Amount
slider is set to 100%.
In Logic Pro, do either of the following:
• Drag the Apply Amount slider down from the default 100% value to avoid extreme
spectral changes to your mix.
• Drag the Smoothing knob to adjust the spectral detail of the generated EQ curve—if
required.
Edit spectra with the Match EQ Actions pop-up menus
The Crnt Actions and Ref Actions pop-up menus provide commands that can be applied to
the either the Current Material or Reference spectrum.
• In Logic Pro, choose one of the following from the Action menu:
• Clear Current Material/Reference Spectrum: Clears the current spectrum.
• Copy Current/Reference Spectrum: Copies the current spectrum to the Clipboard
(this can be used by any Match EQ instance in the current project).
• Paste Current/Reference Spectrum: Pastes the Clipboard contents to the current
Match EQ instance.
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Single Band EQ in Logic Pro for iPad
Single Band EQ can operate in several modes. When you choose an EQ type with the EQ
Mode buttons, the controls update to provide functions appropriate to the EQ type.
To add Single Band EQ to your project, choose Equalizers > Single Band EQ in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Single-Band EQ parameters
• Gain knob and field: Set the amount of cut or boost. Available only when Low Shelf,
Peak, or High Shelf is the active EQ mode.
• Slope knob and field: Choose the amount of cut, in decibels per octave. The higher
the value, the more pronounced the effect. Available only when Low Cut or High Cut is
the active EQ mode.
• Frequency knob and field: Set the cutoff frequency.
• Q Factor knob and field: Set the width of the frequency band around the cutoff
frequency.
• EQ Mode buttons: Choose an EQ type.
• Low Cut: Low Cut EQ attenuates the frequency range that falls below the selected
frequency.
• Low Shelf: Low Shelf EQ affects only the frequency range that falls below the
selected frequency.
• Peak: A simple filter with a variable center frequency. It can be used to boost or cut
any frequency band in the audio spectrum, either with a wide frequency range or as
a notch filter with a very narrow range. A symmetrical frequency range on either side
of the center frequency is boosted or cut.
• High Shelf: High Shelf EQ affects only the frequency range above the selected
frequency.
• High Cut: High Cut EQ attenuates the frequency range above the selected frequency.
Logic Pro User Guide for iPad 453
Vintage EQ Collection
Vintage EQ collection in Logic Pro for iPad
The Vintage Console EQ, Vintage Graphic EQ, and Vintage Tube EQ plug-ins are modeled
on the original EQ circuits of three classic units from the 1950s, 1960s, and 1970s.
The unique output stage of each unit is also modeled, allowing you to pair the output stage
of any unit with the original or other EQ models.
Further enhancements include fully sweepable frequency controls that allow more detailed
signal contouring than the fixed frequency options found on some of the original devices.
Each vintage EQ unit provides a distinct tonal signature that imparts a sonic color on
signals, unlike precise, clean modern equalizers such as the other included EQs.
All vintage EQ models share a set of common Output parameters, along with unique
parameters that are discussed in each section.
Output parameters
• Output Mode pop-up menu: Either disable or choose a vintage EQ model output
stage. You can use the matching output stage model for the active EQ or can choose
the output stage of another unit. The output stage allows you to add harmonic distortion
to your signals.
• Silky (Tube EQ): The output stage of the Vintage Tube EQ.
• Punchy (Graphic EQ): The output stage of the Vintage Graphic EQ.
• Smooth (Console EQ): The output stage of the Vintage Console EQ.
• Off: Disables the output stage model.
• Phase buttons: Set the processing mode of the EQ and the chosen output stage. Natural
mirrors the cut/boost phase shifts of the original EQ. Linear allows EQ changes without
phase shifts of the source signal.
Each analog EQ introduces phase shifts of the signal which can have an audible (and
often desirable) effect on the sound. In some situations, however, phase shifts can
affect transients. This is especially the case when using steep cut filters, or high boost of
narrow filters. Linear phase filters let you change only the gain of a certain frequency area
of your material by retaining the phase, with slightly higher latency than in natural mode.
• Drive knob and field: Set the amount of gain/saturation of the chosen vintage EQ
output stage. This imparts the distortion and coloration of the original hardware output
stage, even if all EQ bands are in a neutral position.
• Volume knob and field: Drag vertically to set the overall plug-in output level. Range is
±25 dB.
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Vintage Console EQ in Logic Pro for iPad
Vintage Console EQ emulates the EQ section of a well-known mixing console channel that
is noted for its tonal color, warmth, smooth top end, and mid-forward presence. A three-
band design with switchable low and mid range bands and a fixed 12 kHz high frequency
band, it also has a passive third-order (18 dB/octave) low cut/highpass filter.
The original console module is regarded as a cult classic by many recording engineers, and
has been used on countless hit records over the past 40 to 50 years.
To add Vintage Console EQ to your project, choose Equalizers > Vintage EQ Collection >
Vintage Console EQ in a channel strip Audio Effect plug-in menu or the Plug-ins area. See
Intro to plug-ins. Also see Add, replace, reorder, and remove plug-ins in the Plug-ins area
and Work with plug-ins in the Mixer.
Vintage Console EQ parameters
• EQ On/Off button: Turn the EQ circuit on or off.
• Low Cut knob: Set the low cut/highpass filter frequency at 50, 80, 160, or 300 Hz, or set
values between these increments. Frequencies below this are rolled off at a fixed 18 dB
per octave.
• Hi Pass On button: Turn the low cut/highpass filter on or off. This is a third-order filter
set at 18 dB per octave.
• Low Gain knob: Set the low shelving filter level. The gain range is ±16 dB.
• Low Freq knob: Set the low shelving filter center frequency at 35, 60, 110, or 220 Hz, or
set values between these increments.
• Low Frequency On button: Turn the low shelving filter on or off.
• Mid Gain knob: Set the mid range filter level. The gain range is ±18 dB.
• Mid Freq knob: Set the mid range filter center frequency at 0.36, 0.7, 1.6, 3.2, 4.8, or 7.2
kHz, or set values between these increments.
• Mid Frequency On button: Turn the mid range filter on or off.
• High Gain knob: Set the high shelving level. The gain range is ±16 dB.
• High Frequency On button: Turn the high shelving filter on or off. Fixed at 12 kHz.
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Vintage Graphic EQ in Logic Pro for iPad
Vintage Graphic EQ is based on a classic mixing console module. The 10 EQ bands provide
12 dB of cut/boost. It emulates the Proportional Q design of the original device, which
widens filter bandwidth at lower cut/boost levels and narrows filter bandwidth at higher
cut/boost levels.
Frequencies aren’t fixed at the default values, and you can proportionally scale all bands to
provide more focus on a portion of the overall frequency spectrum. This flexibility makes
it great for precise signal shaping and also a useful tool for tasks such as tuning difficult
rooms.
To add Vintage Graphic EQ to your project, choose Equalizers > Vintage EQ Collection >
Vintage Graphic EQ in a channel strip Audio Effect plug-in menu or the Plug-ins area. See
Intro to plug-ins. Also see Add, replace, reorder, and remove plug-ins in the Plug-ins area
and Work with plug-ins in the Mixer.
Vintage Graphic EQ parameters
You can change the standard frequency with the Detune knob.
• EQ On/Off button: Turn the EQ circuit on or off.
• EQ band sliders: Drag to cut or boost the selected frequency of the incoming signal by
± 12 dB.
• Detune knob: Drag to set the frequency of all band sliders. Scaling of frequencies is
proportional. This can be used to tune the bands to your project key.
Tip: When set to +12 you can boost 32 kHz which results in a very smooth high-end
boost.
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Vintage Tube EQ in Logic Pro for iPad
Vintage Tube EQ emulates two retro EQ units that were often paired as they complemented
each other. These units are still in use today, despite being out of production for decades.
The main original unit (Program EQ) that Vintage Tube EQ is based on is a valve-equipped
analog design. It is a lossless passive equalizer. This means that the signal level remains
constant even if the EQ is switched out. The original unit is noted for the “musical” quality
of its filters, making it a versatile tool for mixing and mastering.
The low-frequency section of Vintage Tube EQ is a shelving EQ with sweepable frequency
bands between 20 and 100 Hz. These frequencies can be boosted by 13.5 dB or cut by 17.5
dB. You can create unusual EQ curves by simultaneously boosting and cutting overlapping
frequencies.
The Vintage Tube EQ high-frequency section provides up to 18 dB of boost at frequencies
sweepable from 3 to 16 kHz. A Bandwidth control changes the Q value. A shelf-cut EQ
provides up to 16 dB of attenuation between 5 and 20 kHz.
The second emulated EQ model (Mid-Range EQ) is often paired with the original unit. It’s
the perfect partner for the upper unit, adding mid-range flexibility that lets you fine-tune
signals in this frequency spectrum, with a beautifully matched tonal signature.
To add Vintage Tube EQ to your project, choose Equalizers > Vintage EQ Collection >
Vintage Tube EQ in a channel strip Audio Effect plug-in menu or the Plug-ins area. See
Intro to plug-ins. Also see Add, replace, reorder, and remove plug-ins in the Plug-ins area
and Work with plug-ins in the Mixer.
Program EQ (main unit) parameters
• Program EQ On/Off button: Turn the EQ circuit on or off.
• Low Boost knob: Set the amount of low frequency boost, up to 13.5 dB.
• Low Atten knob: Set the amount of low frequency attenuation (cut), up to 17.5 dB.
• Low Freq knob: Set the low range center frequency to 20, 30, 60, or 100 Hz, or values
between these increments.
• High Boost knob: Set the amount of high frequency boost, up to 18 dB.
• High Bandwidth knob: Set the Q, or bandwidth, of the high frequency range from narrow
to broad.
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• High Freq knob: Set the high range center frequency to 1, 2, 3, 4, 5, 6, 8, 10, 12, 14, or
16 kHz, or values between these increments.
• High Atten knob: Set the amount of high frequency attenuation (cut), up to 16 dB.
• High Atten Sel knob: Set the high range shelving frequency to 5, 10, or 20 kHz, or
values between these increments.
Mid-Range EQ parameters
• Mid-Range EQ On/Off button: Turn the EQ circuit on or off.
• Low Peak knob: Set the amount of low frequency boost, up to 10 dB.
• Low Freq knob: Set the low range center frequency to 0.2, 0.3, 0.5, 0.7, or 1.0 kHz, or
values between these increments.
• Dip knob: Set the amount of attenuation (cut) for the selected Dip frequency, up to 10
dB.
• Dip Q knob: Set the width of the frequency band around the cutoff frequency.
• Dip Freq knob: Set the Dip (attenuation) center frequency to 0.2, 0.3, 0.5, 0.7, or 1.0, 1.5,
2, 3, 4, or 5 kHz, or values between these increments.
• High Peak knob: Set the amount of high frequency boost, up to 8 dB.
• High Freq knob: Set the high range center frequency to 1.5, 2, 3, 4, or 5 kHz, or values
between these increments.
Filter effects
Filter effects in Logic Pro for iPad
Filters are used to emphasize or suppress frequencies in an audio signal, resulting in a
change in the tonal color of the audio.
Logic Pro for iPad contains a variety of advanced filter-based effects that you can use
to creatively modify your audio. These effects are most often used to radically alter the
frequency spectrum of a sound or mix. Several filter effects provide a Side Chain input.
Included are AutoFilter and Spectral Gate which can be used for interesting sound design
manipulations, the vocoder-based EVOC 20 Filterbank and EVOC 20 TrackOscillator, and
the Fuzz-Wah.
Note: Equalizers (EQs) are special types of filters. They are not usually used as “effects”
per se, but as tools to refine the frequency spectrum of a sound or mix. See equalizers.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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AutoFilter
AutoFilter in Logic Pro for iPad
AutoFilter is a versatile filter effect with several unique features. You can use it to create
classic, analog-style synthesizer effects, or as a tool for creative sound design.
The effect works by analyzing incoming signal levels through use of a threshold parameter.
Any signal level that exceeds the threshold is used as a trigger for a synthesizer-style
ADSR envelope or an LFO (low frequency oscillator). These control sources are used to
dynamically modulate the filter cutoff.
AutoFilter lets you choose between different filter types and slopes, control the amount of
resonance, add distortion for more aggressive sounds, and mix the original, dry signal with
the processed signal.
To add AutoFilter to your project, choose Filter > AutoFilter in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
AutoFilter is divided into Filter, Envelope, Distortion, LFO, and Output parameter sections.
• Filter parameters: Control the tonal color of the filtered sound. See AutoFilter filter
controls.
• Distortion parameters: Distort the signal both before and after the filter. See AutoFilter
distortion.
• Envelope parameters: Define how the filter cutoff frequency is modulated over time. See
AutoFilter envelope controls.
• LFO parameters: Define how the filter cutoff frequency is modulated by the LFO. See
AutoFilter LFO controls.
• Output parameters: Set the level of both the dry and effect signal. See AutoFilter output
controls.
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AutoFilter filter controls in Logic Pro for iPad
The Filter parameters precisely tailor the tonal color.
Filter parameters
• On/Off button: Turn the filter section on or off.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are
attenuated, whereas lower frequencies are allowed to pass through in a lowpass filter.
The reverse is true in a highpass filter. When the State Variable Filter is set to bandpass
(BP) mode, the filter cutoff determines the center frequency of the frequency band that
is allowed to pass.
• Resonance knob and field: Boost or cut signals in the frequency band that surrounds
the cutoff frequency. Very high Resonance values cause the filter to begin oscillating
at the cutoff frequency. This self-oscillation occurs before you reach the maximum
Resonance value.
• Filter Mode pop-up menu: Switch the filter between highpass (HP), bandpass (BP),
lowpass (LP), or peak (PK) modes, or choose a lowpass filter with a slope of 6, 12, 18, or
24 dB per octave.
• Fatness knob and field: Boost the level of low frequency content. When you set Fatness
to its maximum value, adjusting Resonance has no effect on frequencies below the
cutoff frequency. This parameter is used to compensate for a weak or “brittle” sound
caused by high resonance values, when in the lowpass filter mode.
• Stereo Spread knob and field: Set the stereo spread width.
• Env Cutoff Mod knob and field: Determine the impact of the envelope on cutoff
frequency.
• LFO Cutoff Mod knob and field: Determine the impact of the LFO on cutoff frequency.
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AutoFilter distortion controls in Logic Pro for iPad
The distortion parameters can be used to overdrive the filter input or filter output. The
distortion input and output modules are identical, but their positions in the signal chain—
before and after the filter, respectively—result in remarkably different sounds.
Distortion parameters
• On/Off button: Turn the distortion section on or off.
• Pre Filter knob and field: Set the amount of distortion applied before the filter section
processes the signal.
• Post Filter knob and field: Set the amount of distortion applied after the filter section
processes the signal.
• Pre/Post Filter Distortion Mode buttons: Choose the distortion type for either the pre or
post filter. Options are: Classic, Tube, and Scream.
AutoFilter envelope controls in Logic Pro for iPad
The envelope is used to shape the filter cutoff over time. When the input signal exceeds
the set threshold level, the envelope is triggered.
Envelope parameters
• On/Off button: Turn the envelope section on or off.
• Threshold knob and field: Set an input level that—if exceeded—triggers the envelope or
LFO that dynamically modulates filter cutoff frequency. See AutoFilter LFO controls and
AutoFilter filter controls.
Note: Retriggering of the envelope or LFO occurs only if the Retrigger button is active.
• Env Dynamic knob and field: Determine the input signal modulation amount. You can
modulate the peak value of the envelope section by varying this control.
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• Side Chain Link button: Turn on to use a side chain as the control signal for the
envelope. You choose the side chain source channel strip from the Side Chain pop-up
menu in the plug-in menu bar.
• Attack slider and field: Set the envelope attack time.
• Decay slider and field: Set the envelope decay time.
• Sustain slider and field: Set the envelope sustain level. If the input signal falls below the
threshold level before the envelope sustain phase, the release phase is triggered.
• Release slider and field: Set the envelope release time. This is triggered as soon as the
input signal falls below the threshold.
AutoFilter LFO controls in Logic Pro for iPad
The LFO is used as a modulation source for filter cutoff.
LFO parameters
• On/Off button: Turn the LFO section on or off.
• Rate knob and field: Set the speed of LFO modulation.
• Beat Sync button: Synchronize the LFO with the project tempo. You can set bar values,
triplet values, and more with the Rate knob and field.
• Waveform pop-up menu: Select the shape of the LFO waveform. Choose
from: descending sawtooth, ascending sawtooth, triangle, pulse wave, or random.
• Retrigger button: Turn on to retrigger the LFO waveform from the start of the cycle each
time.
• Pulsewidth knob and field: Alter the curve shape of the selected waveform.
• Sync Phase knob and field: When Sync is active, rotate to set the phase relationship
between the LFO rate and the project tempo. This parameter is dimmed when Beat Sync
is disabled.
• Stereo Phase knob and field: Set the phase relationship of the LFO modulations
between the two channels (stereo only).
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AutoFilter output controls in Logic Pro for iPad
The Output parameters are used to set the wet/dry balance and overall level.
Output parameters
• Dry Signal slider and field: Set the amount of original, dry signal added to the filtered
signal.
• Main Out slider and field: Set the overall output level. This compensates for higher
levels caused by the use of distortion or by the filtering process itself.
EVOC 20 Filterbank
EVOC 20 Filterbank in Logic Pro for iPad
EVOC 20 Filterbank consists of two formant filter banks. The input signal passes through
the two filter banks in parallel. Each bank features level faders for up to 20 frequency
bands, allowing independent level control of each band. Setting a level fader to its
minimum value completely suppresses the formants in that band. You can control the
position of the filter bands with the Formant Shift parameter. You can also crossfade
between the two filter banks.
The EVOC 20 Filterbank interface is divided into three main sections: the Formant Filter
parameters section in the center, the Modulation parameters section at the bottom, and the
Output parameters section along the right side.
To add EVOC 20 Filterbank to your project, choose Filter > EVOC 20 Filterbank in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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• Formant Filter parameters: Control the frequency bands in the two filter banks—the
upper filter bank A and the lower filter bank B. See EVOC 20 Filterbank Formant Filter.
• Modulation parameters: Control how Formant Filter parameters are modulated. See
EVOC 20 Filterbank modulation.
• Output parameters: Control the overall output level and panning of the EVOC 20
Filterbank. See EVOC 20 Filterbank output controls.
About formants
A formant is a peak in the frequency spectrum of a sound. In the context of human voices,
formants are the key component that enables humans to distinguish between different
vowel sounds, based purely on the frequency of these sounds. Formants in human speech
and singing are produced by the vocal tract, with most vowel sounds containing four or
more formants.
EVOC 20 Filterbank Formant Filter in Logic Pro for iPad
The parameters discussed in this section provide precise level and frequency control of the
filters.
Filter Bank Settings parameters
• Bands knob and field: Set the number of active frequency bands—up to 20—in each
filter bank.
• Low and High Frequency knobs: Determine the lowest and highest frequencies
allowed to pass by the filter banks. Frequencies that fall outside these boundaries are
cut.
• Low Band Mode buttons: Switch the lowest filter band between bandpass or highpass
mode. In bandpass mode, the frequencies above and below the lowest band are
ignored. In highpass mode, all frequencies below the lowest band are filtered.
• High Band Mode buttons: Switch the highest filter band between bandpass or lowpass
mode. In bandpass mode, the frequencies above and below the highest band are
ignored. In lowpass mode, all frequencies above the highest band are filtered.
• Resonance knob and field: Determine the basic sonic character of both filter banks.
High Resonance settings emphasize the center frequency of each band and result in a
sharper, brighter character. Low settings result in a softer character.
• Slope buttons: Choose the amount of filter attenuation applied to all filters in both
filter banks. You can choose 1, which sounds softer at 6 dB/octave, or 2, which sounds
brighter at 12 dB/octave.
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Filter Bank Crossfade parameters
• Boost A and Boost B sliders and fields: Set the amount of boost or cut applied to the
frequency bands in filter bank A or B. You can use these controls to compensate for the
reduction in volume caused by lowering the level of one or more bands. If you use Boost
A and Boost B to set the mix relationship between filter bank levels, you can use Fade
AB (see “Fade AB slider” below) to alter the tonal color, but not the levels.
• Level A< >B knob and field: Crossfade between filter bank A and filter bank B. At the
full left position, only bank A is audible, and at the rightmost position, only bank B
is audible. In the center position, the signals passing through both banks are evenly
mixed. This parameter can be modulated by LFO2. See Filter Bank Crossfade LFO2
parameters.
• Filter Bank A/B sliders and fields: Set the level of each frequency band in filter bank A
or filter bank B.
Note: All twenty bands of filter bank A and B are always visible, irrespective of the
Bands knob value. When the Bands knob is set to a value below 20, both banks will have
a corresponding number of active bands, enumerated from band 1 in each bank. All
other visible bands above the defined Bands knob value are inactive in both banks and
will not impact the audio signal.
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EVOC 20 Filterbank modulation in Logic Pro for iPad
The EVOC20 Filterbank features two LFOs. The LFO1 parameters shown in the Formant
section control the Formant Shift parameter. The LFO2 parameters shown in the Filter Bank
Crossfade section control the fade between filter banks A and B.
LFO modulations are the key to interesting effects. Set up either completely different or
complementary filter curves in both filter banks. You can use rhythmic material—such as
a drum loop—as an input signal, and can set up tempo-synchronized modulations with
different rates for each LFO. Also try inserting a tempo-synchronized delay effect—such as
Tape Delay—after the EVOC 20 Filterbank to produce unique polyrhythms.
Formant LFO1 parameters
• Formant Shift knob and field: Move all bands in both filter banks up or down the
frequency spectrum.
Note: The use of Formant Shift can result in the generation of unusual resonant
frequencies when high Resonance settings are used. This parameter can be modulated
by LFO1. See Formant LFO1 parameters.
• LFO1 Rate knob and field: Set the speed of modulation. Values to the left are
synchronized with the Logic Pro tempo and include bar values, triplet values, and so on.
Values to the right are nonsynchronized, or free, and are displayed in hertz—cycles per
second.
Note: The ability to use synchronous bar values could be used to perform a formant
shift every four bars on a cycled one-bar percussion part, for example. Alternatively,
you could perform the same formant shift on every eighth-note triplet within the same
part. Either method can generate interesting results.
• LFO -> Formant knob and field: Set the amount of Formant Shift modulation by LFO1.
• LFO Waveform pop-up menu: Set the waveform type used by LFO1. You can choose
from the following waveforms:
• Triangle
• Saw Down and Up
• Square 1 (bipolar, good for trills)
• Square 2 (unipolar, good for changing between two definable pitches)
• Sample and Hold and Lag (smoothed) Sample and Hold
• Sine
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Filter Bank Crossfade LFO2 parameters
• LFO2 Rate knob and field: Set the speed of modulation. Values to the left are
synchronized with the Logic Pro tempo and include bar values, triplet values, and so on.
Values to the right are nonsynchronized, or free, and are displayed in hertz—cycles per
second.
• LFO -> Xfade knob and field: Control the amount of Fade AB modulation by LFO2.
• LFO Waveform pop-up menu: Set the waveform type used by LFO2. You can choose
from the following waveforms:
• Triangle
• Saw Down and Up
• Square 1 (bipolar, good for trills)
• Square 2 (unipolar, good for changing between two definable pitches)
• Sample and Hold and Lag (smoothed) Sample and Hold
• Sine
EVOC 20 Filterbank output controls in Logic Pro for iPad
The output parameters provide control over the level and stereo width. The output section
also incorporates an integrated overdrive (distortion) circuit.
Output parameters
• Output Level knob and field: Set the volume of the output signal.
• Stereo knob and field: Distribute the output signals of the filter bands in the stereo field.
• At the 0 position to the left, the outputs of all bands are centered.
• At the centered position at the top, the outputs of all bands ascend from left to right.
• At the full position to the right, the bands are output to the left and right channels
alternately.
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• Distortion button: Turn the overdrive circuit on or off.
Note: To hear the overdrive effect, you might need to increase the level of one or both
filter banks with the Boost A or Boost B sliders.
• Stereo Mode pop-up menu: Choose the input/output mode.
• In Mono/Stereo mode (mono input/stereo output), a stereo input signal is first
summed to mono before being routed to the filter banks.
• In Stereo/Stereo mode (stereo input/output), the left and right channels are
processed by separate filter banks.
EVOC 20 TrackOscillator
EVOC 20 TrackOscillator in Logic Pro for iPad
EVOC 20 TrackOscillator is a vocoder with a monophonic pitch tracking oscillator. The
tracking oscillator tracks, or follows, the pitch of a monophonic input signal. If the input
signal is a sung vocal melody, the individual note pitches are tracked and mirrored, or
played, by the synthesis engine.
EVOC 20 TrackOscillator features two formant filter banks, an analysis bank, and a
synthesis filter bank. Each offers multiple input options.
You can capture an analysis signal source by using the audio arriving at the input of the
channel strip that EVOC 20 TrackOscillator is inserted into or by using a side chained signal
from another channel strip.
The synthesis source can be derived from the audio input of the channel strip that
EVOC 20 TrackOscillator is inserted into, a side chain signal, or the tracking oscillator.
Because you can select both the analysis and synthesis input signals, EVOC 20
TrackOscillator is not limited to pitch tracking effects; you can also use it for unusual filter
effects. For example, you could filter an orchestral recording on one channel strip with train
noises side chained from another channel strip. Or you could use it to process drum loops
with side chained signals, such as other drum loops or rhythmic guitar, clavinet, and piano
parts.
To add EVOC 20 TrackOscillator to your project, choose Filter > EVOC 20 TrackOscillator in
a channel strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also
see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins
in the Mixer.
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Vocoder overview
The word vocoder is an abbreviation for voice encoder. A vocoder analyzes and transfers
the sonic character of the audio signal arriving at its analysis input to the synthesizer
sound generators. The result of this process is heard at the output of the vocoder.
The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as
the synthesis signal. This sound was popularized in the late 1970s and early 1980s. You
may be familiar with tracks such as “O Superman” by Laurie Anderson, “Funkytown” by
Lipps Inc., and numerous Kraftwerk pieces—such as “Autobahn,” “Europe Endless,” “The
Robots,” and “Computer World.”
In addition to these “singing robot” sounds, vocoding has also been used in many films—
such as with the Cylons in Battlestar Galactica, and most famously, with the voice of Darth
Vader from the Star Wars saga.
Vocoding, as a process, is not strictly limited to vocal performances. You could use a drum
loop as the analysis signal to shape a string ensemble sound arriving at the synthesis input.
The speech analyzer and synthesizer features of a vocoder are two bandpass filter banks.
Bandpass filters allow a frequency band—a slice in the overall frequency spectrum—to pass
through unchanged. Frequencies that fall outside the band are cut.
In the EVOC 20 plug-ins, these filter banks are named the analysis and synthesis banks.
Each filter bank has a matching number of corresponding bands—if the analysis filter bank
has five bands (1, 2, 3, 4, and 5), there is a corresponding set of five bands in the synthesis
filter bank. Band 1 in the analysis bank is matched to band 1 in the synthesis bank, band 2
to band 2, and so on.
The audio signal arriving at the analysis input passes through the analysis filter bank,
where it is divided into bands.
An envelope follower is coupled to each filter band. The envelope follower of each band
tracks, or follows, volume changes in the audio source—or, more specifically, the portion of
the audio that has been allowed to pass by the associated bandpass filter. In this way, the
envelope follower of each band generates dynamic control signals.
These control signals are then sent to the synthesis filter bank—where they control the
levels of the corresponding synthesis filter bands. This is done with voltage-controlled
amplifiers (VCAs) in analog vocoders. Volume changes to the bands in the analysis filter
bank are imposed on the matching bands in the synthesis filter bank. These filter level
changes are heard as a synthetic reproduction of the original input signal—or a mix of the
two filter bank signals.
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EVOC 20 TrackOscillator interface in Logic Pro for iPad
EVOC 20 TrackOscillator is divided into a number of parameter sections.
• Input parameters: Determine how the input signal is analyzed and used by the analysis
filter bank. See EVOC 20 TrackOscillator Input Controls.
• Tracking Oscillator parameters: Set synthesis parameters and determine how the
analysis input signal is used by the tracking oscillator. See EVOC 20 TrackOscillator
oscillator controls.
• Oscillator Quantization parameters: The oscillator quantization parameters control
the automatic pitch correction feature of the tracking oscillator. They can be used to
constrain the tracking oscillator pitch to a scale or chord. See EVOC 20 TrackOscillator
pitch controls.
• Filter Bank parameters: Configure the analysis and synthesis filter banks. See EVOC 20
TrackOscillator filter.
• LFO parameters: Modulate either the oscillator pitch or the Formant Shift parameter.
See EVOC 20 TrackOscillator modulation.
• Output parameters: Configure the output signal of the EVOC 20 TrackOscillator,
including voiced and unvoiced signals. See EVOC 20 TrackOscillator output controls.
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Input controls for EVOC 20 TrackOscillator in Logic Pro for iPad
The parameters of the Inputs section determine how the input signal is analyzed and used
by EVOC 20 TrackOscillator.
Inputs parameters
• Analysis in pop-up menu: Choose the analysis signal source.
• Track: Uses the input audio signal of the channel strip the EVOC 20 TrackOscillator
is inserted into as the analysis signal.
• Side Chain: Uses a side chain as the analysis signal. You choose the side chain
source channel strip from the Side Chain pop-up menu in the plug-in menu bar.
Note: If Side Chain is chosen and no Side Chain channel strip is assigned, the EVOC 20
TrackOscillator reverts to Track mode.
• Freeze button: Hold the current analysis sound spectrum indefinitely. When Freeze is
enabled, the analysis filter bank ignores the input source, and the Attack and Release
knobs have no effect.
• Attack knob and field: Determine how quickly each envelope follower—coupled to each
analysis filter band—reacts to rising signals.
• Release knob and field: Determine how quickly each envelope follower—coupled to each
analysis filter band—reacts to falling signals.
Set Attack and Release times in EVOC 20 TrackOscillator
• In Logic Pro, rotate the Attack and Release knobs to set times that provide the most
articulated sound.
Longer attack times result in a slower tracking response to transients—level spikes—
of the analysis input signal. A long attack time on percussive input signals, such as a
spoken word or hi-hat part, translates into a less articulated vocoder effect. Set the
Attack parameter to the lowest possible value to enhance articulation.
Longer release times cause the analysis input signal transients to sustain for a longer
period at the vocoder output. A long release time on percussive input signals, such as
a spoken word or hi-hat part, translates into a less articulated vocoder effect. Use of
extremely short release times results in rough, grainy vocoder sounds. Release values
of around 8 to 10 ms are useful starting points.
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Freeze the input signal in EVOC 20 TrackOscillator
• In Logic Pro, tap the Freeze button to hold, or sustain, the sound spectrum of the
analysis input signal.
By freezing the input signal you can capture a particular characteristic of the signal,
which is then imposed as a complex sustained filter shape on the Synthesis section.
Here are some examples of when this could be useful:
• If you’re using a spoken word pattern as a source, the Freeze button could capture
the attack or tail phase of an individual word within the pattern—the vowel a, for
example.
• People cannot sustain sung notes indefinitely. To compensate for this human
limitation, use the Freeze button. If the synthesis signal needs to be sustained but
the analysis source signal—a vocal part—is not sustained, use the Freeze button to
lock the current formant levels of a sung note, even during gaps in the vocal part,
between words in a vocal phrase.
Tip: The Freeze parameter can be automated, which may be useful in this situation.
EVOC 20 TrackOscillator oscillator in Logic Pro for iPad
The tracking oscillator follows the pitch of incoming monophonic audio signals and mirrors
these pitches with a synthesized sound. The FM tone generator of EVOC 20 TrackOscillator
consists of two oscillators. The frequency of Oscillator 1, the carrier, is modulated by
multiwaveform Oscillator 2, the modulator, which deforms the sine wave of Oscillator 1.
This results in a waveform with rich harmonic content.
In classic FM synthesis, sine waves are used as both modulator and carrier waveforms.
The EVOC 20 TrackOscillator modulator oscillator provides a number of additional digital
waveforms, which extend its sonic capabilities significantly. These waveforms contain
additional harmonics that add a new level of richness to the resulting FM sounds.
Important: Many parameters discussed in this section are available only if the Synthesis in
pop-up menu is set to Oscillator.
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Tracking Oscillator parameters
• Synthesis in pop-up menu: Choose the tracking signal source.
• Track: Use the input audio signal of the channel strip that EVOC 20 TrackOscillator is
inserted into as the synthesis signal, which drives the internal synthesizer.
• Side Chain: Use a side chain as the synthesis control signal. You choose the side
chain source channel from the Side Chain pop-up menu in the plug-in menu bar.
• Oscillator: Set the tracking oscillator as the synthesis source. The oscillator mirrors,
or tracks, the pitch of the analysis input signal. Choosing Oscillator activates the
other parameters in the synthesis section. If Osc is not chosen, the FM Ratio, FM Int,
and other parameters in this section have no effect.
Note: If you choose Side Chain and no Side Chain channel is assigned, EVOC 20
TrackOscillator reverts to Track mode.
• Track Mode pop-up menu: Choose the pitch tracking mode.
• Old: Pitch tracking mode based on a Fast Fourier Transform calculation.
• Cepstrum: Pitch tracking mode based on analysis of harmonic spacing, enabling
grouped harmonics and/or sidebands to be identified.
• AKF: Pitch tracking mode based on analysis of harmonic content, enabling the
fundamental frequency to be identified.
• Max Frequency knob and field: Set the upper frequency of the pitch tracking oscillator.
• Fixed Note knob and field: Set a fixed note frequency or set to the 0 position to enable
tracking mode.
• Glide knob and field: Set the amount of time pitch correction takes, allowing sliding
transitions to quantized pitches. See EVOC 20 TrackOscillator pitch controls.
• Oscillator Wave knob and field: Choose an oscillator waveform from 100 Digiwaves for
oscillator 2, the modulator.
Digiwaves are very short samples of the attack transients of various sounds and
instruments.
• Osc. Pitch knob and field: Set the pitch offset of the oscillator in semitones.
• Tune field: Drag to adjust the tuning in hertz.
• Osc. Ratio knob and field: Set the ratio between Oscillators 1 and 2, which defines
the basic character of the sound. Even-numbered values or their multiples produce
harmonic sounds, whereas odd-numbered values or their multiples produce inharmonic,
metallic sounds.
• An FM Ratio of 1.000 produces results resembling a sawtooth waveform.
• An FM Ratio of 2.000 produces results resembling a square wave with a pulse width
of 50%.
• An FM Ratio of 3.000 produces results resembling a square wave with a pulse width
of 33%.
• FM Intensity knob and field: Determine the intensity of modulation. Higher values result
in a more complex waveform with more overtones.
• At a value of 0, the FM tone generator is disabled and a sawtooth wave is generated.
• At values above 0, the FM tone generator is activated. Higher values result in a more
complex and brighter sound.
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EVOC 20 TrackOscillator pitch controls in Logic Pro for iPad
The oscillator quantization parameters control the automatic pitch correction feature of the
tracking oscillator. They can be used to constrain the pitch of the tracking oscillator to a
scale or chord. This allows subtle or strong pitch corrections and can be used creatively on
unpitched material with high harmonic content, such as cymbals and high-hats.
Oscillator Quantization parameters
• Scale/Chord pop-up menu: Choose the scale or chord that the tracking oscillator is
quantized to.
• Root Note pop-up menu: Choose the root key for the tracking oscillator.
• Qtz Strength knob and field: Determine how pronounced the automatic pitch correction
(quantization) is.
• Scale/Chord Quantize buttons: Tap note buttons to define the pitch or pitches that the
tracking oscillator is quantized to.
Choose a scale, chord, or root key in EVOC 20 TrackOscillator
1. In Logic Pro, tap the Scale/Chord pop-up menu.
2. Choose the scale or chord you want to use as the basis for pitch correction.
3. Tap the Root Note pop-up menu to set the root key of the chosen scale or chord, if
needed.
Note: The Root Note parameter is not available when the Scale/Chord value is set to
“Chromatic” or “User Scale.”
Add notes to, or remove notes from, the chosen scale or chord in EVOC 20
TrackOscillator
In Logic Pro:
• To add notes to the scale or chord: Tap unused keys on the keyboard to highlight them.
• To remove notes from the scale or chord: Tap selected notes, which then are no longer
highlighted.
Tip: Your last edit is remembered. If you choose a new scale or chord but do not
make any changes, you can revert to the previously set scale by choosing “User Scale”
from the Scale/Chord pop-up menu.
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EVOC 20 TrackOscillator filter in Logic Pro for iPad
EVOC 20 TrackOscillator features two formant filter banks—one for the Analysis In (Inputs)
section and one for the Synthesis In (Tracking Oscillator) section. The entire frequency
spectrum of an incoming signal is analyzed by the Analysis In section and is divided equally
into a number of frequency bands. Each filter bank can control up to 20 of these frequency
bands.
Filter Bank parameters
• Bands knob and field: Set the number of frequency bands analyzed and then used by
the synthesis engine. Up to 20 bands can be used.
• Low and High Frequency knobs and fields: Determine the lowest and highest
frequencies allowed to pass by the filter section. Frequencies that fall outside these
boundaries are cut.
• Low Band Mode buttons: Switch the lowest filter band between highpass or bandpass
mode. In bandpass mode, the frequencies above and below the lowest band are
ignored. In highpass mode, all frequencies below the lowest band are filtered.
• High Band Mode buttons: Switch the highest filter band between lowpass or bandpass
mode. In bandpass mode, the frequencies above and below the highest band are
ignored. In lowpass mode, all frequencies above the highest band are filtered.
• Resonance knob and field: Change the basic sonic character of the vocoder. Low
settings result in a soft character, whereas high settings lead to a more snarling,
sharp character. Technically, increasing the Resonance value emphasizes the middle
frequency of each frequency band.
• Formant Shift knob and field: Move all bands in the synthesis filter bank up or down the
frequency spectrum.
When Formant Shift is set to 0, the positions of the bands in the synthesis filter bank
match the positions of the bands in the analysis filter bank. Positive values move the
synthesis filter bank bands up in frequency, whereas negative values move them down—
in relation to the analysis filter bank band positions.
When combined, Formant Stretch and Formant Shift alter the formant structure of the
resulting vocoder sound, which can lead to interesting timbre changes. For example,
using speech signals and tuning Formant Shift up results in “Mickey Mouse” effects.
Formant Stretch and Formant Shift are also useful if the frequency spectrum of the
synthesis signal does not complement the frequency spectrum of the analysis signal.
You could create a synthesis signal in the high-frequency range from an analysis signal
that mainly modulates the sound in a lower-frequency range, for example.
Note: Use of the Formant Stretch and Formant Shift parameters can result in the
generation of unusual resonant frequencies when high Resonance settings are used.
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• Formant Stretch knob and field: Change the width and distribution of all bands in the
synthesis filter bank. This can be a broader or narrower frequency range than that
defined by the Low and High Frequency parameters.
When Formant Stretch is set to 0, the width and distribution of the bands in the
synthesis filter bank at the bottom match the width of the bands in the analysis filter
bank at the top. Low values narrow the width of each band in the synthesis bank,
whereas high values widen the bands. The control range is expressed as a ratio of the
overall bandwidth.
Set the number of filter bank bands in EVOC 20 TrackOscillator
• In Logic Pro, use the Bands knob to set the number of frequency bands the
EVOC 20 TrackOscillator filter bank uses.
The greater the number of frequency bands, the more precisely the sound can be
reshaped. As the number of bands is reduced, the source signal frequency range is
divided up into fewer bands, and the resulting sound is formed with less precision by
the synthesis engine. A good compromise between sonic precision—allowing incoming
signals such as speech and vocals to remain intelligible—and resource usage is around
10 to 15 bands.
Tip: To attain the best possible pitch tracking, it is essential to use a mono signal
with no overlapping pitches. Ideally, the signal should be unprocessed and free of
background noises. Using a signal processed with even a slight amount of reverb, for
example, can produce unusual results. Processing a signal with no audible pitch, such
as drum loop, also delivers unusual results, but the resulting artifacts might be perfect
for your project.
EVOC 20 TrackOscillator modulation in Logic Pro for iPad
The parameters in this section control the LFO, which can be used to modulate either the
pitch of the tracking oscillator, thus creating a vibrato, or the Formant Shift parameter of
the synthesis filter bank.
Modulation parameters
• LFO Rate knob and field: Set the speed of modulation. Values to the left of the center
position are synchronized with the Logic Pro tempo and include bar values, triplet
values, and so on. Values to the right are nonsynchronized, or free, and are displayed in
hertz—cycles per second.
Note: The ability to use synchronous bar values could be used to perform a formant
shift every four bars on a cycled one-bar percussion part, for example. Alternatively,
you could perform the same formant shift on every eighth-note triplet within the same
part. Either method can generate interesting results.
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• LFO Waveform pop-up menu: Set the waveform type used by the LFO. You can choose
from the following waveforms:
• Triangle
• Saw Down and Up
• Square 1 (bipolar, good for trills)
• Square 2 (unipolar, good for changing between two definable pitches)
• Sample and Hold and Lag (smoothed) Sample and Hold
• Sine
• LFO -> Formant knob: Set the amount of formant shift modulation by the LFO.
• TO Vibrato knob: Set the amount of (Tracking Oscillator) pitch modulation—vibrato—by
the LFO.
EVOC 20 TrackOscillator output controls in Logic Pro for iPad
The output section provides control over the type, stereo width, and level of signal that is
sent from EVOC 20 TrackOscillator. This includes control of voiced and unvoiced sounds.
To explain, human speech consists of a series of voiced sounds—tonal sounds or
formants—and unvoiced sounds. The main distinction between voiced and unvoiced sounds
is that voiced sounds are produced by an oscillation of the vocal cords, whereas unvoiced
sounds are produced by blocking and restricting the air flow with lips, tongue, palate,
throat, and larynx.
If speech containing voiced and unvoiced sounds is used as a vocoder analysis signal
but the synthesis engine doesn’t differentiate between voiced and unvoiced sounds, the
result sounds rather weak. To avoid this problem, the synthesis engine of a vocoder must
produce different sounds for the voiced and unvoiced parts of the signal.
EVOC 20 TrackOscillator includes an unvoiced/voiced detection circuit which identifies
unvoiced elements of the sound in the analysis signal. Corresponding portions in the
synthesis signal are then replaced with noise, with a mixture of noise and synthesizer
signal, or with the original signal. If the U/V detection circuit identifies voiced parts, it
passes this information to the synthesis section, which uses the normal synthesis signal for
these portions.
About formants
A formant is a peak in the frequency spectrum of a sound. In the context of human voices,
formants are the key component that enables humans to distinguish between different
vowel sounds—based purely on the frequency of the sounds. Formants in human speech
and singing are produced by the vocal tract, with most vowel sounds containing four or
more formants.
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Output parameters
• U/V Sensitivity knob and field: Determine how responsive U/V detection is. Turn to
the right for higher settings, where more of the individual unvoiced portions of the
input signal are recognized. When high settings are used, the increased sensitivity to
unvoiced signals can lead to the U/V sound source being used on the majority of the
input signal, including voiced signals. Sonically, this results in a sound that resembles
a radio signal that is breaking up and contains a lot of static, or noise. The U/V sound
source is determined by the U/V Src. pop-up menu.
• U/V Source pop-up menu: Choose the sound sources used to replace the unvoiced
content of the input signal.
• Off: Do not replace unvoiced portions of the sound with a noise or synth signal.
• Noise: Use noise alone for the unvoiced portions of the sound.
• Noise + Synth: Use noise and the synthesizer for the unvoiced portions of the sound.
• Blend: Use the analysis signal after it has passed through a highpass filter for the
unvoiced portions of the sound. The Sensitivity parameter has no effect when this
setting is used.
• U/V Level slider and field: Set the volume of the signal used to replace the unvoiced
content of the input signal.
Important: Be careful with the U/V Level control, particularly when using a high U/V
Sensitivity value, to avoid internally overloading EVOC 20 TrackOscillator.
• Output Level knob and field: Set the overall volume of the output signal.
• Stereo knob and field: Distribute the output signals of the synthesis section filter bands
in the stereo field.
• At the 0 position to the left, the outputs of all bands are centered.
• At the centered position, the outputs of all bands ascend from left to right.
• At the Full position to the right, the bands are output—alternately—to the left and
right channels.
• Stereo Mode pop-up menu: Choose the input/output mode.
• In Mono/Stereo mode (mono input/stereo output), a stereo input signal is first
summed to mono before being routed to the filter banks.
• In Stereo/Stereo mode (stereo input/output), the left and right channels are
processed by separate filter banks.
• Out buttons: Choose the signal that is sent to the plug-in main outputs.
• Voc(oder): Hear the vocoder effect.
• Syn(thesis): Hear only the synthesizer signal.
• Ana(lysis): Hear only the analysis signal.
Note: The last two settings are mainly useful for monitoring purposes.
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Fuzz-Wah
Fuzz-Wah in Logic Pro for iPad
The Fuzz-Wah plug-in emulates classic wah effects, combined with compression and
fuzz distortion effects. The name wah wah comes from the sound it produces. It has
been a popular effect—usually a pedal effect—with electric guitarists since the days of
Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, a lowpass, or less
commonly a highpass filter.
To add Fuzz-Wah to your project, choose Filter > Fuzz-Wah in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Fuzz-Wah effects work in series—where the output of one effect is fed into the next in an
effects chain. The routing order lets you choose whether a distorted signal should be wah-
filtered (for funkier sounds) or the wah-filtered sound should be distorted (for screaming
sounds), for example.
Routing parameter
• FX Order pop-up menu: Choose the order of the effects chain in the Routing section of
the Fuzz-Wah plug-in.
Auto Wah in Fuzz-Wah effect in Logic Pro for iPad
These parameters determine the tone and behavior of the wah effect.
You can control the wah effect with the Auto Wah feature, which continually performs a
filter sweep across the entire range. You can also control the wah sweep with MIDI foot
pedals or other controllers.
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Auto Wah parameters
• On/Off button: Turn the Auto Wah effect on or off.
• Wah Mode pop-up menu: Choose a Wah effect type.
• Classic Wah: This setting mimics the sound of a popular wah pedal with a slight peak
characteristic.
• Retro Wah: This setting mimics the sound of a popular vintage wah pedal.
• Modern Wah: This setting mimics the sound of a distortion wah pedal with a constant
Relative Q(uality) setting. Relative Q determines the resonant characteristics.
Low Relative Q values affect a wider frequency range, resulting in softer resonances.
High Relative Q values affect a narrower frequency range, resulting in more
pronounced emphasis.
• Opto Wah 1: This setting mimics the sound of a distortion wah pedal with a constant
Relative Q(uality) Factor setting.
• Opto Wah 2: This setting mimics the sound of a distortion wah pedal with a constant
Relative Q(uality) setting.
• Resonant LP: In this mode, the Wah works as a resonance-capable lowpass filter. At
the minimum pedal position, only low frequencies can pass.
• Resonant HP: In this mode, the Wah works as a resonance-capable highpass filter. At
the maximum pedal position, only high frequencies can pass.
• Peak: In this mode, the Wah works as a peak (bell) filter. Frequencies close to the
cutoff frequency are emphasized.
• Auto Gain button: Limit the output signal dynamic range. The wah effect can cause the
output level to vary widely. Auto Gain compensates for this tendency and keeps the
output signal within a more stable range.
• Auto Wah Depth knob and field: Set the intensity of the Auto Wah effect. When set
to 0, the automatic wah feature is disabled.
• Relative Q knob and field: Adjust the main filter peak, resulting in a sharper or softer
wah sweep.
• Auto Wah Attack knob and field: Set the time it takes for the wah filter to fully open.
• Auto Wah Release knob and field: Set the time it takes for the wah filter to close.
• Wah Level knob and field: Set the amount of the wah-filtered signal.
• Pedal Position knob and field: Set a virtual pedal position.
• Pedal Start/Pedal Range End sliders and field: Set the maximum and minimum values
of the sweep range. You can sweep the wah filter range with the Pedal Position knob or
with a MIDI pedal.
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Fuzz-Wah effect Compressor in Logic Pro for iPad
The Compressor effect is normally used just before the Fuzz (distortion) effect. This allows
you to increase or decrease the perceived gain, thus providing a suitable input level to the
distortion circuit. You can, however, place the Compressor at any position in the effects
chain or can disable it completely.
Compressor parameters
• On/Off button: Turn the Compressor effect on or off.
• Ratio knob and field: Adjust the compression slope. The additional gain offered by the
compression circuit—when directly preceding the Fuzz effect—lets you create crunchy
distortions.
Fuzz parameters in Fuzz-Wah effect in Logic Pro for iPad
These parameters control the integrated distortion circuit.
Fuzz parameters
• On/Off button: Turn the Fuzz distortion effect on or off.
• Fuzz Tone knob and field: Adjust the tonal color of the distortion. Low settings tend to
be warmer, and high settings are brighter and harsher.
• Fuzz Gain knob and field: Set the level of distortion.
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Spectral Gate
Spectral Gate in Logic Pro for iPad
Spectral Gate is an unusual filter effect that can be used as a tool for creative sound
design.
It works by dividing the incoming signal into two frequency ranges—above and below a
central frequency band that you specify with the Center Freq and Bandwidth parameters.
The signal ranges above and below the defined band can be individually processed with the
Low Level and High Level parameters and the Super Energy and Sub Energy parameters.
To add Spectral Gate to your project, choose Filter > Spectral Gate in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Spectral Gate parameters
• Threshold control and field: Set the threshold level that is used to divide frequency
ranges. When the threshold is exceeded, the frequency band defined by the Center
Freq and Bandwidth parameters is divided into upper and lower frequency ranges.
• Center Frequency knob and field: Set the center frequency of the band you want to
process.
• Bandwidth knob and field: Set the width of the frequency band you want to process.
• Speed knob and field: Set the modulation frequency for the defined frequency band.
• CF Modulation knob and field: Set the intensity of center frequency modulation.
• BW Modulation knob and field: Set the amount of bandwidth modulation.
• Low Level slider and field: Mix the frequencies of the original signal—below the selected
frequency band—with the processed signal.
• Sub Energy knob and field: Set the level of the frequency range below the threshold.
• Super Energy knob and field: Set the level of the frequency range above the threshold.
• High Level slider and field: Mix the frequencies of the original signal—above the
selected frequency band—with the processed signal.
• Gain knob and field: Set the overall output level.
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Use Spectral Gate in Logic Pro for iPad
One way you can familiarize yourself with the operation of Spectral Gate is to start with
a drum loop. Set Center Frequency to the minimum value (20 Hz) and Bandwidth to the
maximum value (20,000 Hz) to process the entire frequency range. Turn up the Super
Energy and Sub Energy knobs, one at a time, and then try different Threshold settings
to get a sense of how different Threshold levels affect the sound of Super Energy and
Sub Energy. When you have obtained a sound that you like or consider useful, narrow the
Bandwidth parameter drastically, gradually increase Center Frequency, and then use the
Low Level and High Level sliders to mix in some treble and bass from the original signal. At
lower Speed settings, turn up the CF Modulation or BW Modulation knobs.
Get started with Spectral Gate
1. In Logic Pro, rotate the Center Frequency and Bandwidth knobs to set the frequency
band you want to process.
2. Drag the Threshold slider to set the appropriate level.
All incoming signals above and below the threshold level are divided into upper and
lower frequency ranges.
3. Rotate the Super Energy knob to control the level of the frequencies above the
threshold, and rotate the Sub Energy knob to control the level of the frequencies below
the threshold.
4. Drag the Low Level slider and the High Level slider to mix the frequencies that fall
outside the defined frequency band with the processed signal.
• Use the Low Level slider to blend the frequencies below the defined frequency band
with the processed signal.
• Use the High Level slider to blend frequencies above the defined frequency band
with the processed signal.
5. Use the Speed, CF Modulation, and BW Modulation knobs to modulate the defined
frequency band.
• Use the Speed knob to determine the modulation frequency.
• Use the CF Modulation knob to define the intensity of the center frequency
modulation.
• Use the BW Modulation knob to control the amount of bandwidth modulation.
6. Use the Gain knob to adjust the final output level of the processed signal.
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Imaging processors
Imaging processors in Logic Pro for iPad
The imaging processors are tools for manipulating the stereo image. You can use them to
make certain sounds, or the overall mix, seem wider and more spacious. You can also alter
the phase of individual sounds within a mix to enhance or suppress particular transients.
See Direction Mixer and Stereo Spread.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Direction Mixer
Direction Mixer in Logic Pro for iPad
You can use Direction Mixer to decode middle and side audio recordings or to spread the
stereo base of a left/right recording and determine its pan position.
Direction Mixer works with any type of stereo recording, regardless of the miking technique
used. For information about the most common stereo miking techniques—AB, XY, and MS—
see Stereo miking techniques.
To add Direction Mixer to your project, choose Imaging > Direction Mixer in a channel strip
Audio Effect plug-in menu or Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Direction Mixer parameters
• Input buttons: Set the input signal type. Use LR if the input signal is a standard left/
right signal. Use MS if the signal is middle and side encoded.
• Direction knob and field: Set the pan position for the middle—the center of the
stereo base—of the recorded stereo signal. Controls high range signals when Split is
active. When Direction is set to a value of 0, the midpoint of the stereo base in a stereo
recording is perfectly centered within the mix.
When you work with LR signals:
• At 90°, the center of the stereo base is panned hard left.
• At −90°, the center of the stereo base is panned hard right.
• Higher values move the center of the stereo base back toward the center of the
stereo mix, but this also has the effect of swapping the stereo sides of the recording.
For example, at a value of either 180° or −180°, the center of the stereo base is dead
center in the mix, but the left and right sides of the recording are swapped.
When you work with MS signals:
• At 90°, the middle signal is panned hard left.
• At −90°, the middle signal is panned hard right.
• Higher values move the middle signal back toward the center of the stereo mix, but
this also has the effect of swapping the side signals of the recording. For example,
at a value of either 180° or −180°, the middle signal is dead center in the mix, but the
left and right sides of the side signal are swapped.
• Spread knob and field: Determine the spread of the stereo base in LR input signals
or set the side signal level in MS input signals. Controls high range signals when Split
is active. Spread parameter behavior changes when fed LR or MS signals. These
differences are outlined below:
When working with LR signals:
• At a neutral value of 1, the left side of the signal is positioned precisely to the left
and the right side precisely to the right. As you decrease the Spread value, the two
sides move toward the center of the stereo image.
• A value of 0 produces a summed mono signal—both sides of the input signal are
routed to the two outputs at the same level. At values greater than 1, the stereo base
is extended out to an imaginary point beyond the spatial limits of the speakers.
When working with MS signals:
• Values of 1 or higher increase the level of the side signal, making it louder than the
middle signal.
• At a value of 2, you hear only the side signal.
• Split button: Split the signal into independently controlled high and low ranges.
When you activate the Split button a Crossover slider and additional Direction Low and
Spread Low knobs are shown. Low range signals are affected by these knobs and high
range signals are controlled with the Direction and Spread knobs.
• Crossover slider and field: Set the frequency where the signal is split between high and
low ranges.
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• Direction Low knob and field: Independently set the central pan position for the
recorded stereo signal in the lower frequency range (set with the Crossover slider). The
Direction knob controls panning for upper frequency signals.
• Spread Low knob and field: Independently set the stereo spread in LR signals or set the
side signal level in MS signals for the lower frequency range (set with the Crossover
slider). The Spread knob controls stereo spread for upper frequency signals.
Stereo miking techniques in Logic Pro for iPad
There are three common stereo miking variations used in recording: AB, XY, and MS. A
stereo recording contains two channel signals.
AB and XY recordings both record left and right channel signals, but the middle signal is
the result of combining both channels.
MS recordings record a middle signal, but the left and right channels are decoded from the
side signal, which is the sum of both left and right channel signals.
AB miking
In an AB recording, two microphones—commonly omnidirectional, but any polarity can
be used—are equally spaced from the center and pointed directly at the sound source.
Spacing between microphones is extremely important for the overall stereo width and
perceived positioning of instruments within the stereo field.
The AB technique is commonly used for recording one section of an orchestra, such as the
string section, or perhaps a small group of vocalists. It is also useful for recording piano or
acoustic guitar.
AB is not well suited to recording a full orchestra or group as it tends to smear the stereo
imaging/positioning of off-center instruments. It is also unsuitable for mixing down to mono
because phase cancelations can occur between channels.
XY miking
In an XY recording, two directional microphones are symmetrically angled from the center
of the stereo field. The right-hand microphone is aimed at a point between the left side
and the center of the sound source. The left-hand microphone is aimed at a point between
the right side and the center of the sound source. This results in a 45° to 60° off-axis
recording on each channel (or 90° to 120° between channels).
XY recordings tend to be balanced in both channels, with good positional information being
encoded. XY recording is commonly used for drum recording and is also suitable for larger
ensembles and many individual instruments.
Typically, XY recordings have a narrower sound field than AB recordings, so they can lack a
sense of perceived width when played back. XY recordings can be mixed down to mono.
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MS miking
To make a Middle and Side (MS) recording, two microphones are positioned as closely
together as possible—usually placed on a stand or hung from the studio ceiling. One is a
cardioid (or omnidirectional) microphone that directly faces the sound source you want
to record—in a straight alignment. The other is a bidirectional microphone, with its axes
pointing to the left and right of the sound source at 90° angles. The cardioid microphone
records the middle signal to one side of a stereo recording. The bidirectional microphone
records the side signal to the other side of a stereo recording. MS recordings made in this
way can be decoded by the Direction Mixer.
When MS recordings are played back, the side signal is used twice:
• As recorded
• Panned hard left and phase reversed, panned hard right
MS is ideal for all situations where you need to retain absolute mono compatibility. The
advantage of MS recordings over XY recordings is that the stereo middle is positioned
on the main recording direction (on-axis) of the cardioid microphone. This means that
slight fluctuations in frequency response that occur off the on-axis—as is the case with
every microphone—are less troublesome, because the recording always retains mono
compatibility.
Stereo Spread in Logic Pro for iPad
Stereo Spread is generally used as an output channel strip mastering effect, but can be
used in any channel. There are several ways to extend the stereo base (or the perception
of space), including using reverbs or other effects and altering the signal phase. These
options can sound good, but they can also weaken the overall sound of your mix by ruining
transient responses, for example.
Stereo Spread extends the stereo base by distributing a selectable number of frequency
bands from the middle frequency range to the left and right channels. This is done
alternately—middle frequencies to the left channel, middle frequencies to the right channel,
and so on. This greatly increases the perception of stereo width without making the sound
totally unnatural, especially when it is used on mono recordings.
To add Stereo Spread to your project, choose Imaging > Stereo Spread in a channel strip
Audio Effect plug-in menu or Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Stereo Spread parameters
• Order knob and field: Determine the number of frequency bands that the signal is
divided into. A value of 8 is usually sufficient for most tasks, but you can use up to
12 bands.
• Lower Intensity knob and field: Set the amount of stereo base extension for the
lower frequency bands.
• Lower Frequency slider and field: Determine the lowest frequency that is redistributed
in the stereo image.
• Upper Freq slider and field: Determine the highest frequency that is redistributed in the
stereo image.
• Upper Intensity knob and field: Set the amount of stereo base extension for the
upper frequency bands.
Note: When setting the Lower and Upper Intensity knob values, be aware that the
stereo effect is most apparent in the middle and higher frequencies. Distributing low
frequencies between the left and right speakers can significantly alter the energy of
the overall mix. Use low values for the Lower Intensity parameter and avoid setting the
Lower Frequency slider below 300 Hz.
Metering tools
Metering tools in Logic Pro for iPad
You can use the Metering tools to analyze audio in a variety of ways. These plug-ins
provide different views of your audio data that extend the information shown in channel
strip meters. The Metering plug-ins have no effect on the audio signal and are intended for
use as diagnostic aids.
Each meter is specifically designed to view different characteristics of an audio signal,
making each suitable for particular studio situations. For example, BPM Counter displays
the tempo, Level Meter displays the level of an incoming audio signal, and Loudness Meter
shows the momentary, short-term, and integrated loudness levels.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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BPM Counter in Logic Pro for iPad
BPM Counter analyzes the tempo of incoming audio in beats per minute (bpm). The
detection circuit looks for any transients, also known as impulses, in the input signal.
Transients are very fast, nonperiodic sound events in the attack portion of the signal. The
more obvious this impulse is, the easier it is for BPM Counter to detect the tempo.
Percussive drum and instrumental rhythm parts, such as basslines, are suitable for tempo
analysis, whereas pad sounds are unsuitable candidates for tempo analysis.
To add BPM Counter to your project, choose Metering > BPM Counter in a channel strip
Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
BPM Counter parameters
• BPM display: Shows the tempo of incoming audio in beats per minute (bpm).
The measurement ranges from 80 to 160 beats per minute. The measured value is
displayed with an accuracy of one decimal place.
Note: BPM Counter detects tempo variations in the signal and tries to analyze them
accurately. If the State display shows Analyzing during playback, this indicates that
BPM Counter has detected a tempo that has deviated from the last received (or set)
tempo. As soon as a new, constant tempo is recognized, Continuous is shown in the
State display and the new tempo is shown in the BPM Counter display.
• Reset button: Tap to reset the BPM Counter display.
• Double button: Set the displayed tempo to double the analyzed rate.
• Half button: Set the displayed tempo to half the analyzed rate.
• State display: Shows the current analysis status. If Analyzing is displayed, a tempo
measurement is taking place. When Continuous is displayed, analysis is complete, and
the tempo is displayed in the BPM Counter display field.
• Confidence display: Shows a percentage value that indicates the accuracy of tempo
analysis.
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Correlation Meter in Logic Pro for iPad
Correlation Meter displays the phase relationship of a stereo signal.
To add Correlation Meter to your project, choose Metering > Correlation Meter in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Correlation Meter parameters
• Correlation Meter: Displays the phase relationship of a stereo signal.
• A correlation of +1 (the far right position) means that the left and right channels
correlate 100%—they are completely in phase.
• A correlation of 0 (the center position) indicates the widest permissible left/right
divergence, often audible as an extremely wide stereo effect.
• Correlation values lower than 0 indicate that out-of-phase material is present, which
can lead to phase cancelations if the stereo signal is combined into a monaural
signal.
• Reaction pop-up menu: Choose an option that works best for the audio signal.
Level Meter in Logic Pro for iPad
Level Meter shows the current signal level on a decibel scale.
Stereo Level Meter instances show independent left and right bars, whereas mono
instances display a single bar.
To add Level Meter to your project, choose Metering > Level Meter in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Peak level values are displayed numerically and graphically. You can reset these values by
tapping them in the display.
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Level Meter parameters
• Mode pop-up menu: Choose a display setting using Peak, RMS, Peak & RMS, True Peak,
or True Peak & RMS characteristics.
• The True Peak options display interpolated sample values.
• You can choose to view both Peak and RMS levels simultaneously.
• Target level field: Drag to set a target level. Signals above this level and below 0 dB are
shown in yellow directly on the level meter(s).
• Level Meter(s): Displays the current signal level on a decibel scale. The signal
level for each channel is represented by a green bar. Signals (above the target level)
approaching the 0 dB level are represented by a yellow bar. When the level exceeds
0 dB, the portion of the bar above the 0 dB point turns red.
• Peak/RMS field(s): Tap to clear peak or RMS value(s).
About Peak and RMS levels
The peak value is the highest level that the signal will reach. The RMS (root mean square)
value is the effective value of the total signal. In other words, it is a measurement of the
continuous power of the signal.
Human hearing is optimized for capturing continuous signals, making our ears RMS
instruments, not peak reading instruments. Therefore, using RMS meters makes sense
most of the time. Alternatively, you can use both RMS and Peak meters.
Loudness Meter in Logic Pro for iPad
Loudness Meter shows the momentary, short-term, and integrated loudness levels.
Loudness indicates the perceived level of a signal that is indicative of human hearing,
making it a useful reference tool when mixing or mastering. Loudness Meter conforms to
the EBU R 128 specification.
Loudness is measured in Loudness Units, relative to Full Scale (LUFS). Each LU is
equivalent to one decibel (dB).
To add Loudness Meter to your project, choose Metering > Loudness Meter in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Loudness Meter parameters
• M, S, and I meters and fields: Indicate the current momentary, short-term, and
integrated signal levels of incoming audio material. The loudness for each measurement
(M, S, I) is represented by a green bar. A meter turns yellow when the measured
loudness exceeds the target loudness line.
• Target level marker and line: Drag the yellow marker to set a target level between -30
LUFS and 0 LUFS.
• Loudness Range field: Indicates the loudness range during measurement (when the
Start/Pause button is active).
• Integrated field: Indicates the integrated loudness level during measurement (when the
Start/Pause button is active).
• Start/Pause button: Turn on to analyze and show the Integrated Loudness and the
LU Range for a portion or the full length of the audio material. Pause retains the current
LU Range and Integrated values. Tap again to resume real-time display.
• Reset button: Clear all values.
Use Tuner utility and plug-in in Logic Pro for iPad
You can tune instruments connected to your system with the Tuner utility or plug-in. This
ensures that external instrument recordings are in tune with any software instruments,
samples, or existing recordings in your projects.
If you’re new to using plug-ins, see Intro to plug-ins. Also see Add, replace, reorder, and
remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Tuner parameters
• On/Off button: Enable or disable the tuner.
• Graphic Tuning display: Indicates the pitch of the note. At the centered position, the
note is correctly tuned. If the indicator moves to the left of center, the note is flat. If the
indicator moves to the right of center, the note is sharp. Color is also used to indicate
tuning accuracy, with green denoting a tuned signal, orange indicating a slightly
detuned signal, and red indicating an out of tune signal.
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Use the Tuner utility
1. In Logic Pro, tap the Tuner icon on the control bar.
The Tuner utility opens.
2. Play a single note on the instrument and watch the Graphic Tuning display. If the note is
flat or sharp of the keynote, this is indicated in the display.
3. Adjust the tuning of your instrument until the indicator is centered in the display.
The display is shown in green when correctly tuned.
Use the Tuner plug-in
1. In Logic Pro, insert the Tuner plug-in into an audio channel strip Effect slot.
The Tuner plug-in opens.
2. Play a single note on the instrument and watch the Graphic Tuning display. If the note is
flat or sharp of the keynote, this is indicated in the display.
3. Adjust the tuning of your instrument until the indicator is centered in the display.
The display is shown in green when correctly tuned.
MIDI plug-ins
MIDI plug-ins in Logic Pro for iPad
MIDI plug-ins are inserted in software instrument channel strips and process or generate
MIDI data—played from a MIDI region or a MIDI keyboard—in real time. Included are
the Arpeggiator, Chord Trigger, and Modulator, along with plug-ins for transposition,
randomization and other processing. Scripter provides a number of MIDI processing and
generation scripts.
MIDI plug-ins are connected in series before the audio path of a software instrument
channel strip.
MIDI plug-ins have a MIDI input, the MIDI processor, and a MIDI output. The output
signals sent from MIDI plug-ins are standard MIDI events such as MIDI note or controller
messages.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Arpeggiator MIDI plug-in
Arpeggiator MIDI plug-in in Logic Pro for iPad
The Arpeggiator MIDI plug-in generates musically interesting arpeggios based on
incoming MIDI notes. It provides split and remote features that let you control nearly all
Arpeggiator functions without taking your hands off the keyboard, making it a powerful live
performance tool.
An arpeggio is a succession of notes in a chord. Rather than all notes being played at
one time, they are played one after the other in a pattern: up, down, random, and so on.
The Arpeggiator plug-in provides a number of preset patterns, inclusive of switchable
variations and inversions. Inversions change the root note of the chord from the lowest
note, resulting in a different start note in arpeggiated patterns. These features let you
quickly switch between patterns and feels when performing live, or when creating new
projects in the studio.
The Arpeggiator MIDI plug-in is divided into four main function areas.
• Main and Latch parameters: This area contains the Play and Latch controls. See
Arpeggiator main parameters and Arpeggiator latch parameters.
• Mode parameters: Here you can set note order parameters, can determine the arpeggio
type and include four variations or inversions, the arpeggio octave range, and the
arpeggio speed. See Arpeggiator note order parameters.
• Options and Grid parameters: The options parameters provide control of note lengths
and velocities, and the overall swing amount of the Arpeggiator. The grid parameters let
you capture and load arpeggiator patterns.
• Control parameters: Arpeggiator parameters and behavior can be modified with
keyboard parameters and controller parameters.
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Arpeggiator MIDI plug-in main parameters in Logic Pro for iPad
You can use the main parameters to start and stop the Arpeggiator, and to set the rate and
scale. You can also capture a live arpeggio as a MIDI region.
Main parameters
• Playback button: Start or stop arpeggiated playback of note input from a MIDI keyboard
or a MIDI region. The Playback button is highlighted when in play mode. When the
Arpeggiator plug-in is stopped, incoming MIDI notes are passed through, and the
settings of the split and remote keyboard parameters are retained. See keyboard
parameters and Assign Arpeggiator controllers.
• When Logic Pro is in play mode: The arpeggio starts playing whenever the Playback
button is on. Arpeggio playback is linked to the project song position.
• When Logic Pro is stopped: Arpeggio playback stops. Incoming MIDI notes are
passed through, and keyboard split and remote settings are retained.
Note: You can tap the Arpeggiator Playback button while Logic Pro is stopped to begin
arpeggio playback from the first step in the arpeggio.
• Silent Capture button: Tap to capture an arpeggio step by step without being disturbed
by the immediate response of the running arpeggiator.
• When enabled, the arpeggiator is stopped and Latch/Add mode is engaged.
• When disabled, the Playback button is re-engaged (if previously active) and Latch
mode switches to Transpose.
• Input Snap pop-up menu: Choose a beat value to snap the first incoming note to a
position, thus quantizing the arpeggio start point.
The default Input Snap pop-up menu value is “Link to Rate,” which matches the set
Arpeggiator Rate.
• Rate control and field: Set the arpeggiator rate. Choose from: 1/4, 1/8, 1/16 (including
Triplet and Dotted notes), and 1/32.
• Double/Halve Rate buttons: Tap to double or halve the value set with the Rate knob.
• Scale Type pop-up menu: Choose a scale. Played keys are snapped to the nearest note
in the chosen scale. Choose from: Chromatic (default), Major, Major Pentatonic, Major
Blues, Lydian, Mixolydian, Klezmer, Minor Pentatonic, Minor Blues, Japanese, Natural
Minor, Harmonic Minor, Melodic Minor, Dorian, Phrygian, Locrian, and South-East Asian.
• Note pop-up menu: Choose a root key for the chosen scale. C is the default key.
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Arpeggiator MIDI plug-in latch parameters in Logic Pro for iPad
You can determine the latching behavior and can edit arpeggio steps with the latch
parameters.
The Arpeggiator MIDI plug-in operates in two distinct functional modes: Live and Grid.
The modes are mutually exclusive, so turning on one turns off the other. It also provides a
unique Live Capture to Grid facility.
When Grid mode is active, it controls the arpeggio velocity, cycle length, step length, rests,
ties, and chords. All live input of available grid parameters, such as velocities, is ignored.
See Arpeggiator options parameters.
When in the default Live mode, the arpeggio performance is controlled by your input. For
example, the velocities of arpeggiated notes are determined by the way you played them.
Any existing grid values are retained but are disabled until you return to Grid mode.
Note: When you capture a live performance, grid values are not retained.
In Live mode, you can add rests, ties, and chords in real time by tapping the onscreen
buttons or by using equivalent MIDI keyboard remote keys. See Assign Arpeggiator
controllers.
Latch parameters
• On/Off button: Turn Latch mode on or off. This allows an arpeggio to run without you
holding down keys. Latch mode behavior is determined with the Latch mode pop-up
menu.
• Latch Mode pop-up menu: Choose a Latch mode.
• Reset: The first key played clears the currently latched notes.
• Transpose: Play a single key to transpose the arpeggio relative to the note value of
the pressed key and the lowest arpeggiated note.
Note: Pressing more than one key simultaneously clears currently latched notes and
starts a new arpeggio.
• Gated Transpose: This option is the same as Transpose Latch mode with the
difference that the arpeggio only plays while a key is pressed. As soon as the key is
released, the arpeggio is muted.
• Add: Play keys—one by one, or simultaneously as a chord—to add them to the
latched arpeggio. You can play the same key multiple times and the note repeats the
number of times it is struck.
• Add Temporarily: This option is the same as Add Latch mode except that played
notes are added to the latched arpeggio only while held. When a temporarily added
key is released, it is removed from the arpeggio.
• Through: All incoming MIDI notes are passed through the Arpeggiator plug-in,
enabling you to play along with a latched arpeggio.
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• Add Rest button: Insert a rest at the current arpeggiator step position. A position
identification number is assigned to the rest, ensuring that its rhythmic position (step
number) within the arpeggio is retained, even when different note order presets are
chosen.
Note: Rests can only be added while building the arpeggio, which means that at
least one key must be held if you want to add a rest. Once all keys are released, the
Arpeggiator acts in accordance with the rules of the set Latch mode and expects to
receive a MIDI note for transposition and so on. In Latch Add mode, this restriction does
not apply because it allows you to add MIDI notes, rests, ties, and chords after all keys
are released.
• Add Tie button: Insert a tie at the current arpeggiator step position. A position
identification number is assigned to the tie, ensuring that its rhythmic position (step
number) within the arpeggio is retained, even when different note order presets are
chosen.
• Add Chord Step button: Insert a chord at the current arpeggiator step position. When
the arpeggiator encounters a chord step, it simultaneously plays all notes, including
their unique velocities, currently in memory (latched or held). A position identification
number is assigned to the chord, ensuring that its rhythmic position (step number)
within the arpeggio is retained, even when different note order presets are chosen.
• Delete Last button: Delete the last note, rest, or tie that was added to the arpeggio.
Note: Each event is allocated a unique position identification number and the “last”
event has the highest position identification number.
• Clear button: Remove all notes from the Arpeggiator plug-in latch memory. The
arpeggio stops playing and all position identification numbers are reset to zero, enabling
you to create a new arpeggio without turning off Latch mode, which can be useful in a
live situation when preparing for a chord change.
Arpeggiator MIDI plug-in mode parameters in Logic Pro for iPad
The Mode parameters provide control of a pre-programmed order of notes that are played
at a preset playback rate. Once all notes are played, the arpeggio cycles from the start.
When you play a single key, it is repeated. When you play multiple keys, the held notes are
played one after the other. As you play additional notes, these are seamlessly added to
the arpeggio. When you release notes, they are removed from the arpeggio. The arpeggio
stops when you release all played keys (unless Latch mode is turned on in the control
parameters).
The Arpeggiator plug-in automatically assigns position identification numbers to each note
in the order they are played. These position identification numbers associate an event,
such as a note, rest, or a tie, with a particular step. This lets you switch between note order
presets while retaining a rest on the third step, for example.
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Mode parameters
All Mode parameters can be changed while an arpeggio is playing. Changes are immediate
and are seamlessly applied to the running arpeggio.
• Note Order pop-up menu: Set the arpeggio direction.
• Up: The arpeggio is played from the lowest note to the highest note.
• Down: The arpeggio is played from the highest note to the lowest note.
• Up & Down: The arpeggio plays up and down, from the lowest note; the highest and
lowest notes repeat.
• Outside-in: The arpeggio plays the highest then the lowest notes, then the second
highest and second lowest, the third highest and third lowest, and so on.
• Random: Arpeggiated notes play in a random order.
• As Played: All notes play in the order they were triggered. See Lock button
parameter.
• Lock button: Works in conjunction with the “As Played” item in the Note Order pop-up
menu. Tap once you have triggered an arpeggio to lock the current note order. This
note order and feel is retained for any newly triggered arpeggios, but with new notes
replacing the original notes. Tap again to clear the locked note order and to revert to
the standard “as played” behavior. The lock state and note order can be saved with a
setting.
• Note Order Vari knob: Determine the type of note order variation. See note order
variations for details.
• Octave Range knob: Determine the octave range or the chord inversion pattern. See
note order inversions for details on the four knob position behaviors in Inversions mode.
In Octaves mode:
• Position 1: The arpeggio repeats without transposition.
• Position 2: The lowest note is transposed by one octave. Once repeated, the
arpeggio restarts in the original octave.
• Position 3: The first repetition is transposed by one octave, and the second
repetition is transposed by two octaves. Once the second repetition is played, the
arpeggio restarts in the original octave.
• Position 4: The first repetition is transposed by one octave, the second by two
octaves, and the third by three octaves. Once the third repetition is played, the
arpeggio restarts in the original octave.
In Inversions mode:
• Position 1: The arpeggio repeats without inverting the held notes.
• Position 2: The arpeggio is inverted once during the first repetition. Once repeated,
the arpeggio restarts.
• Position 3: The arpeggio is inverted twice, once each during the first and the second
repetition. Once the second repetition is played, the arpeggio restarts.
• Position 4: The arpeggio is inverted three times, once each during the first, second,
and third repetitions. Once the third repetition is played, the arpeggio restarts.
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• Octaving Mode buttons: Switch between two modes: Octaves or Inversions. The four-
position Octave Range knob above the buttons is used to determine the octave range or
the chord inversion pattern. See note order inversions.
• Cycle Length knob: Set a length for the arpeggio. You can choose from the following:
• By Grid: Matches the arpeggio length to the host application division setting. This is
useful for rhythmically synchronizing the arpeggio length with other regions.
• 1 to 32: Set the arpeggio length to the specified number of notes.
• As Played: The arpeggio length is determined by the length of played notes.
Arpeggiator MIDI plug-in note order variations in Logic Pro for iPad
The table outlines the Arpeggiator behavior in each note order preset when the Note Order
Vari(ation) knob is set to the four available positions.
Note order Variation 1 Variation 2 Variation 3 Variation 4
Up Plays from the Plays the second Plays the third step This variation, which
lowest to highest step first. This first. This variation consists of three
note in consecutive variation consists consists of four steps, plays up and
order and restarts of four steps; all steps; all pressed overlaps; all pressed
when all keys are pressed keys are keys are divided keys are divided
played. divided into groups into groups of four into groups of three
of four with the note with the note order with the note order
order applied to applied to all groups. applied to all groups.
all groups. If there If there are fewer If there are fewer
are fewer than four than four notes, the than three notes,
notes, the steps steps without an the steps without
without an assigned assigned key are an assigned key are
key are skipped. skipped. Once all skipped. Once all
Once all keys are keys are played, the keys are played, the
played, the arpeggio arpeggio restarts arpeggio restarts
restarts with the with the lowest note. with the lowest note.
lowest note.
Down Plays from the Plays the second Plays the third step This variation, which
highest to lowest step first. This first. This variation consists of three
note in consecutive variation consists consists of four steps, plays down
order and restarts of four steps; all steps; all pressed and overlaps; all
when all keys are pressed keys are keys are divided pressed keys are
played. divided into groups into groups of four divided into groups
of four with the note with the note order of three with the
order applied to applied to all groups. note order applied
all groups. If there If there are fewer to all groups. If there
are fewer than four than four notes, the are fewer than three
notes, the steps steps without an notes, the steps
without an assigned assigned key are without an assigned
key are skipped. skipped. Once all key are skipped.
Once all keys are keys are played, the Once all keys are
played, the arpeggio arpeggio restarts played, the arpeggio
restarts with the with the highest restarts with the
highest note. note. highest note.
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Note order Variation 1 Variation 2 Variation 3 Variation 4
Up & Down Plays from the Plays from the This two-step This three-step
lowest to highest lowest to highest variation works with variation works with
note in consecutive note in consecutive pairs of notes. The trios of notes. The
order, then plays order, then plays second note of the note order is 1, 3,
from the highest to from the second pair plays first. In 2. Once the pattern
the lowest note, and highest to the a four-note chord, is played, the note
restarts when all second lowest note, the order is 2, 1, 4, order is reversed,
keys are played. and restarts when all 3. Once the pattern then the arpeggio
keys are played. is played, the note restarts.
order is reversed,
then the arpeggio
restarts.
Outside-in Plays the highest Plays the lowest This is an inside- This is an inside-
note, then the lowest note, then the out variation. The out variation. The
note, then plays the highest note, then number of played number of played
second highest and plays the second keys is divided keys is divided
the second lowest lowest and the by two (rounded by two (rounded
note, and so on. The second highest up to the nearest up to the nearest
arpeggio restarts note, and so on. The whole number). The whole number). The
when all keys are arpeggio restarts highest center note lowest center note
played. when all keys are is played, then the is played, then the
played. low-center note, and high-center note,
so on. In a six-note and so on. In a six-
chord, the order is note chord, the order
4, 3, 5, 2, 6, 1. The is 3, 4, 2, 5, 1, 6. The
arpeggio restarts arpeggio restarts
when all keys are when all keys are
played. played.
Random Played note order is Played note order is This variation This variation
randomly generated randomly generated favors low notes. favors high notes.
and can include but no note is played Played note order is Played note order is
duplicate notes. twice. The arpeggio randomly generated randomly generated
restarts when all and can include and can include
keys are played. duplicate notes. duplicate notes.
As Played Plays all notes in Plays all notes in the Plays all notes in Plays all notes in
the order they were reverse order they the order they were the order they were
played, then restarts. were played, then played, then plays played, then plays
restarts. notes in reverse notes in reverse
order, doubling the order, but does
first and last played not repeat the first
notes. The arpeggio and last played
restarts once all notes. The arpeggio
notes are played. restarts once all
notes are played.
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Arpeggiator MIDI plug-in note order inversions in Logic Pro for iPad
The table outlines the Arpeggiator behavior in each note order preset when the Octave
Range knob is set to the four positions in Inversions mode (set when the Inversions button
is active). Inversions change the root note of the chord, resulting in a different start note to
arpeggiated patterns.
Note order Inversion 1 Inversion 2 Inversion 3 Inversion 4
Up Plays the original Plays the second Plays the third This variation, which
chord, then three inversion first. inversion first. consists of three
inversions in Playback order: 1, Playback order: 2, steps, plays up and
consecutive order original, 2, 3. original, 1, 3. overlaps. Playback
and restarts. order: original, 2,
Playback order: 1, 3.
original, 1, 2, 3.
Down Plays the original Plays the second Plays the third step This variation,
chord, then three step first. Playback first. Playback order: which consists of
inversions in order: 2, 3, 1, 1, 3, 2, original. three steps, plays
consecutive order original. down and overlaps.
and restarts. Playback order: 3, 1,
Playback order: 3, 2, 2, original.
1, original.
Up & Down Plays the original Plays the second Once the pattern is Once the pattern is
chord, then three step first. Playback played, the order is played, the order is
inversions in order: 1, original, 3, reversed, then the reversed, but the
consecutive order, 2, 2, 3, original, 1. arpeggio restarts. third inversion is not
then reverses the Playback order: repeated. Playback
order, repeating original, 2, 1, 3, 3, 1, order: original, 1, 2,
the first and last. 2, original. 3, 2, 1.
Playback order:
original, 1, 2, 3, 3, 2,
1, original.
Outside-in Plays the highest Plays the original, This is an inside-out This is an inside-out
inversion, then the then the highest variation. Playback variation. Playback
original, then plays inversion, then plays order: 1, 2, original, order: 2, 1, 3,
the second highest the second lowest 3. original.
and the second and the second
lowest inversion, highest inversion,
and so on. Playback and so on. Playback
order: 3, original, order: original, 3,
2, 1. 1, 2.
Random Played inversion Played inversion This variation favors This variation
order is randomly order is randomly low chord inversions. favors high chord
generated and can generated but no Played inversion inversions. Played
include duplicate chord inversion is order is randomly inversion order is
chord inversions. played twice. generated and can randomly generated
include duplicate and can include
chord inversions. duplicate chord
inversions.
Logic Pro User Guide for iPad 501
Arpeggiator MIDI plug-in options parameters in Logic Pro for iPad
You can use the options parameters to set global Arpeggiator playback parameters, such
as note length and velocity.
Options parameters
• Note Length knob: Define the length of arpeggiated notes. This ranges from 1 to 150%.
Note: This is a global scaling parameter that retains the relative length differences
between individual steps that may have been changed in Grid mode.
• Note Length Rnd knob: Set the amount of random note length variation.
• Velocity Range knob: Determine the maximum range of possible velocity values for
arpeggiated notes. At the far right position (100%), the original velocities of recorded
or played notes are retained. At the far left position (0%), the original velocities of
recorded or played notes are ignored and all notes are output at a constant velocity.
• Velocity Base field: Drag vertically to set (or tap to type) a minimum velocity value used
for random velocity modulations and (de-)crescendos.
• (De-)Crescendo/Velocity Random knob: Set the strength of the random or (de-)
crescendo velocity variation for the mode chosen in the Velo Alteration pop-up menu.
• When Velo Alteration is set to Random: The velocity values of all notes are
randomized symmetrically by the set amount. At a value of 0% there is no
randomization applied. At a value of 100% the velocity values are completely
randomized.
• When Velo Alteration is set to (De-)Crescendo: The set amount is added to, or
subtracted from, the velocity of all notes on each arpeggio repetition, starting with
the second cycle.
• Velo Alteration pop-up menu: Switch between two modes: Random and (De-)
Crescendo. The amount of variation is controlled with the Velocity Random knob. The
range of the (de-)crescendo or possible random velocities is set with the Velocity
Range and Velocity Base parameters.
• Swing knob and field: Set the strength of note swing. Swing moves every second note
closer to the nearest downbeat. A value of 0% results in no note movement, whereas a
value of 100% results in extreme note movement.
Logic Pro User Guide for iPad 502
Arpeggiator MIDI plug-in Grid mode in Logic Pro for iPad
The Arpeggiator MIDI plug-in operates in two distinct functional modes: Live and Grid.
The modes are mutually exclusive, so turning on one turns off the other. It also provides a
unique Live Capture to Grid facility.
When Grid mode is active, it controls the arpeggio velocity, cycle length, step length, rests,
ties, and chords. All live input of available grid parameters, such as velocities, is ignored.
When in the default Live mode, the arpeggio performance is controlled by your input. For
example, the velocities of arpeggiated notes are determined by the way you played them.
Any existing grid values are retained but are disabled until you return to Grid mode.
Note: When you capture a live performance, grid values are not retained.
In Live mode, you can add rests, ties, and chords in real time by tapping the onscreen
buttons or by using equivalent MIDI keyboard remote keys. See Assign Arpeggiator
controllers.
The grid consists of 16 steps. Each step controls the step velocity as well as its length,
rest, tie, and chord status. In addition, a cycle length can be set. The current grid pattern
is automatically saved with the project or concert. You can also save and load your own or
factory grid patterns. The Arpeggiator plug-in assigns incremental position identification
numbers in the order they were received, regardless of the initially selected note order
preset. These position identification numbers are used to “lock” an event, such as a note, a
rest, or a tie to a particular step.
Grid mode parameters
• On/Off button: Turn on Grid mode. The grid has 16 steps. Each step controls velocity,
length, rest, tie, and chord status.
• Capture button: Tap to capture the current arpeggiator settings as a grid pattern. This
appears as the Custom entry in the Patterns pop-up menu.
• Patterns pop-up menu: Choose a menu item to load user grid patterns or to load a
factory grid pattern.
• Custom: This menu item is shown automatically when any pattern changes have
been made. It can be considered the “current state” pattern preset.
• App Patterns submenu: Tap to choose a factory pattern preset.
• Next/Previous Pattern buttons: Choose the next or previous pattern preset.
• Length knob: Change the grid length.
Note: The (grid) Length value is independent from the Cycle Length parameter (which
sets the length of the arpeggiated note pattern) described in the options parameters.
The grid length cycles independently of the effective note pattern. This prevents
disruptions to the perceived rhythmic pattern created by the grid, which can occur
when you change the arpeggio length.
Logic Pro User Guide for iPad 503
Use Arpeggiator MIDI plug-in keyboard parameters in Logic Pro for iPad
The Arpeggiator Keyboard Split parameters let you divide your keyboard into zones that
are used for standard note playback, arpeggio note triggering, and remote control of the
Arpeggiator plug-in parameters.
Keyboard Split parameters
• On/Off button: Divide your MIDI keyboard range into three zones.
• Arp Range Start/End sliders: Determine the keyboard range that is arpeggiated.
• Notes below the Arp Range Start slider value can be used as remote control keys for
Arpeggiator functions.
• Notes between the Arp Range Start and End slider values can be arpeggiated.
• Notes above the Arp Range End slider value can be played without arpeggiation.
Set up a keyboard split in the Arpeggiator MIDI plug-in
By default, the complete MIDI key range (0–127) is used solely for arpeggiating. You can
split your MIDI keyboard into three zones to control Arpeggiator plug-in functions with
MIDI keys.
• In Logic Pro, tap the Keyboard Split On/Off button to divide your MIDI keyboard range
into three zones.
• Remote zone: Notes played in this lower keyboard zone trigger an Arpeggiator
function. Drag the Arp Range Start slider to resize.
• Arpeggio zone: Notes played in this central keyboard zone are arpeggiated. Drag
the Arp Range Start and End sliders to resize. Drag the area between the sliders to
move.
• Through zone: Notes are passed through the Arpeggiator plug-in unprocessed. This
zone covers all keys above the Arp Range End slider position.
Assign Arpeggiator controllers in Logic Pro for iPad
You can assign up to four MIDI controllers to Arpeggiator plug-in parameters.
Logic Pro User Guide for iPad 504
Assign a MIDI controller to an Arpeggiator MIDI plug-in parameter
In Logic Pro, choose an option from both a MIDI Controller (MIDI Ctrl) pop-up menu and the
corresponding Destination pop-up menu:
• MIDI Ctrl A-D pop-up menus: Choose a MIDI controller type.
• Destination A-D pop-up menus: Choose a target parameter: Note Length, Note Length
Random, Velocity Range, Velocity Base, Velocity Random, and (De-)Crescendo. You can
also assign the Latch On/Off and Silent Capture buttons as destinations, or can choose
None.
Learn a MIDI controller in the Arpeggiator MIDI plug-in
1. In Logic Pro, choose a parameter from any of the Destination pop-up menus.
2. Choose -Learn MIDI- from any of the MIDI Ctrl pop-up menus.
3. Move a controller on your MIDI keyboard to assign it to the Destination parameter.
The Learn feature has a 20-second time out facility. If you do not move a controller on
your MIDI device within 20 seconds, Learn mode is automatically disabled.
Chord Trigger MIDI plug-in
Chord Trigger MIDI plug-in in Logic Pro for iPad
The Chord Trigger MIDI plug-in lets you trigger chords by playing a single MIDI key.
Chord Trigger parameters
• Single button: Assign a single chord to a trigger key. Play up and down the keyboard
to transpose the memorized chord in relation to the trigger key. This mimics the Chord
Memo or Note Stack feature found on many classic synthesizers.
• Multi button: Assign a different chord to each key on the keyboard.
• Learn button: Turn on Learn mode. See Use the Chord Trigger MIDI plug-in for details
on using Learn mode.
• Trigger Key pop-up menu: Define a target note number that you want to use for a chord
assignment. This is also used to choose a note with an existing chord assignment that
you want to clear.
• Clear button: Erase a Trigger Key note and the corresponding chord.
• Clear All button: Erase all Trigger Key notes and corresponding chords.
• Range Low/High sliders and fields: Set the lower and upper note range for a chord
assignment. Each note chosen in the Trigger Key pop-up menu can have a defined
range when used in Single or Multi chord mode.
• Chord Transpose knob: Choose an octave transposition value for chord playback.
• Learn Remote knob: Choose the MIDI note number you want to use as a remote control
for the Learn button.
Logic Pro User Guide for iPad 505
Use the Chord Trigger MIDI plug-in in Logic Pro for iPad
Chord Trigger is straightforward to use: choose a mode (single or multi), set a chord trigger
range, select a trigger key, then set up a chord. You can also transpose chords and quickly
assign multiple chords by playing keys on your MIDI keyboard or the onscreen keyboard.
Define the chord trigger range
The chord trigger range is indicated by the bar between the Range Low and Range High
sliders. Incoming MIDI notes that fall within this range are interpreted as trigger keys that
play the chord (Single Chord mode) or the chords (Multi Chord mode) assigned to them.
Chords can be assigned to keys within the chord trigger range. Incoming MIDI notes that
fall outside the defined chord trigger range are passed through Chord Trigger unaffected.
This allows you to play a melody with the right hand while triggering/transposing
memorized chords with the left, for example.
• In Logic Pro, drag the Range Low and Range High handles to define a keyboard range.
• In Single Chord mode: Playing a MIDI note within the defined chord trigger range
plays and transposes a single memorized chord. The transposition is performed
in relation to the trigger key the chord is assigned to. For example, if a chord is
assigned to C2, playing a D2 transposes the chord upward by two semitones. Playing
a B1 transposes the chord down by a semitone.
• In Multi Chord mode: Playing a MIDI note within the defined chord trigger range
triggers the chord that is memorized for the played key. Keys that do not have a
chord assigned to them are silent when played.
Note: If the chord trigger range is made shorter, memorized chords that fall outside the
range become inaccessible but are not deleted. Lengthening the chord trigger range makes
assigned chords accessible again.
Transpose chords in the chord trigger range (Multi Chord mode only)
You may want to transpose triggered chords in some circumstances. For example, in Multi
Chord mode you can move the entire chord trigger range upward by two semitones to
change a chord progression in C-Major (starting with the C trigger key) into a progression
that plays in D-Major, starting with the D trigger key.
• In Logic Pro, drag the center of the chord trigger range left or right.
All memorized chords are moved with the chord trigger range and are automatically
transposed.
Transpose chords by semitones or octaves
• In Logic Pro, use the Chord Transpose knob to set a value.
All memorized chords can be transposed up or down by up to four octaves.
Logic Pro User Guide for iPad 506
Assign a chord to a key
1. In Logic Pro, tap the Learn button.
2. Choose a trigger key—within the chord trigger range— from either the Trigger Key pop-
up menu or by playing a key on the onscreen keyboard or your MIDI keyboard.
3. Play the chord you want to assign to the trigger key on the onscreen keyboard or your
MIDI keyboard.
4. To end chord assignment, tap the Learn button.
You can repeat these steps to assign a different chord to each key in the chord trigger
range when in Multi Chord mode. In Single Chord mode, only one chord can be learned.
Clear a chord assignment
• In Logic Pro, choose the key from the Trigger Key pop-up menu, then tap the Clear button.
Clear all chord assignments
The following applies only to Multi Chord mode.
• In Logic Pro, tap the Clear All button.
All chords on all trigger keys are erased.
Modifier MIDI plug-in in Logic Pro for iPad
The Modifier MIDI plug-in lets you quickly reassign or filter a single continuous controller
(CC) or fader event. You can also scale or add to event values.
Modifier parameters
• Input Through button: Define whether or not the input event is sent to the output in
addition to the reassignment.
• Input Event pop-up menu: Choose or learn the type of MIDI input event that you want to
reassign or filter.
• Output Event pop-up menu: Choose or learn the type of MIDI output event. You can
also learn parameters for plug-ins in the same channel strip. If set to Off, the event type
chosen in the Input pop-up menu is filtered.
• Add slider and field: Set the offset amount for the output event type chosen in the Re-
assign To pop-up menu.
• Scale slider and field: Set the scaling amount for the output event type chosen in the
Re-assign To pop-up menu.
Logic Pro User Guide for iPad 507
Assign a MIDI event to a plug-in parameter
You can assign and send MIDI events to plug-ins in the same channel strip, allowing you to
control parameters without using MIDI CC messages.
1. In Logic Pro, choose -Learn Plug-in Parameter- from the Output Event pop-up menu.
2. Tap the parameter in the target plug-in.
Modulator MIDI plug-in
Modulator MIDI plug-in in Logic Pro for iPad
The Modulator MIDI plug-in can generate continuous controller, aftertouch, and pitch bend
messages. It consists of a syncable LFO and Delay/Attack/Hold/Release envelope. See
Modulator MIDI plug-in LFO and Modulator MIDI plug-in envelope.
Both the LFO and envelope can be assigned to output any continuous controller,
aftertouch, plug-in parameter (in the same channel strip), or pitch bend message. You can
also specify a step width for the continuous outputs of the LFO and envelope, resulting in
modulations that are reminiscent of classic Sample & Hold circuits.
Modulator MIDI plug-in LFO in Logic Pro for iPad
LFO parameters
• On/Off button: Turn the LFO on or off.
• Rate knob and field: Set the cycle speed of the LFO in hertz or in beat values when
the Sync button is on. The LFO rate can be modulated by the envelope. See Modulator
MIDI plug-in envelope.
• Sync button: Synchronize the LFO rate to the project tempo.
Logic Pro User Guide for iPad 508
• Symmetry knob and field: Adjust the symmetry of the waveform. This deforms the
waveform in the following ways:
• Triangle: Shapes the triangle waveform into either an upward-sawtooth or
downward-sawtooth waveform. A symmetry value of 0 results in a perfect triangle
waveform.
• Sine: Changes the angle of the waveform, resulting in a sawtooth-like waveform
with peaks that lean left or right. A symmetry value of 0 results in a perfect sine
waveform.
• Square: Symmetry acts as a pulse width control. A symmetry value of 0 results in a
perfect square waveform.
• Random Similarity knob and field: Adjust the amount of deviation when a random
waveform is chosen. This alters the waveform in the following way:
• Random: Similarity determines the maximum deviation between two consecutive
random values. Low symmetry settings result in random values that are minimally
different from one to the next, whereas high symmetry settings result in random
values that deviate significantly.
• Shape buttons: Select a waveform shape. Choose from: triangle, sine, square, and
random. Each is suited for different types of modulations.
• Trigger Phase knob and field: Set the LFO waveform phase startpoint.
• Trigger pop-up menu: Determine how the LFO reacts to incoming MIDI note on
messages.
• Free: The LFO ignores MIDI note on messages.
• Single: After all notes have been released, the LFO is reset by the first MIDI note on
message it receives.
Note: This means that legato playing does not reset the LFO, so keep this in mind
during performances.
• Multi: The LFO is reset by each received MIDI note on message.
• Smoothing slider and field: Determine the number of steps per LFO cycle.
By default, the LFO produces a smoothed continuous stream of controller events, but
you can use this parameter to create a stepped controller signal that is similar to the
output of a Sample and Hold circuit. When you set a manual step rate, the LFO rate can
be changed without altering the number of steps.
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LFO Output parameters
• Output Level knob and field: Scale the LFO output level.
• LFO To pop-up menu: Choose a continuous controller number, aftertouch, or pitch bend
as the LFO output target. You can also learn a plug-in parameter.
• Output Offset slider and field: Set a positive or negative offset in order to tailor the
output for the intended target.
• MIDI Channel pop-up menu: Choose a MIDI output channel.
Note: This applies to both the LFO and envelope.
Assign a MIDI event to a plug-in parameter
You can assign and send MIDI events to plug-ins in the same channel strip, allowing you to
control parameters without using MIDI CC messages.
1. In Logic Pro, choose -Learn Plug-in Parameter- from the LFO To pop-up menu.
2. Tap the parameter in the target plug-in.
Modulator MIDI plug-in envelope in Logic Pro for iPad
Envelope parameters
• On/Off button: Turn the envelope on or off.
• Trigger pop-up menu: Determine if the envelope is triggered by the LFO or by incoming
MIDI note on messages.
• Single: After all notes have been released, the envelope is re-triggered by the first
MIDI note on message it receives.
Note: This means that legato playing does not reset the envelope, so keep this in
mind during performances.
• Multi: The envelope is re-triggered by each received MIDI note on message.
• LFO: The envelope is retriggered when the LFO reaches its (positive) peak value. See
Modulator MIDI plug-in LFO.
Note: The envelope ignores incoming LFO triggers if it is currently completing an
envelope pass.
• Sync button: Synchronize the envelope with project grid values. This snaps ADSR values
to project bars, beats, and so on.
• Delay slider and field: Delay the onset of the envelope. Ranges from 0 to 10 seconds.
• Attack slider and field: Set the time required to reach the sustain level. Ranges from 0
to 10 seconds.
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• Hold slider and field: Set the sustain level and duration. Ranges from 0 to 10 seconds.
• Release slider and field: Set the time required for the envelope to fall to a value of zero
after the sustain phase of the envelope has finished. Ranges from 0 to 10 seconds.
• Steps slider and field: Determine the number of steps per envelope pass. By default,
the envelope produces a smoothed continuous stream of controller events, but you can
use this parameter to create a stepped controller signal that is similar to the output of
a Sample and Hold circuit. When you set a manual step rate, the envelope time can be
changed without altering the number of steps.
• ENV to LFO Rate knob and field: Set the maximum amount of LFO modulation (LFO
depth). The LFO rate can be modulated by the Attack, Hold, and Release parameters
(see above).
• ENV to LFO Amp knob and field: Set the maximum amount of LFO output modulation.
This enables you to fade the LFO in or out with the envelope.
Env Output parameters
• Output Level knob: Scale the envelope output level.
• ENV To pop-up menu: Choose a continuous controller number, aftertouch, or pitch bend
as the envelope output target. You can also learn a plug-in parameter.
• Output Offset slider: Set a positive or negative offset in order to tailor the output for the
intended target.
• MIDI Channel pop-up menu: Choose a MIDI output channel.
Note: This applies to both the LFO and envelope.
Assign a MIDI event to a plug-in parameter
You can assign and send MIDI events to plug-ins in the same channel strip, allowing you to
control parameters without using MIDI CC messages.
1. In Logic Pro, choose -Learn Plug-in Parameter- from the ENV To pop-up menu.
2. Tap the parameter in the target plug-in.
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Note Repeater MIDI plug-in in Logic Pro for iPad
This plug-in mimics an audio delay by generating repeating MIDI notes.
Note Repeater parameters
• Input Through button: Turn on to pass incoming MIDI note events to the output in addition
to the delayed note events. Turn off to send only the delayed notes to the output.
• Sync button: Synchronize the plug-in with the project tempo. Set the delay time with
the Delay slider.
• Delay knob and field: Set the delay time in milliseconds or in bar/beat values when
the Delay Sync button is on.
Note: When the Sync button is on, only bar and beat values are available.
• Note Range Min and Max sliders: Move the sliders to set an input note range. Notes that
fall within this range are processed (default range: 1–127). Notes outside the range are
not processed.
Note: You can position the Note Range Min slider above the Note Range Max slider and
vice versa, which inverts the input note range behavior: note events that fall within the
range are not processed and note events outside the range are processed.
• Repeats knob and field: Set the number of delay repetitions.
• Transpose knob and field: Transpose each delay repeat by the set amount.
• Velocity Ramp knob and field: Scale the velocity level of each delay repeat by the set
amount.
Randomizer MIDI plug-in in Logic Pro for iPad
The Randomizer plug-in randomizes incoming MIDI events in real time.
Randomizer parameters
• Event Type pop-up menu: Choose the MIDI event type that you want to randomize.
• Input Range Low and Range High sliders and fields: Set the upper and lower limit for the
range of values that are affected. Only parameter values that fall within the range are
processed. All values outside the range pass through the plug-in.
Logic Pro User Guide for iPad 512
Note: You can position the Input Range Low slider above the Range High slider and vice
versa, which inverts the input range behavior: events that fall within the range are not
processed and events outside the range are randomized.
• Probability knob and field: Increase or decrease the likelihood that an event is
randomized within the set range. This impacts the Weight parameter setting: a lower
value means less chance, and a higher value means more chance to produce value
changes in the respective range.
• Random Amount knob and field: Set the intensity of randomization.
• Seed pop-up menu: Specify a starting point (or seed) for randomization.
An example is when using the Randomizer plug-in to randomize a piano melody. If you
bounce the piano part, your randomized melody is saved as an audio file. If you bounce
the song again, with Seed set to Random, the two bounces sound different. If Seed is
set to the same specific value for both bounces, they are identical.
• Weight knob and field: Determine the event values that you want to favor for
randomization. This works in concert with the Probability, Low/High Range, and Random
Amount controls.
• Set toward the left to increase the chance of low values being randomized.
• Set toward the right to increase the chance of high values being randomized.
• In the centered position, neither low or high values are favored, resulting in the entire
range of values being randomly altered.
• Output Offset slider and field: Offset the (random) MIDI output of the plug-in. Offsets
can be negative or positive.
Scripter MIDI plug-in
Use the Scripter MIDI plug-in in Logic Pro for iPad
The Scripter plug-in lets you load and use scripts to process or generate MIDI data in real
time. A number of pre-built Scripter processors are included.
Parameters such as buttons, pop-up menus, and sliders are shown in the plug-in.
Note: Logic Pro for iPad Scripter provides compatibility with Logic Pro for Mac
projects. You can load presets for this plug-in, but script editing is possible only in
Logic Pro for Mac.
Logic Pro User Guide for iPad 513
Load a pre-built Scripter processor
In Logic Pro, do one of the following:
• Load a setting from the Browser.
• Load a patch that contains a Scripter instance from the Browser.
• Load a channel strip setting that contains a Scripter instance from the channel strip
Settings pop-up menu or Browser.
• Load a project that contains a Scripter plug-in with a running script.
You do not need to explicitly save an active script as a setting, patch, and so on. Saving
the project retains the script and status of all Scripter plug-ins.
Transposer MIDI plug-in in Logic Pro for iPad
The Transposer MIDI plug-in can transpose incoming MIDI notes in real time and can
correct notes to a selected scale.
Transposer parameters
• Transpose slider and field: Transpose incoming MIDI Notes by ± 24 semitones.
• Retrigger Held Notes button: Retrigger held MIDI Notes when parameter changes are
made.
• Processing Order buttons: Transpose incoming MIDI Notes before or after applying the
value set with the Scale Type pop-up menu or a User scale set with the Keyboard.
• Note pop-up menu: Choose the root note for the scale.
• Scale Type pop-up menu: Choose one of several preset scales or create your own
custom scale (User) with the onscreen Keyboard.
• Keyboard: Tap notes to turn them on or off. Notes that are turned off are excluded from
the User scale.
Logic Pro User Guide for iPad 514
Velocity Processor MIDI plug-in
Velocity Processor MIDI plug-in in Logic Pro for iPad
The Velocity Processor MIDI plug-in processes incoming MIDI velocity events—note on
and note off—in real time. Among other applications, it allows velocity compression and
expansion.
Velocity Processor global parameters
• Note ON/OFF buttons: Tap either button to process MIDI note on velocity or MIDI note
off velocity. Both buttons can be active simultaneously.
• Mode buttons: Choose a velocity processing mode. The available parameters change
depending on the mode selected. Mode-specific parameters are detailed in each
section.
• Comp/Exp: In Compress/Expand mode, the plug-in behaves like an audio
compressor.
• Value/Range: In Value/Range mode, the plug-in behaves like an audio limiter.
• Add/Scale: In Add/Scale mode, the plug-in scales, adds to, or reduces the values of
incoming MIDI velocity messages.
• Note Range Min and Max sliders and fields: Move the sliders to set an input note range.
Notes that fall within the input note range are processed (default range: 1–127). Notes
outside the input note range are not processed.
Note: You can cross over the Note Range Min and Max sliders, which inverts the input
note range behavior: note events that fall within the range are not processed and note
events outside the range have their velocities processed.
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Velocity Processor MIDI plug-in Compress/Expand in Logic Pro for iPad
In Compress/Expand mode, the Velocity Processor MIDI plug-in behaves like an audio
compressor.
Compress/Expand mode parameters
• Threshold knob and field: Set a velocity value. Incoming velocities above the threshold
are processed. MIDI notes with velocity values below the threshold pass through
unaffected.
• Ratio knob and field: Determine the slope of compression/expansion above the
threshold. Processing is done using a “soft knee” characteristic.
• Ratios smaller than 1 result in an expansion of incoming velocity values.
• Ratios greater than 1 result in compression of incoming velocity values.
• Make-Up knob and field: Set a velocity offset to compensate for the higher or lower
overall velocity caused by compression/expansion. The velocity offset can be positive or
negative, either adding to or subtracting from incoming velocity values.
• Auto Gain button: Automatically apply a maximum velocity reference level, set with the
Make-Up knob.
Note: When the Auto button is active, the Make-Up knob changes function: instead of
setting the velocity offset value, it sets the maximum velocity reference level.
Velocity Processor MIDI plug-in Value/Range in Logic Pro for iPad
In Value/Range mode, the Velocity Processor MIDI plug-in can behave like an audio limiter.
Value/Range mode parameters
• Value/Range buttons: Value limits all incoming MIDI velocities to the value set with the
Fix knob. Range limits note velocities to only those within the range set with the Min/
Max sliders.
• Fix knob and field: Set a fixed velocity for all processed notes.
• Min/Max sliders and fields: Set a note velocity range to be processed. You can cross
over the sliders to create a note velocity range that is not processed.
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Velocity Processor MIDI plug-in Add/Scale in Logic Pro for iPad
In Add/Scale mode, the Velocity Processor MIDI plug-in scales, adds to, or reduces the
values of incoming MIDI velocity messages.
Add/Scale mode parameters
• Scale knob and field: Scale all incoming MIDI velocity values by a percentage from
zero to 200%.
• Add knob and field: Add the set value to, or subtract it from, incoming MIDI velocity
values.
Modulation effects
Modulation effects in Logic Pro for iPad
Modulation effects—such as Chorus, Flanger, or Tremolo are used to add motion and depth
to your sounds.
Modulation effects typically delay the incoming signal by a few milliseconds and use an
LFO to modulate the delayed signal. The LFO may also be used to modulate the delay time
in some effects.
A low frequency oscillator (LFO) is similar to the sound-generating oscillators in
synthesizers, but the frequencies generated by an LFO are so low that they can’t be heard
and are therefore used only for modulation purposes. LFO parameters include speed (or
frequency) and depth—also called intensity—controls.
You can also control the ratio between the affected (wet) signal and the original (dry)
signal. Some modulation effects include feedback parameters, which add part of the effect
output back into the effect input.
Other modulation effects involve pitch. The most basic type of pitch modulation effect is …,
which uses an LFO to modulate the frequency of the sound. Unlike other pitch modulation
effects, vibrato alters only the delayed signal.
More complex modulation effects, such as … allows flanging and chorus effects,
emulations of tape speed fluctuations and metallic, robot-like modulations.
Learn how you can use plug-ins.
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User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Chorus effect in Logic Pro for iPad
The Chorus effect delays the original signal, and the delay time is modulated with an LFO.
The delayed, modulated signal is then mixed with the original, dry signal.
You can use the Chorus effect to enrich the incoming signal and create the impression that
multiple instruments or voices are being played in unison. The slight delay time variations
generated by the LFO simulate the subtle pitch and timing differences heard when several
musicians or vocalists perform together. Using chorus also adds fullness or richness to the
signal, and it can add movement to low or sustained sounds.
To add Chorus to your project, choose Modulation > Chorus in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Chorus parameters
• Rate knob and field: Set the frequency, or speed, of the LFO.
• Intensity knob and field: Set the modulation amount.
• D-Mode button: Turn on to introduce a spatial filtering effect that resembles a well-
known vintage processor.
• Mix knob and field: Determine the balance between dry and wet signals.
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Ensemble effect in Logic Pro for iPad
Ensemble can add richness and movement to sounds, particularly when you use a high
number of voices. It is useful for thickening parts, but you can also use it for strong pitch
variations between voices, resulting in a detuned quality to processed material. Ensemble
combines up to eight chorus effects. Two standard LFOs and one random LFO enable you
to create complex modulations.
To add Ensemble to your project, choose Modulation > Ensemble in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Ensemble parameters
• Voices control and field: Set the number of chorus instances (voices) generated in
addition to the original signal.
• Spread knob and field: Distribute voices across the stereo field. You can set a value
of 200% to artificially expand the stereo base. Note that monaural compatibility may
suffer if you do this.
• Phase knob and field: Control the phase relationship between the individual voice
modulations. The value you choose here is dependent on the number of voices, which
is why it is shown as a percentage value rather than in degrees. The value 100 (or −100)
indicates the greatest possible distance between the modulation phases of all voices.
• Effect Volume knob and field: Compensate for effects signal volume changes caused by
adjusting the Voices value.
• Mix control and field: Set the balance between dry and wet signals.
• LFO 1/LFO 2/Random On/Off buttons: Enable or disable LFO 1, LFO 2, or the random
LFO independently.
• LFO 1/LFO 2/Random Rate knobs and fields: Set the frequency of LFO 1, LFO 2, and
random modulation.
• LFO 1/LFO 2/Random Intensity knobs and fields: Set the amount of LFO 1, LFO 2, and
random modulation.
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Flanger effect in Logic Pro for iPad
The Flanger effect works in much the same way as the Chorus effect but uses a
significantly shorter delay time. In addition, the effect signal can be fed back into the input
of the delay line.
Flanging is typically used to add a spacey or underwater quality to input signals.
To add Flanger to your project, choose Modulation > Flanger in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Flanger parameters
• Rate knob and field: Set the frequency, or speed, of the LFO.
• Rate Sync button: Synchronize the modulation speed with the project tempo. Choose
musical note values with the Rate knob.
• Intensity knob and field: Set the modulation amount.
• Feedback knob and field: Set the amount of the effect signal that is routed back to
the input. This can change the tonal color and can make the sweeping effect more
pronounced. Negative Feedback values invert the phase of the routed signal.
• Mix control and field: Determine the balance between dry and wet signals.
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Microphaser in Logic Pro for iPad
Microphaser lets you quickly create swooshing, phasing effects.
To add Microphaser to your project, choose Modulation > Microphaser in a channel strip
Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
Microphaser parameters
• LFO Rate knob and field: Set the frequency, or speed, of the LFO.
• LFO Sync button: Synchronize the modulation speed with the project tempo. Choose
musical note values with the Rate knob.
• Intensity knob and field: Set the modulation amount.
• Feedback knob and field: Set the amount of effect signal routed back to the input.
This can change the tonal color and can make the sweeping effect more pronounced.
Modulation Delay in Logic Pro for iPad
Modulation Delay is based on the same principles as Flanger and Chorus effects, but you
can set the delay time, allowing both chorus and flanging effects to be generated. It can
also be used without modulation to create resonator or doubling effects. The modulation
section consists of two LFOs with variable frequencies.
Although rich, combined flanging and chorus effects are possible, the Modulation Delay is
capable of producing some extreme modulation effects. These include emulations of tape
speed fluctuations and metallic, robot-like modulations of incoming signals.
To add Modulation Delay to your project, choose Modulation > Modulation Delay in a
channel strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also
see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins
in the Mixer.
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Modulation Delay parameters
• Mod Intensity knob and field: Set the modulation amount.
• Flanger/Chorus knob and field: Set the basic delay time. Set to the far left position
to create flanger effects, to the center for chorus effects, and to the far right to hear
clearly discernible delays.
• Feedback knob and field: Set the amount of effect signal routed back to the input.
Use a high Feedback value for strong modulations. If you want to double the signal,
don’t use Feedback. Negative values invert the phase of the feedback signal, resulting
in more chaotic effects.
• De-Warble button: Turn on to make sure the pitch of the modulated signal remains
constant.
• Constant Mod button: Turn on to make sure the modulation width remains constant,
regardless of the modulation rate.
Note: When Constant Mod is enabled, higher modulation frequencies reduce the
modulation width.
• D-Mode button: Turn on to introduce a spatial filtering effect that resembles a well-
known vintage processor.
• Filter On/Off button: Turn on to introduce an additional allpass filter into the signal path.
This filter shifts the phase angle of a signal, influencing its stereo image.
• Low/High Cut sliders and fields: Set the frequency at which the phase shift crosses
90°—the halfway point of the total 180°—for each of the stereo channels.
• LFO 1/2 Left Rate knobs and fields: Set the modulation rate for the left channel.
Note: The right LFO Rate knob is available only in stereo instances, and it can be set
separately only if the Stereo Free button is enabled.
• LFO 1/2 Right Rate knobs and fields: Set the modulation rate for the right channel.
• LFO Phase knob and field: Control the phase relationship between individual channel
modulations. Available only in stereo instances.
• At 0°, the extreme values of the modulation are achieved simultaneously for both
channels.
• At 180° or −180°, you achieve the greatest possible distance between the modulation
phases of both channels.
Note: The LFO Phase parameter is available for use only if the Link L & R button is
active.
• Stereo buttons: Tap Link to link the modulation rates of the left and right stereo
channels. Adjustment of either the Left or Right LFO Rate knob affects the other
channel. Tap Free to independently set the LFO Rate for each channel.
• LFO Mix slider and field: Determine the balance between the two LFOs.
• Volume Mod knob and field: Determine the impact of LFO modulation on the amplitude
of the effect signal.
• Output Mix control and field: Set the balance between dry and wet signals.
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Phaser effect in Logic Pro for iPad
The Phaser effect combines the original signal with a copy that is slightly out of phase
with the original. This means that the amplitudes of the two signals reach their highest and
lowest points at slightly different times. The timing differences between the two signals
are modulated by two independent LFOs. In addition, Phaser includes a filter circuit and
a built-in envelope follower that tracks volume changes in the input signal, generating a
dynamic control signal. This control signal alters the sweep range.
Sonically, phasing is used to create whooshing, sweeping sounds that wander through the
frequency spectrum. It is a commonly used guitar effect, but it is suitable for a range of
signals.
To add Phaser to your project, choose Modulation > Phaser in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Phaser parameters
• Sweep Mode buttons: Choose a mode that determines the impact of incoming signal
levels on the frequency range. Set the frequency range with the Ceiling and Floor
controls.
• Stages knob and field: Choose phaser algorithms (even numbers) or comb filtering (odd
numbers).
• The 4, 6, 8, 10, and 12 settings switch between five different phaser algorithms. All
are modeled on analog circuits, with each designed for a specific application.
• The 5, 7, 9, and 11 settings don’t generate actual phasing effects. The more subtle
comb filtering effects produced by odd-numbered settings can, however, be useful.
• Sweep Floor/Ceiling sliders and fields: Determine the frequency range affected by LFO
modulations.
• Rate LFO 1/2 knobs and fields: Set the speed for each LFO.
• LFO 1/2 Sync buttons: Synchronize the modulation speed of each LFO with the project
tempo. Choose musical note values with the Rate 1 and Rate 2 knobs.
• Phase knob and field: Control the phase relationship between individual channel
modulations. Available only in stereo instances. At 0°, extreme modulation values are
achieved simultaneously for both channels. At 180° or −180°, there is the greatest
possible distance between channel modulation phases.
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• LFO Mix slider and field: Determine the ratio between the two LFOs.
• Feedback knob and field: Determine the amount of effect signal routed back to the
input.
• Warmth button: Enable or disable a distortion circuit, suitable for warm overdrive
effects.
• HP/LP Cutoff knobs and fields: Set the cutoff frequency of the lowpass (LP) and
highpass (HP) filters.
• FB Filter button: Enable or disable the filter section.
• Output Mix slider and field: Determine the balance of dry and wet signals. Negative
values result in a phase-inverted mix of the effect and direct (dry) signal.
Ringshifter
Ringshifter in Logic Pro for iPad
Ringshifter combines a ring modulator with a frequency shifter effect. Both effects were
popular during the 1970s and are currently experiencing a renaissance.
The ring modulator modulates the amplitude of the input signal using either the internal
oscillator or a side chain signal. The frequency spectrum of the resulting effect signal
equals the sum of, and the difference between, the frequency content in the two original
signals. Its sound is often described as metallic or clangorous.
The frequency shifter moves the frequency content of the input signal by a fixed amount
and thereby alters the frequency relationship of the original harmonics. The resulting
sounds range from sweet and spacious phasing effects to robot-like timbres.
Note: Do not confuse frequency shifting with pitch shifting. Pitch shifting transposes the
original signal, leaving its harmonic frequency relationship intact.
To add Ringshifter to your project, choose Modulation > Ringshifter in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Ringshifter oscillator parameters in Logic Pro for iPad
In both frequency shifter modes and Ringmodulation Sine mode, the internal sine wave
oscillator is used to modulate the amplitude of the input signal.
• In the frequency shifter modes, the Frequency parameter controls the amount of
frequency shifting, either up or down, applied to the input signal.
• In Ringmodulation Sine mode, the Frequency parameter controls the frequency content,
or timbre, of the resulting effect. This timbre can range from subtle tremolo effects to
clangorous metallic sounds.
Oscillator parameters
• Operating Mode pop-up menu: Choose an operating mode for Ringshifter:
• Ringmodulation Sine: Enable to use the internal sine wave oscillator to modulate the
input signal.
• Ringmodulation Sidechain: Enable to modulate the amplitude of the input signal with
the audio signal assigned via the side chain input.
The sine wave oscillator is switched off, and the Frequency controls are disabled
when Side Chain mode is active.
• Frequency Shift Single: Turn on to generate a single, shifted effect signal.
The oscillator Frequency control determines whether the signal is shifted to a
positive value on the right side of the Frequency knob or to a negative value on the
left side.
• Frequency Shift Dual: Turn on to produce one shifted effect signal for each stereo
channel—one is shifted up, the other is shifted down.
The oscillator Frequency control determines the shift direction towards the left or
the right channel.
• Freq Shift Mode buttons: Switch the scaling of the Frequency control.
• Exp: Exponential scaling offers extremely small increments around the 0 point, which
is useful for programming slow-moving phasing and tremolo effects.
• Linear: Linear scaling is even across the entire control range.
• Frequency knob and field: Set the frequency of the sine oscillator.
• Env slider and field: Determine the impact of incoming signal levels on the oscillator
modulation depth.
• LFO slider and field: Determine the amount of oscillator modulation by the LFO.
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Ringshifter delay parameters in Logic Pro for iPad
The effect signal is routed through a delay, following the oscillator.
Delay parameters
• Time knob and field: Set the delay time. You can choose from: hertz values, when
running freely, or note values, including triplet and dotted notes, when the Sync button
is active.
• Sync button: Synchronize the delay with the project tempo. You can choose musical
note values with the Time knob.
• Feedback knob and field: Set the amount of signal routed back to the effect input.
Feedback adds an edge to the Ringshifter sound and is used for a variety of special
effects.
• Feedback, in combination with a slow oscillator sweep, produces a rich phasing
sound.
• A high Feedback setting with a short delay time of less than 10 ms produces comb-
filtering effects.
• A high Feedback setting with a longer delay time produces continuously rising and
falling frequency shift effects.
• Amount knob and field: Set the level of the delay added to the ring-modulated or
frequency-shifted signal. A Level value of 0 passes the effect signal directly to the
output (bypass).
• Low/High Cut sliders and fields: Cut frequencies below the Low Cut value and above the
High Cut value to shape the sound of delay repeats with highpass and lowpass filters.
The filters are located in the feedback circuit, which means that the filtering effect
increases in intensity with each delay repeat. If you want an increasingly muddy and
confused tone, move the High Cut slider toward the left. For ever thinner echoes, move
the Low Cut slider toward the right.
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Ringshifter envelope follower in Logic Pro for iPad
The oscillator Frequency and Dry/Wet parameters can be modulated with the internal
envelope follower—and the LFO. The oscillator frequency even allows modulation through
the 0 Hz point, thus changing the oscillation direction.
The envelope follower analyzes the amplitude (volume) of the input signal to create a
continuously changing control signal—a dynamic volume envelope of the input signal. This
control signal can be used for modulation purposes.
Envelope Follower parameters
• On/Off button: Turn the envelope follower on or off. When it is turned on, you can
access the following parameters.
• Sensitivity knob and field: Determine how responsive the envelope follower is to the
input signal. At lower settings, the envelope follower reacts only to the most dominant
signal peaks. At higher settings, the envelope follower tracks the signal more closely
but may react less dynamically.
• Attack slider and field: Set the response time of the envelope follower.
• Release slider and field: Set the time it takes the envelope follower to return from a
higher to a lower value.
Ringshifter LFO in Logic Pro for iPad
The oscillator Frequency and Dry/Wet parameters can be modulated with the LFO—and
the envelope follower. The oscillator frequency even allows modulation through the 0 Hz
point, thus changing the oscillation direction. The LFO produces continuous, cycled control
signals.
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Ringshifter LFO parameters
• On/Off button: Turn the LFO on or off. When it is turned on, you can access the
following parameters.
• Rate knob and field: Set the waveform cycle speed of the LFO.
• Sync button: Synchronize the LFO rate with the project tempo, using musical note
values.
• Symmetry/Smooth sliders and fields: Change the shape of the LFO waveform.
Ringshifter output parameters in Logic Pro for iPad
Ringshifter output parameters set the balance between the effect and input signals and
also set the width and feedback level.
Ringshifter Output parameters
• Dry/Wet knob and field: Set the mix ratio of the dry input signal and the wet effect
signal.
• Stereo Width knob and field: Determine the breadth of the effect signal in the stereo
field. Stereo Width affects only the effect signal of the Ringshifter, not the dry input
signal.
• Env slider and field: Determine the amount of Dry/Wet parameter modulation by the
input signal level.
• LFO slider and field: Set the LFO modulation depth of the Dry/Wet parameter.
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Rotor Cabinet effect
Rotor Cabinet effect in Logic Pro for iPad
The Rotor Cabinet effect emulates the rotating loudspeaker cabinet of a Hammond organ.
Also known as the Leslie effect, it simulates both the rotating speaker cabinet, with and
without deflectors, and the microphones that pick up the sound.
To add Rotor Cabinet effect to your project, choose Modulation > Rotor Cabinet in a
channel strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also
see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins
in the Mixer.
Rotor and Cabinet parameters
• Cabinet pop-up menu: Choose a cabinet model.
• Wood: Mimics a Leslie with a wooden enclosure. It sounds like the Leslie 122 or 147
model.
• Proline: Mimics a Leslie with a more open enclosure, similar to a Leslie 760 model.
• Single: Simulates the sound of a Leslie with a single, full-range rotor. It sounds like
the Leslie 825 model.
• Split: Routes the bass rotor signal slightly to the left and the treble rotor signal
toward the right.
• Wood & Horn IR: Uses an impulse response of a Leslie with a wooden enclosure.
• Proline & Horn IR: Uses an impulse response of a Leslie with a more open enclosure.
• Split & Horn IR: Uses an impulse response of a Leslie with the bass rotor signal
routed slightly to the left and the treble rotor signal routed more to the right.
• Horn Deflector button: Tap to emulate a Leslie cabinet with the horn deflectors removed
or attached. A Leslie cabinet contains a double horn, with a deflector at the horn
mouth. This deflector makes the Leslie sound. You can remove the deflector to increase
amplitude modulation and decrease frequency modulation.
• Acc/Dec Scale knob and field: Set the time it takes to get the rotors up to speed (set
with the Max Rate knob) and the length of time it takes for them to slow down. The
Leslie motors need to physically accelerate and decelerate the speaker horns in the
cabinets, and their power to do so is limited. Turn Acceleration to the far left position
to switch to the preset speed immediately. As you rotate the knob to the right, it takes
more time to hear the speed changes. At the default centered position, the behavior is
Leslie-like.
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• Rotor Fast Rate knob and field: Set the maximum possible rotor speed.
• Motor Control pop-up menu: Choose different speeds for the bass and treble rotors.
Use the Rotation switch to choose slow, brake, or fast mode.
• Normal: Both rotors use the speed determined by the Rotation switch position.
• Inv (inverse): In fast mode, the bass compartment rotates at a fast speed, while the
horn compartment rotates slowly. This is reversed in slow mode. In brake mode, both
rotors stop.
• 910: The 910 (also known as “Memphis”), stops the bass drum rotation at slow
speed, while the speed of the horn compartment can be switched. This is useful
when you’re after a solid bass sound but still want treble movement.
• Sync: The acceleration and deceleration of the horn and bass drums are roughly the
same. This sounds as if the two drums are locked, but the effect is clearly audible
only during acceleration or deceleration.
Note: If you choose Single Cabinet from the (Cabinet) Type pop-up menu, the Motor
Control setting is not relevant because there are no separate bass and treble rotors in a
single cabinet.
• Rotor Speed buttons: Change the rotor speed between Slow, Brake, or Fast.
Rotor Cabinet effect microphone types in Logic Pro for iPad
The Rotor Cabinet effect provides modeled microphones that pick up the sound of the
Leslie cabinet. You can specify the microphone type with these parameters.
• Horn/Drum Mic pop-up menus: Choose a microphone type for the horn and drum
speakers when Real Cabinet is chosen in the Cabinet pop-up menu.
• Dynamic: Emulates the sound of a dynamic cardioid microphone. This microphone
type sounds brighter and more cutting than the Condenser mic.
• Condenser: Emulates the sound of a studio condenser microphone. The sound of
condenser microphones is fine, transparent, and well-balanced.
• Mid-Side Mic: A Middle and Side (MS) configuration where two microphones are
positioned closely together. One is a cardioid (or omnidirectional) microphone
that directly faces the cabinet—in a straight alignment. The other is a bidirectional
microphone, with its axes pointing to the left and right of the cabinet at 90° angles.
The cardioid microphone captures the middle signal to one stereo side. The
bidirectional microphone captures the side signal to the other stereo side.
• Mic Position buttons: Choose either the front or rear position for the virtual microphone.
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Rotor Cabinet effect mic settings in Logic Pro for iPad
The Rotor Cabinet effect provides the following microphone processing parameters.
Mic processing parameters
• When Real Cabinet is chosen in the Cabinet pop-up menu:
• Horn Width knob and field: Set the stereo width of the Horn deflector microphone.
• Drum Width knob and field: Set the stereo width of the Drum deflector microphone.
• When other cabinets are chosen in the Cabinet pop-up menu:
• Mic. Distance knob and field: Determine the distance of the virtual microphones (the
listening position) from the emulated speaker cabinet. Turn to the right for a darker
and less defined sound.
• Mic. Angle knob and field: Define the stereo image, by changing the angle of the
simulated microphones between 0 and 180 degrees.
• Balance knob and field: Set the balance between the horn and drum microphone
signals.
Scanner Vibrato effect in Logic Pro for iPad
Scanner Vibrato simulates the scanner vibrato section of a Hammond organ. Scanner
Vibrato is based on an analog delay line consisting of several lowpass filters. The delay
line is scanned by a multipole capacitor that has a rotating pickup. It is a unique effect that
cannot be simulated with simple LFOs.
You can choose between three different vibrato and chorus types. The stereo version of
the effect features two additional parameters—Stereo Phase and Rate Right. These set the
modulation speed independently for the left and right channels.
To add Scanner Vibrato to your project, choose Modulation > Scanner Vibrato in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Scanner Vibrato parameters
• Type knob and field: Choose from three Vibrato positions (V1, V2, and V3) or three
Chorus positions (C1, C2, and C3).
• In each of the Vibrato positions, only the delay line signal is heard. Each vibrato type
has a different intensity.
• In the three Chorus positions (C1, C2, and C3), the signal of the delay line is mixed
with the original signal. Mixing a vibrato signal with an original, statically pitched
signal results in a chorus effect. This organ-style chorus sounds different from the
Chorus .
• In the C0 setting, neither the chorus nor the vibrato is enabled.
• Depth knob and field: Set the intensity of the chosen chorus effect type. If a vibrato
effect type is chosen, this parameter has no effect.
• Stereo Phase knob and field: Determine the phase relationship between left and right
channel modulations. If you set the knob to free, you can set the modulation speed of
the left and right channels independently.
• Left Rate knob and field: Set the modulation speed of the left channel when Stereo
Phase is set to free. If Stereo Phase is set to a value between 0° and 360°, Rate Left
sets the modulation speed for both the left and right channels. The Rate Right knob has
no function when in this mode.
• Right Rate knob and field: Set the modulation speed of the right channel when
Stereo Phase is set to free.
Spreader effect in Logic Pro for iPad
Spreader widens the stereo spectrum of a signal by periodically shifting the frequency
range of the original signal, thus changing the perceived width of the signal. You can
also use Spreader to specify the delay between channels in samples, which adds to the
perceived width and channel separation of a stereo input signal.
To add Spreader to your project, choose Modulation > Spreader in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Spreader parameters
• LFO Rate knob and field: Set the rate of the integrated LFO.
• LFO Intensity knob and field: Set the modulation amount.
• Channel Delay knob and field: Set the delay time in samples.
• Mix knob and field: Set the balance between the effect and input signals.
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Tremolo effect in Logic Pro for iPad
Tremolo modulates the amplitude of the incoming signal, resulting in periodic volume
changes. Tremolo is commonly used in vintage guitar combo amps, where it is sometimes
incorrectly referred to as vibrato. The graphic waveform display shows all parameters
except Rate.
To add Tremolo to your project, choose Modulation > Tremolo in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Tremolo parameters
• Rate knob and field: Set the frequency of the LFO.
• Sync button: Synchronize the modulation speed with the project tempo. Choose musical
note values with the Rate knob.
• Depth knob and field: Determine the modulation amount.
• Smoothing knob and field: Change the shape of the LFO waveform. Also see Symmetry.
• Offset knob and field: Set the amount of left or right movement for the modulation
(cycle). This results in small or large tremolo variations.
• Symmetry knob and field: Skew the balance toward the upward or downward phase of
waveform cycles.
Note: If Symmetry is set to 50% and Smoothing to 0%, the LFO waveform becomes
rectangular. The timing of the highest volume signal is then equal to the timing of the
lowest volume signal, with the switch between both states occurring abruptly.
• Stereophase knob and field: Control the phase relationship between individual channel
modulations in stereo signals. At 0, modulation values are reached simultaneously for
both channels. At values of 180 or −180, there is the greatest possible distance between
the modulation phases of both channels.
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Multi effects
Multi effects in Logic Pro for iPad
The multi effects units provide a one-stop solution for a number of situations where you
need to highlight or enhance a musical part or song section. The included multi effects
processors can be used subtly or traditionally, but they are truly creative tools that excel at
transformative changes to your music.
• Beat Breaker is an audio plug-in that reorders incoming audio in real time, allowing you
to slice up your audio, rearrange it, and add scratching effects. Not only can you use
it to play back audio in a different slice order, you can set the speed, direction, and
volume with a given number of repeats for each slice. See Beat Breaker.
• Phat FX is a “coloring” multi effect unit designed primarily for use with drum, bass, and
guitar parts. It can add warmth, punch, and presence, along with some heavy distortion
if you need it. You can use it with any type of signal that needs some extra “flavor.” See
Phat FX.
• Step FX is a multi effect unit that provides deep modulation control, courtesy of three
independent built-in 128-step modulators. It can be used with any type of signal and is
capable of subtle or heavy rhythmic enhancements to musical parts, dance-floor gating
effects, and warped manipulations that can turn your audio and instrument tracks into
something completely new. See Step FX.
• Remix FX is a flexible multi effect unit that combines several DJ-style effects, such as a
filter, gater, downsampler, reverse, scratch, tape stop, and more. It is designed primarily
for use on the stereo bus to give electronic style music a live dance floor groove, but
you can use it on any type of signal. See Remix FX.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Beat Breaker
Beat Breaker in Logic Pro for iPad
Beat Breaker is an audio plug-in that reorders incoming audio in real time, allowing you to
slice up your audio, rearrange it, and add scratching effects. Not only can you use it to play
back audio in a different slice order, but you can also set the speed, direction, and volume
with a given number of repeats for each slice. All these slice playback features define
patterns, which you can change on the fly.
Beat Breaker is not just an effect you add to a track but an effect you can perform with
onstage or in the studio. This unique plug-in excels at EDM and hip-hop, and it can help
you overcome “writer’s block” during production. In addition, it’s great for coming up with
new ideas for your beats and subsequent variations—it’s the ultimate remix tool!
To add Beat Breaker to your project, choose Multi Effects > Beat Breaker in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
When you open Beat Breaker, it displays the Main Editor, which consists of three sections:
• The upper section contains the Edit Mode buttons, which you can use to select the
types of effects you want to add to a slice. When you tap a slice, its effect parameters
become visible in the middle section, and you can change values using gestures. In
addition, the upper section contains parameters such as Length, De-click, and Mix that
you can use to fine-tune your pattern.
• The middle section contains the input buffer on the left, which displays the incoming
audio from an audio region, live audio, or a virtual instrument. In the center is the audio
waveform, where you can use gestures on slices to change the effect parameters.
Above the audio waveform is the Slice Editor strip, where you can add, delete, and move
slices using slice markers. See Create a Beat Breaker pattern.
• The lower section contains the Pattern buttons for quickly switching between patterns
and accessing the Pattern Slot menu, which you can use to load, save, and rename
patterns in each pattern slot. See Work with Beat Breaker patterns.
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Beat Breaker Main Editor in Logic Pro for iPad
The Main Editor is the working area of Beat Breaker and where you can interact with its
effects. On the far left, incoming audio enters the input buffer. In the center, the output
waveform is visible, and slices represent where you can add effects to the audio. These
slices are flexible; you can add, delete, and move them in relation to the Snap value using
slice markers in the Slice Editor strip situated above the output waveform.
There are three types of effects, or edit modes: Time, Repeat, and Volume. You can select
an effect using the Edit Mode buttons. When selected, each mode appears as a color: Time
mode is orange, Repeat mode is magenta, and Volume mode is yellow.
When you select an edit mode and tap a slice, the parameters for the selected slice are
visible at the top of the Main Editor. You can adjust a parameter level using a gesture or
directly drag the parameter value sliders.
When you use gestures on the slices in Time mode, a mapping line indicates which instant
in the input buffer will play back in the output pattern, allowing you to select how to “chop”
your audio and change its speed. You can use Repeat mode to add up to eight repetitions
of the selected slice to create stutter effects: rhythmic repetition of small audio fragments.
With Volume mode, you can change the volume over the duration of a slice to create swells
and changes in dynamics.
Finally, you use the Pattern Slot menu to save and organize your patterns. See Work with
patterns.
Main Editor parameters
• Edit Mode buttons: Tap to select one of the three edit modes. When an Edit Mode
button is selected, you can edit its effect parameters in the Main Editor. See Edit
modes.
• Time button: Change the input position and speed of a slice. See Set the Input Beat
parameter.
• Repeat button: Change the number of repetitions for a slice to create stutter effects.
See Set the Repeats parameter.
• Volume button: Change the volume of a slice. See Set the Volume parameter.
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• Input buffer: During playback, the input buffer on the left side displays the incoming
audio, and its playhead shows which part of the input buffer is currently playing.
• Slice Editor strip: This area contains slice markers. Here you can add, move, and delete
Slice markers for the selected pattern. See Work with Beat Breaker slices.
• Output Beat: Set the position of the selected slice marker. This defines the beat at
which the input beat is played back. See Move a slice.
• Global controls: A collection of controls such as Length, De-click, and Mix that you can
use to fine-tune your pattern.
• Length menu: Set the length of the pattern with a range from 1/4 beat to 16 beats.
Pattern is synchronized at multiples of Pattern Length within the song. Each Pattern
can be set to a separate value, with the default set to 4 beats.
• De-click value: Reduce clicks at locations where the playhead jumps by having a fast
fade-out and fade-in. Typically, this is set to 50%.
• Mix value: Set the wet/dry balance (0% = dry only; 50% = equal mix; 100% = wet
only). Typically, this is set to 100%.
• Settings button: Tap the Setting button to choose the Snap Output Beat, Snap
Input Beat, and Snap Speed values.
• Snap Output Beat: Control which values the Output Beat parameter can be set
to when using the Slice Editor strip. For example, when the Snap Output Beat is
set to 1/16, dragging left and right on a slice handle will quantize the Output Beat
value to 1/16 of the Length.
• Snap Input Beat: Control which values the Input Beat parameter can be set to
when using the Main Editor. For example, when the Snap Input Beat is set to 1/8,
dragging up and down on a slice will quantize the Input Beat value to 1/8 of the
Length.
• Snap Speed: Control which values the Speed parameter can be set to when using
the Main Editor. For example, when set to Time, dragging left and right on a slice
will quantize the Speed to musically meaningful rates, such as 100%, 75%, 66%,
or 50%.
• Pattern buttons: Select the active pattern. Each Pattern button contains settings for
Time mode, Repeat mode, Volume mode, and Length. You can use Pattern buttons to
quickly switch Beat Breaker settings during a performance or a recording.
• Pattern Off button: Turn off all pattern effects. You can use this button to hear audio
from Beat Breaker without any processing.
• Pattern Slot Edit button: Tap the Pattern Slot Edit button to turn on Pattern Slot Edit
mode. In this mode, you can use the Pattern pop-up menu to load, save, and rename
patterns in each pattern slot. See Work with Beat Breaker patterns.
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Create a Beat Breaker pattern in Logic Pro for iPad
Here’s an overview of the pattern-making process in Beat Breaker.
• Tap the Pattern Slot Edit button to enter Pattern Slot Edit mode.
• Tap a Pattern button, then tap Recall Default to reset the pattern to its default settings.
See Work with pattern slots.
• Select an edit mode (Time, Repeat, or Volume). See Edit modes.
• Drag to change effect parameters for each edit mode. See Work with Beat Breaker
slices.
• Set values such as Pattern Length, De-click, and Mix to fine-tune your pattern. See
Main Editor parameters.
• Tap the Pattern Slot Edit button to organize and save your patterns. See Work with
pattern slots.
Edit modes
Use the Edit Mode buttons (Time, Repeat, and Volume) to switch between each effect type.
When you select a mode, you can see the slices and lines representing the effects. When
you select a slice, the Main Editor updates to display its effect parameters, and you can
adjust their values using gestures.
• Time button: Select Time mode to change the input beat and speed of a slice. See Time
mode.
• Repeat button: Select Repeat mode to change the number of repetitions for a slice. See
Repeat mode.
• Volume button: Select Volume mode to change the volume of a slice. See Volume mode.
Time mode
In Time mode, you can change the Input Beat, Speed, and Curve parameter for each slice.
• Tap the Time button to select Time mode.
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Time mode parameters
• Input Beat: Set the start position of the selected slice. By changing the start position of
slices, you can “chop up” your audio and rearrange it.
• Speed: Change the speed of the selected slice. Negative values play the audio in
reverse.
• Curve: Change the speed of playback throughout the selected slice.
Set the Input Beat parameter
• Drag the slice up or down to change the Input Beat value.
Set the Speed parameter
• Drag the slice to the left or right to change the Speed value.
Set the Curve parameter
• Place two fingers on the slice, then turn your hand in the direction you want to rotate
the curve. After you start the rotation, you can continue by dragging with a single finger.
Tip: When a slice is selected, you can also drag the Curve parameter to adjust the
value. This is useful if the slice is too narrow to use a gesture.
Repeat mode
In Repeat mode, you can set the number of repeats for a slice. Repeat mode is useful for
creating repetitions and stutter effects.
• Tap the Repeat button to select Repeat mode.
Repeat mode parameters
• Repeats: Set the number of repeats for the selected slice. You can add up to eight
repeats per slice.
Set the Repeats parameter
• Drag the slice up or down to change the Repeats value.
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Volume mode
In Volume mode, you can set the Volume, Slope, and Curve values of a slice.
• Tap the Volume button to select Volume mode.
Volume mode parameters
• Volume: Change volume for the selected slice.
• Slope: Change volume over time for the selected slice.
• Curve: Change the curve of the volume ramp over time for the selected slice.
Set the Volume parameter
• Drag the slice up or down to change the Volume value.
Set the Slope parameter
• Drag the slice to the left or right to change the Slope value.
Set the Curve parameter
• Place two fingers on the slice, then turn your hand in the direction you want to rotate
the curve. After you start the rotation, you can continue by dragging with a single finger.
Tip: When a slice is selected, you can also drag the Curve parameter to adjust the
value. This is useful if the slice is too narrow to use a gesture.
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Work with Beat Breaker slices in Logic Pro for iPad
The Slice Editor strip lets you create, move, and delete slices. You can add up to 32 slice
markers per pattern.
Create a slice
• Tap the Slice Editor strip to create a new slice marker.
Move a slice
• Drag the slice marker to the left or right.
Tip: To snap the movement of slices, tap the Settings button , then choose a Snap
Output Beat Value.
Delete a slice
• Double-tap the slice handle to delete a slice marker.
Work with pattern slots in Logic Pro for iPad
In Logic Pro, tap the Pattern Slot Edit button to access all Beat Breaker presets and file
operations.
Pattern Slot Edit parameters
• Pattern Slot Edit button: Turn on Pattern Slot Edit mode. In this mode, you can use the
Pattern pop-up menu to load, save, and rename patterns in each pattern slot.
• Pattern pop-up menu: Choose a menu item to load, save, and rename patterns.
• Rename Pattern: Change the name of the current pattern.
• Save Pattern: Save the current pattern settings. If you have edited an existing
pattern and use this command, the existing filename is used, and the original pattern
is overwritten.
• Save Pattern As: Save the current pattern settings under a different name. Use this
command when you want to save a copy or multiple versions of an edited pattern,
rather than overwriting the original version.
• Recall Default: Resets all values to their default state. This option is a good starting
point when creating new patterns from scratch.
• Delete Selected User Pattern: Deletes the current user pattern.
• Custom: This menu item is shown automatically when any pattern changes have
been made. It can be considered the “current state” pattern preset.
• Preset pattern list: Choose a pattern from the list of presets.
• User: Contains a list of all your saved patterns.
Load a pattern
1. Tap the Pattern Slot Edit button .
2. Tap a Pattern button, then choose a pattern from a folder.
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Save a pattern
1. Tap the Pattern Slot Edit button .
2. Tap the button of the pattern you’re currently editing, then tap Save Pattern.
Note: All of your saved patterns are stored in the User folder.
Delete a user pattern
1. Tap the Pattern Slot Edit button .
2. Tap a Pattern button, then tap the pattern you want to delete from the User folder.
3. Tap the Pattern button again, then tap Delete Selected User Pattern.
Note: You can only delete a user pattern after selecting it from the User folder.
Rename a pattern
1. Tap the Pattern Slot Edit button .
2. Tap a Pattern button, then tap Rename Pattern.
3. Enter a new name for the pattern, then tap Rename.
Recall the default pattern
To reset the parameters of a pattern back to the default settings:
1. Tap the Pattern Slot Edit button .
2. Tap a Pattern button that you want to reset, then tap Recall Default.
Phat FX
Phat FX in Logic Pro for iPad
Phat FX is a powerful “coloring” multi effect designed primarily for use with drum, bass,
and guitar parts, adding warmth, punch, and presence where required. It can, of course,
be used with any type of signal. Phat FX combines several effect processors, filters, and
modulators in a flexible tool that can be used to quickly enhance your projects.
Three distortion units are included, which can be used separately or blended together to
create an endless variety of tones.
The bass enhancer and bandpass filter circuits can be used to enhance low frequencies,
making for great kick drum and bass guitar sweetening.
In addition, an easy-to-use multi-modeled compressor, a multimode resonant filter, and a
modulation effect unit are included.
Two LFOs and an envelope follower, coupled with the assignable XY pad, allow powerful
automatic and real-time manipulation of the most important parameters.
Phat FX processors work in series—where the output of one effect is fed into the next in
an effects chain. The routing order lets you choose whether a distorted signal should be
filtered or the filtered sound should be distorted, for example.
Horizontally drag the name of the effect in the Effects order strip at the top to determine
the order of the effects chain.
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To add Phat FX to your project, choose Multi Effects > Phat FX in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Phat FX global controls in Logic Pro for iPad
The Phat FX global controls include the Effects order strip, which you can use to enable
or disable individual effects and to reposition effects within the effects chain. The XY pad
provides real-time control of up to four target parameters. The Master section parameters
provide global input, output, and mix level control.
Effects order strip
The order and status of active and inactive effects units are indicated in the strip. Inactive
effects are dimmed, and active effects are illuminated. The signal flow runs from left to
right.
Tap an effect name to enable or disable it.
Effects order strip: Drag the name of an active (lit) or inactive (dimmed) effect horizontally
to change the effects order.
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XY pad parameters
The XY pad provides real-time control of up to four target parameters. Drag the gray
control point to simultaneously modulate your targets.
• XY pad: Drag the gray control point horizontally or vertically to change the value of
the assigned X or Y target parameters.
• X and Y Assign On/Off buttons: Enable/disable the X or Y controller. You can assign two
targets to each axis, for a total of four modulations with the XY pad.
• X Target 1/2 pop-up menus: Choose one or two modulation targets from any active
effect processor, modulation source, or the master control section.
• X Depth 1/2 fields: Drag vertically to set the modulation amount/range for the chosen X
target(s).
• Y Target 1/2 pop-up menus: Choose one or two modulation targets from any active
effect processor, modulation source, or the master control section.
• Y Depth 1/2 fields: Drag vertically to set the modulation amount/range for the chosen Y
target(s).
Master controls
• Input Gain knob and field: Set the overall input level of the plug-in.
• Output knob and field: Set the overall output level of the plug-in.
• Mix knob and field: Set the level of the original versus processed signal. This is
essentially a wet/dry balance control.
• Limiter pop-up menu: Choose soft or hard limiting, or turn off limiting.
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Phat FX processors in Logic Pro for iPad
The parameters of all Phat FX processors are described in the respective sections below.
Bass Enhancer parameters
Bass Enhancer boosts the signal around a defined frequency.
• Bass Enhancer On/Off button: Enable/disable the bass enhancer effect. You can also tap
the button in the Effects order strip to enable/disable the processor.
• Tune knob and field: Set the center frequency for bass enhancement. Signals
surrounding this frequency are boosted.
• Amount knob and field: Set the level of the effect signal.
• Mode pop-up menu: Choose a bass enhancement characteristic. Each option provides a
different tonal color and response.
Compressor parameters
The compression unit tightens up your audio by smoothing out dynamics and increasing
the overall volume.
• Compressor On/Off button: Enable/disable the compressor effect. You can also tap the
button in the Effects order strip to enable/disable the processor.
• Release knob and field: Set the time it takes for the compression circuit to stop
reducing the signal.
• Amount knob and field: Set the level of compression.
• Mode pop-up menu: Choose an emulated compressor circuit. The choices are Classic,
Clip, Platinum, Studio VCA and FET, Classic VCA, or Vintage VCA, FET, and Opto.
• FET models: Field Effect Transistor compressors are known for their fast transient
response. They can deliver a clean or warm tone (notably midrange), and can be
pushed toward a “crunchy” tone on transients. FET compressors are ideal for drums,
vocals, and guitars. FET compressors can only attenuate the signal.
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• VCA models: Voltage Controlled Amplifier compressors can respond slowly or
quickly to incoming transients. They tend toward a clean tone and are suited for bass
guitars and low-frequency signals. VCA compressors can attenuate or amplify the
signal.
• Opto model: Optical compressors are known for their fast transient response and
nonlinear release handling. They are very clean and are ideal for vocals and guitars.
Distortion parameters
The three distortion units can be used independently or combined to create a huge variety
of tones.
• Distortion On/Off button: Enable/disable the distortion effect module. You can also tap
the button in the Effects order strip to enable/disable the processor.
• Drive knobs and fields: Set the level for each of the three distortion units.
• Type pop-up menus: Choose a distortion characteristic for effect unit 1, 2, or 3. Each
option provides a different tonal color and response.
Mod FX parameters
The modulation unit provides four types of chorus-like effects, ranging from soft through
to doubling or ensemble type processing.
• Mod FX On/Off button: Enable/disable the Mod FX unit. You can also tap the button in
the Effects order strip to enable/disable the processor.
• Rate knob and field: Set the speed of the modulation effect.
• Mix knob and field: Set the level of the original versus modulated signal. This is a
modulation amount control.
• Mode pop-up menu: Choose a modulation characteristic. Each option provides a
different tonal color and effect depth.
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Filter parameters
The filter unit provides dozens of filter types. See Phat FX filter types.
• Filter On/Off button: Enable/disable the filter effect. You can also tap the button in the
Effects order strip to enable/disable the processor.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies
are attenuated and lower frequencies are allowed to pass in a lowpass (LP) filter.
The reverse is true in a highpass (HP) filter. When in a bandpass (BP) mode, cutoff
determines the center frequency of the band that is allowed to pass. The comb and
other filter types change the names and behaviors of the filter controls.
• Resonance knob and field: Boost or cut signals in the frequency band that surrounds
the cutoff frequency.
• Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal
color and response to Cutoff, Drive, and Resonance control values.
Note: The chosen filter type can alter the names and functions of the default Cutoff,
Resonance, and Drive knobs.
• Drive knob and field: Overdrive the filter. This can lead to intense distortions, depending
on filter type.
• Mix knob and field: Set the level of the original versus filtered signal.
Bandpass parameters
The Bandpass unit passes the portion of a signal occupying a band surrounding the cutoff
frequency and rolls off the portions above and below that band. The Reject Mix knob lets
you restore (mix in) the signal that was not band passed at the Bandpass unit position
within the overall signal chain. This allows you to apply one or more effects to a specific
frequency range only, leaving other frequencies unchanged.
• Bandpass On/Off button: Enable/disable the bandpass filter. You can also tap the button
in the Effects order strip to enable/disable the processor.
• Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal
color and response to High and Low Resonance control values.
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• Low/High Cutoff knobs and fields: Set the lowest and highest frequencies allowed to
pass by the filter. Frequencies outside these values are cut.
• Low/High Resonance knobs and fields: Determine the basic sonic character of filtering
around the low and high frequencies set with the Low/High knobs. Higher Resonance
settings emphasize the frequency, resulting in a sharper, brighter character. Lower
Resonance settings result in a softer character.
• Reject Mix knob: Mix in (restore) the signal that was not band passed at the Bandpass
unit position within the signal chain.
Phat FX modulators in Logic Pro for iPad
Phat FX modulators provide automatic control of Phat FX processor parameters. The
parameters of all Phat FX modulators are described in the respective sections below.
Envelope follower parameters
The envelope follower tracks incoming signal levels and generates a control signal that is
used to modulate other Phat FX parameters.
A common use of the envelope follower is to track a side chain input signal that is used to
control filter parameters.
• Envelope On/Off button: Enable/disable the envelope follower.
• Target pop-up menu: Choose a modulation target from any active effect processor or
master control.
• Attack slider and field: Determine how quickly the envelope follower reacts to rising
signal levels (transients).
Longer attack times result in a slower tracking response to transients—level spikes—of
the input signal. A long attack time on percussive input signals, such as a spoken word
or hi-hat part, results in less accurate analysis.
• Release slider and field: Determine how quickly the envelope follower reacts to falling
signal levels, after the initial transient spike.
Longer release times cause the analyzed input signal transients to sustain for a longer
period at the envelope follower output. A long release time on percussive input signals,
such as a spoken word or hi-hat part, results in less accurate analysis. Use of extremely
short release times can result in “choppy” sounds, depending on the chosen modulation
target.
• Depth knob and field: Set the modulation amount. This determines the intensity of the
control signal sent from the envelope follower.
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At a value of 100%, with a sine wave, white noise, or another signal that frequently
reaches zero dB (and Attack set to zero), the output signal will reach the maximum
amount. Most signals, however, are quieter than this and won’t reach zero dB, so the
extended Depth knob range between 100% and 1000% helps to make the envelope
effect sufficiently sensitive on quieter signals. When loading presets which use the
envelope follower, you should experiment with the Depth parameter.
LFO 1/2 parameters
• LFO 1/2 On/Off buttons: Enable/disable LFO 1 or 2.
• Target pop-up menus: Choose a modulation target from any active effect processor or
Master control for LFO 1 or 2.
• Shape pop-up menus: Set the waveform type used by LFO 1 or 2.
• Rate knobs and fields: Set the modulation speed of LFO 1 or 2. Values are in hertz—
cycles per second. When the Sync button is on, bar/beat values—synchronized with the
host tempo—are shown.
• Sync buttons: Enable or disable synchronization of LFO 1 or 2 with the host application.
Note: The ability to use synchronous bar values could be used to perform a filter sweep
every four bars on a cycled one-bar percussion part, for example. Alternatively, you
could perform the same filter sweep on every eighth-note triplet within the same part.
Either option can generate interesting results.
• Depth knobs and fields: Set the amount of LFO 1 or 2 modulation.
Phat FX filter types in Logic Pro for iPad
Phat FX provides dozens of filter types.
Phat FX filter types: lowpass, bandpass, highpass
A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and
rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a
signal occupying a band surrounding the cutoff frequency and rolls off the portions above
and below that band. A highpass (HP) filter passes the portion of a signal above a specified
cutoff frequency and rolls off the portion below that frequency.
There are multiple two-pole, four-pole, multi-pole state-variable and analog-modeled LP,
BP, and HP filter designs in Phat FX, each with distinctive characteristics that you may
prefer for a given purpose. The available LP, BP, and HP filter designs include Smooth,
Edgy, Rich, Sharp, Clean, and Gritty variants.
• Sharp: Two-pole analog-modeled filters.
• Smooth: Two- or multi-pole state-variable filters.
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• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Rich: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Clean: Bi-Quad filters. These filters have no Drive option.
• Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive
settings.
The three principal filter controls have standard functions for all filter types.
• Cutoff: Controls the filter cutoff frequency.
• Resonance: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.
• Drive: Allows the filter to be overdriven; the precise effect varies with each filter design.
Phat FX filter types: notch and peaking
A notch filter cuts a narrow band around a resonant frequency. The remainder of the signal
is affected minimally.
• Cutoff: Sets the frequency of the cut band.
• Mix: Controls the amount of attenuation.
A peaking filter boosts a narrow band around a resonant frequency. The remainder of the
signal is affected minimally.
• Cutoff: Sets the frequency of the boosted band.
• Mix: Controls the amount of boost. Higher values are generally the most effective.
• Resonance: Sets the bandwidth around the cutoff frequency.
Phat FX filter types: comb filters
A comb filter mixes the original signal with one or more copies of the signal, which are
delayed by a very short time interval. At some frequencies this mixture causes phase
cancelations, while at other frequencies it causes reinforcements. The result is a spiky
frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the
teeth of a comb, which gives this filter type its name.
Phat FX offers three comb filter designs, each with its own character. The best choice
depends on your preference and the type of sound you’re trying to create. That said, there
are some distinguishing characteristics that may help guide you.
Comb Pos uses positive feedback on the delay lines, while Comb Neg uses negative
feedback to produce less extreme effects, often with a hollow quality. These two are the
less powerful combs and offer a much more gradual increase in resonance. They can
be useful when you require either a less dramatic effect or you want to hear more of the
exciter signal character in your sound. The latter point is noteworthy as this trait can be
useful when you want a more naturalistic sound.
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Comb PM uses bipolar feedback on the delay lines. The resonance control is bipolar,
allowing you to freely shift from negative (hollow sound) on the left to positive (bright and
peaky) on the right. This comb is useful for classic bright Karplus-Strong style sounds,
where the exciter impulse is not easily heard and the comb is more prominent. Take care
with your resonance level because it is capable of quickly going to extremes, which can
lead to feedback. Start with a resonance level of zero and increase (or decrease) slowly to
find a suitable effect strength.
• Cutoff: Controls the delay time in the comb circuit. Lower cutoff values equate to a
longer delay.
• Drive: Controls the amount of feedback in the comb circuit.
• Resonance: Controls the frequency peaks in the comb-filtered spectrum.
Note: Sending a percussive sound into a highly resonant comb filter causes it to ring at
a frequency determined by the delay time you have set with the Cutoff knob.
Phat FX filter types: ring modulation
Ring modulation is a process in which a modulator and a carrier signal are multiplied. Each
frequency component of the modulator interacts with each frequency component of the
carrier to produce two sidebands: a sum and a difference (carrier – modulator). When a
filter is set to the RingMod type, the signal entering the filter acts as the modulator, while
the carrier is supplied internally by the filter.
• Cutoff: Controls the carrier frequency.
• Mix: Applies a constant offset to the carrier.
• At 0%, the carrier wave varies between –1 and +1, resulting in classic ring
modulation.
• At 100%, the carrier wave varies between 0 and 1, resulting in classic amplitude
modulation. In this case, the carrier signal itself is present alongside the sum and
difference sidebands.
Phat FX filter types: distortion
Phat FX filters offer several distortion effects.
• Bitcrusher is a harsher-sounding digital effect.
• Dirt is a classic tube distortion effect.
• Downsampler is a lo-fi digital effect (similar to Bitcrusher but frequency dependent).
• Grit is a transistor distortion.
The filter controls work as follows when the filter type is set to a distortion effect:
• Drive: Controls the intensity of the distortion effect.
• Mix: Controls the mix between clean and distorted signals. A 0% value results in the
clean signal only. A 50% value results in an equal mix of clean and distorted signal. A
100% value results in the distorted signal only.
• Cutoff: Sets the frequency for the Downsampler distortion type.
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Remix FX in Logic Pro for iPad
Remix FX includes a set of buttons, sliders, and XY pads you can use to control several
real-time effects common to electronic and dance music. It makes it easy to scratch mix
your project, much like a DJ using a turntable, to play short pieces of audio in reverse, to
stop or downsample the song, and to apply a variety of other effects. It is intended mainly
for use on the stereo output bus, but you can insert the plug-in on any type of signal in
your project.
To add Remix FX to your project, choose Multi Effects > Remix FX in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Remix FX can be fully automated so you can record, edit, and play back any movement of
the Remix FX parameters. See Intro to automation.
Use the XY pads on the left and right to control various time-based and modulation effects.
Drag horizontally (X axis) or vertically (Y axis) to set the value of the parameter shown on
the bottom or left side of each pad.
XY pad pop-up menus: Tap the name of the effect at the top of either XY pad to open a
grid of effect types. Tap a grid name to choose an effect type for either XY pad.
• Settings button: Tap the Settings button to show or hide additional effect parameters
for the currently selected effect.
• Filter: Removes frequencies above a cutoff frequency and accentuates frequencies
around the resonance value. X sets the cutoff frequency and Y sets the resonance
value. Tap the Settings button to access the following additional parameter:
Mode: Choose between Phat, a warm-sounding filter with a 24 dB lowpass and 24 dB
highpass filter, and Classic, a clean, state-variable filter with a slope of 12 dB/octave.
• Wobble: Modulates the audio signal through a vintage-style filter effect. X sets the
modulation rate and Y sets the modulation depth. Tap the Settings button to access
the following additional parameter:
Time: Choose from options for note division, note division with an added triplet, or a
triplet of the note division.
• Orbit: Modulates the audio signal through a flanger effect, phaser effect, or a mix of
both. X sets the modulation rate and Y sets the modulation depth. Tap the Settings
button to access the following additional parameter:
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Mode: Choose between a phaser effect, a modulation effect that is a mix of both a
phaser and flanger, or a flanger effect.
• Repeater: Creates a stuttering effect. X sets the repeat rate and Y sets the mix amount.
Tap the Settings button to access the following additional parameter:
Time: Choose from options for note division, note division with an added triplet, or a
triplet of the note division.
• Reverb: Adds ambience to your audio signal. X sets the reverb time and Y sets the mix
amount. Tap the Settings button to access the following additional parameter:
Color: Choose the character for the reverb. Dark rolls off the higher frequencies.
Medium offers a relatively neutral ambience. Bright rolls off the lower frequencies.
• Delay: Adds echoes to your audio signal. X sets the modulation rate and Y sets the
feedback depth. Tap the Settings button to access the following additional parameter:
Time: Choose from options for note division, note division with an added triplet, or a
triplet of the note division.
Remix FX parameters
• FX Lock button: Tap the FX Lock button to freeze the current X and Y values when the
pointer is removed from the pad.
The Locked button is shown when X and Y values are frozen. Tap it to unlock.
• Reset button: Immediately halts all XY pad effects. Any active XY pad locks remain active.
• Gater slider: Drag the Gater slider to apply a gate-style effect on the incoming
signal. Tap the Settings button to access the following additional parameters:
Gater: Choose from options for note division, note division with an added triplet, or a
triplet of the note division.
Noise: Injects a small amount of soft, noninvasive noise into your signal, so that even
without any audio signal you can still hear some gating.
• Downsampler slider: Drag the Downsampler slider to change the resolution of
incoming audio, making the sound thinner, gritty, or peaky, similar to Bitcrusher
distortion. Tap the Settings button to access the following additional parameter:
Downsampler: Extreme introduces a sympathetic, ringing frequency to your audio
signal. Classic downsamples the audio to “roughen it up.”
• Reverse button: Tap the Reverse button to reverse playback of incoming audio.
Touch-sensitive effect variations are available on the left and right sides of the button.
Tap the Settings button to access the following additional parameter:
Time: Choose a note division for the reverse effect.
• Scratch button: Tap the Scratch button to simulate a record scratch on the incoming
audio. Touch-sensitive effect variations are available on the left and right sides. Tap the
Settings button to access the following additional parameter:
Time: Choose a note division for the scratch effect.
• Tape Stop button: Tap the Tape Stop button to simulate the slow down and stop
of the incoming audio. Touch-sensitive effect variations are available on the left and
right sides of the button. Tap the Settings button to access the following additional
parameter:
Time: Choose a note division for the tape stop effect.
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Assign effects to XY pads
1. Tap the name of the effect at the top of either XY pad to open a grid of effect types.
2. Tap a grid name to choose an effect type for either the left or right XY pad.
Lock effects on the XY pads
You can lock the XY pads so they retain their current values when you remove your finger
from the pad. Once an XY pad is locked, you can choose a different XY effect for the same
pad and use it in combination with the locked effect. When an XY pad is locked, you can
tap a different spot on the XY pad and instantly change the parameter values. When you
release the pad, the locked value is used.
1. Tap the FX Lock button at the top of the XY pad.
2. Do any of the following:
• Combine effects on a locked XY pad: Tap the name of the effect at the top of the XY
pad, then choose a different effect from the grid.
• Reset all XY pad effect parameters: Tap the Reset button. Any active XY pad locks
remain active.
3. Tap the Locked button to unlock the XY pads.
Record Remix FX
You can record Remix FX parameter changes as automation curves.
1. In Logic Pro, tap the Automation View button in Tracks view (for track automation)
or the Editors area (for region automation).
2. On the track where Remix FX is inserted, choose the automation mode from the
Automation pop-up menu. Touch mode is probably best suited because any existing
automation curves are overwritten only when you change Remix FX parameters.
Otherwise, it follows any existing automation on the track.
3. Move the playhead to the point where you want to start recording automation, then start
playback.
4. Change parameters in the Remix FX plug-in.
Parameter changes are written as automation curves to the track.
5. Stop playback when done.
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When you’re finished, you can manually edit the automation curves. In order to avoid
unwanted changes to the automation curves during further playback, change the
automation mode back to Read.
Step FX
Step FX in Logic Pro for iPad
Step FX is a powerful multi effect unit that provides deep modulation control, courtesy of
three independent step modulators. It can be used with any type of signal and is capable
of subtle or heavy rhythmic enhancements of musical parts, dance floor gating effects,
and warped manipulations that can turn your audio and instrument tracks into something
completely new.
The three independent step modulators—each with an envelope—provide up to 128 steps
that can be used to control effects parameters, gate, and pan. Multiple step modulators
can be used to control the same parameter, allowing for interesting polyrhythms. Control
is further enhanced with the assignable XY pad that enables real time manipulation of up
to four parameters. See the sections on Step FX modulator toolbar, playback controls, and
display controls.
Effects include a multimode filter, a modulation FX unit, delay, reverb, and distortion units.
All effects parameters can be modulated.
Step FX processors work in series—where the output of one effect is fed into the next in
an effects chain. The routing order lets you choose whether a delayed signal should be
filtered or the filtered sound should be delayed—as an example.
Horizontally drag the name of the effect in the Effects order strip to determine the order of
the effects chain.
To add Step FX to your project, choose Multi Effects > Step FX in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Step modulator toolbar in Step FX in Logic Pro for iPad
The Step Modulator is the heart of Step FX. It offers three independent step modulators
that each provide up to 128 steps. Each modulator can be assigned to modulate effects
unit parameters or to modulate gate or pan. It is also possible to assign multiple step
modulators to the same parameter to create interesting polyrhythmic effects.
In addition to defining the number of steps in each modulator, you can change the level and
length (gate time) of individual steps, and you can also tie steps. Each modulator provides
independent Depth, Rate, and Swing amount controls, and also features an Attack, Hold,
and Release envelope that defines the overall step shape for each modulator. See the
sections on Step FX modulator playback controls and display controls.
A number of modulator pattern presets are included, along with menu commands to help
you quickly create new and interesting rhythmic modulation patterns.
Step modulator toolbar controls
• Step Modulator select buttons: Tap to select step modulator 1, 2, or 3. All parameters
in the step modulator, envelope, and so on, update to show values for the chosen
modulator. A light on each button indicates the on/off state.
• On/Off button: Enable/disable step modulator 1, 2, or 3. The button is shared by all
three modulators and enables/disables the selected modulator.
• Modulator Target pop-up menu: Choose a target parameter for step modulator 1, 2, or
3. The chosen modulator target name is shown on the corresponding button. The Target
pop-up menu is shared by all three modulators and shows the target for the selected
modulator.
It is possible to assign the same target for multiple modulators. Because each modulator
can have a different pattern and length, along with independent Depth, Rate, Swing,
and envelope control, this can lead to complex polyrhythmic modulations. There are two
gate modes available that facilitate different playback behaviors:
• Gate Mix: Gate Mix is the best Gate choice in most cases. In this mode, a Depth
value of 0% results in no change to the sound. As the Depth value increases, the
volume associated with the minimum step value decreases until at 100% it results in
silence. Negative Depth values invert step values. When multiple Gate modulators
are used, the Gate Mix value is multiplied by existing Gate values.
• Gate Add: In Gate Add mode, a single Gate Add step modulator with a Depth value
of 0% results in silence, and a Depth value of 100% sounds identical to Gate Mix. As
you increase the Depth value, the amplitude of existing steps increases. Negative
Depth values invert step values. When multiple Gate modulators are used, the Gate
Add value is added to existing Gate values. For example, a Gate Add Depth value of
+10 changes a step value of 50 to 60.
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• Depth field: Drag vertically to set the intensity of modulation for step modulator 1, 2, or
3.
• Pattern pop-up menu: Choose a menu item to save or load your own modulation pattern
or to load a factory modulation pattern.
• Save As: Opens a name field. Enter a name, then tap the Save button to save your
modulation pattern. Tap Cancel to stop the save operation and to exit the Save name
field.
User patterns are shown at the bottom of the Preset pop-up menu.
• Recall Default: Initializes all steps and the envelope in the current user pattern to
default (null) values.
• Copy/Paste: Store the current modulation pattern in the Clipboard. Paste applies the
modulation pattern currently found on the Clipboard.
• Delete Selected User Pattern: Deletes the current user pattern.
• Custom: This menu item is shown automatically when any pattern changes have
been made. It can be considered the “current state” pattern preset.
• LFO: Choose an LFO shape preset.
• App Patterns: Choose a factory pattern preset.
• Previous/Next buttons: Tap the Previous button to choose the preceding modulation
pattern preset. Tap the Next button to choose the next modulation pattern preset.
• Value/Duration buttons: Tap the Value button or tap the Duration button to limit
editing to one direction.
• Value: Limits edits to vertical changes, enabling you to adjust a step value without
changing its length.
• Duration: Limits edits to horizontal changes, enabling you to adjust a step length
without changing its value.
• More button: Open a pop-up menu where you can choose an item that affects the
modulation pattern. These include randomize, shift, reverse, and other functions.
• Random Full: Apply full-range random offsets to modulation pattern step values. Use
this command to create truly random modulation patterns.
• Random Deviation: Apply limited-range random offsets to modulation pattern step
values. Use this command to create slight variations of existing step values.
• Shift Left/Right: Move all modulation pattern steps one position (a step) to the left
or right. Steps at the first and last position “wrap around,” so step 16 would become
step 1 if you used the Shift Right command on a 16-step modulation pattern.
• Double Note Length: Doubles the length of all steps. Full-length steps are tied to the
next step. Steps of 25% length become 50% length steps, 50% length steps become
100% length steps, and so on.
• Reverse: Reverse the position of all steps. Step 1 becomes step 16, step 2 becomes
step 15, step 3 becomes step 14, and so on in a 16-step modulation pattern.
• Invert: Invert the level of all steps. A step with a level of 40% becomes a step with a
level of 60%, a step with a level of 10% becomes a step with a level of 90%, a step
with a level of 0% becomes a step with a level of 100%, and so on.
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• Append Duplicate: Duplicate all active steps and copy them to the step immediately
following the last step. For example, steps 1 to 10 would be copied to create a 20-
step modulation pattern.
• Append Reverse Duplicate: Duplicate all active steps, reverse their order, then copy
them to the step immediately following the last step. For example, steps 1 to 4 with
values of 15, 20, 30, and 70 would be copied to create an 8-step modulation pattern
with values of 15, 20, 30, 70, 70, 30, 20, and 15.
Display controls for step modulator in Step FX in Logic Pro for iPad
These parameters are available for each of the three step modulators. Tap a Select button
to choose the modulator you want to edit. The active Select button is orange.
Also see the sections on Step FX modulator toolbar and playback controls.
Step modulator pattern display controls
• Pattern display: Use to change the modulation pattern length, edit the level and length
of individual steps, tie steps, and enable or disable steps.
• Level/length bars: Drag vertically to set the level/amount for each active step. Drag left
to reduce step length. Drag right to increase step length or to create a tie to the next
step. The currently playing step is brightly illuminated.
• Where multiple level/length bars exist, drag across them to draw in the level of
several steps.
• Drag a level/length bar toward the left to reduce the step length. Drag to the right
to increase the step length. This enables you to create different grooves. Dragging
snaps to fixed positions at 25%, 50%, 75%, or 100% of the step length. Hold down
Shift, then drag to set the step length freely. Edits are reflected immediately in the
display with a shaded bar that indicates the step length.
• Drag a level/length bar toward the right until it overlaps the next step to create a tie to
that step. If the step to the right is a rest (an inactive step), this step is automatically
turned on to create the tie. A step can be tied to multiple steps in a row. The original
velocity values of tied steps are replaced by the velocity of the first step they are
tied to, indicated graphically by the level bar extending over all tied steps. Edits are
reflected immediately in the display with a shaded bar that indicates the tie length.
Tied steps are indicated by blue dots, connected by lines, on the step number
buttons below the steps. To remove or create a tie, tap the line between two dots.
Note: The Value and Duration buttons in the toolbar can affect the behavior of
edits to level/length bars.
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• Pattern length handle: Drag the handle to the right of the last step to change the
modulation pattern length. A maximum of 128 steps is available for each modulator.
Each modulation pattern can have a different length.
• Step number buttons: Tap to turn each of the available steps on or off. The associated
number of inactive steps (and level/length) is dimmed. Active steps (and level/length)
are illuminated. You can drag horizontally across multiple steps to reverse their current
state. Any existing step length or level is restored if an inactive step is turned on. Tap
between step numbers to create or remove a tie. Tied steps are indicated by blue dots
connected by lines.
• If a step is turned on: A step is triggered at the respective modulator position.
• If a step is turned off: The modulator position is silent and is perceived as a rest.
• Scroll bar: Swipe left or right below the step number buttons to move to steps that are
not visible in the display.
Important: Take care to swipe below the step number buttons when scrolling, or you
may accidentally create a number of ties across swiped steps.
Playback controls for step modulator in Step FX in Logic Pro for iPad
These parameters are independently available for each of the three step modulators. Tap a
Select button to choose the modulator you want to edit. The active Select button is orange.
Also see the sections on Step FX modulator toolbar and display controls.
Step modulator playback controls
• Rate field: Drag vertically to set the speed of step modulator 1, 2, or 3.
• Swing field: Drag vertically to set the swing amount for step modulator 1, 2, or 3.
Values over 0% increase the duration of odd-numbered steps (1, 3, 5, and so on) while
decreasing even-numbered step lengths.
• Envelope controls: You can set an independent envelope shape for each step modulator.
Values of the following parameters are expressed as a percentage of step length and
apply to all steps in the selected modulation pattern.
• Attack field: Drag vertically to set the envelope attack time for step modulator 1, 2,
or 3.
• Attack Curve field: Drag vertically to set the attack curve shape.
• Hold field: Drag vertically to set the envelope hold time for step modulator 1, 2, or 3.
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• Release field: Drag vertically to set the envelope release time for step modulator 1, 2,
or 3.
• Release Curve field: Drag vertically to set the release curve shape.
Step FX global controls in Logic Pro for iPad
The Step FX global controls include the Effects order strip, which you can use to enable
or disable individual effects and to reposition effects within the effects chain. The XY pad
provides real-time control of up to four target parameters. Drag the gray control point
to simultaneously modulate your targets. The parameters of the XY pad and the Master
controls are described in the respective sections below.
Effects order strip
The order and status of active and inactive effects units are indicated in the strip. Inactive
effects are dimmed, and active effects are illuminated. The signal flow runs from left to
right.
Effects order strip: Drag the name of an active (lit) or inactive (dimmed) effect horizontally
to change the effects order.
XY pad parameters
• XY pad: Drag the gray dot horizontally or vertically to change the value of the
assigned X or Y target parameters.
• Assign X and Y On/Off buttons: Enable/disable the X or Y controller.
• X Target 1/2 pop-up menus: Choose one or two modulation targets from any active
effect processor, modulation source, or Master control section.
• X Depth 1/2 fields: Set the modulation amount/range for the chosen X target(s).
• Y Target 1/2 pop-up menus: Choose one or two modulation targets from any active
effect processor, modulation source, or Master control section.
• Y Depth 1/2 fields: Set the modulation amount/range for the chosen Y target(s).
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Master controls
• Input Gain knob and field: Set the input level of the plug-in.
• Mix knob and field: Set the level of the original versus processed signal. This is
essentially a wet/dry balance control.
• Output knob and field: Set the overall output level of the plug-in.
Step FX processors in Logic Pro for iPad
The parameters of all Step FX processors are described in the respective sections below.
Reverb parameters
A simple reverb unit that can add space to your parts.
• Reverb On/Off button: Enable/disable the reverb effect.
• Time knob and field: Set the length of the reverb tail.
• Mix knob and field: Set the level of the original versus reverb signal.
• Mode pop-up menu: Choose a reverb characteristic. Each option provides a different
tonal color and response.
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Multimode Filter parameters
The filter unit provides dozens of filter types. See Step FX filter types.
• Multimode Filter On/Off button: Enable/disable the filter effect.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies
are attenuated and lower frequencies are allowed to pass in a lowpass (LP) filter.
The reverse is true in a highpass (HP) filter. When in a bandpass (BP) mode, cutoff
determines the center frequency of the band that is allowed to pass. The comb and
other filter types change the names and behaviors of the filter controls.
• Resonance knob and field: Boost or cut signals in the frequency band that surrounds
the cutoff frequency. Very high Resonance values cause the filter to begin oscillating
at the cutoff frequency. This self-oscillation occurs before you reach the maximum
resonance value.
• Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal
color and response to the Cutoff and Resonance control values.
Note: The chosen filter type can alter the names and functions of the default Cutoff and
Resonance knobs.
• Mix knob and field: Set the level of the original versus filtered signal.
Mod FX parameters
The modulation FX unit provides chorus-like effects, ranging from soft through to heavy
tone warping.
• Mod FX On/Off button: Enable/disable the Mod FX unit.
• Delay knob and field: Set the initial delay time.
• Rate knob and field: Set the LFO speed of the modulation effect.
• Depth knob and field: Set the intensity of the modulation effect.
• Feedback knob and field: Set the amount of the effect signal that is routed back to the
input. Use high levels if you’re going for weird sounds.
• Mix knob and field: Set the level of the original versus modulated signal. This is a
modulation amount control.
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Delay parameters
A syncable stereo delay unit with integrated filter. See Step FX filter types.
• Delay On/Off button: Enable/disable the delay effect.
• L/R Rate knobs and fields: Set the delay time in milliseconds or in beat/division values
when synchronized with the project tempo.
• Sync button: Turn on to synchronize delay repeats with the project tempo. Turn off to
set delay times freely. Set time/beat/division values with the Delay L/R Rate knobs.
• Cutoff knob and field: Set the cutoff frequency for the chosen filter type. This filters the
selected frequencies from the overall signal.
• Feedback knob and field: Set the amount of feedback for the left and right delay
signals. Higher values result in more delay repeats.
• Mode pop-up menu: Choose a lowpass (LP), bandpass (BP), highpass (HP), or lowpass/
low cut hybrid (LP+LoCut) filter type.
• Mix knob and field: Set the level of the source versus delay signal.
Distortion parameters
The distortion unit can add color and a saturated tone to your parts.
• Distortion On/Off button: Enable/disable the distortion effect.
• Exciter knob and field: Set the amount of excitation. Exciter generates high frequency
components that are not part of the original signal by introducing a nonlinear distortion.
• Dirt knob and field: Set the amount of this saturated, gritty distortion characteristic.
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Step FX filter types in Logic Pro for iPad
Step FX provides dozens of filter types.
Step FX filter types: lowpass, bandpass, highpass
A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and
rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a
signal occupying a band surrounding the cutoff frequency and rolls off the portions above
and below that band. A highpass (HP) filter passes the portion of a signal above a specified
cutoff frequency and rolls off the portion below that frequency.
There are multiple two-pole, four-pole, multi-pole state-variable and analog-modeled LP,
BP, and HP filter designs in Step FX, each with distinctive characteristics that you may
prefer for a given purpose. The available LP, BP, and HP filter designs include Smooth,
Edgy, Rich, Sharp, Clean, and Gritty variants.
• Sharp: Two-pole analog-modeled filters.
• Smooth: Two- or multi-pole state-variable filters.
• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Rich: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Clean: Bi-Quad filters. These filters have no Drive option.
• Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive
settings.
The two principal filter controls have standard functions for all filter types.
• Cutoff: Controls the filter cutoff frequency.
• Resonance: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.
Step FX filter types: notch and peaking
A notch filter cuts a narrow band around a resonant frequency. The remainder of the signal
is affected minimally.
• Cutoff: Sets the frequency of the cut band.
• Resonance: Controls the amount of attenuation.
A peaking filter boosts a narrow band around a resonant frequency. The remainder of the
signal is affected minimally.
• Cutoff: Sets the frequency of the boosted band.
• Resonance: Controls the amount of boost. Higher values are generally the most
effective.
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Step FX filter types: comb filters
A comb filter mixes the original signal with one or more copies of the signal, which are
delayed by a very short time interval. At some frequencies this mixture causes phase
cancelations, while at other frequencies it causes reinforcements. The result is a spiky
frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the
teeth of a comb, which gives this filter type its name.
Step FX offers three comb filter designs, each with its own character. The best choice
depends on your preference and the type of sound you’re trying to create. That said, there
are some distinguishing characteristics that may help guide you.
Comb Pos uses positive feedback on the delay lines, while Comb Neg uses negative
feedback to produce less extreme effects, often with a hollow quality. These two are the
less powerful combs and offer a much more gradual increase in resonance. They can
be useful when you require either a less dramatic effect or you want to hear more of the
exciter signal character in your sound. The latter point is noteworthy as this trait can be
useful when you want a more naturalistic sound.
Comb PM uses bipolar feedback on the delay lines. The resonance control is bipolar,
allowing you to freely shift from negative (hollow sound) on the left to positive (bright and
peaky) on the right. This comb is useful for classic bright Karplus-Strong style sounds,
where the exciter impulse is not easily heard and the comb is more prominent. Take care
with your resonance level because it’s capable of quickly going to extremes, which can
lead to feedback. Start with a resonance level of zero and increase (or decrease) slowly to
find a suitable effect strength.
• Cutoff: Controls the delay time in the comb circuit. Lower cutoff values equate to a
longer delay.
• Resonance: Controls the frequency peaks in the comb-filtered spectrum.
Note: Sending a percussive sound into a highly resonant comb filter causes it to ring at
a frequency determined by the delay time you have set with the Cutoff knob.
Step FX filter types: ring modulation
Ring modulation is a process in which a modulator and a carrier signal are multiplied. Each
frequency component of the modulator interacts with each frequency component of the
carrier to produce two sidebands: a sum and a difference (carrier – modulator). When a
filter is set to the RingMod type, the signal entering the filter acts as the modulator, while
the carrier is supplied internally by the filter.
• Cutoff: Controls the carrier frequency.
• Mix: Applies a constant offset to the carrier.
• At 0%, the carrier wave varies between –1 and +1, resulting in classic ring
modulation.
• At 100%, the carrier wave varies between 0 and 1, resulting in classic amplitude
modulation. In this case, the carrier signal itself is present alongside the sum and
difference sidebands.
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Step FX filter types: distortion
Phat FX filters offer several distortion effects.
• Bitcrusher is a harsher-sounding digital effect.
• Dirt is a classic tube distortion effect.
• Downsampler is a lo-fi digital effect (similar to Bitcrusher but frequency dependent).
• Grit is a transistor distortion.
The filter controls work as follows when the filter type is set to a distortion effect:
• Cutoff: Sets the frequency for the Downsample distortion type.
• Resonance: Controls the intensity of the distortion effect.
• Mix: Controls the mix between clean and distorted signals. A 0% value results in the
clean signal only. A 50% value results in an equal mix of clean and distorted signal. A
100% value results in the distorted signal only.
Pitch effects
Pitch effects in Logic Pro for iPad
You can use the pitch effects to transpose or correct the pitch of audio signals. These
effects can also be used for creating unison or slightly thickened parts, or even for creating
harmony voices.
You can also define a scale to automatically correct some, but not all, sung notes in a vocal
performance, for example. This enables you to effectively perfect an imperfect vocal take.
You can also use pitch correction effects creatively, modifying all pitched notes in a
performance to a single pitch or a particular key.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Pitch Correction effect
Pitch Correction effect in Logic Pro for iPad
You can use the Pitch Correction effect to fix the pitch of incoming audio signals. Improper
intonation is a common problem with vocal tracks, for example. The sonic artifacts that
can be introduced by the process are minimal and are almost silent when making moderate
corrections.
The Pitch Correction effect features a machine learning algorithm that intelligently sets the
range and combines with other controls to deliver exceptionally natural-sounding results.
Pitch correction works by accelerating and slowing down the audio playback speed,
matching the input signal (sung vocal) with the correct note pitch. If you try to correct
larger intervals, you can create special effects. Natural articulations of the performance,
such as breath noises, are preserved.
Any scale can be defined as a pitch reference (technically speaking, this is known as a
pitch quantization grid). Improperly intonated notes are corrected in accordance with this
scale.
The Pitch Correction effect can be fully automated. This means that you can automate the
Scale/Chord and Root Note parameters to follow harmonies in the project. Depending on
the accuracy of the original intonation, setting the appropriate key with the Scale/Chord
parameter may suffice. Less precise intonations may need more significant changes to the
Scale/Chord and Root Note parameters.
Note: Polyphonic recordings, such as choirs, and highly percussive signals with prominent
noisy portions cannot be corrected to a specific pitch. Despite this, you may want to try the
plug-in on some drum sounds, such as toms and congas because it can deliver interesting
results.
To add Pitch Correction to your project, choose Pitch > Pitch Correction in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Pitch Correction effect parameters in Logic Pro for iPad
Pitch Correction parameters
• Root Note pop-up menu: Choose the root note of the scale.
• Scale/Chord pop-up menu: Choose a pitch quantization grid.
• Show Pitch buttons: Show the pitch of the input or output signal, respectively, on the
notes of the keyboard.
• Edit Scale and Bypass Notes buttons: Choose a mode that allows you to change the
scale and/or exclude notes from pitch correction.
• Bypass All button: Quickly compare the corrected and original signals or audition
automation changes.
• Keyboard: Tap a key to exclude the corresponding note from pitch quantization grids.
This effectively removes this key from the scale, resulting in note corrections that are
forced to the nearest available pitch (key). See Exclude notes from Pitch Correction.
• Correction display: Indicates the amount of pitch change. The red marker indicates the
average correction amount over a longer time period. You can use the display when
discussing (and optimizing) the vocal intonation with a singer during a recording session.
• Neural Pitch Detection button: Tap to enable or disable a machine learning algorithm for
pitch detection.
• Pitch Range pop-up menu and field: Choose a low or normal pitch range that is scanned
(for notes that need correction). See Pitch Correction effect quantization.
Note: When Neural Pitch Detection is enabled, it is not necessary to set Pitch Range
manually.
• Response knob and field: Determine how quickly the voice reaches the corrected
destination pitch.
Singers use portamenti and other gliding techniques. If you choose a Response value
that’s too low, seamless portamenti turn into semitone-stepped glissandi, but the
intonation is perfect. If the Response value is too high, the pitch of the output signal
won’t change quickly enough. The optimum setting for this parameter depends on the
singing style, tempo, vibrato, and accuracy of the original performance.
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• Tolerance knob and field: Set a zone around the core frequency where no correction
takes place. A low value results in more extreme/faster corrections, while higher values
allow for more pitch variation (e.g. vibrato) to happen, before any correction is applied.
• Global Tuning button: Turn on to use project Tuning settings for the pitch correction
process. Turn off to manually set tuning with the Reference parameter. See Use Pitch
Correction reference tuning.
• Reference pop-up menu: Set the reference tuning in cents (relative to the root).
• Detune knob and field: Detune the output signal by the set value.
Pitch Correction effect quantization in Logic Pro for iPad
The Neural Pitch Detection button should generally be left on to intelligently handle pitch
tracking.
You can disable Neural Pitch Detection to engage legacy behavior. When Neural Pitch
Detection is disabled you can use the normal and low Pitch Range pop-up menu options
to determine the pitch range to scan for notes that need correction. Normal is the default
range and works for most audio material. Low should be used only for audio material that
contains extremely low frequencies (below 100 Hz), which may result in inaccurate pitch
detection. These parameters have no effect on the sound; they are simply optimized
tracking options for the chosen target pitch range.
The Scale/Chord pop-up menu allows you to choose different pitch quantization grids. The
default setting is the chromatic scale.
The User Scale is the scale that is set manually with the onscreen keyboard in the plug-in.
If you’re unsure of the intervals used in any given scale, choose it from the Scale pop-up
menu and look at the onscreen keyboard. You can alter any note in the chosen scale by
tapping the keyboard keys while in Edit Scale mode. Any such adjustments overwrite the
existing user scale settings.
There is only one user scale per project. You can, however, create multiple user scales and
save them as Pitch Correction plug-in settings files.
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Tip: The Drone scale uses a fifth as a quantization grid, and the Single scale defines
a single note. Neither of these scales is meant to result in realistic singing voices, but try
them if aiming for interesting effects.
Choose the root note of the scale from the Root Note pop-up menu. You can freely
transpose the major and minor scales and scales named after chords.
Exclude notes from Pitch Correction in Logic Pro for iPad
You can choose whether to edit the scale with the keyboard keys or to bypass notes with
the keyboard keys.
When you first open the effect, all notes of the chromatic scale are selected. This means
that every incoming note is altered to fit the next semitone step of the chromatic scale.
If the intonation of the singer is poor, this might lead to notes being incorrectly identified
and corrected to an unwanted pitch. For example, the singer may have intended to sing
an E, but the note is actually closer to a D#. If you do not want the D# in the song, tap the
D# key on the keyboard while in Edit Scale mode. The key will change from bright to dark
blue to show that the note is no longer part of the scale. Because the original pitch was
sung closer to an E than a D, it is corrected to an E.
Note: The settings made with the Pitch Correction effect onscreen keyboard are valid for
all octave ranges. Individual settings for different octaves are not provided.
Bypass individual notes in a scale in the Pitch Correction effect
In the majority of working situations, you will choose a scale from the Scale/Chord menu.
You can also bypass individual notes by activating the Bypass Notes button, but this is a
less common use case scenario.
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• In Logic Pro, tap the Bypass Notes button.
To exclude notes from correction, tap the keyboard keys.
Bypassed notes are orange.
This is particularly useful for “blue” notes. Blue notes are notes that slide between
pitches, making the major and minor status of the keys difficult to identify. As you may
know, one of the major differences between C minor and C major is the Eb (E flat) and
Bb (B flat), instead of the E and B. Blues singers glide between these notes, creating
an uncertainty or tension between the scales. Use of the bypass buttons allows you to
exclude particular keys from changes, leaving them as they were.
Tip: It’s often best to correct only the notes with the most harmonic gravity. For
example, choose Sus4 from the Scale/Chord pop-up menu, and match the project key with
your Root Note pop-up menu selection. This limits correction to the root note, the fourth,
and the fifth of the key scale. Bypass all other notes and only the most important and
sensitive notes are corrected, while all other singing remains untouched.
Bypass all pitch correction in the Pitch Correction effect
Not all audio material can be effectively pitch corrected. In some cases, you may need
to use pitch manipulation and automation features to process a portion of an audio
performance.
• In Logic Pro, tap the Bypass All button, to pass the input signal through unprocessed
and uncorrected.
This is useful for spot corrections to pitch through use of automation. Bypass All is
optimized for near-instant, seamless operation in all situations.
Use Pitch Correction reference tuning in Logic Pro for iPad
Turn on the Global Tuning button to use Logic Pro Tuning settings for the pitch correction
process. This ensures that all software instruments and your tuned vocal part are in tune
with each other. See Tuning project settings.
If Global Tuning is turned off, you can use the Reference pop-up menu to set the reference
tuning to the root key or note.
As an example of where choosing a value with the Reference pop-up menu can be
effective, consider that the intonation of a vocal line is often slightly sharp or flat
throughout an entire song. You can use the Reference pop-up menu to address this
issue at the input of the pitch detection process by setting it to reflect the constant pitch
deviation in cent values. This allows for more accurate pitch correction.
Note: Tunings that differ from software instrument tuning can be interesting when you
want to individually correct the notes of singers in a choir. If all voices are individually and
perfectly corrected to the same pitch, the choir effect is partially lost. You can prevent this
by (de)tuning the pitch corrections individually.
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Pitch Shifter
Pitch Shifter in Logic Pro for iPad
Pitch Shifter provides a simple way to combine a pitch-shifted version of the signal with
the original signal. See Use Pitch Shifter.
To add Pitch Shifter to your project, choose Pitch > Pitch Shifter in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Pitch Shifter parameters
• Semitones knob and field: Set the pitch shift value in semitones.
• Cents knob and field: Control detuning of the pitch shift value in cents (1/100th of a
semitone).
• Mode pop-up menu: Choose an algorithm to determine how timing is derived.
• Drums: Maintains the groove (rhythmic feel) of the source signal.
• Speech: Provides a balance between both the rhythmic and harmonic aspects of the
signal. This is suitable for complex signals such as spoken-word recordings, rap, and
hybrid signals such as rhythm guitar.
• Vocals: Retains the intonation of the source, making it well-suited for signals that are
inherently harmonic or melodious, such as string pads.
• Manual: Uses the settings of the Delay, Crossfade, and Stereo Link parameters.
• Pitch Tracking: Follows the pitch of incoming audio material.
Note: The Delay and Crossfade parameters are active only when Manual is chosen from the
Mode pop-up menu.
• Delay knob and field: Set the amount of delay applied to the input signal. The lower
the frequencies of the input signal, the higher (longer) a delay time is required—to
effectively pitch shift the signal.
• Crossfade knob and field: Set the range (shown as a percentage of the original signal)
used to analyze the input signal.
• Mix control and field: Set the balance between the effect and original signals.
• Latency Compensation button: Turn on to compensate for delays that may be
introduced by some algorithms with particular types of source material.
• Stereo Link buttons: Normal retains the source stereo signals. Invert swaps (inverts)
stereo channel signals, with right channel processing occurring on the left, and vice
versa.
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Use Pitch Shifter in Logic Pro for iPad
Pitch Shifter is used most effectively when you take a structured approach.
Use pitch shifting
1. In Logic Pro, you can set the amount of transposition, or pitch shift with the Semitones
knob.
2. To set the amount of detuning, alter the Cents knob value.
3. Choose the algorithm that best matches the material you’re working with from the Mode
pop-up menu.
If you’re working with material that does not fit any of these categories, experiment with
each of the algorithms (starting with Speech), then compare the results and use the one
that best suits your material.
Tip: While auditioning and comparing different settings, temporarily set the Mix
parameter to 100% because this makes Pitch Shifter artifacts easier to hear.
Vocal Transformer
Vocal Transformer in Logic Pro for iPad
Vocal Transformer can be used to transpose the pitch of a vocal line, to augment or
diminish the range of the melody, or even to reduce it to a single note that mirrors the
pitches of a melody. No matter how you change the pitches of the melody, the constituent
parts of the signal (formants) remain the same.
You can shift the formants independently, which means that you can turn a vocal track into
a Mickey Mouse voice, while maintaining the original pitch. Formants are characteristic
emphases of certain frequency ranges. They are static and do not change with pitch.
Formants are responsible for the specific timbre of a given human voice.
Vocal Transformer is well suited to extreme vocal effects. The best results are achieved
with monophonic signals, including monophonic instrument tracks. It is not designed for
polyphonic voices—such as a choir on a single track—or other chordal tracks.
See Vocal Transformer parameters and Use Vocal Transformer.
To add Vocal Transformer to your project, choose Pitch > Vocal Transformer in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Vocal Transformer parameters in Logic Pro for iPad
Vocal Transformer includes the following parameters.
Vocal Transformer parameters
• Pitch knob and field: Determine the amount of transposition applied to the input signal.
See Use Vocal Transformer.
• Fine Pitch knob and field: Detune the input signal by the set value. This parameter is of
particular benefit when automated.
• Glide knob and field: Determine the time vocal transformation takes, allowing sliding
transitions to the set Pitch value.
• Formant knob and field: Shift the formants of the input signal.
• Grain Size knob and field: The effect algorithm is based on granular synthesis. Drag to
set the size of the grains and thus affect the precision of the process. Experiment to
find the best setting. Try Auto first.
• Formants pop-up menu: Choose how Vocal Transformer processes formants.
• Process always: All formants are processed.
• Keep unvoiced formants: Only voiced formants are processed. This retains
sibilant sounds in a vocal performance and produces a more natural-sounding
transformation effect with some signals.
• Pitch Base knob and field: Available only in Robotize mode. Transpose the note that the
Tracking parameter is following.
• Pitch Tracking knob and field: Available only in Robotize mode. Control how the melody
is changed.
• Robotize button: Turn Robotize mode on or off. This mode is used to augment,
diminish, or mirror the melody.
• Mix control and field: Define the level ratio between the original (dry) and effect
signals.
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Use Vocal Transformer in Logic Pro for iPad
You can change the pitch of performances, inclusive of, or independent from, formants.
Robotize mode can augment or diminish the melody.
Use the Vocal Transformer Pitch and Formant parameters
• In Logic Pro, rotate the Pitch knob to transpose the pitch of the signal upward or
downward. Adjustments are made in semitone steps.
Transpositions of a fifth upward (Pitch = +7), a fourth downward (Pitch = −5), or by an
octave (Pitch = ±12) are the most useful harmonically.
As you alter the Pitch parameter, you might notice that the formants don’t change.
The Pitch parameter is expressly used to change the pitch of a voice, not its character.
If you set negative Pitch values for a female soprano voice, you can turn it into an alto
voice without changing the specific character of the singer’s voice.
• To shift the formants while maintaining—or independently altering—the pitch, rotate the
Formant knob. If you set this parameter to positive values, the singer sounds like Mickey
Mouse. By altering the parameter downward, you can achieve vocals reminiscent of
Darth Vader.
Tip: If you set Pitch to 0 semitones, Mix to 50%, and Formant to +1 (with Robotize
turned off), you can effectively place a singer (with a smaller head) next to the original
singer. Both will sing with the same voice, in a choir of two. This doubling of voices is
quite effective, with levels easily controlled by the Mix parameter.
Use Vocal Transformer Robotize mode
1. In Logic Pro, tap the Robotize button to turn on Robotize mode. In this mode, Vocal
Transformer can augment or diminish the melody.
2. You can control the intensity of this processing with the Pitch Tracking knob.
• Set the knob to −100%. All intervals are mirrored.
• Set the knob to 0%. Delivers interesting results, with every syllable of the vocal track
being sung at the same pitch. Low values turn sung lines into spoken language.
• Set the knob to 100%. The range of the melody is maintained. Higher values
augment, and lower values diminish, the melody.
• Set the knob to 200%. The intervals are doubled.
The Pitch Base parameter is used to transpose the note that the Pitch Tracking
parameter is following. For example, with Pitch Tracking set to 0%, the pitch of the
(spoken) note is transposed to the chosen base pitch value.
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Reverb effects
Reverb effects in Logic Pro for iPad
You can use reverb effect plug-ins to simulate the sound of acoustic environments such as
rooms, concert halls, caverns, or an open space.
Learn how you can use plug-ins.
Sound waves repeatedly bounce off the surfaces—walls, ceilings, windows, and so on—
of any space, or off objects within a space, gradually dying out until they are inaudible.
These bouncing sound waves result in a reflection pattern, more commonly known as a
reverberation (or reverb).
The starting portion of a reverberation signal consists of a number of discrete reflections
that you can clearly discern before the diffuse reverb tail builds up. These early reflections
are essential in human perception of spatial characteristics, such as the size and shape of
a room.
Plates, digital reverb effects, and convolution reverb
The first form of reverb used in music production was actually a purpose-built room
with hard surfaces, called an echo chamber. It was used to add echoes to the signal.
Mechanical devices, including metal plates and springs, were also used to add
reverberation to the output of musical instruments and microphones.
Digital recording introduced digital reverb effects, which consist of thousands of delays
of varying lengths and intensities. The time differences between the original signal and
the arrival of the early reflections can be adjusted by a parameter known as predelay.
The average number of reflections in a given period of time is determined by the density
parameter. The regularity or irregularity of the density is controlled with the diffusion
parameter. Digital reverbs include the CPU-efficient SilverVerb, the unique EnVerb and
ChromaVerb. See ChromaVerb.
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Computers make it possible to sample and analyze the reverb characteristics of real
spaces, using convolution reverbs. These room characteristic sample recordings are known
as impulse responses.
Convolution reverbs work by convolving (combining) an audio signal with the impulse
response recording of reverb characteristics for a given space. See Space Designer.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
ChromaVerb
ChromaVerb in Logic Pro for iPad
ChromaVerb features fourteen discrete room type algorithms.
The fundamental approach behind ChromaVerb diverges from other methods of reverb
creation. It is based on the principle of a circular structure in which the sound is gradually
absorbed, much like in a real room. The absorption characteristics are dependent on the
chosen room type and reverb parameter settings.
Each room type offers a unique tonal color, ranging from dense rooms to wide spaces and
large halls.
The ChromaVerb interface is divided into several sections.
• Display and Damping EQ parameters: A visualization of the reverb output is overlaid
with a Damping EQ curve. See ChromaVerb display and Damping EQ.
• Main parameters: Shows common reverb parameters such as Attack, Size, Density,
Distance, and Decay.
• Details parameters: You can use advanced parameters such as Width, Quality, and
Modulation to alter reverb characteristics.
• EQ parameters: You can use Output EQ controls to shape the ChromaVerb output signal.
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To add ChromaVerb to your project, choose Reverb > ChromaVerb in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
ChromaVerb display and Damping EQ in Logic Pro for iPad
The Damping equalizer curve is overlaid in the graphic display when the Visualizer button is
active.
ChromaVerb display parameters
• Visualizer button: Enable or disable the real time visualization in the graphic display.
• Graphic display: Shows a real time visualization of changes to Damping EQ curve
values and the incoming signal.
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ChromaVerb Damping EQ parameters
The Damping EQ adjusts the frequencies of the decay signal. It is divided into four bands,
with independent High and Low Shelf EQ bands, and two Peak EQ bands.
• Low Shelf EQ: Adjust the ratio of the low shelving band in the Damping EQ.
• Low Shelf Freq knob and field: Set the Damping EQ band center frequency. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Shelf Ratio knob and field: Set the Decay parameter timing ratio of the Damping
EQ band. You can also tap the field to enter a value in the numeric keypad. Double
tap to reset to the default value.
• Low Shelf Q field: Drag vertically to set the band width surrounding the center
frequency of the Damping EQ band. You can also tap the field to enter a value in the
numeric keypad.
• Low Peak EQ: Adjust the ratio of the low peak band in the Damping EQ.
• Low Peak Freq knob and field: Set the Damping EQ band center frequency. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Peak Ratio knob and field: Set the Decay parameter timing ratio of the Damping
EQ band. You can also tap the field to enter a value in the numeric keypad. Double
tap to reset to the default value.
• Low Peak Q field: Drag vertically to set the band width surrounding the center
frequency of the Damping EQ band. You can also tap the field to enter a value in the
numeric keypad.
• High Peak EQ: Adjust the ratio of the high peak band in the Damping EQ.
• High Peak Freq knob and field: Set the Damping EQ band center frequency. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Peak Ratio knob and field: Set the Decay parameter timing ratio of the Damping
EQ band. You can also tap the field to enter a value in the numeric keypad. Double
tap to reset to the default value.
• High Peak Q field: Drag vertically to set the band width surrounding the center
frequency of the Damping EQ band. You can also tap the field to enter a value in the
numeric keypad.
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• High Shelf EQ: Adjust the ratio of the high shelving band in the Damping EQ.
• High Shelf Freq knob and field: Set the Damping EQ band center frequency. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Shelf Ratio knob and field: Set the Decay parameter timing ratio of the Damping
EQ band. You can also tap the field to enter a value in the numeric keypad. Double
tap to reset to the default value.
• High Shelf Q field: Drag vertically to set the band width surrounding the center
frequency of the Damping EQ band. You can also tap the field to enter a value in the
numeric keypad.
ChromaVerb main controls in Logic Pro for iPad
The main section contains the most commonly used ChromaVerb parameters.
ChromaVerb main parameters
• Room Type pop-up menu: Choose the type of reverb space you want to recreate. See
ChromaVerb room types.
• Freeze button: Turn on to recirculate the signal infinitely inside the chosen room type.
• Predelay knob and field: Set the time between the start of the original signal and the
arrival of the early reflections. You can also tap the field to enter a value in the numeric
keypad. Double tap to reset to the default value.
A short predelay setting tends to push sounds away and longer predelay settings tend
to bring sounds more to the forefront.
An extremely short predelay setting can color the sound and make it difficult to pinpoint
the position of the signal source. A very long predelay setting can be perceived as an
unnatural echo and can divorce the original signal from its early reflections, leaving an
audible gap between them. An optimal predelay setting depends on the type of input
signal—or more precisely, the envelope of the input signal. Percussive signals generally
require shorter predelays than signals where the attack fades in gradually. A good
working method is to use the longest possible Predelay value before you start to hear
side effects, such as an audible echo. When you reach this point, reduce the Predelay
setting slightly.
• Predelay Sync button: Turn on to restrict Predelay values to divisions synchronized with
the host application tempo.
• Decay Time knob and field: Set the decay time. The decay for certain frequencies is
dependent on damping parameter values. You can also tap the field to enter a value in
the numeric keypad. Double tap to reset to the default value.
• Decay Time Sync button: Turn on to restrict Decay values to divisions synchronized with
the host application tempo.
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• Attack knob and field: Set the attack phase of the reverb. This affects either the volume
or the density build-up time, depending on the chosen room type. You can also tap the
field to enter a value in the numeric keypad. Double tap to reset to the default value.
• For the following room types the Attack parameter increases volume over time:
Theatre, Dense Room, Smooth Space, Reflective Hall, Strange Room, Airy.
• For the following room types the Attack parameter sets the amount of time it takes
for the reverb to reach the maximum density value, determined with the Density
knob: Room, Chamber, Concert Hall, Synth Hall, Digital, Dark Room, Vocal Hall,
Bloomy.
• Size knob and field: Determine the dimensions of the room. Higher values correspond to
a larger space. You can also tap the field to enter a value in the numeric keypad. Double
tap to reset to the default value.
• Density knob and field: Adjust the density of the early and late reflections
simultaneously, depending on room type. You can also tap the field to enter a value in
the numeric keypad. Double tap to reset to the default value.
• Distance knob and field: Set the perceived distance from the source by altering early
and late energy. You can also tap the field to enter a value in the numeric keypad.
Double tap to reset to the default value.
• Dry control and field: Independently set the level of the source signal. You can also tap
the field to enter a value in the numeric keypad. Double tap to reset to the default value.
• Wet control and field: Independently set the level of the effect signal. You can also
tap the field to enter a value in the numeric keypad. Double tap to reset to the default
value.
ChromaVerb details controls in Logic Pro for iPad
The Details section contains advanced ChromaVerb parameters.
ChromaVerb details parameters
• Quality pop-up menu: Choose a quality level. Low produces a grainy reverb with
noisy modulation. High sounds clean and precise. Ultra delivers a smooth, expensive-
sounding reverb.
• Mod Src pop-up menu: Choose a sine, random, or noise waveform for the LFO.
• Mod Smooth field: Drag vertically to change the shape of the LFO waveform. The
random waveform is smoothed and the sine and noise waveforms are saturated. You can
also tap the field to enter a value in the numeric keypad.
• Modulation Speed knob and field: Set the speed of the built in LFO. You can also tap the
field to enter a value in the numeric keypad. Double tap to reset to the default value.
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• Modulation Depth knob and field: Set the depth of LFO modulation. The range is
determined by the chosen room type.
• Early/Late Mix slider and field: Set the level of early and late reflections. These vary
depending on the Distance parameter value. See main window controls. You can also
tap the field to enter a value in the numeric keypad. Double tap to reset to the default
value.
• Width knob and field: Set the stereo width of the reverb. You can also tap the field to
enter a value in the numeric keypad. Double tap to reset to the default value.
• Mono Maker Freq knob and field: Set a frequency below which stereo information is
removed. This compensates for perceived level losses in the overall low frequency
range. You can also tap the field to enter a value in the numeric keypad. Double tap to
reset to the default value.
• Mono Maker button: Turn on to remove stereo information below the frequency set with
the corresponding slider.
ChromaVerb Output EQ in Logic Pro for iPad
ChromaVerb features a built-in six band Output EQ.
ChromaVerb Output EQ parameters
• Output EQ On/Off button: Turn on to enable the Output EQ, which adjusts frequencies
of the overall combined reverb and source signal.
• Low Cut On/Off button: Switch on a highpass filter that allows high frequencies to pass
and reduces the level of low frequencies near the cutoff (set) frequency.
• Low Cut Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Cut Order knob and field: Set the order (filter slope) for the Low Cut EQ band.
You can also tap the field to enter a value in the numeric keypad. Double tap to reset
to the default value.
• Low Cut Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
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• Low Shelf On/Off button: Switch on a low shelving filter that adjusts the level of low
frequencies and has a minimal impact on frequencies above the cutoff (set) frequency.
• Low Shelf Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Shelf Gain knob and field: Set the level of the selected EQ band. You can also
tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Shelf Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
• Low Peak On/Off button: Switch on a low parametric filter with three controls.
Frequency sets a center frequency. Q sets the width of the frequency band around the
center frequency. Gain sets the level of the band.
• Low Peak Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Peak Gain knob and field: Set the level of the selected EQ band. You can also
tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• Low Peak Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
• High Peak On/Off button: Switch on a high parametric filter with three controls.
Frequency sets a center frequency. Q sets the width of the frequency band around the
center frequency. Gain sets the level of the band.
• High Peak Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Peak Gain knob and field: Set the level of the selected EQ band. You can also
tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Peak Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
• High Shelf On/Off button: Switch on a high shelving filter that adjusts the level of high
frequencies and has a minimal impact on frequencies below the cutoff (set) frequency.
• High Shelf Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Shelf Gain knob and field: Set the level of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Shelf Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
Logic Pro User Guide for iPad 583
• High Cut On/Off button: Switch on a lowpass filter that allows low frequencies to pass
and reduces the level of high frequencies near the cutoff (set) frequency.
• High Cut Freq knob and field: Set the frequency of the selected EQ band. You can
also tap the field to enter a value in the numeric keypad. Double tap to reset to the
default value.
• High Cut Order knob and field: Set the order (filter slope) for the High Cut EQ band.
You can also tap the field to enter a value in the numeric keypad. Double tap to reset
to the default value.
• High Cut Q field: Drag vertically to set the band width surrounding the center
frequency of the selected EQ band. You can also tap the field to enter a value in the
numeric keypad.
ChromaVerb room types in Logic Pro for iPad
The chosen room type defines the basic color of the reverb and determines the ranges
in which controls operate. It also sets the absorption characteristics of the space and
determines how the Size, Density, and other parameters behave.
Room Type Description
Room Natural-sounding room with a rapid build-up of dense reflections.
Chamber A punchy reverb that emulates a small to medium room. It has a fast
attack and high echo density with low coloration.
Concert Hall A large space with long delays in the initial sound, a slow build, minimal
high end response, and moderate diffusion build.
Theater A medium to large dry room with medium reflection density.
Synth Hall Wider than the Room model with the sparsest reflections of all room
types.
Digital A medium room with midrange reflection density. It has a slower attack
than the Room model. The decay is brighter and creates a lush-sounding
chorus-like reverb. It has a dense reverb tail, with extended high and low
response.
Dark Room A small to medium sized, dark sounding, less dense room reverb.
Dense Room A small room with a dense reflection pattern that builds very quickly.
Smooth Space Smooth sounding reverb that emulates a medium size space.
Vocal Hall A medium to large, smooth vocal hall with a midrange number of
reflections.
Reflective Hall A medium to large, highly reflective hall reverb with a low reflection
density.
Airy A large space with sparse reflections.
FX - Strange Room A medium space with midrange reflection density and a distinct color.
FX - Bloomy A large space reverb with moderate reflection density that creates
blooming decays.
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EnVerb in Logic Pro for iPad
EnVerb is a versatile reverb effect with a unique feature: it allows you to adjust the
envelope—the shape—of the diffuse reverb tail.
• Delay parameters: These controls determine the timing of the dry signal and the first
reflection.
• Envelope parameters: You can adjust levels over time (the envelope) of the reverb. You
can control the delay time of the original signal and can change the reverb tail over
time.
• Reverberator parameters: You can shape the sound of the reverb signal. You can split
the incoming signal into two bands with the Crossover parameter and can set the low
frequency band separately.
• Output parameters: These controls set the overall output level.
To add EnVerb to your project, choose Reverb > EnVerb in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
EnVerb Delay and Envelope parameters
• Dry Signal Delay knob and field: Determine the delay of the original signal. Set a
suitable level with the Dry slider in the Mix section.
• Predelay knob and field: Set the time between the original signal and the start point of
the reverb attack phase—the very beginning of the first reflection.
• Attack slider and field: Set the time it takes for the reverb to climb to its peak level.
• Decay slider and field: Set the time it takes for the level of the reverb to drop from its
peak to the sustain level.
• Sustain slider and field: Set a constant reverb level for the sustain phase. It is expressed
as a percentage of the full-scale volume of the reverb signal. See Hold parameter.
• Hold slider and field: Set the duration of the reverb sustain phase. See Sustain
parameter.
• Release slider and field: Set the time it takes for the reverb to fade out completely, after
the sustain phase.
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EnVerb Reverberator and Output parameters
• Density knob and field: Set the reverb density.
• Spread knob and field: Control the width of the reverb stereo image. At 0% the effect
generates a monaural reverb. At 200% the stereo base is artificially expanded.
• Low Freq Level knob and field: Set the relative level of (reverb signal) frequencies below
the crossover frequency. In most cases you get better-sounding results when you set
negative values for this parameter.
• Crossover knob and field: Set the frequency used to split the input signal into two
frequency bands for independent processing.
• High Cut knob and field: Filter reverb tail frequencies above the value set with the
Crossover knob.
• Dry/Wet controls and fields: Determine the balance between the effect (wet) and
direct (dry) signals.
SilverVerb in Logic Pro for iPad
SilverVerb provides a low frequency oscillator (LFO) that can modulate the reverberated
signal. It also includes a high cut and a low cut filter, allowing you to filter frequencies from
the reverb signal. High frequency transients in reverb signals can sound unpleasant, can
hamper speech intelligibility, or can mask the overtones of the original signal. Long reverb
tails with a lot of bass generally result in an indistinct mix.
To add SilverVerb to your project, choose Reverb > SilverVerb in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
SilverVerb parameters
• Pre Delay slider and field: Set the time between the original signal and the reverb signal.
• Reflectivity knob and field: Define how reflective the imaginary walls, ceiling, and floor
are.
• Room Size knob and field: Define the dimensions of the simulated room.
• Density/Time knob and field: Determine both the density and the duration of the reverb.
• Low Cut slider and field: Filter frequencies below the set value out of the reverb signal.
This affects only the tone of the reverb signal, not the original signal.
• High Cut slider and field: Filter frequencies above the set value out of the reverb signal.
This affects only the tone of the reverb signal, not the original signal.
• Modulation On/Off button: Enable or disable the LFO. This affects the Rate, Phase, and
Intensity parameters.
• Rate knob and field: Set the frequency, or speed, of the LFO.
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• Phase knob and field: Define the phase of the modulation between the left and right
channels of the reverb signal.
• At 0°, the extreme values (minimum or maximum) of the modulation are achieved
simultaneously on both the left and right channels.
• At a value of 180°, the extreme values opposite each other (left channel minimum,
right channel maximum, or vice versa) are reached simultaneously.
• Intensity knob and field: Set the modulation amount. A value of 0 turns off the delay
modulation.
• Dry/Wet controls and fields: Set the balance between the effect (wet) and original
(dry) signals.
Space Designer convolution reverb
Space Designer in Logic Pro for iPad
Space Designer is a convolution reverb effect that you can use to place your audio signals
in exceptionally realistic recreations of real-world acoustic environments. Space Designer
generates reverb by convolving, or combining, an audio signal with an impulse response
reverb sample. An impulse response is a recording of reverb characteristics, or more
precisely, a recording of all reflections in a given room following an initial signal spike. The
actual impulse response file is a standard audio file.
To understand how this works, imagine a situation where Space Designer is used on a
vocal track. An impulse response file recorded in an actual opera house is loaded into
Space Designer. This impulse response file is convolved with your vocal track, placing the
singer inside the opera house.
Convolution can be used to place your audio signal inside any space, including a
speaker cabinet, a plastic toy, a cardboard box, and so on. All you need is an impulse
response recording of the space.
In addition to loading impulse responses, Space Designer includes an on-board impulse
response synthesis facility. This enables the creation of completely unique effects,
particularly when the synthesized impulse response doesn’t represent a real space.
Space Designer also offers features such as volume and density envelopes, filters, an
Output EQ, and stereo balance controls, which provide precise control over the dynamics,
timbre, and length of the reverberation.
Space Designer can operate as a mono, stereo, or true stereo (meaning each channel is
processed discretely) effect.
To add Space Designer to your project, choose Reverb > Space Designer in a channel
strip Audio Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add,
replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the
Mixer.
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Automation and Space Designer
Space Designer cannot be fully automated—unlike most other included plug-ins. This
is because Space Designer needs to reload the impulse response and recalculate the
convolution before audio can be routed through it.
You can, however, record, edit, and play back any movement of the following
Space Designer parameters:
• Stereo X-Over
• Direct Output
• Reverb Output
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Use impulse responses in Logic Pro for iPad
Space Designer can use either recorded impulse response files or synthesized impulse
responses. The Sampled IR and Synthesized IR buttons switch the impulse response mode.
Important: To convolve audio in real time, Space Designer must first calculate any
parameter adjustments to the impulse response. This requires a moment or two following
parameter edits.
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Impulse response parameters
Use to load, save, or manipulate recorded or synthesized impulse response files. The
chosen impulse response file determines what Space Designer uses to convolve with your
audio signal.
• Sampled IR button: Switch to Sampled IR mode. In this mode, an impulse response
sample is used to generate reverberation.
When you first tap the Sampled IR button, the Browser opens, enabling you to choose
an impulse response.
The name of the loaded IR sample is shown to the left.
• Synthesized IR button: Turn on Synthesized IR mode. A new synthesized impulse
response is generated, derived from the values of the Length, Envelope, Filter, EQ, and
Spread parameters.
• Input Crossfeed knob and field: Determine how Space Designer processes the stereo
input signal.
Use Sampled IR mode
In Sampled IR mode, Space Designer loads and uses an impulse response recording of an
acoustic environment. This is convolved with the incoming audio signal to place it in the
acoustic space provided by the impulse response.
1. In Logic Pro, tap the Sampled IR button.
When you first tap the Sampled IR button, the Browser opens, enabling you to choose
an impulse response.
2. Choose an impulse response file from any folder.
Use Synthesized IR mode
In Synthesized IR mode, Space Designer generates a synthesized impulse response based
on the values of the Length, envelope, filter, EQ, and spread parameters.
Note: You can switch between a loaded impulse response sample and a synthesized
impulse response without losing the settings of the other.
• In Logic Pro, tap the Synthesized IR button.
Repeated taps of the Synthesized IR button randomly generate new impulse responses
with slightly different reflection patterns. The current impulse response state is
saved with the setting file, including parameter and other values that represent the IR
reflection patterns and characteristics.
Note: Tapping the Synthesized IR button while you’re in Sampled IR mode switches to
the synthesized impulse response stored with the setting.
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Use the Space Designer Input Crossfeed knob
The Input Crossfeed knob works only in stereo channel configurations.
• In Logic Pro, use the Input Crossfeed knob to determine how a stereo signal is
processed.
• At a value of 1.00 the signal is processed on both channels, retaining the stereo
balance of the original signal.
• At a value of 0.50 the signal is processed in mono.
• At a value of 0.00 the signal is inverted, with processing for the right channel
occurring on the left, and vice versa.
• In-between positions result in a mixture of stereo to mono crossfeed signals.
Space Designer main parameters in Logic Pro for iPad
Space Designer can use either recorded impulse response files or synthesized impulse
responses. The Sampled IR and Synthesized IR buttons switch the impulse response mode.
Important: To convolve audio in real time, Space Designer must first calculate any
parameter adjustments to the impulse response. This requires a moment or two following
parameter edits.
Main parameters
These parameters globally affect the impulse response.
• Predelay knob and field: Set the reverb predelay time, or time between the original
signal and the first reflections from the reverb.
• Predelay Sync button: Turn on to restrict Predelay knob values to divisions synchronized
with the project tempo.
• Length knob and field: Adjust the length of the impulse response. This control works in
conjunction with the Size knob.
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• Size knob and field: Adjust the sample rate of the loaded impulse response file,
thereby changing the perceived size of the reverb by widening or narrowing the room.
Size can also be used to preserve the original length of the impulse response when
changing the sample rate with the Quality pop-up menu found in the Details section.
The Size knob value has an impact on the decay because it is multiplied with the Length
knob value. To explain, a Length knob value of 100% and a Size knob value of 100%
result in a decay that is the full length of the loaded impulse response.
• X-Over Freq slider and field: The X-Over Freq slider sets the crossover frequency. Any
impulse response frequency that falls below this value is affected by the Lo Spread
knob. Frequencies above are affected by the Hi Spread knob.
• Lo and Hi Spread knobs and fields: The spread controls set the perceived width of the
stereo field.
Use the Space Designer predelay feature
Predelay is the amount of time that elapses between the original signal and the initial
early reflections of the reverberation. For a room of any given size and shape, predelay is
determined by the distance between the listener and the walls, ceiling, and floor. Space
Designer lets you adjust this parameter beyond the range that would be considered natural.
• In Logic Pro, rotate the Predelay knob to set a suitable predelay time.
The ideal predelay setting for different sounds depends on the properties of—or more
accurately, the envelope of—the original signal. Percussive signals generally require shorter
predelays than signals where the attack fades in gradually, such as strings. A good rule of
thumb is to use the longest predelay possible before undesirable side effects, such as an
audible echo, begin to materialize.
In practice, an extremely short predelay tends to make it difficult to pinpoint the position
of the signal source. It can also color the sound of the original signal. On the other hand,
an excessively long predelay can be perceived as an unnatural echo. It can also divorce the
original signal from its early reflections, leaving an audible gap between the original and
reverb signals.
These guidelines are intended to help you design realistic-sounding spaces that are
suitable for various signals. If you want to create unnatural sound stages or otherworldly
reverbs and echoes, experiment with the Predelay parameter.
Set impulse response lengths
• In Logic Pro, rotate the Length knob to set the length of the impulse response—sampled
or synthesized.
The Length knob setting changes the decay value, depending on the current Size knob
value. To clarify, a Length value of 100% and a Size value of 100% result in a decay that
is the full length of the loaded impulse response.
All envelopes are automatically calculated as a percentage of the overall length.
Changes to the Length or Size parameter values result in envelope curves stretching or
shrinking to fit the new impulse response length.
Note: When you’re using a sampled impulse response file, the combined Length (and
Size) parameter values cannot exceed the length of the underlying impulse response
sample.
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Use the Space Designer Spread parameters
The X-Over Freq slider setting and Lo and Hi Spread knob values enhance the perceived
width of the signal. This occurs without losing the directional information of the input
signal normally found in the higher frequency range. Low frequencies are spread to the
sides, reducing the amount of low frequency content in the center—allowing the reverb to
encompass the mix.
• In Logic Pro, rotate the Lo and Hi Spread knobs to extend the stereo base to
frequencies below or above the frequency determined by the X-Over Freq parameter.
• At a spread value of 0.00, no stereo information is added. The inherent stereo
information of the source signal and reverb, however, is retained.
• At a spread value of 1.00, left and right channel divergence is at its maximum.
• Set the X-Over Freq slider frequency (in hertz). Any impulse response frequency below
or above the value you set is affected by the Lo and Hi Spread knobs (at values over
zero).
Note: These parameters have no impact when you use Space Designer as a mono plug-in.
Space Designer volume envelope in Logic Pro for iPad
The volume envelope is used to set the reverb initial level and to control volume changes
over time.
Volume envelope parameters
• Volume Envelope On/Off button: Enable or disable the volume envelope.
• Init Level knob and field: Set the initial volume level of the impulse response attack
phase. It is expressed as a percentage of the full-scale volume of the impulse response
file. The attack phase is generally the loudest point of the impulse response. Set Init
Level to 100% to ensure maximum volume for early reflections.
• Attack Time knob and field: Determine the time before the decay phase of the volume
envelope begins.
• Decay Time knob and field: Set the length of the decay phase.
Note: The overall decay is determined by the global Length and Size parameter values.
To explain, a Length value of 100% and a Size value of 100% result in a decay that is the
full length of the loaded impulse response.
Logic Pro User Guide for iPad 592
• End Level knob and field: Set the end volume level. It is expressed as a percentage of
the overall volume envelope.
• If set to 0%, you can fade out the reverb tail.
• If set to 100%, you can’t fade out the tail, and the reverb stops abruptly if the end
point falls within the tail. If the end time falls outside the reverb tail, End Level has no
effect.
• Volume Decay Mode buttons: Choose a mode that determines how the reverb tail is
handled.
• Linear button: The decay curve of the volume envelope is shaped by a linear
algorithm, and results in a less natural-sounding reverb tail.
• Exp button: The decay curve of the volume envelope is shaped by an exponential
algorithm, in order to generate the most natural-sounding reverb tail.
Space Designer filter and envelope in Logic Pro for iPad
The filter provides control over the timbre of the reverb.
You can choose from several filter types. Changes to filter settings result in a recalculation
of the impulse response rather than a direct change to the sound as it plays through Space
Designer.
Tap the Filter Envelope On/Off button to enable the filter envelope and the filter itself. You
can use the envelope to control the filter cutoff frequency over time.
Filter envelope parameters
• Filter Envelope On/Off button: Enable or disable the filter and filter envelope.
• Init Level knob and field: Set the initial cutoff frequency of the filter envelope.
• Attack Time knob and field: Determine the time required to reach the value set with the
Filter Max control.
• Max Level knob and field: Set the maximum filter cutoff frequency. This value also
determines the attack and decay phases of the overall filter envelope. In other words,
when the set level is reached after the attack phase, the decay phase begins. You can
create interesting filter sweeps by setting the Filter Max value lower than the Filter Init
level parameter value.
• Decay Time knob and field: Determine the time required after the Filter Max value has
been attained until the End Freq value is reached.
• End Level knob and field: Set the cutoff frequency at the end of the filter envelope
decay phase.
Logic Pro User Guide for iPad 593
Filter parameters
• Filter Resonance knob and field: Emphasize frequencies above, around, or below the
cutoff frequency. The impact of the resonance value on the sound is highly dependent
on the chosen filter mode, with steeper filter slopes resulting in more pronounced tonal
changes.
• Filter mode buttons: Set the filter mode.
• LP 6 dB: Bright, general-purpose lowpass filter mode that retains the top end of
most material while still providing some filtering.
• LP 12 dB: Warm, lowpass filter mode without drastic filter effects that is useful for
smoothing bright reverbs.
• BP: 6 dB per octave bandpass design that reduces the low and high ends of the
signal, leaving the frequencies around the cutoff frequency intact.
• HP: 12 dB per octave/two-pole highpass design that reduces the level of frequencies
that fall below the cutoff frequency.
Space Designer density envelope in Logic Pro for iPad
The density envelope controls the density (the average number of reflections) of the
synthesized impulse response over time.
Note: Density envelope parameters are available only in Synthesized IR mode.
Density envelope parameters
• Density Envelope On/Off button: Enable or disable the density envelope.
• Init Density knob and field: Set the initial reverb density (the average number of
reflections in a given time period). Low values result in audible reflection patterns and
discreet echoes.
• Ramp Time knob and field: Adjust the time between the initial and end density levels.
• End Density knob and field: Set the density of the reverb tail. An End Density value
that’s too low can result in a grainy sounding reverb tail. The stereo spectrum may also
be affected by lower values.
• Reflc Shape slider and field: Determine the steepness (shape) of early reflection
clusters as they bounce off the walls, ceiling, and furnishings of the virtual space.
Low Rflc Shape (Reflection Shape) values result in clusters with a sharp contour. High
values result in an exponential slope and a smoother sound. This control is particularly
useful when recreating rooms constructed of different materials. When used with
suitable envelope, density, and early reflection settings, you can create rooms of almost
any shape and material.
Logic Pro User Guide for iPad 594
Space Designer Output EQ in Logic Pro for iPad
Space Designer has a six-band Output EQ consisting of high and low cut bands, two
parametric mid-bands, plus a low shelving filter and a high shelving filter.
Output EQ parameters
• Output EQ On/Off button: Turn on to enable the Output EQ, which adjusts frequencies
of the overall combined reverb and source signal.
• Low Cut button: Switch on a highpass filter that allows high frequencies to pass and
reduces the level of low frequencies near the cutoff (set) frequency.
• Low Cut Freq knob and field: Set the frequency for the Low Cut band.
• Low Cut Order pop-up menu: Choose the filter rolloff amount for the Low Cut band.
Higher order filters have a steeper rolloff.
• Low Cut Q field: Set the Q factor—the width—for the Low Cut band. Low values result
in a narrow frequency band selection. High values encompass a broad frequency
band.
• Low Shelf button: Switch on a low shelving filter that adjusts the level of low
frequencies and has a minimal impact on frequencies above the cutoff (set) frequency.
• Low Shelf Freq knob and field: Set the frequency for the Low Shelf band.
• Low Shelf Gain knob and field: Cut or boost the Low Shelf band.
• Low Shelf Q field: Set the Q factor—the width—for the Low Shelf band. Low values
result in a narrow frequency band selection. High values encompass a broad
frequency band.
• Low Mid button: Switch on a parametric bell filter with three controls.
• Low Mid Freq knob and field: Set the frequency for the Low Mid band.
• Low Mid Gain knob and field: Cut or boost the Low Mid band.
• Low Mid Q field: Set the Q factor—the width—for the Low Mid band. Low values
result in a narrow frequency band selection. High values encompass a broad
frequency band.
Logic Pro User Guide for iPad 595
• High Mid button: Switch on a parametric bell filter with three controls.
• High Mid Freq knob and field: Set the frequency for the High Mid band.
• High Mid Gain knob and field: Cut or boost the High Mid band.
• High Mid Q field: Set the Q factor—the width—for the High Mid band. Low values
result in a narrow frequency band selection. High values encompass a broad
frequency band.
• High Shelf button: Switch on a high shelving filter that adjusts the level of high
frequencies and has a minimal impact on frequencies below the cutoff (set) frequency.
• High Shelf Freq knob and field: Set the frequency for the High Shelf band.
• High Shelf Gain knob and field: Cut or boost the High Shelf band.
• High Shelf Q field: Set the Q factor—the width—for the High Shelf band. Low
values result in a narrow frequency band selection. High values encompass a broad
frequency band.
• High Cut button: Switch on a lowpass filter that allows low frequencies to pass and
reduces the level of high frequencies near the cutoff (set) frequency.
• High Cut Freq knob and field: Set the frequency for the High Cut band.
• High Cut Order pop-up menu: Choose the filter rolloff amount for the High Cut band.
Higher order filters have a steeper rolloff.
• High Cut Q field: Set the Q factor—the width—for the High Cut band. Low values
result in a narrow frequency band selection. High values encompass a broad
frequency band.
Space Designer global parameters in Logic Pro for iPad
The details and output parameters affect the overall input, output, or behavior of the
effect.
Note: Some parameters discussed in this section are available only in Sampled IR or
Synthesized IR mode. Most parameters are available in both modes. Some parameters are
specific to stereo use, and are not available when Space Designer is used in other channel
formats.
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Details parameters
After your impulse response is loaded or generated, use these parameters to determine
how Space Designer operates on the overall signal and impulse response.
• Quality pop-up menu: Choose the sample rate. Lo-Fi produces a grainy reverb. Low
halves the host application sample rate. Medium matches the host application sample
rate. High is smooth and clean sounding.
• Definition field: Set a crossover point (as a percentage of the overall length) to reduce
the synthesized impulse response resolution. This emulates reverb diffusion and saves
CPU resources.
• Latency Compensation button: Enable or disable the internal latency compensation
feature. When active, the direct signal in the output section is delayed to match the
processing delay of the effect signal.
The complex calculations made by Space Designer take a small amount of time, which
results in a processing delay, or latency, between the direct input signal and the
processed output signal. Space Designer processing latency increases if Low or Lo-Fi
is chosen in the Quality pop-up menu. Processing latency does not increase at sample
rates above 44.1 kHz (Medium or High settings in the Quality pop-up menu).
Note: This compensation feature is not related to latency compensation in Logic Pro; it
occurs entirely within Space Designer.
• Rev Vol Comp button: Disable or enable the internal impulse response volume matching
function.
The reverb volume compensation feature attempts to match the perceived—not the
actual—volume differences between impulse response files. It should generally be left
on, although it may not work with all types of impulse responses. If you have an impulse
response with a different level, turn off volume compensation, then adjust input and
output levels accordingly.
• Reverse button: Reverse the impulse response and envelopes. When the impulse
response is reversed, you’re effectively using the tail rather than the front end of
the sample. You may need to adjust the Predelay and other parameter values when
reversing.
• Reset pop-up menu: Choose a menu command.
• EQ: Reset the Output EQ to default values.
• Volume Envelope: Reset the volume envelope to default values.
• Filter Envelope: Reset the filter envelope to default values.
• Density Envelope: Reset the density envelope to default values.
Logic Pro User Guide for iPad 597
Output parameters
• Dry/Wet Output controls: Set output levels for the dry (source) and wet (effect)
signal.
Set the impulse response sample rate and preserve length
Changing the sample rate upward increases—or changing it downward decreases—the
frequency response (and length) of the impulse response, and to a degree the overall
sound quality of the reverb. Upward sample rate changes are of benefit only if the original
impulse response sample actually contains higher frequencies. When reducing the sample
rate, use your ears to decide if the sonic quality meets your needs.
Note: Room surfaces—except concrete and tiles—tend to have minimal reflections in higher
frequency ranges, making half-rate and full-rate impulse responses sound almost identical.
• In Logic Pro, choose one of the following from the Quality pop-up menu to set the
sample rate of an impulse response:
• Lo-Fi: This setting divides the sample rate by four. If the project sample rate is
96 kHz, the impulse response sample rate is converted to 24 kHz. If the project
sample rate is 44.1 kHz, the impulse response sample rate is converted to
11.025 kHz, and so on.
• Low: This setting effectively halves the sample rate. If the project sample rate is
96 kHz, the impulse response sample rate is converted to 48 kHz. If the project
sample rate is 44.1 kHz, the impulse response sample rate is converted to
22.05 kHz, and so on.
When you select a half sample rate, the impulse response becomes twice as long.
The highest frequency that can be reverberated is halved. This results in a behavior
that is much like doubling every dimension of a virtual room—multiplying the volume
of a room by eight. The Low (and Lo-Fi) setting can also be used for interesting
tempo, pitch, and retro digital effects. Another benefit of reducing the sample rate
is that processing requirements drop significantly, making the lower quality settings
useful for large, open spaces.
This behavior also applies when you choose Lo-Fi, but the sample rate is divided by
four and the impulse response is multiplied in length four times.
• Medium: Space Designer uses the current project sample rate. The sample rate of
a loaded impulse response is automatically converted to match the current project
sample rate, if necessary. For example, this allows you to load a 44.1 kHz impulse
response into a project running at 96 kHz, and vice versa.
• High: Space Designer uses the highest possible sample rate.
• To retain the original length of the impulse response when the sample rate is changed:
Adjust the Size knob value. Using this parameter with your Quality pop-up menu choice
can lead to interesting results.
If you’re running Space Designer in a project that uses a higher sample rate than the
impulse response, you may also want to reduce the impulse response sample rate.
Adjust the Size knob value to reduce CPU processing time without compromising reverb
quality.
Logic Pro User Guide for iPad 598
Tip: You can make similar adjustments while running in Synthesized IR mode. Most
typical reverb sounds don’t contain an excessive amount of high frequency content. If
your project is running at 96 kHz, for example, you would need to use lowpass filtering
to obtain the mellow frequency response characteristics of many reverb sounds. A
better approach would be to first reduce the high frequencies by choosing a lower rate
from the Quality pop-up menu, followed by using the lowpass filter, thus conserving
significant CPU resources. It is also worth noting that longer impulse responses
(sampled or synthesized) place a higher strain on the CPU.
Use the Space Designer Definition parameter
The Definition parameter emulates the diffusion of natural reverb patterns when in
Synthesized IR mode.
Natural reverbs contain most of their spatial information in the first few milliseconds.
Toward the end of the reverb, the pattern of reflections—signals bouncing off walls,
and so on—becomes more diffuse. In other words, the reflected signals become quieter
and increasingly nondirectional, containing far less spatial information. To emulate this
phenomenon, use the full impulse response resolution only at the onset of the reverb, then
use a reduced impulse response resolution toward the end of the reverb.
• In Logic Pro, vertically drag the Definition field to set the crossover point—where the
switch to the reduced impulse response resolution occurs.
The Definition field is shown as a percentage, where 100% is equal to the length of the
full resolution impulse response.
Set Space Designer output parameters
In Logic Pro, use the output parameters to adjust the balance between the direct (dry)
signals and the processed (wet) signals.
Space Designer provides two output sliders—the Dry slider for the direct signal, and the
Wet slider for the reverb signal—when you insert it as a mono, mono to stereo, or stereo
effect.
• Set the level of the Dry slider: Move to set the level of the non-effect, or dry, signal.
Move the slider to a value of 0 (mute) if Space Designer is inserted in a bus channel or
when you’re using modeling impulse responses, such as speaker simulations.
• Set the level of the Wet slider: Move to adjust the level of the effect signal.
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Specialized effects
Specialized effects in Logic Pro for iPad
Specialized effects are designed to address tasks encountered during production or
performance.
Exciter adds life to your recordings by generating artificial high frequency components.
SubBass generates an artificial bass signal that is derived from the incoming signal, making
it a great option for adding bottom end.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Exciter in Logic Pro for iPad
Exciter generates high frequency components that are not part of the original signal. It
does this by utilizing a nonlinear distortion process that resembles the one used to produce
overdrive and distortion effects.
Unlike this process, however, the Exciter distortion process involves passing the input
signal through a highpass filter before feeding it into the harmonics (distortion) generator.
Artificial harmonics are thus added to the original signal, and these added harmonics
contain frequencies at least one octave above the threshold of the highpass filter. The
distorted signal is then mixed with the original, dry signal.
You can use Exciter to add life to recordings, particularly audio tracks with a weak treble
frequency range. You can also use Exciter to enhance guitar tracks.
To add Exciter to your project, choose Specialized > Exciter in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Exciter parameters
• Dry Signal button: Turn on to mix the original (pre-effect) signal with the effect
signal. Turn off to hear only the effect signal.
• Color 1 and 2 buttons: Turn on Color 1 to generate a less dense harmonic distortion
spectrum. Color 2 generates more intense harmonic distortion.
Note: Color 2 also introduces more intermodulation distortions, which can result in
unpleasant artifacts.
• Frequency knob and field: Set the cutoff frequency of the highpass filter. The input
signal passes through the filter before (harmonic) distortion is introduced.
• Harmonics knob and field: Set the ratio between the effect and the original signals.
If the Dry Signal button is turned off, this parameter has no effect.
Note: In most cases, it is preferable to select higher Frequency and Harmonics values,
because human ears cannot easily distinguish between the artificial and original high
frequencies.
SubBass
SubBass in Logic Pro for iPad
SubBass generates frequencies below those of the original signal, resulting in artificial
bass content. The simplest use for SubBass is as an octave divider, similar to octaver effect
pedals for electric bass guitars. Whereas such pedals can only process a monophonic input
sound source of clearly defined pitch, SubBass can be used with complex summed signals
as well.
To add SubBass to your project, choose Specialized > SubBass in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
SubBass creates two bass signals, derived from two separate portions of the incoming
signal. These are defined with the High and Low parameters.
WARNING: Using SubBass can produce extremely loud output signals. Choose moderate
monitoring levels, and only use loudspeakers that are actually capable of reproducing the
very low frequencies produced. Never try to force a loudspeaker to output these frequency
bands with an EQ.
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SubBass parameters
• Ratio Low knob and field: Adjust the ratio between the generated signal and the
lower frequency band of the original signal.
• Center Low knob and field: Set the center frequency of the lower frequency band.
• Bandwidth Low knob and field: Set the width of the lower frequency band.
• Ratio High knob and field: Adjust the ratio between the generated signal and the upper
frequency band of the original signal.
• Center High knob and field: Set the center frequency of the upper frequency band.
• Bandwidth High knob and field: Set the width of the upper frequency band.
• Freq. Mix slider and field: Adjust the mix ratio between the upper and lower frequency
bands.
• Dry slider and field: Set the amount of dry (non-effect, original) signal.
• Wet slider and field: Set the amount of wet (effect) signal.
SubBass use tips in Logic Pro for iPad
Unlike a pitch shifter, SubBass generates a waveform that is not based on the waveform
of the input signal; instead it uses a sine wave. Given that pure sine waves rarely work well
in complex arrangements, make sure to use the Wet and Dry sliders to control the amount
of—and balance between—the generated and original signals.
Use the High parameters and the Low parameters to define the two frequency bands
that SubBass uses to generate tones. Center High and Center Low define the center
frequency of each band, and Bandwidth High and Bandwidth Low define the width of each
frequency band.
The Ratio High and Ratio Low knobs define the transposition amount for the generated
signal in each band. This is expressed as a ratio of the original signal. For example, a
Ratio value of 2 transposes the signal down one octave.
Important: Within each frequency band, the filtered signal should have a reasonably stable
pitch in order to be analyzed correctly.
In general, narrow bandwidths produce the best results, because they minimize frequency
intermodulations which can lead to unpleasant artifacts. Set the Center High knob value a
fifth higher than Center Low, a factor of 1.5 for the center frequency.
Derive the sub-bass to be synthesized from the existing bass portion of the signal, and
transpose by one octave in both bands, using a Ratio of 2. Do not overdrive the process
or you will introduce distortion. If you hear frequency gaps, move one or both Center
frequency knobs, or widen the Bandwidth of one or both frequency ranges a little.
Tip: Be prudent when using SubBass, and compare the extreme low frequency content
of your mixes with other productions. It is very easy to over-enhance the low end of some
tracks, resulting in an unbalanced mix.
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Utilities and tools
Utility plug-ins in Logic Pro for iPad
The tools found in the Utility category can help with routine tasks and situations you may
encounter during production. Included are the Gain plug-in, which you can use to adjust
the level or phase of input signals, and I/O utility, which you can use to integrate external
audio effects into channel strips.
The suite also includes a Test Oscillator and the Tuner, which is found in the Metering tools
submenu.
Learn how you can use plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Gain plug-in in Logic Pro for iPad
Gain amplifies (or reduces) the signal by a specific decibel amount. It is very useful for
quick level adjustments when you work with automated tracks during post-processing—for
example, when you have inserted an effect that doesn’t have its own gain control, or when
you want to change the level of a track for a remix version.
To add the Gain plug-in to your project, choose Utility > Gain in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Gain plug-in parameters
• Gain knob and field: Set the amount of gain.
• Balance knob and field: Adjust the balance of the incoming signal between the left and
right channels.
• Phase Left/Right switches: Choose a normal (Norm) phase or choose to invert (Inv) the
phase of the left and right channels, respectively.
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Inverting phase is useful for dealing with time alignment problems, particularly those
caused by simultaneous recording with multiple microphones. When you invert the
phase of a signal heard in isolation, it sounds identical to the original. When the signal
is heard in conjunction with other signals, however, phase inversion may have an audible
effect. For example, if you place microphones above and below a snare drum, inverting
the phase of either microphone can improve (or ruin) the sound. As always, rely on your
ears.
• Swap L/R switch: Choose normal (Norm) left and right channel output or choose
to swap (Swap) the left and right output channels. Swapping occurs after the Balance
parameter in the signal path.
• Make Mono switch: Choose Stereo for stereo signals. Choose Mono to output a
summed mono signal on both the left and right channels.
Note: The Gain plug-in is available in mono, mono to stereo, and stereo instances. Only
one Phase parameter is available in mono and mono to stereo modes. In mono mode, the
Balance, Swap L/R, and Make Mono parameters are not available.
I/O utility in Logic Pro for iPad
I/O utility lets you use external audio effects units in a similar way to the use of internal
effects.
Note: I/O utility is not practical unless you’re using an audio interface that provides
discrete inputs and outputs, either analog or digital, that are used to send signals to and
from the external audio effects unit.
To add the I/O utility to your project, choose Utility > I/O utility in a channel strip Audio
Effect plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
I/O utility parameters
• Output Volume knob and field: Adjust the level of the output signal.
• Output pop-up menu: Choose the output, or output pair, of your audio hardware.
• Input pop-up menu: Choose the input, or input pair, of your audio hardware.
Note: The Input pop-up menu is visible only when an audio interface with multiple
inputs is active.
• Input Volume knob and field: Adjust the level of the input signal.
• Latency Detection button: Detect the delay between the selected output and input.
Following detection, any delay is automatically compensated for.
Note: You can obtain the most accurate reading by bypassing any latency-inducing
plug-ins on the track.
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• Latency Offset knob and field: Displays the value for the detected latency between the
selected output and input in samples. You can also use this slider to offset the latency
manually.
• Dry/Wet knob and field: Set the balance between the direct and effected signal, if
effects are used.
• Format pop-up menu: Choose between Stereo and Mid/Side in stereo instances.
Use an external effects unit with I/O utility
1. In Logic Pro, connect an output of your audio interface with the input on your effects
unit, and connect the output of your effects unit with an input on your audio interface.
Note: These can be either analog or digital connections, depending on the features of
your audio interface and effects unit, and each connection can be either an output or an
output pair.
2. Tap an Effects slot of an aux channel strip that is being used as a bus send/return, and
choose Utility > I/O.
3. In the I/O utility, choose the Outputs and the Inputs of the audio hardware that your
effects unit is connected to.
4. Route the signals of any channel strips that you want to process to the bus (aux channel
strip) chosen in step 3, and set appropriate Send levels.
5. Adjust the Input Volume and Output Volume knobs as required in the I/O utility.
6. Tap the Latency Detection button if you want to detect and compensate for any delay
between the selected output and input.
When you start playback, the signals of any channel strips routed to the aux channel
chosen in step 3 are processed by the external effects unit.
Test Oscillator in Logic Pro for iPad
Test Oscillator is useful for tuning studio equipment and instruments. It can be inserted
as an instrument or effect plug-in. It operates in two modes, generating either a static
frequency or a sine sweep.
• In Test Tone mode, a test signal is generated immediately when the plug-in is inserted.
You can switch off the test tone by bypassing the plug-in or by activating Sine Sweep
mode.
• In Sine Sweep mode, a user-defined frequency spectrum tone sweep is generated when
you tap the Sweep Trigger button.
To use the Test Oscillator, choose Utility > Test Oscillator in a channel strip Audio Effect
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
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Test Tone mode parameters
• Frequency knob and field: Set the frequency of the oscillator (the default is 1 kHz).
You can also double-tap this field and enter a value ranging from 1 Hz to 22 kHz,
exceeding the possible values that can be set with the knob. If you enter “1,” a 1 Hz test
tone is the result.
• Waveform buttons: Select the waveform to use for test tone generation. The Square
Wave and Needle Pulse (Dirac) waveforms are available as either aliased or anti-aliased
versions. The Sine and Square waveforms are bipolar. The Needle Pulse waveform is
a unipolar impulse waveform that is always positive, which makes it a useful tool for
analyzing polarity or phase issues. The noise waveforms are useful for “tuning” the
room and speakers.
• Anti Aliased button: Enable to use anti-aliased versions of the Square or Needle Pulse
(Dirac) waves.
• Level knob and field: Set the overall output level. This parameter is common to both
test tone generator modes.
• Dim button: Reduce the output level by 50%. This parameter is common to both test
tone generator modes.
Sine Sweep mode parameters
• On/Off button: Activate sine sweep mode and disable test tone mode.
• Time knob and field: Set the duration of the sine wave sweep.
• Mode buttons: Choose a sweep curve—Linear or Logarithmic.
• Start/End Freq sliders and fields: Set the oscillator frequency for the beginning and end
of the sine sweep.
• Trigger button: Start the sine sweep of the spectrum set with the Start and End
Frequency parameters.
• Repeat buttons: Choose Single to play the sine sweep once or choose Continuous to
play the sine sweep indefinitely when you tap the Sweep trigger button.
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Logic Pro Instruments
Instruments overview
Instrument plug-ins in Logic Pro for iPad
Logic Pro for iPad provides an extensive suite of software instruments that can be used
in your productions. See Intro to recording and Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Sample-based instruments include Sampler and Quick Sampler. These enable you to play
back recordings of acoustic instruments. Sample Alchemy is a synthesizer that lets you
import and warp audio to create new, playable sounds. Also included are sampled string
and horn plug-ins that offer a variety of individual and grouped instruments with multiple
articulations. See Studio Instruments.
Specialized percussion synthesizers and instruments include Drum Synth, Drum Kit
Designer, and Drum Machine Designer. Drum Machine Designer is a track instrument that
directly integrates and interacts with the Mixer and Step Sequencer.
Four vintage instruments emulate the classic B3 organ; Rhodes, Wurlitzer, and Hohner
electric pianos; the Hohner Clavinet; and the Mellotron. See Vintage B3 Organ, Vintage
Electric Piano, Vintage Clav, and Vintage Mellotron.
When it comes to synthesizers, you have a huge range to choose from. These include
simple plug-ins such as ES P, ES M, ES E, and EFM1. More advanced options include Retro
Synth, ES1, and ES2, up to the extremely sophisticated Sculpture and Alchemy instruments.
Sculpture is a modeling synth that you can use to recreate physical instruments or to
create instruments that don’t exist. It has a number of unique modulation facilities and can
generate a huge array of sound types.
Rounding out the collection are the External Instrument and Klopfgeist utility instruments and
the EVOC 20 Polysynth. This instrument tracks incoming MIDI notes and processes audio
signals to create classic robotic voices and choirs that follow played note and chord pitches.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Alchemy
Alchemy in Logic Pro for iPad
Alchemy is an easy-to-use, yet powerful sample playback synthesizer. It offers numerous
real-time performance controls and an extensive preset library.
Under the hood, Alchemy features additive, spectral, and granular synthesis and
resynthesis, sampling, and virtual analog engines. An Alchemy preset can contain up to
four sources, each using one or more synthesis engines. You can morph or crossfade
between these sources.
Note: Logic Pro for iPad Alchemy provides playback compatibility with Logic Pro for Mac
projects. You can load presets for this plug-in, but full parameter editing is available
only when using Logic Pro for Mac. In the Logic Pro for Mac version of Alchemy, you can
analyze imported samples and can manipulate them using one or more of these synthesis
methods. Logic Pro for Mac Alchemy provides extensive sample mapping, looping, and
grouping facilities that make it easy to create instruments containing hundreds of samples
and layers. If you want to create purely synthetic sounds, the additive, spectral, and virtual
analog synthesis engines are full-featured, matching or exceeding the power and facilities
of many standalone instruments. Dozens of modeled analog and digital filters are available,
in addition to multiple racks of integrated effect units and an extensive modulation section.
Logic Pro for Mac Alchemy also features a powerful arpeggiator that can control each
source independently and provides flexible pattern modulation options.
If you’re new to synthesizers and different synthesis methods, see Intro to synthesizers.
To add Alchemy to your project, choose it from the Instrument > Synthesizer submenu in
an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
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Alchemy controls in Logic Pro for iPad
Alchemy provides eight knobs, two XY pads, and a set of ADSR envelope knobs for a total
of sixteen controls. These are automatically assigned to modulate different parameters
when you load a preset or patch.
Also available is the Transform pad that morphs between snapshots of performance control
settings. All performance controls are available as automation targets in Logic Pro.
In addition, each preset or patch will respond in different ways to MIDI modulation wheel
data, and note velocity or aftertouch.
Performance controls
Performance controls are a custom set of controls that modify the values of key sound
parameters.
As you explore the included sound library, you may notice that many presets have a similar
performance control layout.
• Transform pad: Drag the framing box to different positions to morph between
performance snapshots in real time. You can also tap on any snapshot box to choose it.
The performance control knobs update, modulating the associated parameters.
• Control knobs: Provide quick access to a sound’s main characteristics.
• Knobs 1 and 5: Often used for Delay (1) and Reverb (5) level. If other effects are
used, other effect parameters can be substituted here.
• Knobs 2 and 6: Often used for filter cutoff and resonance.
• Knobs 3 and 7: Often used to control rhythm or movement in a preset with LFO or
arpeggiator parameter assignments.
• Knobs 4 and 8: Often used for timbre, pitch, or other sound source parameters.
• XY pad 1: Generally used for morphing among (up to four) sources. Drag the gray
control point to modulate two parameters simultaneously.
• XY pad 2: Can be used for control over additional morphing or effects parameters or
for features unique to a particular preset. Drag the gray control point to modulate two
parameters simultaneously.
• Envelope knobs: Normally control the amplitude in most presets, but may also affect
other sound engine parameters.
• Attack knob: Set the attack time for AHDSR1, or adjust the value of assigned
parameter or parameters.
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• Decay knob: Set the decay time for AHDSR1, or adjust the value of assigned
parameter or parameters.
• Sustain knob: Set the sustain level for AHDSR1, or adjust the value of assigned
parameter or parameters.
• Release knob: Set the release time for AHDSR1, or adjust the value of assigned
parameter or parameters.
Alchemy extended parameters in Logic Pro for iPad
Alchemy provides additional parameters that set the overall output quality and change the
way Alchemy responds to incoming MIDI note information.
Extended parameters
• Quality pop-up menu: Choose the processing resolution on output. This setting remains
active when loading other presets or when recalling the project.
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either mode, each voice receives on a different MIDI channel. Per voice channels
support pitchbend, aftertouch, mod wheel, and Performance control assignment
messages. Controllers and MIDI messages sent on the base channel affect all voices.
• Mono PB Range field: Set a value from 0 to 96.
The chosen pitch bend range affects individual note pitchbend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which is
compatible with the GarageBand for iOS keyboard in pitch mode. When using a MIDI
guitar, 24 semitones is the preferable setting because most guitar to MIDI converters
use this range by default.
Drum Kit Designer
Drum Kit Designer in Logic Pro for iPad
Drum Kit Designer lets you customize loaded drum kits by changing the sound
characteristics and level of each piece in your kit.
Note: Logic Pro for iPad Drum Kit Designer provides playback compatibility with
Logic Pro for Mac projects. You can load presets for this plug-in, but full parameter editing
is available only when using Logic Pro for Mac.
To add Drum Kit Designer to your project, choose it from the Instrument > Drums submenu
in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 610
Drum Kit Designer controls in Logic Pro for iPad
You can change the sound characteristics and level of each piece in your kit.
Kit piece parameters
All kick, snare, hi-hat, tom, and cymbal sounds in the active kit provide the following
controls.
Note: Percussion instrument level is controlled separately. See Drum Kit Designer extended
parameters.
• Tune knob and field: Adjust the pitch of the kit piece.
• Dampen knob and field: Adjust the decay of the kit piece.
• Gain slider and field: Adjust the volume of the kit piece.
• Percussion Gain slider: Drag the slider or field to adjust the level of the following sounds
(if available in the kit).
• Shaker Gain
• Tambourine Gain
• Claps Gain
• Cowbell Gain
• Sticks Gain
Load a drum kit
• In Logic Pro, tap and choose Show Presets from the menu.
The Browser opens, and you can tap any drum kit name to load it. See Browser
overview.
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Preview a drum or percussion piece
• In Logic Pro, tap to open the Play Surfaces.
• At the top left of the Play Surfaces, tap , and choose Drum Pads from the menu.
• Play any drum or percussion piece pad.
Adjust kit piece settings
• To adjust settings, do any of the following:
• To adjust the pitch: Drag the Tune knob, or tap the field and enter a new value.
• To adjust the decay: Drag the Dampen knob, or tap the field and enter a new value.
• To adjust the volume: Drag the Gain slider, or tap the field and enter a new value.
Drum Kit Designer details in Logic Pro for iPad
The Input Mapping pop-up menu lets you choose different mappings that provide
enhanced control of HiHats. The maps also change the way Drum Kit Designer sounds are
assigned across the MIDI note range. See Drum Kit Designer mappings.
Details parameters
• Input Mapping pop-up menu: Choose a keyboard mapping mode. See Drum Kit Designer
mappings.
• GM: Drums are mapped to the GM standard.
• GM + Mod Wheel Controls HiHat Opening Degree: The keyboard Mod Wheel is
mapped for hi-hat control. Additional sounds are also mapped to keyboard zones
above and below the standard GM note mapping range.
• V-Drum: Drums are mapped to work with V-Drum hi-hat, cymbal, and drum triggers.
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Drum Kit Designer mappings in Logic Pro for iPad
Drum Kit Designer is compatible with the GM standard. You can also choose GM + Mod
Wheel Controls HiHat Opening Degree, which lets you use your keyboard modulation wheel
to adjust the amount the hi-hat opens and closes during a drum performance.
Drum Kit Designer is also compatible with the V-Drum standard.
The images show how drum sounds are remapped when different modes are chosen with
the Input Mapping pop-up menu, and when using kits that contain brush snares. Kits
featuring brush snares provide a number of special features discussed below the images.
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Brush snare special features
Kits that contain brush snares have preset behaviors that can enhance your performances
and compositions.
Note: The following features apply only to keys that trigger a brush snare drum sound.
• Left and right hand playing is chosen automatically when using MIDI channel 1. This
behavior is based on default settings such as the left hand being used for brush circles
(if this hand isn’t already in use), and playing situation. For example, snare taps will
change from a default preference for the right hand to alternating hands if snare hits are
played in rapid succession.
Note: Hand usage can be forced by using MIDI channel 2 for the right hand and MIDI
channel 3 for the left hand.
• Brush circles are played continuously while a note is held and loop randomly every bar,
synchronized to the project downbeat, tempo, and meter. If a tap on the same hand as a
held circle is played, the circle restarts immediately.
• There are two mute states that take brush force into account. These mute states can
be active (caused by a brush hit) or passive (caused by the other brush resting on
the snare), or can be a combination of both. The current mute state is automatically
tracked, which results in a small sound variation each time a snare is played. For
example, if a circle is playing, a snare tap will sound slightly different than when played
from silence.
• The Snare Center Mute articulations (on keys C#0 and D#0) keep the brush on the
snare head after the hit. These keys interrupt a playing circle on the same hand while
held. The circle resumes when you release either key.
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Drum Machine Designer
Drum Machine Designer overview in Logic Pro for iPad
Drum Machine Designer is the ideal way to create, organize, and interact with drum kits
and kit pieces in Logic Pro for iPad. The Drum Machine Designer Play Surface is available
when Drum Machine Designer is inserted on a software instrument track.
When combined with Step Sequencer, it provides an incredibly flexible and inspiring
platform for beat production.
Drum Machine Designer structure
Drum Machine Designer is not a plug-in, although it can be inserted into software
instrument channel strips. It is a track-based meta-instrument using a track stack, which
combines a main track and a number of subtracks. Each subtrack has a corresponding
channel strip and is assigned a playable pad in a drum grid in the Drum Machine Designer
Play Surface. The Play Surface features three different modes you can use to interact with
the Play Surface. You can also edit pad settings and surface settings.
• The main track channel strip is represented by the kit name, shown at the top of the
list in the Selection pop-up menu, located in the top-right corner of the Drum Machine
Designer Play Surface.
• Each subtrack channel strip is represented by a corresponding kit piece pad shown in
the drum grid and by a corresponding kit piece name in the Selection pop-up menu.
Settings for the main track (kit) and all subtracks (kit pieces) are stored as a kit patch,
which can hold multiple channel strips, each with its own instrument and effect plug-ins.
Plug-in settings, by comparison, can only hold the plug-in settings of a single plug-in.
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A single subtrack with its instrument and effect plug-ins is stored as a kit piece patch.
The icon shown on tracks and channel strips always matches the pad icon, and updates
when a kit piece's patch changes.
How Drum Machine Designer handles notes
MIDI notes received on the main track are converted and distributed to subtracks
according to the input and output notes assigned to the pads. This is true for notes played
by regions on the main track and for notes played in real time when the main track is the
focused track. For example, if the pad assigned to the first subtrack is set to input note C1
and to output note G2, a C1 played on the main track is converted to a G2 in the following
way: the note value (C1) is passed to the first subtrack (which has the input note set to C1)
and plays a G2 on the instrument inserted in the subtrack channel strip. You focus a main
track by tapping the main track header.
In contrast, notes played on a focused subtrack are not altered and are passed directly to
the instrument inserted in the channel strip, enabling you to play a subtrack instrument
chromatically and polyphonically. You focus a subtrack by tapping the subtrack header.
To select a subtrack while keeping the main track focused (to change the sound of a kit
piece), you use the Selection pop-up menu in the Drum Machine Designer menu bar or the
Plug-ins area.
Separate notes on the main track
You can separate the notes in the main track MIDI region and move them to their
corresponding subtracks by doing the following:
• To separate the notes in the main track MIDI region, tap the main track MIDI region, tap
Convert, then tap Separate by Note Pitch.
Individual regions containing these moved note events are created on each subtrack
and can be handled and edited in the same way as any other MIDI region.
Drum Machine Designer sounds
You can access Drum Machine Designer kit patches and kit piece patches in the Browser.
The Browser features an extensive collection of premapped kit patches and also a large
number of individual kit piece patches that you can add or use as replacement sounds for
pads to create your own custom kits.
You can assign sounds to pads using patches from the Browser, or drop samples, loops,
audio files and even MIDI or audio regions directly onto Drum Machine Designer pads.
Sounds can also be assigned to subtracks in the Tracks area and Plug-ins area like any
other software instrument track.
Note: You can download additional sound packs in the Sound Library to get more kits.
You edit the sound of the entire kit and individual kit pieces in the Plug-ins area. For more
information about plug-ins in general, see Intro to plug-ins.
Logic Pro User Guide for iPad 616
Load a Drum Machine Designer kit from the Browser
1. In Logic Pro, tap the Browser button on the left side of the view control bar, tap
Instrument Patches, then do one of the following:
• Search for kits using the keyword Drum Machine Designer.
• Tap the All Filters button near the top right of the Browser, then tap the Drum
Machine Designer filter in Instrument Plug-Ins.
2. Drag a kit from the Browser to the area below the track headers.
For more information about using the Browser, see Intro to the Browser.
Load an empty Drum Machine Designer kit
1. In Logic Pro, create an empty software instrument track.
2. Tap the Plug-ins button in the center of the view control bar.
3. In Track view, tap the Add Instrument button , tap Drums, then tap Drum Machine
Designer (DMD).
An empty track stack is loaded, and an empty Drum Machine Designer Play Surface is
available in the Play Surfaces.
Note: An empty kit is loaded only if Use Empty Kit as Default is turned on in the surface
settings.
Use content to create a Drum Machine Designer track
You can easily create Drum Machine Designer tracks using Loops and Samples from the
Browser; MIDI, audio, pattern, and Drummer regions; and your own samples or audio files.
1. In Logic Pro, drag any of the following to the area below the track headers:
• A loop or sample from the Loops view or Samples view in the Browser.
• A MIDI, audio, pattern, or Drummer region.
• Your own sample or audio file from the Files app in Slide Over.
2. Tap Drum Machine Designer in the “Create new track with” dialog.
The process creates a new Drum Machine Designer track with a MIDI region. Logic Pro
analyzes the transient positions and slices the loop, placing each slice in a Quick
Sampler instance on a subtrack (with an assigned pad in the drum grid).
You can also create Drum Machine Designer tracks using Quick Sampler. For more
information, see Use slice markers to create new instruments and regions.
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Drum Machine Designer Play Surface in Logic Pro for iPad
The Drum Machine Designer Play Surface in Logic Pro for iPad is an enhanced version of
the Drum Pads Play Surface. It is accessible when the Drum Pads Play Surface is selected
on a Drum Machine Designer main track. With the Drum Machine Designer Play Surface,
you can play back and edit Drum Machine Designer kits.
Note: You can use other Play Surfaces, but the Drum Machine Designer Play Surface gives
you access to features specific to Drum Machine Designer. For more information about the
Drum Pads, see Intro to Play Surfaces and Use the Drum Pads Play Surface.
The Drum Machine Designer Play Surfaces features six columns and eight rows of playable
pads in a drum grid. Drum and percussion kit pieces assigned to pads can be either
synthetically generated or sample based. In fact, you can assign and use any supported
instrument or Audio Unit plug-in you have at your disposal to a pad. You can mute, solo,
reorder, replace, and change the sound of each kit piece you have assigned to each pad.
You can also assign each pad to different input and output notes and to different groups,
and put kit pieces in exclusive (choke) groups.
Above the drum grid are the different function buttons you can use to switch between Play,
Scroll, and Edit modes. In Edit mode, you can access and edit pad settings. You can also
edit the surface settings.
Note: The Drum Machine Designer Play Surface shares many functionalities with the Drum
Pads Play Surface (and the same icon in the Surface Types menu) but offers more features
and flexibility.
Play a drum pad
• In the Drum Machine Designer menu bar in Logic Pro, do one of the following:
• Tap the Play button or Scroll button , then tap a pad to trigger it.
• Tap the Edit button , then tap a pad with two fingers to trigger it.
Note: By default, the velocity is determined by the vertical tap position on the pad. To
change this, see surface settings.
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Mute or solo a drum pad using the Fader
1. In the Drum Machine Designer menu bar in Logic Pro, do one of the following to select a
kit piece:
• Tap the Edit button , then tap a pad.
• Tap the Selection pop-up menu, then choose the drum kit or a kit piece.
2. Tap the Fader button on the left side of the view control bar.
3. Tap the Mute button or the Solo button in the second Fader to mute the subtrack
and pad.
Note: If you cannot see the Mute button in the Fader, resize or close the Play Surface to
create more space.
You can also mute and solo pads in the subtrack header for a pad. See Mute and solo
tracks. For more information about the Fader, see Access mixing functions using the Fader.
Adjust the volume of a drum pad
You can set the volume of a pad by dragging the volume slider in the pad’s subtrack
header. You can also adjust the volume using the second Fader by doing the following:
1. In Logic Pro, with the main track focused, tap the Edit button in the Drum Machine
Designer menu bar, then tap a pad to select it.
2. Tap the Fader button on the left side of the view control bar to show the Fader.
3. Drag the handle of the Volume fader up or down in the second Fader to change the
volume level.
For more information about the Fader, see Access mixing functions using the Fader.
Scroll the drum grid
You can scroll the Play Surface vertically. You can also scroll horizontally, depending on the
screen size and orientation of your iPad.
• In Logic Pro, tap the Scroll button in the Drum Machine Designer menu bar, then
scroll the drum grid.
Add kit pieces to unassigned drum pads
In Logic Pro, do one of the following:
• In any mode in the Drum Machine Designer Play Surface drag a kit piece from the
Browser to an unassigned pad.
• Tap the Edit button in the Drum Machine Designer menu bar, tap an unassigned pad,
then tap Create DMD Subtrack.
Logic Pro User Guide for iPad 619
Add your own sample or audio file to a drum pad
You can quickly add your own samples from the Files app in Slide Over view.
1. Open the Files app, then tap the Multitasking button (the button with three dots located
at the top of the screen).
2. Tap the Slide Over button. The Files app moves aside and your Home Screen appears.
3. Tap the Logic Pro app to open it.
The Files app moves to a smaller window that you can move to the right or left side of
your screen.
4. In any mode in the Drum Machine Designer Play Surface, drag your sample from the
Files app to a pad.
Note: You can only add one sample at a time.
Replace kit pieces using drum pads
• In any mode in the Drum Machine Designer Play Surface in Logic Pro, drag a kit piece
from the Browser to an assigned pad.
Replace kit pieces using subtracks
In Logic Pro, with a Drum Machine Designer track stack expanded, do one of the following:
• Drag a kit piece from the Browser to the track header of a subtrack in the Drum Machine
Designer track stack.
• In the Browser, activate the Replace Mode button , tap a subtrack in the Drum
Machine Designer track stack to select it, then tap a kit piece in the Browser.
Reorder kit pieces
In Logic Pro, you can reorder kit pieces in the following ways:
• Drag a pad to an unassigned pad in the drum grid to swap their positions.
• Drag a pad between two pads in the drum grid. A vertical line is shown to indicate the
target location. The pad is placed between the target pads. Adjacent (and other) pads
move to accommodate the dropped pad.
• Drag a pad to an assigned pad in the drum grid to swap their positions.
Note: Dragging behavior is affected by the option you chose in the Reorder Pads menu
in surface settings.
• Change Sounds: Changing the pad layout moves the pads and also modifies the
MIDI input note of all of the pads moved. The sounds appear in a different order on
the grid, and are also triggered by different keys on an external MIDI keyboard or a
region on the main track.
• Visual Only: Changing the pad layout moves the pads but does not modify the MIDI
routing, so reordering will only have a visual effect. Moved pads appear in a different
order, but assigned sounds are still played by the same MIDI notes.
Neither option modifies the MIDI output notes.
Logic Pro User Guide for iPad 620
Play a kit piece chromatically and polyphonically
1. In the Logic Pro Tracks area, tap the disclosure arrow in the track header of a track
stack, then tap a subtrack.
The Keyboard Play Surface appears. You can also choose to use a different Play
Surface.
2. Tap the keys on the Keyboard Play Surface to play the kit piece chromatically and
polyphonically.
3. To show the Drum Machine Designer Play Surface again, tap the main track of the track
stack to select it.
Change the sound of a kit or kit piece
1. In Logic Pro, tap the Plug-ins button in the center of the view control bar.
2. Do one of the following:
• In the Drum Machine Designer menu bar, tap the Selection pop-up menu, then
choose the drum kit or a kit piece.
• In the Drum Machine Designer menu bar, tap the Edit button , then tap a pad in the
drum grid.
• In the Plug-ins area menu bar, tap the Selection pop-up menu, then choose the drum
kit or a kit piece.
• If you have a pattern region on the main track, open Step Sequencer, then select the
row for the kit piece you want to edit.
3. In the Plug-ins area, edit the plug-in parameters. For more information about working
with plug-ins, see Intro to plug-ins.
Save an edited kit or kit piece as a kit or kit piece patch
1. In the Logic Pro Tracks area, do one of the following:
• To save an edited kit: Tap the icon in the track header of the main track to select it,
then tap it again.
• To save an edited kit piece: Tap the icon in the track header of a subtrack to select
it, then tap it again.
2. Tap Save Patch, enter a name for the kit, then tap OK.
Your kit or kit piece is saved in My Instrument Patches in the Browser.
Logic Pro User Guide for iPad 621
Edit Drum Machine Designer surface settings in
Logic Pro for iPad
The surface settings in the Drum Machine Designer Play Surface in Logic Pro for iPad is
where you access and edit surface settings that affect the entire Play Surface. You edit the
settings of individual pads in pad settings.
Open surface settings
• In Logic Pro, tap the More button in the Drum Machine Designer menu bar, then tap
Surface Settings.
Edit surface settings
In surface settings, you can edit any of the following for the Play Surface:
• Size: Choose a size for the pads in the drum grid.
• Show Kit Piece Icons: Show or hide the icons on each assigned pad.
• Show GM Drum Names: Show or hide General MIDI (GM) drum names in the top left
corner of each pad. This is useful as a reference when mapping new sounds in a kit that
you want to conform with the GM Drum standard.
• Reorder Pads: Choose the Change Sounds or Visual Only option to alter how pad layout
changes affect assigned pad sounds. The pad layout can be changed by reordering
pads. For example, when you insert a pad between other pads or drop one pad onto
another to exchange them.
• Change Sounds: Changing the pad layout moves the pads and also modifies the
MIDI input note of all of the pads moved. The sounds appear in a different order on
the grid, and are also triggered by different keys on an external MIDI keyboard or a
region on the main track.
• Visual Only: Changing the pad layout moves the pads but does not modify the MIDI
routing, so reordering will only have a visual effect: Moved pads appear in a different
order, but assigned sounds are still played by the same MIDI notes.
Logic Pro User Guide for iPad 622
• Reorder by GM Drum Names: Choose to automatically remap the order of pads to
the General MIDI (GM) Drum standard, which is used by Drummer. This changes the
visual order of pads, but does not remap sounds.
• Reorder Chromatically: Choose to automatically remap the order of pads
chromatically from C1. This changes the visual order of pads, but does not remap
sounds.
• Use Empty Kit as Default: Choose whether to use an empty kit when you insert Drum
Machine Designer on an instrument channel strip.
• Update all Kit Names: Choose to apply the current kit name to all kit pieces. This is
useful when you add new kit pieces to an existing kit.
• Clear all Pads: Remove all assigned kit pieces from all pads. This clears the plug-in
settings for each pad but doesn’t delete the corresponding subtracks or main track.
• Velocity Mode: Determine how the velocity value is created when tapping a pad.
• Fixed: All notes have the same velocity, which is set by the Velocity value.
• Dynamic: The velocity value is determined by how hard or soft you tap on the pads.
Minimum and maximum velocity are determined by the Velocity Range values.
• Tap Y-Position: The velocity value is determined by the vertical tap position on the
pad. Minimum and maximum velocity are determined by the Velocity Range values.
• Velocity Range: Set the velocity range for the pads.
Note: When the velocity mode is set to fixed, you can choose a single velocity value, not
a range of values.
Edit Drum Machine Designer pad settings in Logic Pro for iPad
In Logic Pro for iPad, you access and edit the settings for individual pads in the Drum
Machine Designer Play Surface using the pad settings, which are accessible in Edit mode.
You can also edit settings that affect the entire Play Surface in surface settings.
Logic Pro User Guide for iPad 623
Open pad settings
1. In Logic Pro, tap the Edit button in the Drum Machine Designer menu bar.
2. Tap a pad in the drum grid to select it, then tap it again to open pad settings.
Edit pad settings
In pad settings for empty pads, you can edit any of the following for each pad:
• Input Note: Choose an input note number for the pad. You can assign multiple pads
to the same input note, allowing you to create layered sounds consisting of multiple
channel strips with different instruments.
• Output Note: Choose an output note number for the pad. For more information, see How
Drum Machine Designer handles notes.
• Learn Input Note: Activate MIDI learn for the pad’s input note. When this is activated,
you can assign the pad’s input note by playing a note on an external MIDI controller. The
first note you play is assigned as the pad’s input note. Learn Input Note is deactivated
after receiving the first note or, if no note is received, when you close the pad settings.
You can assign multiple pads to the same input note, allowing you to create layered
sounds consisting of multiple channel strips with different instruments.
• Create DMD Subtrack: Creates an new channel strip and subtrack for the pad without
any instrument loaded.
In pad settings for assigned pads, you can also edit any of the following for each pad:
• Kit Piece Name: Choose a new name for the kit piece.
• Kit Name: Choose a new kit name for the kit piece.
Note: If the kit name for a kit piece is different to the overall name of the kit, tapping
Update Kit Name for Kit Piece undoes changes made here.
• Icon: Open a window where you can choose a kit piece icon from several categories.
Select a category from the list and tap an icon to assign it to the kit piece.
• Color: Chose a color for the pad icon.
• Update Kit Name for Kit Piece: Choose to apply the current kit name to the selected kit
piece.
• Exclusive Group: Choose a choke group for the pad. You can assign multiple pads to
the same group. As soon as one drum sound in the group is triggered, all other sounds
in that same group are stopped. For example, you could group three pads with open,
semi-closed, and closed hi-hat sounds. Only one of these sounds can be played at a
time, mirroring the behavior of real hi-hats.
• Resample Pad: Choose to initiate a resampling process. This sends the input note of
the selected pad to Drum Machine Designer, which plays the assigned instrument(s),
inclusive of all channel strip and main track plug-ins. The resulting Drum Machine
Designer output is resampled, and loaded into a new Quick Sampler instance on a new
channel strip and subtrack, which is automatically assigned to the first available (lowest
numbered) unassigned pad.
• Clear Pad: Remove the kit piece assigned to the pad. This clears the channel strip of the
pad subtrack but doesn’t delete the subtrack.
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Drum Synth
Drum Synth in Logic Pro for iPad
Drum Synth provides you with easy access to a powerful electronic drum synthesis engine.
Depending on the sound type you’ve chosen, up to eight specially selected controls for
pitch, filtering, effect, and envelopes allow you to quickly create the electronic drum sound
you need. You can, of course, add further processing plug-ins in the instrument channel
strip or busses.
Drum Synth is ideal for adding fills, flourishes, or individual hits to an existing Drummer
groove, loops, and live or sequenced parts, and for drum replacement and doubling tasks.
You can use multiple Drum Synth instances, either as individual software instrument tracks
or inside Drum Machine Designer, which allows you to build complete electronic drum
sets, encompassing everything from vintage drum machine through to modern synthetic
percussion sounds.
To add Drum Synth to your project, choose it from the Instrument > Drums submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Drum Synth global controls in Logic Pro for iPad
Drum Synth global controls let you choose the sound type and let you set overall
instrument behavior.
Global parameters are always visible in the plug-in.
Drum Synth global parameters
• Sound Category pop-up menu: Choose a drum or percussion instrument family: Kicks,
Snares and Claps, Percussion, Hats and Cymbals.
• Sound Module pop-up menu: Choose a drum or percussion sound type from the active
instrument category.
Logic Pro User Guide for iPad 625
• Mode buttons: Choose a playback mode.
• Mono: One voice can be played. If you play another key, the newly played note cuts
off the playing note.
• Poly: You can play multiple notes simultaneously.
• Gate: Like ‘Mono’, but the sound is heard only while you hold the key.
• Key Tracking button: Choose a key tracking mode.
• Turn Off: Play the sound at the root pitch when any key is struck.
• Turn On: Play the sound chromatically.
Drum Synth Kicks in Logic Pro for iPad
You can create kick drums that range from soft, classic electronic sounds to more modern
and punchy sounds with the Drum Synth Kicks group instruments.
Drum Synth kick sound parameters
You can change the kick drum sound by adjusting its parameters. Parameters interact with
each other, changing the behavior and impact of adjustments you make, resulting in a
broader range of potential sounds.
Note: Not all of the alphabetically listed parameters are available for each type of kick drum
sound. Parameters change when a different kick sound is chosen.
• Body knob: Alter the depth of the sound, making it fuller and richer.
• Decay knob: Set the length of the decay phase of the sound.
• Noise knob: Add a noise signal to the sound.
• Pitch knob: Set the tuning of the sound in semitone steps.
• Punch knob: Adjust the tone of the attack phase of the sound.
• Saturation knob: Set the saturation amount. This adds a warm distortion.
• Shape knob: Adjust the shape of the kick drum.
• Snap knob: Set the amount of beater noise.
• Sweep knob: Adds heft to the attack phase of the sound.
• Tone knob: Set the overall tonal color of the sound.
• Volume knob: Set the output level of the sound.
Logic Pro User Guide for iPad 626
Drum Synth Snares and Claps in Logic Pro for iPad
You can create synthetic and electronic snares, rimshots, and handclaps with the Drum
Synth Snares and Claps group instruments.
Drum Synth snare and clap sound parameters
You can change the snare or clap sound by adjusting its parameters. Parameters interact
with each other, changing the behavior and impact of adjustments you make, resulting in a
broader range of potential sounds.
Note: Not all of the alphabetically listed parameters are available for each type of snare or
clap sound. Parameters change when a different snare or clap sound type is chosen.
• Body knob: Alter the depth of the sound, making it fuller and richer.
• Crush knob: Add a lo-fi digital distortion to the sound.
• Cycles knob: Smear the sound. Set the rate with the Speed knob.
• Decay knob: Set the length of the decay phase of the sound.
• Dirt knob: Add grit and fizz to the sound.
• Noise knob: Add a noise signal to the sound.
• Pitch knob: Set the tuning of the sound in semitone steps.
• Position knob: Set the position of the drum strike.
• Size knob: Set the size of the drum shell.
• Speed knob: Set the rate of cycles. Use the Cycles knob to set intensity of smearing.
• Tension knob: Adjust snare tension, making the sound snap more or less.
• Tone knob: Set the overall tonal color of the sound.
• Volume knob: Set the output level of the sound.
Logic Pro User Guide for iPad 627
Drum Synth Percussion in Logic Pro for iPad
You can create electronic tom sounds, synthetic percussion and wild metallic tones with
the Drum Synth Percussion group instruments.
Drum Synth percussion sound parameters
You can change the percussion sound by adjusting its parameters. Parameters interact
with each other, changing the behavior and impact of adjustments you make, resulting in a
broader range of potential sounds.
Note: Not all of the alphabetically listed parameters are available for each type of
percussion sound. Parameters change when a different percussion sound type is chosen.
• Attack knob: Set the length of the attack phase of the sound.
• Body knob: Alter the depth of the sound, making it fuller and richer.
• Color knob: Set the tonal color of the sound.
• Crush knob: Add a lo-fi digital distortion to the sound.
• Decay knob: Set the length of the decay phase of the sound.
• Dirt knob: Add grit and fizz to the sound.
• Dissonance knob: Alter tones by introducing inharmonic content.
• Harmonic knob: Alter metallic tones by introducing harmonic content.
• Material knob: Make the sound more woody, rubbery or bell-like. The Material knob
interacts with the Tension knob.
Note: The Material knob can also be impacted heavily by the Dissonance knob, if
available as a parameter in the chosen sound.
• Noise knob: Add a noise signal to the sound.
• Pitch knob: Set the tuning of the sound in semitone steps.
• Saturation knob: Set the saturation amount. This adds a warm distortion.
• Snap knob: Set the tone of the attack phase.
• Tension knob: Adjust the rigidity of the core sound you set with the Material knob.
• Tone knob: Set the overall tonal color of the sound.
• Volume knob: Set the output level of the sound.
Logic Pro User Guide for iPad 628
Drum Synth Hats and Cymbals in Logic Pro for iPad
You can create electronic crash and ride cymbal sounds, hi-hat sounds, and shaker sounds
with the Drum Synth Hats and Cymbals group instruments.
Drum Synth hat and cymbal sound parameters
You can change the hat or cymbal sound by adjusting its parameters. Parameters interact
with each other, changing the behavior and impact of adjustments you make, resulting in a
broader range of potential sounds.
Note: Not all of the alphabetically listed parameters are available for each type of hat or
cymbal sound. Parameters change when a different hat or cymbal sound type is chosen.
• Attack knob: Alter the attack phase of the sound.
• Bell knob: Introduce bell-like harmonics into the sound.
• Body knob: Alter the depth of the sound, making it fuller and richer.
• Character knob: Add a metallic edge to the sound with higher values.
• Crush knob: Add a lo-fi digital distortion to the sound.
• Decay knob: Set the length of the decay phase of the sound.
• Dirt knob: Add grit and fizz to the sound.
• Dissonance knob: Alter tones by introducing inharmonic content.
• Metallic knob: Alter tones by introducing harmonic content.
• Noise knob: Add a noise signal to the sound.
• Pitch knob: Set the tuning of the sound in semitone steps.
• Tone knob: Set the overall tonal color of the sound.
• Volume knob: Set the output level of the sound.
Logic Pro User Guide for iPad 629
EFM1
EFM1 in Logic Pro for iPad
The 16-voice EFM1 is a simple but powerful frequency modulation synthesizer. It can
produce the rich bell and digital sounds that frequency modulation (FM) synthesis has
become synonymous with.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis methods and how they work.
To add EFM1 to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
EFM1 is divided into several areas.
• Modulator and Carrier parameters: The FM engine consists of the modulator and carrier
parameters and the Carrier FM Intensity knob. These are the key controls for setting the
basic tone of EFM1. See EFM1 Modulator and carrier.
• Modulation parameters: The LFO and modulation envelope are used to animate the
sound. See EFM1 modulation parameters.
• Output parameters: The Output section includes the Volume Envelope, Main Level,
and other parameters that you can use to control the EFM1 level. See EFM1 output
parameters.
• Global parameters: These parameters set the overall tuning of EFM1, set the Glide
(portamento) time, limit the number of voices, and thicken the sound with Unison. You
can also create random patch variations with a button tap. See EFM1 global parameters.
• MIDI Controller parameters: These parameters allow you to assign MIDI controllers for
FM intensity and vibrato. See EFM1 MIDI controller assignments.
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User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Modulator and carrier parameters
EFM1 Modulator and carrier controls in Logic Pro for iPad
In FM synthesis, the basic sound is generated by setting different tuning ratios between
the modulator and carrier oscillators and by altering the FM intensity. The tuning ratio
determines the basic overtone structure, and FM intensity controls the level of these
overtones.
At the core of the EFM1 synthesis system is a multiwave modulator oscillator and a
sine wave carrier oscillator. The basic sine wave of the carrier oscillator is a pure,
characterless tone.
To make things more sonically interesting, you use the modulator oscillator to modulate the
frequency of the carrier oscillator. This modulation occurs in the audio range—you can hear
it—and results in a number of new harmonics becoming audible.
The pure sine wave of the carrier oscillator is combined with the newly generated
harmonics, making the sound more interesting.
Changes to the ratio of the two oscillators is achieved by adjusting the Harmonic
parameters, found in both the Modulator and Carrier sections. Additional tuning control is
provided by the Fine (tune) parameters.
Modulator parameters
• Harmonic slider and field: Set the tuning ratio between the modulator and carrier
oscillators. See Set the EFM1 tuning ratio.
• Fine knob and field: Adjust the tuning between two adjacent harmonics, as determined
by the Harmonic controls of both oscillators. The range of this control is ±0.5 harmonic.
In the centered position, Fine tune does not have an effect. Double-tap to center the
knob. Depending on the amount of detuning, you will hear one of the following:
• A subtle “beating” of the timbre if lower detuning amounts are used.
• New harmonic and inharmonic overtones if high detuning amounts are used.
Logic Pro User Guide for iPad 631
• Env to Mod Pitch knob and field: Determine the impact of the modulation envelope on
the pitch of the modulator oscillator. See EFM1 modulation parameters.
• If you turn the knob clockwise, you increase the effect of the modulation envelope.
If you turn the knob counterclockwise, you invert the effect of the modulation
envelope, as follows: the envelope slopes down during the attack phase and slopes
up during the decay and release time phases.
• If you double-tap to center the knob, the envelope has no effect on the pitch of the
modulator oscillator.
• Wave knob and field: Choose a different waveform for the modulator oscillator. See
Choose an EFM1 modulator waveform.
Carrier parameters
• Harmonic slider and field: Set the tuning ratio between the modulator and carrier
oscillators. See Set the EFM1 tuning ratio.
• Fine knob and field: Adjust the tuning between two adjacent harmonics, as determined
by the Harmonic knobs of both oscillators. The range of this control is ±0.5 harmonic.
In the center (0) position, Fine (tune) has no effect. Double-tap to center the knob.
Depending on the amount of detuning, you will hear one of the following:
• A subtle “beating” of the timbre if lower detuning amounts are used.
• New harmonic and inharmonic overtones if high detuning amounts are used.
• Fixed Freq button: Disconnect the carrier frequency from keyboard, pitch bend, and
LFO modulations, resulting in a carrier tone that is free of these modulation sources.
• FM Intensity knob and field: Set the amount of carrier oscillator frequency
modulation by the modulator oscillator. Adjust to increase the intensity and number of
overtones, making the sound brighter. Also see EFM1 MIDI controller assignments.
Note: Although the technology behind it is very different, you could compare the
FM Intensity parameter with the Filter Cutoff parameter of an analog synthesizer.
• Env to FM knob and field: Determine the impact of the modulation envelope on
FM intensity. See EFM1 modulation parameters.
• If you turn the knob clockwise, you increase the effect of the modulation envelope.
If you turn the knob counterclockwise, you invert the effect of the modulation
envelope, as follows: the envelope slopes down during the attack phase and slopes
up during the decay and release time phases.
• If you double-tap to center the Env to FM knob, the envelope has no effect on
FM intensity.
Logic Pro User Guide for iPad 632
Set the EFM1 tuning ratio in Logic Pro for iPad
The carrier frequency is determined by the played key, and the modulator frequency is
typically a multiple of the carrier frequency.
You can tune the modulator and carrier to any of the first 32 harmonics. The tuning
relationship, or ratio, between the two significantly changes the base sound of EFM1, and is
best set by ear.
You use the modulator and carrier Harmonic sliders to set the tuning ratio between the
modulator and carrier oscillators.
In general, even tuning ratios between the carrier and modulator tend to sound more
harmonic or musical, whereas odd ratios produce more inharmonic overtones—which are
great for bell and metallic sounds.
In this respect, you can view the tuning ratio as being somewhat like the waveform selector
of an analog synthesizer.
Note: The Harmonic sliders and Fine (tune) knobs in the Modulator and Carrier sections
only affect the tuning relationship between the carrier and modulator oscillators. These
should not be confused with the global Transpose and Tune parameters, which determine
the overall tuning of EFM1 (see EFM1 global parameters).
Experiment with basic tuning ratios
In Logic Pro, do one of the following:
• Adjust the Harmonic sliders in the Modulator and Carrier sections to set the modulator
and carrier to the first harmonic—a 1:1 ratio.
A sawtooth-like sound is produced.
• Adjust the (Modulator) Harmonic slider to set the modulator to the second harmonic
and use the (Carrier) Harmonic slider to set the carrier to the first harmonic—a 2:1 ratio.
A tone that sounds similar to a square wave is produced.
Choose an EFM1 modulator waveform in Logic Pro for iPad
In classic FM synthesis, sine waves are used as modulator and carrier waveforms. The
EFM1 modulator oscillator provides a number of additional digital waveforms, which extend
its sonic capabilities significantly. These waveforms contain additional harmonics that add
a new level of richness to the resulting FM sounds.
Choose a different modulator waveform
• In Logic Pro, turn the Wave knob in the Modulator section.
• If you turn the knob to the full-left position, the modulator produces a sine wave.
• If you turn the knob clockwise, you step—or fade—through a series of complex
digital waveforms.
Logic Pro User Guide for iPad 633
EFM1 modulation parameters in Logic Pro for iPad
FM synthesis is, at its core, caused by the intensity and type of modulations that take place
in the signal path. The modulators outlined in this section have a different impact and role
to play than equivalent LFOs and envelopes found in analog synthesizer designs.
LFO parameters
• Rate knob: Set the speed of the LFO.
• Amount Vib/FM knob: Set the amount of modulation applied to FM intensity or pitch.
• If you turn the Amount Vib/FM knob clockwise, you increase the effect of the LFO on
Carrier FM Intensity. If you turn the knob counterclockwise, you introduce a vibrato.
• If you double-tap to center the knob, the LFO has no effect on FM intensity or pitch.
Mod Envelope parameters
• Modulation Envelope sliders: Control both the (Carrier) FM Intensity and Modulator
pitch parameters over time. The envelope is triggered every time a MIDI note is
received.
• Attack slider: Set the time it takes to reach the maximum envelope level.
• Decay slider: Set the time it takes to reach the sustain level.
• Sustain slider: Set a level that is held until the MIDI note is released.
• Release slider: Set the time it takes to reach a level of 0, after the MIDI note has
been released.
Logic Pro User Guide for iPad 634
EFM1 output parameters in Logic Pro for iPad
EFM1 provides the following level controls.
Output parameters
• Stereo Detune knob and field: Add a chorus-like effect to the sound. This is achieved
by doubling the EFM1 voice with a secondary, detuned FM engine. High values result in
a wide stereo effect being added to the detuning, thus increasing the perceived space
and width of your sound.
Note: It is possible that mono compatibility could be lost with use of this parameter.
• Sub Osc Level slider and field: Introduce a sub-oscillator signal that enhances bass
response. EFM1 features a sine wave sub-oscillator. This operates one octave below
the FM engine, as determined by the Transpose parameter. Increase the Sub Osc Level
control to mix the sub-oscillator sine wave with the FM engine output.
• Main Level slider and field: Set the overall output level.
Volume Envelope parameters
• Volume Envelope: Shapes the level of the sound over time. The volume envelope is
triggered every time a MIDI note is received.
• Attack slider: Set the time it takes to reach the maximum volume level.
• Decay slider: Set the time it takes to reach the sustain level.
• Sustain slider: Set a level that is held until the MIDI note is released.
• Release slider: Set the time required to reach a level of zero, after the MIDI note has
been released.
Logic Pro User Guide for iPad 635
EFM1 global parameters in Logic Pro for iPad
The global parameters are used to set the tuning, number of voices, and other aspects of
the overall sound.
Global parameters
• Tune knob and field: Fine-tune the pitch in cents. One cent is 1/100th of a semitone.
• Transpose pop-up menu: Choose the base pitch. You can transpose by semitones or
octaves.
• Glide knob and field: Introduce a continuous pitch bend between two consecutively
played notes. Adjust the value to set the time required for the pitch to travel from the
last played note to the next.
Note: Glide can be used in both of the monophonic modes—Mono and Legato—or in any
of the polyphonic settings—where Voices is set from 2 to 16.
• Voices pop-up menu: Choose the number of simultaneously playable voices. Choose
from: legato (one voice), mono (one voice), or any number from 2 to 16 voices.
• In Mono mode, staccato playing retriggers the envelope generators every time a new
note is played. If you play in a legato style (play a new key while holding another),
the envelope generators are triggered only for the first note you play legato, then
they continue their curve until you release the last legato played key.
• Legato mode is also monophonic, but with one difference: the envelope generators
are retriggered only if you play staccato—releasing each key before playing a new
key. If you play in a legato style, envelopes are not retriggered.
Note: On several monophonic synthesizers, the behavior in Legato mode is referred to
as single trigger, while Mono mode is referred to as multi trigger.
• Unison button: Layer two complete voices, thus making the sound richer. EFM1 can be
played with up to eight-voice polyphony when in unison mode.
• PB Range slider: Set a pitch bend range from 0 to 24 semitones.
• Velo Sens slider and field: Determine the sensitivity to incoming MIDI velocity
messages. EFM1 dynamically reacts to MIDI velocity—harder playing results in a brighter
and louder sound. Set the VeloSens control all the way to the left—counterclockwise—if
you don’t want EFM1 to respond to velocity.
• Randomize knob and field: Determine the amount of randomization—variance from the
original sound.
• RndTrg button: Create a new sound by randomizing multiple parameters.
Logic Pro User Guide for iPad 636
Create a random sound
The Randomize feature generates new sounds by randomly altering a number of key
parameter values.
This feature is ideal for creating subtle variations of a particular sound or for creating
totally new sounds. It is useful when getting started with FM synthesis.
• In Logic Pro EFM1, tap the RndTrg button.
You can tap multiple times. Save your settings as you go if you generate a sound you
want to keep.
Limit the amount of randomization
• In Logic Pro EFM1, rotate the Randomize knob to set the amount of randomization—
variance from the original sound.
If you want to only randomly “tweak” the current sound, use values below 10%. Use
higher values to radically change the sound with each tap on the RndTrg button.
EFM1 MIDI controller assignments in Logic Pro for iPad
EFM1 allows remote control with your MIDI controller keyboard or other MIDI device.
MIDI Controller parameters
• Ctrl FM Amount knob and field: Set the maximum amount of Carrier oscillator FM
Intensity modulation with the chosen MIDI controller.
• Ctrl FM pop-up menu: Choose a MIDI controller to use for FM intensity modulation.
• Ctrl Vib Amt knob and field: Set the maximum amount of Modulator oscillator pitch
modulation with the chosen MIDI controller.
• Ctrl Vibrato pop-up menu: Choose a MIDI controller to use for pitch modulation.
MIDI Mono Mode (MPE) parameters
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either mode, each voice receives on a different MIDI channel. Controllers and MIDI
messages sent on the base channel affect all voices.
• Pitch Bend Range knob and field: Set a range from 0 to 96 semitones.
The chosen range affects individual note pitch bend messages received on all but the
assigned Common Base Channel. The default is 48 semitones, which is compatible
with the GarageBand for iOS keyboard in pitch mode. When using a MIDI guitar, 24
semitones is the preferable setting because most guitar to MIDI converters use this
range by default.
Note: EFM1 also responds to standard MIDI pitch bend data. Pitch bend is hard-wired to
the overall pitch of EFM1.
Logic Pro User Guide for iPad 637
ES E
ES E in Logic Pro for iPad
The eight-voice ES E (ES Ensemble) synthesizer is ideal for quickly creating warm, rich pad
and ensemble sounds.
ES E produces sounds using subtractive synthesis. It features an oscillator that generates
harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms
and reshape them to create new sounds.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis methods and how they work.
To add ES E to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 638
ES E oscillator parameters in Logic Pro for iPad
The ES E oscillator generates a waveform, which is then sent to other portions of the
synthesizer engine for processing or manipulation.
ES E oscillator parameters include an LFO (low frequency oscillator), which generates a
cyclic waveform that is used to modulate the ES E waveform.
The behavior and effect of the LFO depend on whether a sawtooth or pulse wave is
selected.
• If Wave is set to sawtooth, the LFO modulates the frequency of the waveform, resulting
in a vibrato or siren effect—depending on the LFO speed and intensity.
• If Wave is set to a pulse wave, the LFO modulates the waveform pulse width—pulse
width modulation (PWM).
Oscillator parameters
• Wave knob and field: Select the waveform of the oscillator, which is responsible for
the basic color of the tone. The leftmost setting of the Wave parameter causes the
oscillators to output sawtooth signals. Across the remaining range, the oscillators
output pulse waves, with the average pulse width determined by the Wave parameter
position.
• Tune knob and field: Tune the instrument sound in cents. A cent is 1/100th of a
semitone.
• Octave buttons: Tap to switch the pitch in octaves—transpose it up or down. The lowest
setting is 16 feet, and the highest is 4 feet. The use of the term feet to determine
octaves comes from the measurements of organ pipe lengths. The longer and wider the
pipe, the deeper the tone.
LFO parameters
• Vib / PWM knob and field: Define the intensity of LFO modulation.
• LFO Speed knob and field: Set the frequency of LFO modulation.
Note: When the pulse width becomes very narrow, the signal sounds as if it is being
interrupted—“breaking up.” Given this potential artifact, set the PWM intensity with
care. Set the Wave parameter to the 12 o’clock position (50% rectangular) for pulse
width to attain the maximum modulation range.
Logic Pro User Guide for iPad 639
ES E filter parameters in Logic Pro for iPad
ES E includes a lowpass filter that lets you contour the output from the oscillator.
Filter parameters
• Cutoff knob and field: Control the cutoff frequency of the filter.
• Resonance knob and field: Boost or cut portions of the signal that surround the
frequency defined by the Cutoff parameter.
Note: Increasing the Resonance value results in a rejection of bass—low frequency
energy—when using lowpass filters.
• Filter Env Depth knob and field: Set the amount (depth) of cutoff frequency modulation
applied by the envelope generator.
Note: ES E provides one envelope generator per voice, offering Attack and Release
parameters (see ES E envelope parameters).
• Filter Vel knob and field: Set the velocity sensitivity of the cutoff frequency modulation
applied by the envelope generator.
Note: This parameter has no effect if Filter Env Depth is set to 0.
ES E envelope parameters in Logic Pro for iPad
The AR (Attack and Release) envelope affects both the filter cutoff and the level of the
sound over time.
Envelope parameters
• Attack slider and field: Set the time required for the signal to reach the initial signal
level, known as the sustain level.
• Release slider and field: Set the time it takes for the signal to fall from the sustain level
to a level of zero.
Logic Pro User Guide for iPad 640
ES E amp and effect parameters in Logic Pro for iPad
The ES E output stage consists of the Amp section and the Effect section Modulation
pop-up menu.
Amp parameters
• Volume knob and field: Set the overall output level.
• Volume Vel knob and field: Set the amount (depth) of velocity sensitivity to incoming
MIDI note events. When set to higher values, each note is louder, if struck more firmly.
At lower values, the dynamic response is reduced, so that there is little difference when
you play a note pianissimo (soft) or forte (loud/hard).
Effect parameter
• Modulation pop-up menu: Choose from different effect types or turn off the effect
processor.
• Off disables the effect processor.
• Chorus I is a typical chorus effect.
• Chorus II is characterized by a stronger modulation.
• Ensemble has a fuller and richer sound, due to a more complex modulation routing.
ES E pitch bend parameters in Logic Pro for iPad
ES E offers two parameters that control the way pitch bend works.
Pitch bend range parameters
• Bend Up knob and field: Set the upward pitch bend range in semitone steps. This lets
you use the pitch bend controller of your keyboard to bend the ES E pitch.
• Bend Down knob and field: The default bend range is a positive pitch bend. In other
words, this means that only positive pitch bend is normally available. You can set the
Bend Down range in semitone steps by up to 2 octaves (a value of 24), allowing both
positive and negative bends. Set to Linked to assign the same value to upward and
downward pitch bends with the Bend Up knob.
Logic Pro User Guide for iPad 641
ES M
ES M in Logic Pro for iPad
The monophonic ES M (ES Mono) synthesizer is a good starting point if you’re looking for
bass sounds that punch through your mix.
ES M features an automatic fingered portamento mode, making bass slides easy. It also
provides an automatic filter compensation circuit that delivers rich, creamy basses, even
when you use higher resonance values.
ES M produces sounds using subtractive synthesis. It has an oscillator that generates
harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms
and reshape them to create new sounds.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis methods and how they work.
To add ES M to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
ES M is divided into a few parameter areas.
• Oscillator parameters: The oscillator generates the basic waveforms that form the basis
of your sound. See ES M oscillator parameters.
• Filter and filter envelope parameters: The filter is used to contour the waveforms sent
from the oscillators. The filter envelope parameters control the filter cutoff over time.
See ES M filter and filter envelope.
• Output parameters: The level envelope and effect parameters control the level of the
sound over time. The integrated Overdrive can be used to color or add bite to the
sound. See ES M envelope and effect controls.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 642
ES M oscillator parameters in Logic Pro for iPad
The synthesizer oscillator is used to generate a waveform, which is then sent to other
portions of the synthesizer engine for processing or manipulation.
Oscillator parameters
• Saw/Square Mix knob and field: Set the waveform of the oscillator, which is responsible
for the basic color of the tone.
• Set all the way to the left to output a sawtooth waveform from the oscillator.
• Set all the way to the right to output a 50% rectangular wave, which is heard one
octave below the sawtooth.
• For any setting between these extreme positions, the oscillator outputs a crossfaded
mix of the two waveforms.
• Tune knob and field: Tune the instrument in cents. One cent is 1/100th of a semitone.
• Octave buttons: Tap to switch the pitch in octaves—transpose it up or down. The lowest
setting is 32 feet, and the highest is 8 feet. The use of the term feet to determine
octaves comes from the measurements of organ pipe lengths. The longer and wider the
pipe, the deeper the tone.
• Glide knob and field: Introduce a continuous pitch bend between two consecutively
played notes. Adjust the value to set the time required for the pitch to travel from the
last played note to the next. At a value of 0, no glide effect occurs.
Note: ES M always works in a fingered portamento mode, with notes played in a legato
style resulting in a glide—portamento—from pitch to pitch.
Logic Pro User Guide for iPad 643
ES M filter and filter envelope in Logic Pro for iPad
ES M includes a lowpass filter that lets you contour the output from the oscillator. The filter
has a dedicated envelope.
Filter and filter envelope parameters
• Cutoff knob and field: Set the cutoff frequency of the filter. Its slope is 24 dB/
octave.
• Resonance knob and field: Boost or cut portions of the signal that surround the
frequency defined by the cutoff parameter.
Note: Increasing the Resonance value results in a rejection of bass—low frequency
energy—when using lowpass filters. The ES M compensates for this side-effect
internally, resulting in a more bassy sound.
• Env Depth knob and field: Define the amount (depth) of cutoff frequency modulation
applied by the envelope generator.
• Decay knob and field: Set the decay time of the filter envelope.
• Env Velo knob and field: Set the velocity sensitivity of the cutoff frequency modulation
applied by the envelope generator.
Note: The Env Decay and Env Velo parameters have no effect if Filter Depth is set to 0.
ES M amp and effect controls in Logic Pro for iPad
The ES M output stage offers the following parameters.
Amp and effect parameters
• Volume knob and field: Set the ES M master output level.
• Decay knob and field: Set the decay time of the dynamic stage. The attack, release, and
sustain times of the synthesizer are internally set to 0.
• Velo knob and field: Determine the velocity sensitivity of the dynamic stage.
• Overdrive knob and field: Set the level of the integrated overdrive effect.
Important: To avoid hurting your ears or damaging your speakers, consider turning
down the Volume level before setting Overdrive to a high value; then turn it up gradually.
Logic Pro User Guide for iPad 644
ES M pitch bend parameters in Logic Pro for iPad
ES M offers two parameters that control the way pitch bend works.
Pitch bend range parameters
• Up knob and field: Set the upward pitch bend range in semitone steps. This lets you use
the pitch bend controller of your keyboard to bend the ES M pitch.
• Down knob and field: The default bend range is a positive pitch bend. In other words,
this means that only positive pitch bend is normally available. You can set the Bend
Down range in semitone steps by up to 2 octaves (a value of 24), allowing both positive
and negative bends. Set to Linked to assign the same value to upward and downward
pitch bends with the Bend Up knob.
ES P
ES P in Logic Pro for iPad
The eight-voice ES P (ES Poly) emulates classic polyphonic synthesizers of the 1980s.
It is a versatile instrument that is capable of producing a huge variety of useful musical
sounds. The creation of classic analog synthesizer brass sounds is just one of its many
strengths.
ES P produces sounds using subtractive synthesis. It features an oscillator that generates
harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms
and reshape them to create new sounds.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis methods and how they work.
To add ES P to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
Logic Pro User Guide for iPad 645
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
ES P oscillator parameters in Logic Pro for iPad
ES P features several oscillators that output different waveforms. These signals can be
mixed together—at different levels—providing countless variations of the raw material used
for your sounds.
In addition to triangular, sawtooth, and square wave oscillators, two sub-oscillators and a
noise generator are also available. The sub-oscillator sliders generate square/rectangular
waves that are one or two octaves lower than the main oscillators. Use these to fatten up
the sound.
Oscillator parameters
• Tune knob and field: Tune the instrument in cents. One cent is 1/100th of a semitone.
• Octave buttons: Set the pitch in octaves—transpose it up or down. The lowest setting is
16 feet, and the highest is 4 feet. The use of the term feet to determine octaves comes
from the measurements of organ pipe lengths. The longer and wider the pipe, the
deeper the tone.
• Triangle slider and field: Set the level of the triangle waveform output by the oscillators.
• Sawtooth slider and field: Set the level of the sawtooth waveform output by the
oscillators.
• Square slider and field: Set the level of the rectangle waveform output by the
oscillators. The pulse width is fixed at 50%.
• -1 Octave slider and field: Set the level of the (rectangular) sub-oscillator waveform,
which is one octave lower than the main oscillators. Use this to thicken the sound. The
pulse width is fixed at 50%.
• -2 Octaves slider and field: Set the level of the (rectangular) sub-oscillator waveform,
which is two octaves lower than the main oscillators. Use this to thicken the sound. The
pulse width is fixed at 50%.
• Noise slider and field: Set the level of white noise. This is the raw material for classic
synthesizer sound effects, such as waves, wind, and helicopters.
Logic Pro User Guide for iPad 646
ES P filter parameters in Logic Pro for iPad
ES P provides a lowpass filter that lets you contour the output signals from the oscillator.
Filter parameters
• Cutoff knob and field: Set the cutoff frequency of the lowpass filter.
• Resonance knob and field: Boost or cut portions of the signal that surround the
frequency defined by the cutoff knob.
Note: Increasing the Resonance value results in a rejection of bass—low frequency
energy—when using lowpass filters. The ES P compensates for this side effect
internally, resulting in a more bassy sound.
• Keytrack buttons: The cutoff frequency can be modulated by MIDI note number
(keyboard position); you may know this parameter as keyboard follow on other
synthesizers. Choose Off, 1/3, 2/3, or Full keyboard follow. If the Off button is active,
no keystrike will affect the cutoff frequency. Choosing a value other than Off makes
the lower notes sound relatively brighter than the higher ones. If you choose Full, the
filter follows the pitch, resulting in a constant relationship between cutoff frequency
and pitch. This is typical of many acoustic instruments where higher notes sound both
brighter in tone and higher in pitch.
• Filter Env Depth knob and field: Define the amount (depth) of cutoff frequency
modulation applied by the envelope generator. See ES P envelope and level controls.
• Filter Vel knob and field: Set the velocity sensitivity of the cutoff frequency modulation
applied by the envelope generator. The main envelope generator (ADSR) modulates
the cutoff frequency over the duration of a note. The intensity of this modulation can
respond to velocity information. If you play pianissimo (velocity = 1), the modulation is
minimal. If you strike with the hardest fortissimo (velocity = 127), the modulation is more
intense.
Logic Pro User Guide for iPad 647
ES P LFO parameters in Logic Pro for iPad
ES P features an LFO (low frequency oscillator) which can do either of the following:
• Modulate the frequency of the oscillators, resulting in a vibrato
• Modulate the cutoff frequency of the dynamic lowpass filter, resulting in a wah wah
effect
LFO parameters
• LFO Speed knob and field: Set the rate of the vibrato or cutoff frequency modulation.
• Vibrato/Wah knob and field: Turn to the left to set a vibrato; turn to the right to
cyclically modulate the filter.
ES P envelope and level controls in Logic Pro for iPad
ES P features an ADSR envelope that affects both the filter cutoff and the level of the
sound over time. This section also covers the master level control parameters in the Amp
section.
Envelope parameters
• Attack slider and field: Set the time required for the signal to reach the initial signal level
(the sustain level).
• Decay slider and field: Set the time it takes for the signal to fall from the attack level to
the sustain level.
• Sustain slider and field: Set the signal level (the sustain level).
• Release slider and field: Set the time it takes for the signal to fall from the sustain level
to a level of zero.
Logic Pro User Guide for iPad 648
Amp parameters
• Volume knob and field: Set the overall output level.
• Volume Vel knob and field: Set the amount (depth) of velocity sensitivity to incoming
MIDI note events. At higher values, each note is louder if struck harder. At lower values,
the dynamic response is reduced, so that there is little difference when you play a note
pianissimo (soft) or forte (loud/hard).
• VCA Mode buttons: Tap Gate to output a constant organ-like tone when a key is played.
Tap ADSR to control the amplifier with the ADSR envelope generator.
Integrated ES P effect processor in Logic Pro for iPad
ES P offers integrated stereo chorus and overdrive effects. These are based on similar
effects processors found in the synthesizers of the 1980s that ES P emulates.
ES P effect parameters
• Overdrive knob and field: Set the overdrive/distortion level of the synthesizer output.
Important: To avoid hurting your ears or damaging your speakers, consider turning
down the Volume level before setting Overdrive to a high value; then turn it up gradually.
• Chorus knob and field: Set the intensity (depth) of the integrated chorus effect.
ES P pitch bend parameters in Logic Pro for iPad
ES P offers two parameters that control the way pitch bend works.
Pitch bend parameters
• Bend Up knob and field: Set the upward pitch bend range in semitone steps. This lets
you use the pitch bend controller of your keyboard to bend the ES P pitch.
• Bend Down knob and field: The default bend range is a positive pitch bend. In other
words, this means that only positive pitch bend is normally available. You can set the
Bend Down range in semitone steps by up to 2 octaves (a value of 24), allowing both
positive and negative bends. Set to Linked to assign the same value to upward and
downward pitch bends with the Bend Up knob.
Logic Pro User Guide for iPad 649
ES1
ES1 in Logic Pro for iPad
ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface.
ES1 produces sounds using subtractive synthesis. It provides an oscillator and sub-
oscillator that generate harmonically rich waveforms. You subtract (cut, or filter out)
portions of these waveforms and reshape them to create new sounds. The ES1 tone-
generation system also provides flexible modulation options that make it easy to create
punchy basses, atmospheric pads, biting leads, and sharp percussion.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis systems and how they work.
To add ES1 to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
ES1 is divided into several main areas.
• Oscillator parameters: The oscillators generate the basic waveforms that form the basis
of your sound. See ES1 oscillator parameters.
• Filter parameters: The filter is used to contour the waveforms sent from the oscillators.
See ES1 filter parameters.
• Amplifier and output parameters: The amplifier and output parameters allow you to fine-
tune sound level behavior and to activate the in-built chorus. See ES1 amp and output
controls.
• Modulation parameters: The LFO, modulation envelope, and ADSR envelope are used to
modulate the sound in a number of ways. See ES1 modulation parameters.
• Global parameters: Global parameters are used to set glide, polyphony, bend, and
keyboard response. See ES1 global parameters.
Logic Pro User Guide for iPad 650
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Oscillator parameters
ES1 oscillator parameters in Logic Pro for iPad
ES1 includes a primary oscillator and a sub-oscillator. The primary oscillator generates
a waveform that is sent to other parts of the synthesizer for processing or manipulation.
The sub-oscillator generates a secondary waveform one or two octaves below that of the
primary oscillator, making your sound richer.
Oscillator parameters
• Waveform knob: Select the waveform of the primary oscillator, which is responsible for
the basic color of the tone. See ES1 oscillator waveforms.
• Tune knob and field: Tune the instrument in cents. One cent is 1/100th of a semitone.
• 32’, 16’, 8’, 4’, and 2’ buttons: Transpose the pitch of the oscillators up or down by
octaves. The lowest setting is 32 feet and the highest is 2 feet. The use of the term feet
to determine octaves comes from the measurements of organ pipe lengths. The longer
and wider the pipe, the deeper the tone.
• Sub Osc Wave knob: Generate square, pulse, and white-noise waveforms with the sub-
oscillator. The sub-oscillator pitch matches the frequency of the main oscillator. You
can choose from the following sub-oscillator waveform options:
• A square wave that plays one or two octaves below the frequency of the primary
oscillator
• A pulse wave that plays two octaves below the frequency of the primary oscillator
• Variations of these waveforms, with different mixes and phase relationships,
resulting in various sounds
• Off, which allows you to disable the sub-oscillator
• Noise, which is useful for creating percussion sounds as well as wind, surf, and rain
sounds
• External, which allows you to run an external channel strip signal through the ES1
synthesizer engine, by using a side chain
Logic Pro User Guide for iPad 651
• Osc Mix slider and field: Set the level relationship between the primary and sub-
oscillator signals. When the sub-oscillator is switched off, its output is completely
removed from the signal path.
Change ES1 pulse width
• In Logic Pro, rotate the Waveform knob. The pulse width of the waveform is displayed as
a percentage.
The pulse width can also be automatically controlled with modulators (see ES1
modulation parameters). Modulating the pulse width with a slowly cycling LFO, for
example, allows periodically mutating, fat bass sounds.
Process a channel strip signal through the ES1 synthesizer engine
1. In Logic Pro, set the Sub Osc Wave knob to External.
2. Choose the side chain source channel strip from the Side Chain pop-up menu in the
upper-right corner of ES1.
ES1 oscillator waveforms in Logic Pro for iPad
The table outlines the basic tones of the oscillator and sub-oscillator waveforms—how they
affect your synthesizer sound.
Waveform Basic tone Comments
Sawtooth Warm and even Useful for strings, pads, bass, and
brass sounds
Triangle Sweet sounding, softer than Useful for flutes, and pads
sawtooth
Square Hollow and “woody” sounding Useful for basses, clarinets, and
oboes
Pulse “Nasal” sounding Great for reed instruments, synth
blips, and basses
Noise Chaotic, hissing sound Used for wind, surf, and breath
sounds. Also useful for synthetic
percussion.
Logic Pro User Guide for iPad 652
ES1 filter parameters in Logic Pro for iPad
This section outlines the ES1 filter parameters.
Filter parameters
• Cutoff knob and field: Set the cutoff frequency of the lowpass filter.
• Resonance knob and field: Cut or boost the portions of the signal that surround the
frequency defined by the Cutoff parameter. Boost can be set so intensively that the
filter begins to oscillate by itself.
• Filter Mode buttons: The lowpass filter offers four different slopes of band rejection
above the cutoff frequency. Tap one of the buttons to choose a slope (amount of
rejection, expressed in decibels (dB) per octave):
• 12 dB: Provides a soft, smooth sound that is reminiscent of the early Oberheim SEM
synthesizer.
• 18 dB: Resembles the filter sound of the Roland TB-303.
• 24 Fat: Compensates for the reduction of low frequency content caused by high
Resonance values. This resembles the behavior of an Oberheim filter.
• 24 dB: Mimics the behavior of a Moog filter. Increase the Resonance parameter value
to reduce the low end of the signal.
• Drive knob and field: Change the behavior of the Resonance parameter, which
eventually distorts the sound of the waveform. Drive is actually an input level control,
which allows you to overdrive the filter.
• Filter Boost button: Increase the output of the filter by approximately 10 decibels. The
filter input has a corresponding decrease of approximately 10 decibels, maintaining the
overall level. This parameter is particularly useful when applying high Resonance values.
• Key Follow slider and field: Set the effect that keyboard pitch (the note number) has on
filter cutoff frequency modulation.
• If Key Follow is set to zero, the cutoff frequency does not change, no matter which key
you strike. This makes the lower notes sound comparatively brighter than higher notes.
• If Key Follow is set to maximum, the filter follows the pitch, resulting in a constant
relationship between cutoff frequency and pitch. This mirrors the properties of many
acoustic instruments, where higher notes sound both brighter in tone and higher in
pitch.
• ADSR Vel Min/Max sliders and fields: Determine how note velocity affects modulation of
the filter cutoff frequency with the envelope generator. Use the sliders to set minimum
and maximum velocity range values. The greater the distance between the sliders, the
more filter cutoff is affected by incoming velocity messages. See ES1 envelope parameters.
Logic Pro User Guide for iPad 653
Output a sine wave from the filter
If you increase the filter Resonance parameter to higher values, the filter begins to
internally feed back and, as a consequence, begins to self-oscillate. This results in a sine
oscillation—a sine wave—that is actually audible.
You can make the ES1 filter output a sine wave by following the steps below. This lets you
play the filter-generated sine wave with the keyboard.
1. In Logic Pro, switch the Sub Osc Wave knob to Off.
2. Drag the Osc Mix slider to the very bottom (Sub).
3. Set the Resonance knob to the maximum position.
4. If you wish, tap the Filter Boost button.
Filter Boost increases the output of the filter by approximately 10 decibels, making the
self-oscillation signal much louder.
5. Play notes on your MIDI keyboard or the onscreen keyboard.
Control filter cutoff with velocity
The envelope generator modulates the filter cutoff frequency over the course of a note
duration. The modulation intensity and response to velocity information is set with the
ADSR Vel Min/Max sliders. The envelope generator also controls the level of the sound
over time.
1. In the Logic Pro ES1 Filter section, set the minimum and maximum amount of modulation
with the ADSR Vel Min/Max sliders and fields.
The difference between the ADSR Vel Min/Max sliders indicates the dynamic range of
this modulation.
2. Set the ADSR sliders to the values you want to use, and adjust the ADSR Vel Min/Max
sliders as needed.
Tip: If you’re unfamiliar with these parameters, set the Cutoff parameter to a low
value, Resonance to a high value, and move both ADSR Vel Min/Max sliders upward.
Constantly strike a note on the keyboard while changing the sliders to learn how these
parameters work.
Logic Pro User Guide for iPad 654
ES1 amp and output controls in Logic Pro for iPad
The parameters in the ES1 Amplifier section allow you to fine-tune sound level behavior.
These are separate from the Out Level parameter, which acts as the ES1 master volume
control.
Amp parameters
• Mode pop-up menu: Determine how the ADSR envelope generator is used for control
of the amplifier envelope. The ES1 amplifier envelope modes affect played notes in
different ways.
• AR: In this mode, move the Attack and Release sliders of the ADSR envelope to set
these portions, or stages, of the sound. Between these stages, a gate control signal
maintains a constant level while a note is held. When you release the key, the release
stage begins immediately. The Decay and Sustain sliders of the ADSR Envelope have
no impact on the sound level.
• ADSR: Set this mode to control the level of the sound over time with all ADSR
envelope sliders.
• R: In this mode, the gate control signal maintains a constant level while a note is
held. As soon as you release the key, the release stage begins. The Attack, Decay,
and Sustain sliders of the ADSR envelope have no impact on the sound level.
The letters A, D, S, and R refer to the attack, decay, sustain, and release stages of
the envelope (see envelope parameters).
Gate refers to a control signal used in analog synthesizers that is sent to an envelope
generator when a key is pressed. As long as an analog synthesizer key is pressed,
the gate signal maintains a constant voltage. When a gate signal is used as a
modulation source in the voltage-controlled amplifier (instead of the envelope), it
creates an organ-type envelope without any attack, decay, or release stage—in other
words, an even, sustained sound.
• Vel Min/Max sliders and fields: Determine how note velocity affects the synthesizer
level. Use the sliders to set minimum and maximum velocity range values. The greater
the distance between the sliders, the more the volume is affected by incoming velocity
messages.
Logic Pro User Guide for iPad 655
Output parameters
• Out Level knob and field: Set the ES1 master volume.
• Chorus buttons: Choose a classic stereo chorus effect, an ensemble effect, or disable
the effects processor.
• Off disables the built-in chorus circuit.
• C1 is a typical chorus effect.
• C2 is a variation of C1 and is characterized by a stronger modulation.
• Ens(emble) uses a more complex modulation routing, creating a fuller and richer
sound.
Control your sound level over time
The envelope generator controls the sound level over the course of a note duration. The
modulation intensity and response to velocity information is set with the VCA Vel Min/Max
sliders in the Amp section.
1. In the Logic Pro ES1 Amp section, set the minimum and maximum amount of modulation
with the Vel Min/Max sliders and fields.
The difference between the Vel Min/Max sliders indicates the dynamic range of this
modulation.
2. Set the ADSR sliders to the values you want to use, and adjust the Vel Min/Max sliders
as needed.
Modulation
ES1 modulation parameters in Logic Pro for iPad
ES1 offers a number of simple yet flexible modulation control and routing options. You
use modulation to control and add animation to your sound over time, making it more
interesting, lively, or realistic. A good example of this type of sonic animation is the vibrato
used by orchestral string players.
Modulation parameters
• LFO parameters: Used to modulate other ES1 parameters. See Use the ES1 LFO.
• Modulation Envelope: A dedicated modulation control source that can be used to
control various ES1 parameters, or it can be used to control the LFO level. See Use the
ES1 modulation envelope.
• Envelope parameters: ES1 provides an attack, decay, sustain, and release (ADSR)
envelope that can shape filter cutoff and the level of the sound over time. See ES1
envelope parameters.
Logic Pro User Guide for iPad 656
Use the ES1 LFO in Logic Pro for iPad
The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can
use to modulate other ES1 parameters.
LFO parameters
• Rate knob and field: Set the speed, or frequency, of the LFO waveform cycles.
• If you set values to the right of 0, the LFO phase runs freely.
• If you set values to the left of 0, the LFO phase is synchronized with the Logic Pro
tempo—with phase lengths adjustable between 1/96 bar and 32 bars.
• When set to 0, the LFO outputs at a constant, full level, which allows you to manually
control the LFO speed with your keyboard modulation wheel. For example, to change
the pulse width by moving your keyboard modulation wheel, choose pulse width as
the LFO modulation target and set the modulation intensity range using the Int via
Whl slider.
• Wave pop-up menu: Set the LFO waveform. Each waveform has its own shape, providing
different types of modulation.
• You can choose the following waveforms: triangle; ascending and descending
sawtooth; square wave; sample & hold (random); and a lagged, smoothly changing
random wave.
• You can also choose EXT to assign a side chain signal as a modulation source.
Choose the side chain source channel strip from the Side Chain pop-up menu in the
upper-right corner of ES1.
• Destination pop-up menu: Choose a modulation target for the LFO.
• Pitch: Modulate the pitch—the frequency—of the oscillators.
• PW: Modulate the pulse width of the pulse wave.
• Mix: Modulate the mix between the primary oscillator and the sub-oscillator.
• Cutoff: Modulate the cutoff frequency of the filter.
• Res.: Modulate the resonance of the filter.
• VCA: Modulate the main volume.
• Wheel Min/Max sliders and fields: Set the LFO intensity at the minimum and maximum
mod wheel position. The distance between the sliders indicates the modulation wheel
range.
Logic Pro User Guide for iPad 657
Use the ES1 modulation envelope in Logic Pro for iPad
The modulation envelope can directly modulate a chosen parameter. It controls the time
it takes for the modulation to fade in or fade out. At its center position (Off), modulation
intensity is static—no fade-in or fade-out occurs. When set to its full value, modulation
intensity is at a constant level.
The modulation envelope allows you to set either a percussive type of decay envelope by
choosing low values or an attack type of envelope by choosing high values.
Modulation envelope parameters
• Time slider and field: Set a fade-in (attack) or fade-out (decay) time for the modulation.
Drag upward to set a fade-in. Drag downward to set a fade-out. When set to the center
position (Off), the modulation envelope fade is disabled.
• Destination pop-up menu: Choose a modulation target for the modulation envelope.
• Pitch: Modulate the pitch—the frequency—of the oscillators.
• PW: Modulate the pulse width of the pulse wave.
• Mix: Modulate the mix between the primary oscillator and the sub-oscillator.
• Cutoff: Modulate the cutoff frequency of the filter.
• Res.: Modulate the resonance of the filter.
• VCA: Modulate the main volume.
• FM: Use the triangle waveform to modulate filter cutoff frequency. This modulation
can result in a pseudo-distortion of the sound, or it can create metallic, FM-style
sounds. The latter occurs when the only signal you can hear is the self-oscillation of
the resonating filter.
• LFO: Modulate the overall amount of LFO modulation.
• Vel Min/Max sliders and fields: Set the upper modulation envelope limit for the hardest
keystrike (velocity=127) with the Max slider. The Min slider sets the lower limit for the
softest keystrike (velocity=1). The distance between the sliders indicates the range of
velocity values that alter the intensity of the modulation envelope.
Logic Pro User Guide for iPad 658
Modulate a parameter with velocity
1. In Logic Pro, select a modulation target, such as PW (Pulse Width), from the Destination
pop-up menu.
2. Set the Time slider to the center (Off) position, and adjust the Vel Min/Max sliders as
needed.
This results in a velocity-sensitive modulation of the oscillator pulse width.
More interestingly, you can directly control the LFO level if you choose LFO in the
Destination pop-up menu.
Fade the LFO modulation in or out
• In Logic Pro, drag the Time slider upward to fade in the LFO modulation. The higher the
value, the longer it takes for you to hear the modulation.
• Drag the Time slider downward to fade out the LFO modulation. The lower the value, the
shorter the fade-out time is.
LFO control with envelopes is most often used for delayed vibrato, a technique many
instrumentalists and singers employ to intonate longer notes.
Set up a delayed vibrato
1. In Logic Pro, drag the Time slider upward.
2. Select Pitch as the LFO target in the Destination pop-up menu.
3. In the LFO section, use the Wave knob to select the triangular wave as the LFO
waveform.
4. Set the (LFO) Rate knob to a rate of about 5 Hz.
5. Set the (LFO) Wheel Max slider to a low value, and the (LFO) Wheel Min slider to zero.
ES1 envelope parameters in Logic Pro for iPad
ES1 provides an attack, decay, sustain, and release (ADSR) envelope that can shape filter
cutoff and the level of the sound over time. See ES1 filter parameters and ES1 amp and
output controls.
A second, simpler envelope is also available for control of modulation parameters. See Use
the ES1 modulation envelope.
Logic Pro User Guide for iPad 659
Envelope parameters
• Attack slider: Set the time it takes for the envelope to reach the initial desired level.
• Decay slider: Set the time it takes for the envelope to fall to the sustain level, following
the initial attack time.
• Sustain slider: Set the sustain level, which is held until the key is released.
• Release slider: Set the time it takes the envelope to fall from the sustain level to zero.
Control your sound level over time
The envelope generator controls the sound level over the course of a note duration. The
modulation intensity and response to velocity information is set with the Vel Min/Max
sliders in the Amp section.
1. In the Logic Pro ES1 Amp section, set the minimum and maximum amount of modulation
with the Vel Min/Max sliders and fields.
The difference between the Vel Min/Max sliders indicates the dynamic range of this
modulation.
2. Set the ADSR sliders to the values you want to use, and adjust the Vel Min/Max sliders
as needed.
Modulate filter cutoff with the ADSR envelope
The envelope generator modulates the filter cutoff frequency over the course of a note
duration. The modulation intensity and response to velocity information is set with the
ADSR Vel Min/Max sliders in the Filter section.
1. In the Logic Pro ES1 Filter section, set the minimum and maximum amount of modulation
with the ADSR Vel Min/Max sliders and fields.
The difference between the ADSR Vel Min/Max sliders indicates the dynamic range of
this modulation.
2. Set the ADSR sliders to the values you want to use, and adjust the ADSR Vel Min/Max
sliders as needed.
Tip: If you’re unfamiliar with these parameters, set the Cutoff parameter to a low
value, Resonance to a high value, and move both ADSR Vel Min/Max sliders upward.
Constantly strike a note on the keyboard while changing the sliders to learn how these
parameters work.
Logic Pro User Guide for iPad 660
ES1 global parameters in Logic Pro for iPad
The global parameters affect the overall sound, or behavior, of ES1.
Global parameters
• Glide knob and field: Set the amount of time it takes to slide between the pitches of
each triggered note. The Glide trigger behavior depends on the value set in the Voices
field (see below).
• Analog knob and field: Change the pitch of each note and the cutoff frequency slightly
and randomly. This emulates the oscillator detuning and filter fluctuations of polyphonic
analog synthesizers, due to heat and age.
If you set the Analog parameter to 0%, the oscillator cycle start points of all triggered
voices are synchronized. This can be useful for percussive sounds, when you want to
achieve a sharper attack characteristic.
If you set the Analog parameter higher than 0%, the oscillators of all triggered voices
can cycle freely. Use higher values if you want a warm, analog type of sound—where
subtle sonic variations occur for each triggered voice.
• Voices field: Set the maximum number of notes that can be played simultaneously.
When Voices is set to Legato, the ES1 behaves like a monophonic synthesizer—with
single trigger and fingered portamento engaged. This means that if you play legato,
a portamento—glide from one note to the next—will happen. If you release each key
before pressing a new one, the envelope is not triggered by the new note, and there is no
portamento. Use this feature to create pitch bend effects, without touching your keyboard
pitch bender, by choosing a high Glide parameter value when using the Legato setting.
When set to full (polyphony), each played note has its own synth voice and an automatic
release cutoff comes into effect. If you have set a long release time and play a non-
legato chord progression, the chords won’t smear into each other, which is useful for
classic string synthesizer emulations.
• PB Range Up slider and field: Set the sensitivity of the pitch bender, in semitone steps.
• PB Down slider and field: Set the pitch bend range independently for upward and
downward bends.
• Linked: The negative pitch band uses the value set in the global Bender Range field.
Positive and negative bend ranges are the same.
• 0: No negative bend range at all, but the global value for positive bends is retained.
• 1-24: Independent amount of negative bend range to allow for different ranges. For
example, +2 and -12.
• MIDI Mode buttons: Determine how ES1 responds to MIDI controllers. Choose either Off
or Full Remote. See ES1 MIDI controller assignments.
Logic Pro User Guide for iPad 661
ES1 MIDI controller assignments in Logic Pro for iPad
The table outlines the way ES1 responds to MIDI continuous controller numbers (CC).
Controller number Parameter name
12 Oscillator pitch buttons
13 Oscillator waveform
14 Mix slider
15 Waveform of sub-oscillator
16 Drive slider
17 Cutoff slider
18 Resonance slider
19 Slope buttons
20 ADSR via Vel (lower slider)
21 ADSR via Vel (upper slider)
22 Attack slider
23 Decay slider
24 Sustain slider
25 Release slider
26 Key slider
27 Amplifier Selector buttons
28 Level via Velocity (lower slider)
29 Level via Velocity (upper slider)
30 Chorus parameter
31 Modulation envelope target
102 Modulation envelope form slider
103 Modulation envelope: Int via Vel parameter (lower slider)
104 Modulation envelope: Int via Vel parameter (upper slider)
105 LFO rate
106 LFO waveform
107 LFO modulation target
108 LFO: Int via Whl (lower slider)
109 LFO: Int via Whl (upper slider)
110 Glide slider
111 Tune parameter
Logic Pro User Guide for iPad 662
Controller number Parameter name
112 Analog parameter
113 Bender Range parameter
114 Out Level parameter
115 Voices parameter
ES2
ES2 in Logic Pro for iPad
ES2 combines subtractive synthesis with elements of FM and wavetable synthesis to
generate an extraordinary variety of sounds. This makes it the perfect choice for creating
powerful pads, evolving textures, rich basses, or synthetic brass.
If you’re new to synthesizers, see Intro to synthesizers, which introduces you to the
fundamentals and terminology of different synthesis systems.
To add ES2 to your project, choose it from the Instrument > Synthesizer submenu in an
Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
The three oscillators of the ES2 provide classic analog synthesizer waveforms (including
noise) and 100 single-cycle waveforms, known as Digiwaves. This raw material forms the
basis for sounds that range from fat analog to harsh digital sounds, or hybrids of the two.
You can also cross-modulate oscillators, making it easy to create FM-style sounds. Further
options include the ability to synchronize and ring-modulate the oscillators or to mix a sine
wave directly into the output stage, to thicken the sound.
ES2 features a flexible modulation scheme that offers up to ten simultaneous (user-
defined) modulation routings. Further modulation options include the Mod Pad—which
provides control of two parameters on a two-dimensional grid. The Mod Pad itself can
be controlled by the sophisticated Vector Envelope. This is a multipoint, loop-capable
envelope that makes it easy to create complex, evolving sounds.
Lastly, Distortion, Chorus, Phaser, and Flanger effects are built into ES2.
Note: You can find tasks that cover the use of parameters as modulation targets or sources
throughout the ES2 Help. This underlines one of the strengths of ES2—the vast modulation
possibilities it offers. Follow the steps in these tasks to create expressive, evolving sounds.
See ES2 modulation.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 663
ES2 interface overview in Logic Pro for iPad
The ES2 graphical interface is divided into the following main areas.
• Oscillator section: The oscillator parameters are shown at the top of the ES2 interface.
The Oscillator Mix pad is used to set the mix relationships between the three oscillators.
See ES2 oscillator parameters.
• Filter section: The filter section includes both a multimode filter and a lowpass filter
which can be used in series or parallel. See ES2 filters.
• Output and effect sections: The output parameters set the overall volume of the ES2,
and you can add a sine signal at the output stage to thicken the sound. See Use the ES2
output controls. The output stage also includes built-in distortion and modulation effect
processing options. See ES2 integrated effects.
• Global parameters: The global parameters control aspects of the ES2 such as master
tuning, polyphony, and analog oscillator drift. See ES2 global parameters.
• Modulation: The ES2 offers multiple LFOs and envelopes, a sophisticated modulation
matrix, and the Vector Envelope. You can freely assign and adjust modulation generator
(LFO and envelope) controls. See ES2 modulation.
• Mod Matrix Slots 1–10 link modulation sources such as envelopes, LFOs, and other
parameters to modulation targets, such as the oscillators and filters. See Use ES2
Mod Matrix Slots 1–10.
• The Vector Envelope is a flexible, powerful envelope generator that provides
extensive control over your sound. See Use the ES2 Vector Envelope.
• The Mod Pad facilitates the simultaneous manipulation of two assignable
parameters, and can be controlled with your finger, another controller, or the Vector
Envelope. See Use the ES2 Mod Pad.
• Macro and MIDI controller parameters: The preassigned macro sound parameters are
perfect for quick tweaks to the sound. You can reassign MIDI controller numbers for
these parameters. See Use ES2 macro controls.
Logic Pro User Guide for iPad 664
Oscillators
ES2 oscillator parameters in Logic Pro for iPad
ES2 oscillators are used to generate one or more waveforms. This signal is then sent to
other portions of the synthesizer engine for shaping, processing, or manipulation.
• Oscillators 2 and 3 are almost identical to each other, but they differ from oscillator 1.
• Oscillator 1 can be frequency modulated by oscillator 2, for FM synthesis sounds.
• Oscillators 2 and 3 can be synchronized to, or ring modulated with, oscillator 1. These
oscillators also have rectangular waves with either user-defined fixed pulse widths or
pulse width modulation (PWM) features.
• You can use multiple Mod Matrix slots to simultaneously change the pulse widths of
rectangular waves generated by oscillator 1 and the synchronized and ring-modulated
rectangular waves of oscillators 2 and 3.
Oscillator parameters
• Oscillator On/Off buttons: Tap to independently enable or disable oscillator 1, 2, or 3.
Deactivating an oscillator saves computer processing power.
• Semitone knobs and fields: Set the oscillator pitch, in semitone steps, over a range of
±3 octaves. Because an octave consists of 12 semitones, the ±12, 24, and 36 settings
represent octaves.
• Detune knobs and fields: Fine-tune the oscillator frequency (pitch) in cents. One cent is
1/100th of a semitone.
• Waveform knobs and fields: Choose the waveform that an oscillator generates. The
waveform is responsible for the basic tonal color. See ES2 basic oscillator waveforms.
In addition to basic synthesizer waveforms, all ES2 oscillators provide 100 additional
waveforms called Digiwaves. These are very short samples of the attack transients of
various sounds and instruments.
• Digiwave sliders and fields: Drag to choose a Digiwave or tap the Digiwave field, then
type a value.
Important: The Waveform knob of the oscillator must be set to the zero position in
order to choose a Digiwave. All other Waveform knob positions disable the Digiwave
slider.
• Oscillator Mix pad: Move the gray dot in the Oscillator Mix pad to crossfade (set the
level relationships) among the three oscillators. See Balance ES2 oscillator levels.
Logic Pro User Guide for iPad 665
ES2 basic oscillator waveforms in Logic Pro for iPad
All ES2 oscillators output a number of standard waveforms—sine, pulse, rectangular,
sawtooth, and triangular waves—or, alternately, any of 100 Digiwaves. The table outlines
the basic waveforms.
Waveform Basic tone Comments
Pulse/Rectangular Nasal sounding Great for reed instruments, synth
blips, and basses
Square Hollow and woody sounding Useful for basses, clarinets,
and oboes. The pulse width
of (oscillator 2 and 3) square
waveforms can be smoothly scaled
between 50% and the thinnest of
pulses.
Sawtooth Warm and even Useful for strings, pads, bass, and
brass sounds
Triangle Sweet sounding, softer than Useful for flutes and pad sounds
sawtooth
Sine A pure tone The sine wave of oscillator 1 can be
frequency modulated by oscillator 2.
This kind of modulation forms the
basis of FM synthesis.
Oscillators 2 and 3 also offer the selection of:
• A rectangular wave, synchronized to oscillator 1.
• A sawtooth wave, synchronized to oscillator 1.
• A ring modulator, which is fed by the output of oscillator 1 and a square wave from
oscillator 2.
• Different noise types for oscillator 3. See Use the ES2 noise generator.
Oscillator synchronization and ring modulation allow for the creation of very complex and
flexible harmonic spectra. The principles behind oscillator synchronization are described
in Synchronize ES2 oscillators. Ring modulation principles are described in Use ES2 ring
modulation.
Use the ES2 noise generator in Logic Pro for iPad
The sonic palette of oscillator 3 is bolstered by the inclusion of a noise generator, which
can be activated by choosing the noise waveform. By default, the oscillator 3 noise
generator generates white noise.
White noise is defined as a signal that consists of all frequencies (an infinite number)
sounding simultaneously, at the same intensity, in a given frequency band. The width of the
frequency band is measured in hertz. Sonically, white noise falls between the sound of the
consonant “F” and breaking waves (surf). White noise is useful for synthesizing wind and
seashore noises, or electronic snare drum sounds.
You can also modulate the tonal color of the noise signal in real time—without using the
main filters of the ES2—by modulating the waveform of oscillator 3.
Logic Pro User Guide for iPad 666
Change the noise color
1. In any Logic Pro ES2 Mod Matrix Slot, set up a modulation routing as follows: modulation
target Osc3Wave, source ModWhl. The modulation amount slider behaves somewhat
differently with this routing, essentially acting like a filter.
2. Use negative modulation amount values (not −1.000) to set a descending filter slope
that roughly equates to 6 dB/octave. The sound becomes darker (red noise) as you
adjust the mod wheel downwards.
3. To tune this pseudo filter down to 18 Hz, set the modulation amount to −1.000. When
Osc3Wave is modulated positively, the noise becomes brighter (blue noise).
4. If you choose a modulation amount value of +1.000 for the Osc3Wave modulation
target, the filter cutoff frequency is set to 18 kHz.
Synchronize ES2 oscillators in Logic Pro for iPad
Typical oscillator sync sounds tend toward the aggressive, screaming leads that
synthesizer manufacturers like to talk about. The rectangular and sawtooth waveforms of
oscillators 2 and 3 feature a Sync option. When this parameter is turned on, the phase of
oscillator 2 or 3 is synchronized with oscillator 1.
Every time oscillator 1 starts a new oscillation phase, the synchronized oscillator
(oscillator 2 or 3) is also forced to restart its phase from the beginning. Between the
waveform cycles of oscillator 1, the waveform cycles of the synchronized oscillators run
freely.
You can achieve interesting synchronized oscillator sounds by modulating the frequency
of the synchronized oscillator with an envelope generator. This constantly changes the
number of phases within a section of the synchronization cycle, resulting in corresponding
changes to the frequency spectrum.
Modulate the synchronized oscillator frequency with an envelope
1. In Logic Pro, set the oscillator 2 Waveform knob to Sync.
2. In any Mod Matrix Slot, set up a modulation routing as follows: modulation target Pitch
2, source Env 2.
3. Adjust the settings of Envelope 2.
Use ES2 pulse width modulation in Logic Pro for iPad
You can alter the tonal color of rectangular waveforms by scaling the width of waveform
pulses to any value. This is known as pulse width modulation.
ES2 pulse width modulation features are extensive. For example, if rectangular waves are
chosen for all oscillators, you can simultaneously modulate the pulse width of oscillator 1
and the synchronized pulse waves of oscillator 2 (or the square wave of the oscillator 2
ring modulator) and oscillator 3.
Set a basic pulse width in oscillator 2 or 3
• In Logic Pro ES2, drag the Waveform knob to the Pulse position.
Only oscillators 2 and 3 allow you to define a base (default) pulse width, prior to any
pulse width modulation.
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Set up a pulse width modulation (of oscillator 1) in Mod Matrix Slot 1—10
1. In Logic Pro ES2, choose a rectangle wave for oscillator 1.
2. In any Mod Matrix Slot, choose Osc1Wave as the target, and LFO 1 as the source.
3. Adjust the modulation amount slider (try a value of 0.12).
4. Choose a sine wave for LFO 1.
5. Adjust the LFO 1 Rate (around 0.160 Hz for a slow sweep).
Use ES2 frequency modulation in Logic Pro for iPad
The principle of frequency modulation (FM) synthesis was developed in the late 1960s and
early 1970s by John Chowning. It was popularized by the Yamaha DX synthesizers in the
1980s. Although the ES2 can’t be compared with the DX series in the discipline of pure
FM synthesis, it can achieve some of the signature sounds of these instruments.
In pure FM synthesis, the frequency of one signal generator, or oscillator, is altered
(modulated) by another signal generator. Positive values from the second generator
increase the frequency of the first generator. Negative values decrease the frequency.
In a synthesizer, this type of modulation takes place in the audible range. Depending on
the design of the instrument, you can hear the signals of either the first oscillator alone
(being modulated by the other oscillator), or both oscillators. The interaction between the
two generators alters the waveform signal of the first oscillator and introduces a number
of new harmonics. This harmonic spectrum can then be used as the source signal for
further sound processing, such as filtering, envelope control, and so on. See Frequency
modulation (FM) synthesis for further information.
In ES2, the frequency of oscillator 1 (with a sine wave chosen—zero position for both the
Waveform knob and Digiwave slider) can be modulated by the output signal of oscillator 2.
• When oscillator 2 outputs a positive signal, the frequency of oscillator 1 increases.
• When oscillator 2 outputs a negative signal, the frequency of oscillator 1 decreases.
The net effect of speeding up or slowing down the frequency of oscillator 1 in each
waveform cycle is a distortion of the basic wave shape. This waveform distortion also has
the side benefit of introducing a number of new, audible harmonics.
Important: The impact of any frequency modulations you perform depends on both the
frequency ratio and the modulation intensity of the two oscillators.
The “pure” FM synthesis method uses a sine wave for both the first and second signal
generator (both oscillator 1 and 2 would be limited to generating a sine wave in ES2 if you
stuck with this approach). ES2, however, provides 100 Digiwaves and countless combinations
of modulation intensities and frequency ratios that can be used for either oscillator. This
provides a vast pool of harmonic spectra and tonal colors for you to experiment with.
Tip: The type of modulation that occurs can vary significantly when different waveforms
are chosen for oscillator 2—the modulating oscillator—in particular.
Set the frequency ratio and adjust the modulation intensity
1. In Logic Pro ES2, adjust the frequency (Semitone and Detune) parameter values of one,
or both, oscillators 1 and 2.
2. Set the FM amount (shown as a percentage) with the oscillator 1 Waveform knob.
This determines the intensity of frequency modulation.
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Use ES2 ring modulation in Logic Pro for iPad
Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds.
The spectra resulting from its use are inharmonic at almost every frequency ratio. The ring
modulator is a device that dates back to the early days of the synthesizer.
A ring modulator has two inputs. At the output you hear both the sum and difference
frequencies of the input signals. If you ring modulate a sine oscillation of 200 Hz with a
sine oscillation of 500 Hz, the output signal of the ring modulator consists of a 700 Hz
(sum) and a 300 Hz (difference) signal. Negative frequencies result in a change to the
phase polarity of output signals.
Tip: Use sawtooth and rectangular (pulse width modulated) input signals from
oscillators 1 and 2, respectively, to create a much more complex output signal. The use
of these harmonically rich waveforms results in a number of extra sidebands becoming
audible.
Create a ring-modulated sound
1. In Logic Pro ES2, set the oscillator 2 Waveform knob to the Ring setting.
2. Experiment with different frequency (Semitone and Detune) values for one, or both,
oscillators.
The oscillator 2 ring modulator is fed with the output signal of oscillator 1 and a square
wave, generated by oscillator 2 itself. The pulse width of this square wave can be
modulated (see Use ES2 pulse width modulation).
Balance ES2 oscillator levels in Logic Pro for iPad
The position of the control point (gray dot) in the Oscillator Mix pad is described by two
parameters—x and y coordinates—which are used when automating the oscillator mix.
These parameters can be assigned to the Osc1Levl, Osc2Levl and Osc3Levl targets in Mod
Matrix Slot 1—10.
Drag the gray dot in the Oscillator Mix pad to crossfade—set the level relationships—
between the three oscillators. The Osc 1/2/3 Level fields update to reflect respective
oscillator levels as you move the gray dot.
The position of the gray dot (x and y coordinates) in the Oscillator Mix pad can also be
controlled with the Vector Envelope. Because the Vector Envelope features a loop function,
it can be used as a pseudo-LFO with a programmable waveform. For more information
about this feature, see Use the ES2 Vector Envelope.
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Modulate Oscillator Mix pad coordinates with the modulation wheel
1. In Logic ProES2, set up a modulation routing as follows: modulation target Osc1Levl,
source ModWhl. Adjust the intensity.
2. Set up a second modulation routing as follows: modulation target Osc2Levl, source
ModWhl. Adjust the intensity. You can choose other sources for these targets.
Filter parameters
ES2 filters in Logic Pro for iPad
ES2 features two discrete, and different, filters.
• Filter 1 is a multimode filter (MMF) that can operate as a lowpass, highpass, bandpass,
band reject, or peak filter.
• Filter 2 is a lowpass filter (LPF) that offers variable slopes (measured in dB/octave).
Dual Filter parameters
• On/Off button: Turn the entire filter section on or off. Deactivating the filter section
makes it easier to hear adjustments to other sound parameters, because the filters
always heavily affect the sound. Disabling the filters also reduces processor load.
• Filter 1 Cutoff knob and field: Set the cutoff frequency of the multimode filter (Filter
1). See Filter cutoff and resonance.
• Reso 1 knob and field: Determine the resonance behavior of the multimode filter (Filter
1).
• Filter 1 Mode buttons: Switch Filter 1 between lowpass (LP), highpass (HP), bandpass
(BP), band reject (Notch), or peak filter types.
• LP: Allow frequencies that fall below the cutoff frequency to pass. The slope of
Filter 1 is fixed at 12 dB/octave.
• HP: Allow frequencies above the cutoff frequency to pass. The slope of Filter 1 is
fixed at 12 dB/octave.
• Peak: Filter 1 works as a peak filter. This allows the level in a frequency band to
be increased. The center of the frequency band is determined by the MMF Cutoff
parameter. The width of the band is controlled by the MMF Resonance parameter.
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• Notch: The frequency band directly surrounding the cutoff frequency is rejected, but
frequencies outside this band can pass. The MMF Resonance parameter controls the
width of the rejected frequency band.
• BP: The frequency band directly surrounding the cutoff frequency is allowed to pass.
All other frequencies are cut. The MMF Resonance parameter controls the width of
the frequency band. The bandpass filter is a two-pole filter with a slope of 6 dB/
octave on each side of the center frequency.
• Drive knob and field: Rotate to overdrive the filter, which affects each voice
independently. See Overdrive ES2 filters.
• Filter Blend knob and field: Set the balance between Filter 1 and Filter 2. See
Crossfade between ES2 filters.
• Filter Routing buttons: Switch between a parallel or series filter configuration.
• Series: This means that the signal of all oscillators (combined at the Oscillator Mix
pad) passes through the first filter, then this filtered signal passes through Filter 2, if
Filter Blend is set to 0, the middle position. The output signal of Filter 2 is then sent
to the input of the dynamic stage (Amplifier section).
• Parallel: If Filter Blend is set to 0, you’ll hear a 50/50 mix of the source signal, routed
via Filter 1 and Filter 2. The output signals of the two filters are then sent to the input
of the dynamic stage. See Crossfade between ES2 filters.
• Filter Reset button: Turn on Filter Reset to provide a trigger signal that can be used to
drive the filter to self-oscillate. See Filter cutoff and resonance.
• Filt2 Fat button: Adds 24 dB per octave of rejection. Fat mode has a built-in
compensation circuit that retains the sound bottom end. By comparison, the standard
24 dB mode tends to make lower end sounds less rich.
• Filter 2 Cutoff knob and field: Set the cutoff frequency of the low pass filter (Filter
2). See Filter cutoff and resonance.
• Reso 2 knob and field: Determine the resonance behavior of the low pass filter (Filter 2).
• Filter 2 Mode buttons: Choose a Filter 2 slope: 12 dB, 18 dB, and 24 dB. The steeper
the slope, the more severe the effect on signal levels below the cutoff frequency.
Most filters do not completely suppress the portion of the signal that falls outside the
frequency range defined by the LPF Cutoff parameter. The slope, or curve, chosen for
Filter 2 expresses the amount of rejection below the cutoff frequency in decibels per
octave.
• Filter 2 FM knob and field: Set the amount of Filter 2 cutoff frequency modulation with
the oscillator 1 frequency. See Modulate ES2 Filter 2 frequency.
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Crossfade between ES2 filters in Logic Pro for iPad
Filter Blend can have a significant effect on the ES2 signal flow. Regardless of whether a
parallel or series filter configuration is chosen, a Filter Blend setting of −1.00 results in only
Filter 1 being audible. A Filter Blend setting of 1.00 limits audibility to Filter 2. The figures
illustrate the signal flow between the oscillator mix stage (the Oscillator Mix pad) and the
dynamic stage (the Amplifier). The signal flow through the filters and the filter overdrive
circuit (the Drive parameter) are dependent on the Filter Blend setting.
• Filter Blend: Series filter configuration information:
• Use positive values for Filter Blend to partially bypass Filter 1.
• Use negative values for Filter Blend to partially bypass Filter 2.
• When zero or positive Filter Blend values are used, there is only one overdrive circuit
for both filters.
• Use of negative Filter Blend values introduces another overdrive circuit, which
distorts the output signal of the oscillator mix stage before it is fed into the first
filter.
• If Drive is set to 0, no distortion occurs.
• Filter Blend: Parallel filter configuration information:
In a parallel configuration, the overdrive/distortion circuit—the Drive parameter—is
always wired after the oscillator mix stage—the Oscillator Mix pad—and before the
filters. The filters receive a mono input signal from the output of the overdrive circuit.
The outputs of both filters are mixed to mono via Filter Blend.
The Filter Blend parameter is available as a modulation target in Mod Matrix Slot 1—10. You
can use manual control sources, such as the modulation wheel, to change the filter blend;
but the Filter Blend target can also be used creatively, to rapidly switch or smoothly fade
between the two filters. You can also use velocity, or a combination of the Vector Envelope
and Mod Pad as sources. The latter allows for interesting filter control possibilities that
evolve independently, or alongside oscillator parameters that are also being controlled with
the Vector Envelope.
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Crossfade between ES2 filters
• In Logic Pro, set the Filter Blend knob to crossfade between the two filters when cabled
in parallel.
• If Filter Blend is set to the -1.00 position, you only hear the effect of Filter 1.
• If Filter Blend is set to the 1.00 position, you only hear the effect of Filter 2.
• In between these positions, the filters are crossfaded. You hear the effect of both
filters.
You can also crossfade the filters when they are cabled in series. In this situation, the
distortion—controlled by the Drive parameter—also needs to be considered, as this
can be positioned either before or in between the filters, depending on the Filter Blend
setting you choose.
Modulate Filter Blend with an LFO in ES2
1. In Logic Pro, set up a modulation routing as follows: modulation target FltBlend, source
LFO 2.
2. Adjust the settings of LFO 2.
Filter cutoff and resonance
In every lowpass filter (ES2: LP mode for Filter 1; Filter 2 is a lowpass filter), all frequency
portions above the cutoff frequency are suppressed, or cut off, hence the name. If you’re
new to synthesizers and the concepts behind filters, see Filters.
Cutoff and resonance parameters
• Cutoff Frequency knob: Control the brilliance of the signal.
• In a lowpass filter (LP), the higher the cutoff frequency is set, the higher the
frequencies of signals that are allowed to pass.
• In a highpass filter (HP), the cutoff frequency determines the point where lower
frequencies are suppressed and only upper frequencies are allowed to pass.
• In a bandpass (BP) or band rejection (notch) filter, the cutoff frequency determines
the center frequency for the bandpass or band rejection filter.
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• Resonance knob: Emphasize or suppress portions of the signal above or below the
defined cutoff frequency.
• In a lowpass (LP) filter, Resonance emphasizes or suppresses signals below the
cutoff frequency.
• In a highpass (HP) filter, Resonance emphasizes or suppresses signals above the
cutoff frequency.
• In bandpass (BP) or band rejection (notch) filters, resonance emphasizes or
suppresses the portions of the signal—the frequency band—that surround the
defined frequency, set with the Cutoff Frequency parameter.
Use Filter Reset to drive the ES2 filters to self-oscillate
If you increase the filter Resonance parameter to higher values, the filter begins to
internally feed back and, as a consequence, begins to self-oscillate. This results in a sine
oscillation—a sine wave—that is audible.
To start this type of oscillation, the filter requires a trigger. In an analog synthesizer, this
trigger can be the noise floor or the oscillator output. In the digital domain of the ES2,
noise is all but eliminated. Therefore, when the oscillators are muted there is no input
signal routed to the filter. Turn on Filter Reset to provide a trigger signal that can be used
to drive the filter to self-oscillate.
• In Logic Pro, tap the Filter Reset button to turn on.
When this button is enabled, each note starts with a trigger that makes the filter
resonate/self-oscillate immediately.
Compensate for high resonance values with the ES2 Fat parameter
• In Logic Pro, tap the Filt 2 Fat button.
An increase of the resonance value results in a rejection of bass—low frequency
energy—when using lowpass filters. Use the Filt 2 Fat button to compensate for this
side effect and to obtain a richer sound.
Overdrive ES2 filters in Logic Pro for iPad
The filters are equipped with discrete overdrive modules. You can set the overdrive
intensity by rotating the Drive parameter.
Drive affects each voice independently. When every voice is overdriven individually—like
having six fuzz boxes for a guitar, one for each string—you can play extremely complex
harmonies over the entire keyboard range. Each voice sounds clean, without unwanted
intermodulation effects spoiling the overall sound.
Certain Drive settings can lead to a different tonal character. This is because analog filters
can behave uniquely when overdriven, forming an essential part of the sonic character of a
synthesizer. ES2 is very flexible in this area, allowing tonal colors that range from the most
subtle fuzz to the hardest of distortions.
• If the filters are connected in parallel, the overdrive circuit is placed before the filters.
• If the filters are connected in series, the position of the overdrive circuits is dependent
on the Filter Blend parameter. See Crossfade between ES2 filters.
Tip: Because Filter 2 can cut away the overtones introduced by the distortion, Drive can
be used as another tool for deforming oscillator waveforms.
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Polyphonic distortions in the real world
ES2 provides a dedicated distortion effect in the Effects section. Given this inclusion, you
may wonder what benefit the filter Drive function offers.
The Distortion circuit in the Effects section affects the entire polyphonic output of the ES2.
Every rock guitarist knows that more complex chords—other than major chords, parallel
fifths, and octaves—sound “rough” when using distortion. Therefore, distorted guitar
playing generally involves few voices or parallel fifths and octaves. Because the filter Drive
parameter affects each voice individually, you can play complex chords without introducing
the unpleasant intermodulations that the Distortion effect can add to your sound.
Modulate ES2 Filter 2 frequency in Logic Pro for iPad
Filter 2 cutoff frequency can be modulated by the sine wave of oscillator 1, which is always
generated, even when the oscillator is switched off. The level of this sine signal can be
mixed in at the output stage with the Sine Level parameter (see Enhance ES2 sounds with
Sine Level).
The effect of such filter modulations in the audio spectrum is unpredictable, but the results
tend to remain harmonic if you avoid high modulation intensity values. The LPF FM knob is
used to define the intensity of this filter frequency modulation.
Note: Don’t confuse this filter frequency modulation with the oscillator FM feature
(where oscillator 1 is modulated by oscillator 2). If oscillator 1 is frequency-modulated by
oscillator 2, it does not influence the sine wave signal used to modulate the filter 2 cutoff
frequency. See Use ES2 frequency modulation.
Filter 2 can also be driven to self-oscillation. If you set a very high resonance value, it
produces a sine wave. This self-oscillating sine wave distorts at the maximum resonance
value. If you mute all oscillators, you’ll only hear this sine oscillation. By modulating the
cutoff frequency, you can produce effects similar to those produced by modulating the
frequency of oscillator 1 with oscillator 2.
Modulate filter FM in ES2
1. In Logic Pro, set up a modulation routing in a Mod Matrix slot as follows: modulation
target LPF FM.
A sine wave, at the frequency of oscillator 1, is always used as the modulation source.
Given this default assignment and the direct relationship between the filter FM intensity
and oscillator 1 frequency, you can set up a second routing to modulate Oscillator 1
pitch.
2. Set up a second modulation routing as follows: modulation target Pitch 1, source LFO 1.
3. Adjust LFO settings.
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Output and effects
Use the ES2 output controls in Logic Pro for iPad
The dynamic stage of a synthesizer defines the level, or perceived volume, of a played
note. The change in level over time is controlled by an envelope generator. For more
information about envelope generators, see Amplifier envelope.
Envelope 3 is hard wired to the dynamic stage of the ES2—it is always used to control the
level of each note. See ES2 envelopes.
The dynamic stage can be modulated by any modulation source in a Mod Matrix slot.
Output parameters
• Sine Level slider and field: Set the level of a sine wave signal (at the frequency of
oscillator 1) that is mixed directly into the dynamic stage, independent of the filters. See
Enhance ES2 sounds with Sine Level.
• Volume slider and field: Set the overall instrument output level.
Modulate the ES2 dynamic stage (Amp)
1. In Logic Pro, set up a modulation routing as follows: modulation target AMP, source LFO1.
2. Make sure that Via is set to Off.
3. Adjust LFO settings.
A tremolo effect is created, with the level changing periodically, based on the current
LFO 1 Rate value.
Enhance ES2 sounds with Sine Level in Logic Pro for iPad
The Sine Level slider mixes a sine wave (at the frequency of oscillator 1) directly into the
dynamic stage, independent of the filters. Even if you have filtered away the basic partial
tone of oscillator 1 with a highpass filter, you can reconstitute it with this parameter.
• In cases where oscillator 1 is frequency-modulated by oscillator 2 (if you have set an FM
amount with the Waveform selector), only the pure sine wave is mixed into the dynamic
section, not the distorted FM waveform.
• Any modulation of oscillator 1 pitch set in Mod Matrix Slot 1—10 affects the frequency of
the sine wave mixed in at this stage.
Note: The Sine Level control is useful for adding warmth and a fat bass quality to the
sound. Extra body can be added to thin sounds with this parameter, given that oscillator 1
actually plays the basic pitch.
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ES2 integrated effects processor in Logic Pro for iPad
ES2 is equipped with an integrated effects processor. Any changes to the parameters of
these effects are saved with each sound setting.
You can activate only two effects at the same time.
• The Distortion circuit.
• Your choice of a Chorus, Flanger, or Phaser effect. These effects share the same control
knobs—Intensity and Speed.
A chorus effect is based on a delay line, the output of which is mixed with the original,
dry signal. The short delay time is modulated periodically, resulting in pitch deviations.
The modulated deviations, in conjunction with the original signal pitch, produce the
chorus effect.
A flanger works in a similar fashion to a chorus, but with even shorter delay times. The
output signal is fed back into the input of the delay line. This feedback results in the
creation of harmonic resonances that wander cyclically through the spectrum, giving
the signal a “metallic” sound.
A phaser mixes a delayed and an original signal. The delayed element is derived from
an allpass filter, which applies a frequency-dependent delay to the signal. This is
expressed as a phase angle. The effect is based on a comb filter, which is basically an
array of inharmonic notches—rather than resonances, as with the flanger—that also
wanders through the frequency spectrum. This delivers a “sweeping” sound.
Distortion effect parameters
• Gain knob and field: Set the amount of distortion. Turn this knob to zero to disable the
effect.
• Tone knob and field: Control the treble portion of the distortion signal.
• Type buttons: Choose the distortion type.
• Soft button: Activate the Distortion effect Soft mode. The distortion circuit sounds
somewhat like a tube overdrive.
• Hard button: Activate the Distortion effect Hard mode. The distortion effect sounds
like a fully transistorized fuzz box.
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Modulation FX parameters
• Intensity knob and field: Set the depth of the effect. Turn this knob to zero to turn off
the effect.
• When the Chorus type is active: Set how rich the modulation is.
• When the Flanger type is active: Set how “cutting” the modulation is.
• When the Phaser type is active: Set the depth of the “sweeping” effect—the width of
the modulation.
• Rate knob and field: Set the modulation rate.
• Type buttons: Choose the effects processor.
Global parameters
ES2 global parameters in Logic Pro for iPad
The global parameters affect the overall ES2 sound and behavior.
Global parameters
• Tune knob and field: Set the overall instrument pitch in cents. 100 cents equals a
semitone step. At a value of 0 c (zero cents), the central A key is tuned to 440 Hz, or
concert pitch.
• Glide knob and field: Set the time it takes for the pitch of a played note to slide to the
pitch of the following played note. See Set the ES2 glide time.
• Osc Start buttons: The oscillators can run freely or can begin at the same phase
position of their respective waveform cycles each time a note is struck. Tap a button to
change the waveform phase start position behavior.
• Free: The initial oscillator phase start point is random for each played note. This
adds life to the sound. The downside is that the output level may differ each time a
note is played, making the attack phase sound less punchy—even if the performance
is identical each time—such as when the note is triggered by a MIDI region. This
setting is useful when emulating sounds typical of hardware analog synthesizers.
• Soft: The initial oscillator phase starts at a zero crossing for each played note. This
mimics the sonic character (and precision) typical of digital synthesizers.
• Hard: The initial oscillator phase starts at the highest level in the waveform cycle
for each played note. The extra punch that this setting can provide is audible only
if the Envelope 3 Attack Time parameter is set to a low value—a very fast attack, in
other words. This setting is highly recommended for electronic percussion and hard
basses.
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• Voices knob and field: Set the maximum number of notes that can be played
simultaneously.
• Unison button: Turn unison mode on or off. See Use unison and voices.
• Analog knob and field: Rotate to randomly alter the pitch of each note and the filter
cutoff frequency. See Detune analog oscillators in ES2.
• CBD knob and field: Detuned oscillators periodically beat against each other at a certain
frequency. Use CBD to set the beating frequency between low and high notes or to
retain a constant beating.
• Keyboard Mode buttons: Switch ES2 between polyphonic, monophonic, and legato
behaviors. See Set the ES2 keyboard mode.
• Bend Up/Dn sliders and fields: Define the upward and downward pitch bend range. See
Set the ES2 pitch bend range.
Set the ES2 keyboard mode in Logic Pro for iPad
A polyphonic instrument, such as an organ or a piano, allows several notes to be played
simultaneously. Many older analog synthesizers are monophonic, which means that only
one note can be played at a time, much like a brass or reed instrument. This shouldn’t
be viewed as a disadvantage; instead, it allows playing styles that are not possible with
polyphonic instruments.
Change the keyboard mode
• In Logic Pro, tap the Poly, Mono, or Legato button.
• In Mono mode, staccato playing retriggers the envelope generators every time a new
note is played. If you play in a legato style (play a new key while holding another),
the envelope generators are triggered only for the first note you play legato, then
they continue their curve until you release the last legato played key.
• Legato mode is also monophonic, but with one difference: the envelope generators
are retriggered only if you play staccato—releasing each key before playing a new
key. If you play in a legato style, envelopes are not retriggered.
Note: On several monophonic synthesizers, the behavior in Legato mode is referred to
as single trigger, while Mono mode is referred to as multi trigger.
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Use unison and voices in ES2 in Logic Pro for iPad
One of the great strengths of polyphonic analog synthesizers is unison—or stacked
voices—mode. Unison mode in polyphonic analog synthesizers is typically monophonic,
with all voices playing simultaneously when a single note is struck. Because the voices
of an analog synthesizer are never perfectly in tune, the result is an extremely fat chorus
effect with great sonic depth.
Use monophonic unison mode
1. In Logic Pro, tap the Mono or Legato button, depending on the keyboard mode you want
to use. See Set the ES2 keyboard mode.
2. Tap the Unison button.
• The intensity of the unison effect depends on the number chosen with the Voices
parameter. Increase the Voices value for a fatter sound. See ES2 global parameters.
• The intensity of detuning (voice deviation) is set with the Analog parameter. See
Detune analog oscillators in ES2.
Use polyphonic unison mode
• In Logic Pro, tap the Poly and Unison buttons.
In poly/unison mode, each played note is effectively doubled—or, more correctly, the
polyphony value chosen with the Voices parameter is halved. These two voices are
heard when you trigger the note. Poly/unison has the same effect as setting the ES2 to
mono/unison (Voices = 2), but you can play polyphonically.
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Set the ES2 glide time in Logic Pro for iPad
The Glide parameter (also known as portamento) sets the time it takes for the pitch of one
played note to travel to the pitch of another played note.
Make portamento active
• In Logic Pro, rotate the Glide knob.
Glide behavior is dependent on the chosen keyboard mode. See Set the ES2 keyboard
mode.
• If the keyboard mode is set to Poly or Mono, and Glide is set to a value other than 0,
portamento is active.
• If Legato is chosen, and Glide is set to a value other than 0, you need to play legato
(press a new key while holding the old one) to activate portamento. If you don’t play
in a legato style, portamento won’t work. This behavior is also known as fingered
portamento.
Detune analog oscillators in ES2 in Logic Pro for iPad
The Analog parameter randomly alters the pitch of each note and the filter cutoff
frequency.
• Low Analog values can add a subtle richness to the sound.
• Medium Analog values simulate the tuning instabilities of analog synthesizer circuitry,
which can be useful in achieving that much sought-after “warmth” of analog hardware
synthesizers.
• High Analog values result in significant pitch instability, which can sound truly out of
tune—but this may be perfect for your needs.
Much like polyphonic analog synthesizers, all three oscillators maintain their specific
frequency deviation from each other, but the pitches of all three oscillators are randomly
detuned by the same Analog amount. For example, if the Analog detuning is set to around
20%, all three oscillators (if used) randomly drift by 20%.
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Note: If ES2 is set to Mono or Legato keyboard mode, the Analog parameter is effective
only when Unison is turned on. In this situation, Analog sets the amount of detuning
between the stacked (unison) voices. If the Voices parameter is set to 1 and/or Unison
is not active, the Analog parameter has no effect. For more information about these
parameters, see Set the ES2 keyboard mode.
Stretch tuning in ES2 in Logic Pro for iPad
The Semitone knob of each oscillator enables you to tune oscillators 1, 2, and 3 in
semitones or octaves. The Detune parameter enables you to fine-tune each oscillator in
cents (1/100th of a semitone). Precise detuning between oscillators can result in beats, or
phasing, between the oscillator frequencies. The higher the played frequency/pitch, the
faster the phasing beats. High notes, therefore, may seem to be somewhat out of tune in
comparison with lower notes.
CBD (Constant Beat Detuning) can be used as a corrective tool to even out the beating
between oscillators, or it can be used as a creative tool to emulate stretch tuning. The
latter can be particularly important when you use an ES2 sound alongside an acoustic
piano recording. This is because acoustic pianos are intentionally tuned “out-of-tune”
(from equal temperament). This is known as stretch tuning, and results in the upper and
lower keyboard ranges being slightly out of tune with the center octaves but harmonically
“in-tune” with each other.
Detuned oscillators periodically beat against each other at a certain frequency. CBD sets
the beating frequency between low and high notes or retains a constant beating frequency
across the keyboard range. Choose a CBD value to detune the harmonics/beating of
low note frequencies in a ratio proportionate to the fundamental tone of the upper note
frequencies.
CBD offers five values: off, 25%, 50%, 75%, and 100%. If you choose 100%, the phasing
beats are almost constant across the entire keyboard range. This value may, however, be
too high, because the lower notes might be overly detuned at the point where the phasing
of the higher notes feels right. Try lower CBD values in cases where the bass notes are a
little too far out of tune with the upper keyboard range.
The reference pitch for CBD is C3 (middle C): its (de)tuning is constant, regardless of the
chosen CBD value.
Logic Pro User Guide for iPad 682
Set the ES2 pitch bend range in Logic Pro for iPad
The Bend Up/Dn sliders determine the range for pitch bend modulation, typically
performed with your keyboard pitch bend wheel.
Set independent upward and downward bend ranges
• In Logic Pro, drag either slider to set an upward or downward bend range.
Set an identical upward and downward bend range
1. In Logic Pro, set the Bend Dn slider to the lowest position. This enables link mode and
link is shown in the field.
This locks the upward and downward bend ranges, making them identical.
2. Set a Bend Up slider range value.
This is mirrored for both upward and downward pitch bend.
Note: A bend range of 4 semitones results in a combined bend range of 8 semitones—9
if you include the standard pitch, or “no bend” position.
Modulation
ES2 modulation in Logic Pro for iPad
ES2 is equipped with a huge number of modulation sources and targets, making it a
synthesizer that can generate extraordinary sounds that constantly evolve, sound like
audio loops, or are just plain expressive to play.
• Mod Matrix Slot 1—10: Each slot links modulation sources, such as LFOs and envelopes,
to modulation targets, such as the oscillators and filters. See Use ES2 Mod Matrix slots.
• Modulation sources: The modulation sources include the LFOs and envelopes. See ES2
LFOs and ES2 envelopes.
• Vector Envelope: The Vector Envelope is an extremely sophisticated, loop-capable,
multipoint envelope that can control the Mod Pad and Oscillator Mix pad. See Use the
ES2 Vector Envelope.
• Mod Pad: The Mod Pad is a two-dimensional controller that facilitates the simultaneous
manipulation of two, freely assignable, parameters. It can be controlled with your finger,
or with the Vector Envelope. See Use the ES2 Mod Pad.
Logic Pro User Guide for iPad 683
Mod Matrix Slot 1–10
Use ES2 Mod Matrix Slots 1–10 in Logic Pro for iPad
Mod Matrix Slots 1–10 provide extensive modulation routing and control options. If you're
new to synthesizer modulation routings, see Modulation overview.
Any modulation source can be connected to any modulation target , much like an old-
fashioned telephone exchange or a studio patch bay.
The modulation intensity—how strongly the target is influenced by the source—is set with
the vertical sliders to the right of the modulation routing.
The intensity of the modulation can itself be modulated: the Via parameter defines a
further modulation source, which is used to control the modulation intensity. When a via
source is active, you can specify upper and lower limits for the modulation intensity.
Ten such modulation routings of source, via, and target can take place simultaneously. It
doesn’t matter which of the ten modulation routings you use. You can even select the same
target in several parallel modulation routings. You can also use the same sources and the
same via controllers in multiple modulation routings.
Create a basic modulation routing in ES2
1. In a Logic Pro ES2 Mod Matrix slot, choose the Target parameter you want to modulate.
2. Choose the Source parameter you want to use for modulation of the target.
3. Drag the Amount slider to set a fixed modulation value.
When Via is active, this slider sets the minimum modulation intensity.
The Via Amount slider sets the maximum modulation intensity.
Bypass a modulation routing in ES2
• In Logic Pro ES2, tap the On/Off button at the top left of each Mod Matrix slot.
This lets you disable individual modulation routings, without losing settings.
Logic Pro User Guide for iPad 684
Control ES2 modulation intensity in Logic Pro for iPad
In a basic modulation routing comprised of a target and source, you can set a fixed
modulation intensity by vertically dragging the Amount slider. The slider value always
defines a constant modulation intensity.
You can control modulation intensity by choosing an additional modulation source from the
Via pop-up menu.
Choosing a value other than Off from the Via pop-up menu activates the Amount Via slider.
• Move the Amount Via slider to set the maximum modulation intensity when the assigned
via controller is at its maximum value.
• The Amount slider defines the minimum modulation intensity when the via controller—
the modulation wheel, for example—is set to its minimum value.
• The gap between the two slider handle positions defines the modulation range of the
via controller.
Create a modulation routing that includes a via source in ES2
1. In a Logic Pro ES2 Mod Matrix slot, choose a modulation target from the Target pop-up
menu.
2. Choose a modulation source from the Source pop-up menu.
3. Choose the modulation source that you want to use for control of modulation intensity
from the Via pop-up menu.
4. Drag the Amount Via slider to set the maximum modulation intensity.
5. Drag the Amount slider to set the minimum modulation intensity.
Set the modulation intensity to zero in ES2
• In Logic Pro, double-tap the Amount or Amount Via slider.
Invert the effect of the via modulation source in ES2
• In Logic Pro, tap the Via Invert button.
Logic Pro User Guide for iPad 685
LFOs
ES2 LFOs in Logic Pro for iPad
ES2 features two multi-waveform LFOs. Both are available as sources in Mod Matrix
Slot 1—10.
LFO 1 is polyphonic, which means that if used for any modulation of multiple voices, they
are not phase-locked. LFO 1 is also key-synced: each time you play a key, LFO 1 modulation
of this voice is started from zero.
To understand the non phase-locked characteristic more fully, imagine a scenario where a
chord is played on the keyboard. If LFO 1 is used to modulate pitch, for example, the pitch
of one voice may rise, the pitch of another voice might fall, and the pitch of a third voice
may reach its minimum value. As you can see, the modulation is independent for each
voice, or note.
The key-sync feature ensures that the LFO waveform cycle always starts from zero, which
results in consistent modulation of each voice. If the LFO waveform cycles were not
synchronized in this way, individual note modulations would be uneven.
• LFO 1 is preconfigured to control the pitch of all three oscillators. It can be
simultaneously used for modulation of other parameters.
• LFO 1 can also be faded in or out automatically, courtesy of a built-in envelope
generator.
• LFO 2 is monophonic, which means that the modulation is identical for all voices. For
example, imagine a chord is played on the keyboard. If LFO 2 is used to modulate pitch,
the pitch of all voices in the played chord rises and falls synchronously. LFO 2 is ideally
suited for creating rhythmic modulation effects that retain perfect synchronicity, even
during project tempo changes.
LFO parameters
• LFO 1 EG slider and field: Set the time it takes for the LFO modulation to fade in or fade
out. The value is displayed in milliseconds beneath the slider.
• LFO 1 Rate knob and field: Set the frequency (speed) of LFO 1 modulation. The value is
displayed in hertz (Hz).
• LFO 1 Waveform pop-up menu: Choose the waveform used by LFO 1. See ES2 LFO
waveforms.
• LFO 2 Rate knob and field: Set the frequency of LFO 2 modulation. LFO 2 can be
synchronized with the Logic Pro tempo by choosing a value to the left of the center
(DC) position.
• LFO 2 Waveform pop-up menu: Choose the waveform used by LFO 2.
Logic Pro User Guide for iPad 686
ES2 LFO waveforms in Logic Pro for iPad
Choose a waveform for LFO 1 or LFO 2 from the respective Waveform pop-up menu. The
table outlines how these waveforms can affect your sounds.
Tip: Try using different waveforms while a modulation routing of Pitch123 (the pitch of
all three oscillators) is engaged and running
Waveform Comments
Triangle Suitable for vibrato effects.
Sawtooth Suitable for helicopter and space gun sounds. Intense modulations of
oscillator frequencies with a negative (inverse) sawtooth wave lead to
“bubbling” sounds. Intense sawtooth modulations of lowpass filter cutoff
and resonance creates rhythmic effects. The inverted sawtooth waveform
provides a different start point for the modulation cycle.
Rectangle Rectangular waves periodically switch the LFO between two values. The
Unipolar rectangular wave switches between a positive value and zero.
The Bipolar wave switches between a positive and a negative value set to
the same amount above/below zero. An interesting effect can be achieved
by modulating Pitch123 with a suitable modulation intensity that leads to
an interval of a fifth. Choose the upper rectangular wave to do so.
Sample & Hold The bottom two LFO waveforms output random values. A random value
is selected at regular intervals, defined by the LFO rate. Sample & Hold
steps between randomized values—rapid switches between values.
Smoothed Sample & Hold results in fluid changes to values. The term
Sample & Hold (S & H) refers to the procedure of taking samples from a
noise signal at regular intervals. The values of these samples are then held
until the next sample is taken.
Tip: A random modulation of Pitch123 leads to an effect commonly
referred to as a random pitch pattern generator or sample and hold.
Try using very high notes, at very high rates and high intensities—you’ll
recognize this well-known effect from hundreds of science fiction movies.
Use ES2 LFOs in Logic Pro for iPad
ES2 LFOs can be used to create delayed modulations, free modulations, and modulations
that are synchronized with the Logic Pro tempo.
Set the LFO 1 modulation fade time in ES2
• In Logic Pro, set a positive LFO 1 EG value to fade in the modulation.
The higher the value, the longer the delay time.
• Set a negative LFO 1 EG value to fade out the modulation.
The lower the slider is positioned onscreen, the shorter the fade out time.
Logic Pro User Guide for iPad 687
Set up a delayed vibrato in ES2
LFO envelopes are most often used for delayed vibrato—many instrumentalists and singers
intonate longer notes this way.
1. In Logic Pro, set the LFO 1 EG slider to a position in the upper half (Delay) and modulate
the Pitch123 target with the LFO 1 source in Mod Matrix Slot 1—10.
2. Set a slight modulation intensity with the Amount slider.
3. Set an LFO 1 Rate of about 5 Hz.
4. Choose the triangular wave as the LFO 1 waveform.
Set a free rate for LFO 2 in ES2
• In Logic Pro, choose a value in the upper half of the LFO 2 Rate range to run LFO 2
freely.
The rate is displayed in hertz.
Synchronize the ES2 LFO 2 rate with the song tempo
• In Logic Pro, choose a value to the left of the LFO 2 Rate center position to synchronize
LFO 2 with the project tempo.
The rate is displayed in rhythmic values (when project tempo synchronization is active).
Synchronized rates range from speeds of 1/64-notes to a periodic duration of 32 bars.
Triplet and punctuated values are also available.
Envelopes
ES2 envelopes in Logic Pro for iPad
ES2 features three envelope generators per voice. They are abbreviated as Env1, Env2, and
Env3 in Mod Matrix slots. In addition, ES2 features the sophisticated Vector Envelope. See
Use the ES2 Vector Envelope.
To learn more about the roots of the term “envelope generator” and its basic function, see
Amplifier envelope.
The parameters of Envelope 2 and Envelope 3 are identical. Envelope 3 defines the
changes in level over time for each note played. You can think of Envelope 3 as being
hardwired to the Amp modulation target in Mod Matrix Slots 1–10. Envelope 2 controls the
cutoff frequency of both ES2 filters.
Note: All envelopes can be used to control multiple parameters simultaneously.
Logic Pro User Guide for iPad 688
ES2 Envelope 1 in Logic Pro for iPad
Although Envelope 1 appears to be simplistic, it is useful for a range of synthesizer
functions.
ES2 Envelope 1 parameters
• Attack via Velocity Min/Max sliders: Move the left slider (AtkMaxV) to set the attack
time when keys are struck at maximum velocity. The right slider (AtkMinV) sets the
attack time at minimum velocity.
• Dec/Rel slider and field: Set the decay time when the Decay button is active. Set the
time required for the level to decrease to zero once the key is released, when the
Release button is active.
• Mode buttons: Tap to switch Envelope 1 between an Attack/Decay or an Attack/Release
envelope.
• Decay mode: The level falls to zero after the attack phase has completed, whether or
not the note is sustained. It decays at the same speed, even if you release the key.
Set the decay time with the Dec/Rel slider.
• Release mode: The envelope level remains at its maximum after the attack phase
is over, while the key remains depressed. Use the Dec/Rel slider to set the time
required for the level to fall to zero, once the key is released.
• Trigger buttons: Choose a mode to define the trigger behavior of Envelope 1.
• Poly: The envelope generator behaves as you would expect on any polyphonic
synthesizer: every voice has its own envelope.
• Mono: A single envelope generator modulates all voices in the same way. All notes
must be released before the envelope can be retriggered. If you play legato, or any
key remains depressed, the envelope does not restart its attack phase.
• Retrig: A single envelope generator modulates all voices in the same way. The
envelope is triggered by any key you strike, even when other notes are sustained. All
sustained notes are identically affected by the retriggered envelope.
Logic Pro User Guide for iPad 689
ES2 Envelope 2 and 3 in Logic Pro for iPad
The feature sets of Envelope 2 and Envelope 3 are identical, but it is always the task of
Envelope 3 to define the level of each note—to modulate the dynamic stage, in other
words. Envelope 2 is preconfigured to control the Cutoff frequency of both filters.
Both Envelope 2 and Envelope 3 can also be used simultaneously as sources in Mod Matrix
Slots 1–10. The envelope time parameters can be used as modulation targets in Mod Matrix
Slots 1–10.
ES2 Envelope 2 and 3 parameters
• Attack via Velocity Min/Max sliders: Move the left slider (AtkMaxV) to set the attack
time when keys are struck at maximum velocity. The right slider (AtkMinV) sets the
attack time at minimum velocity.
• Decay slider and field: Set the time it takes for the level of a held note to fall to the
sustain level, after the attack phase has completed.
• If the Sustain level parameter is set to its maximum value, the Decay parameter has
no effect.
• When the Sustain level is set to its minimum value, the Decay parameter defines the
duration or fade-out time of the note.
• Sustain/SusTime sliders and fields: Set the sustain level and the sustain time. See Use
ES2 Envelope 2 and 3 sustain.
• Release slider and field: Define the time required for the sustain level to fall to zero,
after the key is released.
• Velocity Sens knob and field: Determine the velocity sensitivity of the entire envelope. If
set to maximum, the envelope outputs its maximum level only when the keys are struck
at maximum velocity. Softer velocities result in a corresponding change to the envelope
levels, with a 50% velocity resulting in half-levels for each envelope level parameter.
Logic Pro User Guide for iPad 690
Use ES2 Envelope 2 and 3 sustain in Logic Pro for iPad
When the SusTime slider is set to its center value, the Sustain (level) slider behaves like the
sustain parameter of a standard synthesizer ADSR envelope.
In this position, the Sustain slider defines the level that is sustained while the key remains
depressed, following completion of the Attack time and Decay time phases.
The SusTime slider defines the time it takes for the level to rise from the Sustain level back
to its maximum level—or to fall to zero:
• Settings in the lower half of the SusTime slider range (fall) determine the time required
for the level to decay from the sustain level to zero. The lower the slider position, the
faster the sound level decays.
• Settings in the upper half of the SusTime slider range (rise) determine the time required
for the level to rise from the sustain level to the maximum value. The higher the slider
position, the faster the sound level rises.
Emulate instrument behaviors with envelope decay modulation in ES2
1. In Logic Pro, set up a modulation routing as follows: modulation target Env3Dec, source
Kybd.
2. Make sure the Amount slider is set to a negative value.
3. Adjust Envelope 3 settings.
This routing simulates the behavior of pianos and plucked instruments, where high
notes decay faster than low notes.
Logic Pro User Guide for iPad 691
Use the Vector Envelope
ES2 Vector Envelope in Logic Pro for iPad
The Vector Envelope is a multipoint, loop-capable modulation source. It provides real-time
control of gray dot movements in the Oscillator Mix pad and the Mod Pad.
Each played voice has an independent Vector Envelope, which is triggered from its start
point with every new keystrike (MIDI note-on message).
Conceptually, the Vector Envelope—and Mod Pad and Oscillator Mix pad—may be difficult
to grasp, but some experimentation reveals how easy these features are to use. Combine
these facilities with other synthesis options to create truly unique sounds that are—quite
literally—moving.
Turn the Vector Envelope on or off
• In Logic Pro, turn off the Point Solo button to make the Vector Envelope active.
• Turn on the Point Solo button to deactivate the Vector Envelope.
When Point Solo is turned on, the Oscillator Mix pad and Mod Pad positions for the
currently selected point (the solo point) are active.
Choose the Vector Envelope mode
In Logic Pro, the Vector Mode buttons determine the Vector Envelope target.
• Choose the Vector Envelope target—the Mod Pad, Oscillator Mix pad, or both.
• Off: The Vector Envelope does not control the Oscillator Mix pad or the Mod Pad.
• Mix: The Vector Envelope controls the Oscillator Mix pad but not the Mod Pad.
• XY: The Vector Envelope controls the Mod Pad but not the Oscillator Mix pad.
• Mix+XY: The Vector Envelope controls both the Mod Pad and the Oscillator Mix pad.
Logic Pro User Guide for iPad 692
Use ES2 Vector Envelope points in Logic Pro for iPad
The Vector Envelope time axis runs from left to right.
Up to 16 points can be used on the time axis. Each point can control the gray dot positions
of the Oscillator Mix pad and the Mod Pad.
The points are numbered sequentially, from left to right, along the time axis.
There are always at least three points: point 0 is the Start point, point 1 is defined as the
Sustain point, and point 2 is the End point.
Any point can be declared the Sustain point. If a played note is held for a sufficient length
of time and no loop is engaged, any envelope movement stops when the Sustain point is
reached. The Sustain point value is maintained until the key is released—until the MIDI
note-off command. See ES2 Vector Envelope solo and sustain.
Any point can be declared the Loop point. The looped area spans the time between the
Sustain point and Loop point. In between these points you can create additional points that
describe the movements of the control points (gray dots) in the Mod Pad and Oscillator Mix
pad. See Use ES2 Vector Envelope loop controls.
The more Vector Envelope points you set, the more complex the movements that can be
performed.
Select a Vector Envelope point
In Logic Pro ES2, do one of the following:
• Rotate the Select Point knob to choose a point.
• Tap the Select Point field and use the arrows or knob to choose a point. Tap Done to
complete entry.
• Tap the Select Point field and type a value from 0 to 15 in the numeric keypad. Tap Done
to complete entry.
Once selected, you can edit the point.
Logic Pro User Guide for iPad 693
Create a new Vector Envelope point
1. In Logic Pro ES2, use the Select Point knob to choose the point that precedes the point
you wish to create.
2. Tap the Vec Env Actions pop-up menu and choose the Insert Point to the Right of
Selected Point command.
A new point is created, and is automatically selected.
In cases where you create a new point between two existing points, the segment that
previously existed is divided into two equal-sized segments. The sum of the two new
segment times is equal to the time of the original undivided segment. This ensures that
any points that follow retain their absolute time positions. Existing control point (gray
dot) positions in the Oscillator Mix pad and Mod Pad are fixed, thus ensuring that newly
created points don’t affect any previously defined movements.
Quickly create multiple Vector Envelope points
• In Logic Pro ES2, tap the Vec Env Actions pop-up menu and choose either the Init to 8/8
Loop or Init to 16/16 Loop command.
Either 8 or 16 new points are created. The entire timeline is divided into segments of
equal length.
WARNING: In cases where you have previously created several points, use of either
command will overwrite your existing segments.
Delete a Vector Envelope point
• In Logic Pro ES2, use the Select Point knob to choose the point that you wish to remove.
• Tap the Vec Env Actions pop-up menu and choose the Delete Selected Point command.
In cases where you delete a point between two existing points, the segments that
previously existed are combined. The sum of the two previous segment times is equal to
the time of the new undivided segment.
Define a Vector Envelope point as the Sustain, Loop, or End point
In Logic Pro ES2, do any of the following:
• Drag the Sustain Seg slider to the point value that you want to use as the sustain point.
• Drag the Loop Seg slider to the point value that you want to use as the loop point.
• Drag the End Segment slider to the point value that you want to use as the end point.
ES2 Vector Envelope solo and sustain in Logic Pro for iPad
The Point Solo button turns the Vector Envelope on or off. If enabled, no dynamic
modulations are generated by the Vector Envelope. In this scenario, the current control
point (gray dot) positions of the Oscillator Mix pad and Mod Pad are permanently in effect.
These gray dot positions match the currently selected Vector Envelope point.
If you select another Vector Envelope point, the gray dot positions in the Oscillator Mix
pad and Mod Pad update to reflect your selection. If the Point Solo button is on, the newly
selected point becomes the solo point.
Note: You can independently turn off Vector Envelope modulation of the Mod Pad by
setting Vector Mode to Off. See Use the ES2 Vector Envelope.
Logic Pro User Guide for iPad 694
Any point can be declared the Sustain point. Assuming that the played note is held long
enough and no loop is engaged, any envelope movement stops when this Sustain point
is reached. The Sustain point value is maintained until the key is released—until the MIDI
note-off command.
Define a Vector Envelope point as the Sustain point
• In Logic Pro, drag the Sustain Seg slider to the point value that you want to use as the
sustain point.
Set ES2 Vector Envelope times in Logic Pro for iPad
With the exception of the first point (point zero), which is tied to the beginning of each
played note, every point has a Time parameter. This parameter defines the period of time
required for the playhead to travel from the point that preceded it. The times are normally
displayed in milliseconds (ms).
Set a Vector Envelope time value
1. In Logic Pro, choose a point with the Select Point knob.
2. Use the Time knob to set a value for the segment associated with the selected point.
Note: Changing a time value alters the absolute time positions of all subsequent points.
Use ES2 Vector Envelope XY pad controls in Logic Pro for iPad
In a typical workflow, you would create several vector envelope points and choose one for
editing.
Simply drag the gray dot in one or both Vector Envelope XY pads to set X and Y values for
the selected vector envelope point.
Logic Pro User Guide for iPad 695
Note: The XY pads in the Vector Envelope section are used only for programming the X and
Y values for each vector envelope point. When the Vector Envelope is active, the XY values
assigned for each vector envelope point (and associated time segment) are sent to the
Oscillator Mix pad and the Mod Pad.
Vector Envelope XY pad controls
• OscLevel XY pad: Drag to program movements for the Oscillator Mix pad. X and Y
positions can be unique for each vector envelope point.
• Mod Pad XY pad: Drag to program movements for the Mod Pad. X and Y positions can
be unique for each vector envelope point.
• Vector X Amount knob and field: Set the intensity of Mod Pad modulation on the X axis.
• Vector Y Amount knob and field: Set the intensity of Mod Pad modulation on the Y axis.
• Vector X Target pop-up menu: Choose the Mod Pad modulation target for the X axis.
• Vector Y Target pop-up menu: Choose the Mod Pad modulation target for the Y axis.
ES2 Vector Envelope actions menu in Logic Pro for iPad
The Vec Env Actions pop-up menu provides a number of commands that can accelerate
your use of the Vector Envelope.
Vector Envelope Actions menu commands
Tap the Vec Env Actions pop-up menu to choose any of the following commands.
• Delete Selected Point: Tap to delete the currently selected point.
• Insert Point to the Right of Selected Point: Tap to create a point to the right of the
currently selected point. A new point is created, and is automatically selected.
In cases where you create a new point between two existing points, the segment that
previously existed is divided into two equal-sized segments. The sum of the two new
segment times is equal to the time of the original undivided segment. This ensures that
any points that follow retain their absolute time positions. Existing control point (gray
dot) positions in the Oscillator Mix pad and Mod Pad are fixed, thus ensuring that newly
created points don’t affect any previously defined movements.
• Copy Point: Tap to copy the currently selected point to the Clipboard.
Logic Pro User Guide for iPad 696
• Paste Point: Tap to paste the copied point from the Clipboard to the currently selected
point.
• Paste to All Points: Tap to paste the copied point from the Clipboard to all points.
This command is useful for duplicating segment times and XY positions.
• Set Segments to Average Time: Tap to change the segment time values of all points to a
value that is averaged over the entire vector envelope length.
• Init to 8/8 Loop: Tap to create 8 new points. The entire timeline is divided into segments
of equal length.
WARNING: In cases where you have previously created several points, use of this
command will overwrite your existing segments.
• Init to 16/16 Loop: Tap to create 16 new points. The entire timeline is divided into
segments of equal length.
WARNING: In cases where you have previously created several points, use of this
command will overwrite your existing segments.
• Clear Envelope: Tap to reset the vector envelope.
Note: Only three points will remain when this command is used: Start, Sustain, End.
• Copy Envelope: Tap to copy the entire vector envelope to the Clipboard.
• Paste Envelope: Tap to paste the copied vector envelope from the Clipboard.
Use ES2 Vector Envelope loop controls in Logic Pro for iPad
The Vector Envelope can run in one-shot mode, as long as the note is sustained; it can
be set to repeat a specific number of times or it can repeat indefinitely, much like an LFO
modulation. You can create repetitions with the loop functions.
Although the loop parameters seem similar to the loop parameters available for samples,
there are significant differences between them. The Vector Envelope only supplies control
signals that are used to move the gray dot positions of the Oscillator Mix pad and Mod Pad.
The audio output of the ES2 is not looped in any way.
Any point can be declared the Loop point. Provided that the note is held for a suitable
length of time, portions of the envelope can be repeated, or looped.
The looped area spans the time between the Sustain point and the Loop point. In
between these points you can define several points that describe control point (gray dot)
movements in the Oscillator Mix pad and the Mod Pad.
Define a Vector Envelope point as the Loop point
• In Logic Pro, drag the Loop Seg slider to the point value that you want to use as the loop
point.
Logic Pro User Guide for iPad 697
Set a Vector Envelope Loop mode
• In Logic Pro, tap a Loop Mode button.
• Off: When Loop mode is set to Off, the Vector Envelope runs in one-shot mode from
beginning to end, if the note is held long enough to complete all envelope stages.
The other loop parameters are disabled.
• Fwd: When Loop mode is set to Forward, the Vector Envelope runs from the
beginning to the Sustain point, and then begins to periodically repeat the section
between the Sustain point and the Loop point in a forward direction.
• Bwd: When Loop mode is set to Backward, the Vector Envelope runs from the
beginning to the Sustain point, and then begins to periodically repeat the section
between the Sustain point and the Loop point in a backward direction.
• Altern: When Loop mode is set to Alternate, the Vector Envelope runs from the
beginning to the Sustain point and then periodically switches to the Loop point, then
back to the Sustain point, alternating between backward and forward directions.
Set the Vector Envelope Loop Rate
You can set a defined speed for the Vector Envelope loop cycle. You can also synchronize
the loop speed with the project tempo.
• In Logic Pro, rotate the Loop Rate knob to choose one of the following:
• As set: The loop cycle length equals the sum of the times between the sustain and
Loop points.
• Rhythmic: Rotate Loop Rate to the left to choose a rhythmic value. The loop rate
follows the project tempo. You can choose from 32 bars up to a 64th triplet note
value.
• Free: Rotate Loop Rate to the right to set a value (shown in Hz). This indicates the
number of cycles per second.
Note: If Loop Rate is not switched to “as set,” and Loop mode (Forward, Backward,
or Alternate) is active, the times of points between the Loop and Sustain points (and
the Loop Smooth value) are shown as a percentage of the loop duration, rather than
in milliseconds.
Make smooth Vector Envelope loop transitions
• In Logic Pro, use the Loop Smooth knob to even out the transition from the Sustain
point to the Loop point in Forward or Backward loop mode.
• If the Loop Rate parameter is set to a synchronized value or Free, the loop-
smoothing time is displayed as a percentage of the loop cycle duration.
• If the Loop Rate parameter is “as set,” the loop-smoothing time is displayed in
milliseconds (ms).
Specify a Vector Envelope loop count
• In Logic Pro, use the Loop Count slider to determine a specified number of times the
Vector Envelope loop cycle will repeat.
Following the defined number of repetitions, the Vector Envelope runs from the Sustain
point onward. Possible values are 1 to 10 and “Infinite.”
Logic Pro User Guide for iPad 698
ES2 Vector Envelope stop mode in Logic Pro for iPad
You can set one of two release phase options in the Stop Mode pop-up menu: Normal or
Finish.
When the Stop Mode pop-up menu is set to Normal, the release phase—the phase after the
Sustain point—begins as soon as you release the key (note off). In other words, the release
phase starts from the Vector Envelope point where you released the key. The following
behaviors apply:
• If looping is turned off and the Vector Envelope reaches the Sustain point, the Sustain
point value is retained for as long as you hold a key.
• If looping is turned on and the Loop point is positioned before the Sustain point, the
loop cycles for as long as you hold a key.
• If looping is turned on and the Loop point is positioned after the Sustain point, the
Vector Envelope loop continues to cycle until the overall release phase of the sound, as
determined by the Envelope 3 Release parameter, has completed.
When the Stop Mode pop-up menu is set to Finish, the Vector Envelope does not
immediately begin the release phase when you release the key. Rather, it plays all points for
their full duration until the end point is reached, regardless of whether you hold the key or
release it. The following behaviors apply:
• If looping is turned off, the Sustain point is ignored. The Vector Envelope completes all
points up to the end point, regardless of whether you hold the key or release it.
• If looping is turned on, the Vector Envelope plays all points until it reaches the Loop
point, and then plays loop until the end point is reached. It does not matter if the Loop
point is positioned before or after the Sustain point.
• If looping is turned on, and Loop Count is set to a value other than “Infinite,” the Vector
Envelope continues on to the subsequent points—following completion of the specified
number of loop repetitions. If Loop Count is set to “Infinite,” the points after the loop are
irrelevant.
ES2 Vector Envelope curve shapes in Logic Pro for iPad
Tap the Curve pop-up menu to choose the shape of transitions from point to point. There
are nine convex and nine concave shapes.
You can also choose “hold+step” and “step+hold,” which allow stepped modulations.
• step+hold: This curve jumps at the beginning of the transition.
• hold+step: This curve jumps at the end of the transition.
Note: You can use “hold+step” to create stepped vector grooves—with up to 15 steps.
Logic Pro User Guide for iPad 699
Use ES2 Vector Envelope time scaling in Logic Pro for iPad
You can stretch and compress the entire Vector Envelope, which is faster than modifying
each point.
To double the Vector Envelope speed, set the Time Scale knob to 50%. Set it to 200% to
halve the speed.
• The Time Scale parameter ranges from 10% to 1000%. It is scaled logarithmically.
• If the Loop Rate knob is “as set,” scaling also affects the loop.
• If the Loop Rate knob is set to a free or synced value, the setting is not affected by the
Time Scale parameter.
Normalize the Vector Envelope time scale and loop rate with Fix Timing
• In Logic Pro, tap the Fix Timing button to multiply the Time Scale value by all time
parameters. The Time Scale parameter is reset to 100%.
There is no audible difference. This is simply a normalizing procedure.
In cases where the Loop Rate knob is set to a synced value, tapping the Fix Timing
button switches Loop Rate to “as set,” thus preserving the absolute rate.
Use the ES2 Mod Pad in Logic Pro for iPad
The Mod Pad has two axes—X (horizontal) and Y (vertical). Two user-defined parameters
can be modulated with the X and Y values, allowing you to use your finger like a joystick.
The X and Y axes have positive and negative value ranges. When you drag the control point
(gray dot), the values of both axes are continuously transmitted.
The Vector X and Vector Y Target pop-up menus in the Vector Envelope section determine
which parameter is modulated by control point (gray dot) movements in the Mod Pad.
These modulation targets are identical to those available in Mod Matrix Slots 1–10. See
ES2 oscillator modulation targets, ES2 filter modulation targets, and Other ES2 modulation
targets.
The position (coordinates) of the Mod Pad gray dot are also available in Mod Matrix Slots
1–10, as the Pad-X and Pad-Y source and via options. See ES2 modulation source reference
and Control ES2 modulation intensity.
The maximum intensity, sensitivity, and polarity of the modulation is set with the Vector X
and Vector Y Amount knobs in the Vector Envelope section.
Logic Pro User Guide for iPad 700
Set the ES2 Mod Pad modulation intensity
• In Logic Pro, rotate the Vector X and Vector Y Amount knobs.
Use a negative value to invert the modulation polarity.
Modulation target reference
ES2 oscillator modulation targets in Logic Pro for iPad
The table outlines all oscillator-related modulation targets.
Target Comments
Pitch123 Modulates the frequencies (pitch) of all three oscillators. If you select an
LFO as the source, this target leads to siren or vibrato sounds. Select one
of the envelope generators with zero attack, short decay, zero sustain,
and short release as the source for tom and kick drum sounds.
Pitch 1 Modulates the frequency (pitch) of oscillator 1. Slight envelope
modulations can make the amount of detuning change over time, when
oscillator 1 is sounding in unison with another (unmodulated) oscillator.
This also applies to the other Pitch targets and is particularly useful for
synthesizer brass sounds.
Pitch 2 Modulates the frequency (pitch) of oscillator 2.
Pitch 3 Modulates the frequency (pitch) of oscillator 3.
Detune Controls the amount of detuning between all three oscillators. The
sensitivity of all pitch modulation targets is determined by the modulation
intensity. This is scaled as per the lists below, allowing you to create very
delicate vibrati in the cent range (1/100 semitone), and huge pitch jumps
by octaves.
• Modulation intensity from 0 to 8: steps are 1.25 cents.
• Modulation intensity from 8 to 20: steps are 3.33 cents.
• Modulation intensity from 20 to 28: steps are 6.25 cents.
• Modulation intensity from 28 to 36: steps are 12.5 cents.
• Modulation intensity from 36 to 76: steps are 25 cents.
• Modulation intensity from 76 to 100: steps are 100 cents.
This leads to the following rules of thumb for modulation intensity values.
• Intensity of 8 equals a pitch shift of 10 cents.
• Intensity of 20 equals a pitch shift of 50 cents (one quarter tone).
• Intensity of 28 equals a pitch shift of 100 cents (one semitone).
• Intensity of 36 equals a pitch shift of 200 cents (two semitones).
• Intensity of 76 equals a pitch shift of 1,200 cents (one octave).
• Intensity of 100 equals a pitch shift of 3,600 cents (three octaves).
OscWaves Depending on the waveforms set in the three oscillators, this target can be
used to modulate:
• The pulse width of rectangular and pulse waves
• The amount of frequency modulation (oscillator 1 only)
• Noise color (oscillator 3 only)
• The position of the Digiwaves
OscWaves affects all oscillators simultaneously.
For further information about the effects of these modulations, see Use
ES2 pulse width modulation, Use ES2 frequency modulation, and Use the
ES2 noise generator.
Logic Pro User Guide for iPad 701
Target Comments
Osc1Wave Depending on the waveform selected for oscillator 1, you can control the
pulse width of rectangular and pulse waves, the amount of frequency
modulation, or the position of the Digiwave. In classic FM synthesizers
the amount of FM is controlled in real time by velocity-sensitive envelope
generators. Select one of the ENVs as the source for such sounds.
Osc2Wave The same as Osc1Wave, except that oscillator 2 does not feature FM.
Note that pulse width modulation also works with both the synchronized
rectangular and ring-modulated rectangular waves.
Osc3Wave Oscillator 3 is the same as Osc1Wave and Osc2Wave except that it does
not feature FM or ring modulation. Oscillator 3 features noise, the color of
which can be modulated with this parameter.
OscWaveB The transitions between Digiwaves during a wavetable modulation (where
you switch between different Digiwaves) are always smooth. You can
use the OscWaveB target to continuously modulate the shape of the
transitions from smooth to hard. This target applies to all oscillators.
Osc1WaveB If wavetable modulation is active for a Digiwave (using the Osc1Wav
target), you can use this target to modulate the shape of the transition.
When you’re frequency-modulating oscillator 1, the Osc1WaveB target
offers much higher FM intensities than either the Osc1 FM or the
Osc1Wave targets.
Osc2WaveB The same as above for a Digiwave using the Osc2Wav target.
Osc3WaveB The same as above for a Digiwave using the Osc3Wav target.
SineLev1 SineLevl (Sine Level) allows the sine wave level of oscillator 1 to be
modulated. The parameter defines the level of the first partial tone of
oscillator 1. See Enhance ES2 sounds with Sine Level.
OscLScle OscLScle (Osc Level Scale) modulates the levels of all three oscillators
simultaneously. A modulation value of 0 mutes all oscillators, whereas a
value of 1 raises the gain of the entire mix by 12 dB. The modulation is
applied before the overdrive stage, allowing for dynamic distortions.
Osc1Levl (Osc 1 Level) allows modulation of oscillator 1 level.
Osc2Levl (Osc 2 Level) allows modulation of oscillator 2 level.
Osc3Levl (Osc 3 Level) allows modulation of oscillator 3 level.
ES2 filter modulation targets in Logic Pro for iPad
The table outlines all filter-related modulation targets.
Target Comments
Cutoff 1 Modulates the Cutoff Frequency parameter of Filter 1. See Filter cutoff and
resonance.
Resonance 1 (Reso 1) Modulates the Resonance parameter of Filter 1.
Cutoff 2 Modulates the Cutoff Frequency parameter of Filter 2.
Resonance 2 (Reso 2) Modulates the Resonance parameter of Filter 2.
LPF FM Determines the intensity of the lowpass filter frequency modulation (LPF
FM) of Filter 2—with a sine wave (at the same frequency as oscillator 1).
This parameter is described in Modulate ES2 Filter 2 frequency.
Logic Pro User Guide for iPad 702
Target Comments
Cut 1+2 Modulates the cutoff frequency of both filters in parallel. This is like
applying the same modulation to Cutoff 1 and Cutoff 2 in two modulation
routings.
Cut1inv2 Cut1inv2 (Cutoff 1 normal and Cutoff 2 inverse) simultaneously modulates
the cutoff frequencies of the first and second filters inversely (in opposite
directions). Put another way, when Filter 1 cutoff frequency is rising, the
cutoff of Filter 2 falls, and vice versa.
In cases where you have combined Filter 1, defined as a highpass filter,
and Filter 2 in serial mode, both act as a bandpass filter. Modulating the
Cut1 inv 2 target results in a modulation of the bandpass filter bandwidth.
Filter Blend (FltBlend) modulates the Filter Blend parameter. See Crossfade between
ES2 filters.
Other ES2 modulation targets in Logic Pro for iPad
The table outlines all other modulation targets.
Target Comments
Amp This target modulates the dynamic stage, or level of voices. If you select
Amp as the target and modulate it with an LFO as the source, the level
changes periodically, and you hear a tremolo.
Pan This target modulates the panorama position of the sound in the stereo
spectrum. Modulating Pan with an LFO results in a stereo tremolo (auto
panning). In unison mode, the panorama positions of all voices are spread
across the stereo spectrum. Nevertheless, Pan can still be modulated,
with positions being moved in parallel.
LFO1Asym (LFO1 Asymmetry) can modulate the selected waveform of LFO 1. If a
square wave, it changes pulse width. If a triangle wave, it sweeps between
triangle and sawtooth. If a sawtooth wave, it shifts its zero crossing.
LFO1Curve This target modulates the waveform smoothing of the square and random
wave. If the LFO is using a triangle or sawtooth wave, it changes between
convex, linear, and concave curves.
Scaled ES2 modulation targets in Logic Pro for iPad
All modulation targets outlined in this table result in a scaled modulation, which means that
the target parameter value is multiplied by the modulation value. This works as follows: a
modulation value of 0.0 results in no change, a modulation value of +1.0 equals a 10x
multiplication, and a modulation value of −1.0 equals a multiplication by 0.04.
Target Comments
LFO1Rate This target modulates the frequency (rate) of LFO 1. You can automatically
accelerate or slow down LFO 1 rate by modulating the LFO1Rate target
with one of the envelope generators (ENV) or with LFO2.
Env2Atck (Envelope 2 Attack) modulates the attack time of the second envelope
generator.
Logic Pro User Guide for iPad 703
Target Comments
Env2Dec (Envelope 2 Decay) modulates the decay time of the second envelope
generator. In cases where you’ve selected Env2Dec as the target and
Velocity as the source, the duration of the decaying note is dependent on
how hard you strike the key. Selecting Keyboard as the source results in
higher notes decaying more quickly (or slowly).
Env2Rel Env2Rel (Envelope 2 Release) modulates the release time of the second
envelope generator.
Env2Time Env2Time (Envelope 2 All Times) modulates all ENV2 time
parameters: Attack, Decay, Sustain, and Release times.
Env3Atck Env3Atck (Envelope 3 Attack) modulates the Attack time of ENV3.
Env3Dec Env3Dec (Envelope 3 Decay) modulates the Decay time of ENV3.
Env3Rel Env3Rel (Envelope 3 Release) modulates the Release time of ENV3.
Env3Time Env3Time (Envelope 3 All Times) modulates all ENV3 time
parameters: Attack, Decay, Sustain, and Release times.
Glide This target modulates the duration of the Glide (portamento) effect. If you
modulate Glide, with Velocity selected as the source, the speed of the
keystrike determines the time it takes for the played notes to reach the
target pitch.
ES2 modulation source reference in Logic Pro for iPad
The table outlines all modulation sources.
Source Comment
LFO1 LFO 1 is used as a source.
LFO2 LFO 2 is used as a source.
ENV1 Envelope Generator 1 is used as a source.
ENV2 Envelope Generator 2 is used as a source.
ENV3 Envelope Generator 3 is used as a source. Envelope Generator 3 always
controls the level of the overall sound.
Pad-X, Pad-Y Define the axes of the Mod Pad as modulation sources for the selected
modulation target. See Use the ES2 Mod Pad and Use the ES2 Vector
Envelope.
Max Max sets the value of this source to +1. This offers interesting options for
controlling the modulation intensity with all possible via values.
Kybd Kybd (Keyboard) outputs the keyboard position (the MIDI note number).
The center point is C3 (an output value of 0). Five octaves below and
above, an output value of −1 or +1, respectively, is sent. Modulate the
Cut 1+2 target with the Kybd source to control the cutoff frequencies
of the filters with the keyboard position—as you play up and down the
keyboard, the cutoff frequencies change. A modulation intensity of 0.5
proportionately scales cutoff frequencies with keyboard note pitches.
Velo Velocity sensitivity serves as a modulation source.
Logic Pro User Guide for iPad 704
Source Comment
Bender The pitch bend wheel serves as a bipolar modulation source. This is also
true when the Bend Range parameter of the oscillators is set to 0.
ModWhl The modulation wheel serves as a modulation source. For most standard
applications, you’ll probably use the wheel as the via controller.
Traditionally, it is used to control the intensity of periodic LFO
modulations. Used here, it can be employed for direct, static modulations,
such as controlling both filter cutoff frequencies (Target = Cut 1+2).
Touch Aftertouch serves as a modulation source. ES2 reacts to polyphonic
aftertouch. If you set the Target to Cut 1+2, the cutoff frequencies rise
and fall, depending on how firmly you press a key on your touch-sensitive
MIDI keyboard—after the initial keystrike.
Whl+To Both the modulation wheel and aftertouch serve as modulation sources.
MIDI Controllers A-F MIDI controllers available in Mod Matrix Slot 1—10 are named Ctrl A–F
and can be assigned to arbitrary controller numbers. See Use ES2 macro
controls.
RndN01 RndNO1 (Note On Random1) outputs a random modulation value between
−1.0 and 1.0, that changes when a note is triggered or retriggered. The
(random) note-on modulation remains constant throughout the note
duration, until the next note-on trigger. There is no value change when
playing legato while in legato mode.
RndN02 RndNO2 (Note On Random 2) behaves like Note On Random1, but it glides,
rather than steps, to the new random value, using the Glide time (inclusive
of modulation). It also differs from Note On Random 1 in that the random
modulation value changes when playing legato while in legato mode.
SideCh SideCh (Side Chain modulation) uses a side chain signal as a modulation
(trigger) signal. The side chain source can be chosen from the Side Chain
pop-up menu in the plug-in menu bar. It is fed to the internal envelope
follower, which creates a modulation value based on the current side chain
input signal level.
ES2 via modulation source reference in Logic Pro for iPad
The outlined sources can be used to control the modulation intensity.
Via source Comment
LFO1 The modulation undulates at the speed and waveform of LFO 1, which
controls the modulation intensity.
LFO2 The modulation undulates at the speed and waveform of LFO 2, which
controls the modulation intensity.
ENV1 ENV1 controls the modulation intensity.
ENV2 ENV2 controls the modulation intensity.
ENV3 ENV3 controls the modulation intensity.
Pad-X, Pad-Y Both axes of the Mod Pad are also available as via sources, allowing you to
control modulation intensities with them.
Logic Pro User Guide for iPad 705
Via source Comment
Kybd Kybd (Keyboard) outputs the keyboard position (the MIDI note number).
The center point is C3 (an output value of 0). Five octaves below and
above, an output value of −1 or +1, respectively, is sent. If you select
Pitch123 as the target, modulate it with the LFO1 source, and select
Keyboard as the via value, the vibrato depth changes, depending on the
key position. Put another way, the vibrato depth is different for notes
higher or lower than the defined Keyboard position.
Velo If you select Velo (Velocity) as the via value, the modulation intensity is
velocity sensitive—modulation is more or less intense depending on how
quickly (how hard) you strike the key.
Bender The pitch bend wheel controls the modulation intensity.
ModWhl If you select ModWhl (Modulation Wheel) as the via value, the modulation
intensity is controlled by your MIDI keyboard mod wheel.
Touch If you select Touch (Aftertouch) as the via value, the modulation intensity
is touch sensitive—modulation is more or less intense depending on how
firmly you press the key of your touch-sensitive MIDI keyboard after the
initial keystrike (aftertouch is also known as pressure sensitivity).
Whl+To Both the modulation wheel and aftertouch control the modulation
intensity.
MIDI Controllers A-F MIDI controllers available in Mod Matrix Slot 1—10 are named Ctrl A–F,
rather than Expression, Breath, and General Purpose 1–4 (MIDI Control
Change Messages 16 to 19 are also known as General Purpose Slider
1/2/3/4). These can be assigned to arbitrary controller numbers with the
Controller Assignments pop-up menus.
RndN01 RndNO1 (Note On Random1) outputs a random modulation intensity
value between −1.0 and 1.0, which changes when a note is triggered or
retriggered. The random note-on modulation remains constant throughout
the note duration, until the next note-on trigger. Note: There is no value
change when playing legato while in legato mode.
RndN02 RndNO2 (Note On Random 2) behaves like Note On Random1, but it glides,
rather than steps, to the new random intensity value, using the Glide time
(inclusive of modulation). It also differs from Note On Random 1 in that
the random modulation value changes when playing legato while in legato
mode.
SideCh SideCh (Side Chain modulation) uses a side chain signal as a modulation
intensity (trigger) signal. The side chain source can be chosen from the
Side Chain pop-up menu in the plug-in menu bar. It is fed to the internal
envelope follower, which creates a modulation value based on the current
side chain input signal level.
Logic Pro User Guide for iPad 706
Create random sound variations
Use ES2 randomization parameters in Logic Pro for iPad
ES2 offers a powerful feature that enables you to randomly vary sound parameters. You
can define the amount of random variation and can restrict variations to specific sonic
elements. The random sound variation feature can inspire and aid you when creating new
sounds.
Set the amount of random parameter alteration with the RND Intensity knob.
The random sound variation feature always alters parameters as they are currently set, not
based on the original setting file. Therefore, tapping the RND Trigger button repeatedly
results in a sound that increasingly differs from the original setting.
Randomly alter a sound in ES2
• In Logic Pro, tap the RND Trigger button.
The randomize process is triggered by a single tap and can be repeated as often as you
like.
Increase the amount of random variation in ES2
• In Logic Pro, set a higher value with the RND Intensity knob.
Create several slight variations of the current setting in ES2
• In Logic Pro, reload the original setting after each random alteration, saving each with a
new name.
Restrict ES2 randomization in Logic Pro for iPad
You can restrict randomization to particular groups of parameters with the RND Group pop-
up menu.
Some aspects of your sound may already be ideal for the sound you had in mind. For
example, your sound setting has a nice percussiveness, and you’d like to try a few sonic
color variations while retaining this percussive feel. To avoid the random variation of any
attack times, you can restrict the variation to oscillator or filter parameters. You do this by
setting the RND Group to Waves or Filters, thus excluding the envelope parameters from
the variation process.
Note: The Master Level, Filter Bypass, and oscillator on/off parameters are never
randomized. Also, randomizations of the Vector Envelope turn the Point Solo parameter off.
Logic Pro User Guide for iPad 707
You can restrict random sound variations to the parameter groups outlined below:
Randomize Group Comments
All All parameters, with the exception of those mentioned above, are
randomized.
All except Mod Matrix+Pitch All parameters, with the exception of router parameters and the basic
pitch (semitone settings of the oscillators), are altered. Oscillator fine-
tuning is, however, randomized.
All except Vector Env All parameters, with the exception of Vector Envelope parameters, are
altered. This maintains the rhythmic feel of a given setting.
Waves Only the oscillator Wave and Digiwave parameters are altered. Other
oscillator parameters (tuning, mix, and modulation routings in the router)
are excluded.
Digiwaves New Digiwaves are selected for all oscillators. Other oscillator parameters
(tuning, mix, and modulation routings in the router) are excluded.
Filters The following filter parameters are varied: Filter Structure (series or
parallel), Filter Blend, Filter Mode, Cutoff Frequency, and Resonance for
Filters 1 and 2. The Fatness and Filter FM parameters of Filter 2 are also
randomized.
Envs All parameters of all three envelopes (ENV 1, ENV 2, and ENV 3) are
randomized. The Vector Envelope is excluded.
LFOs All parameters of both LFOs are varied.
Mod Matrix All parameters—in all modulation routings—are varied (all intensities,
target, via, and source parameters are changed).
FX All effects parameters are randomized.
Vector Envelope All Vector Envelope parameters are varied, including the X/Y routing of the
Planar Pad.
Vector Env Mix Pad The oscillator mix levels of the Vector Envelope points are altered. The
rhythm and tempo of the modulation (the time parameters of the points)
are not changed.
Vector Env XY Pad Options The X and Y values of Vector Envelope points are randomized. The X/Y
routing, however, is not changed. The rhythm and tempo of the modulation
(the time parameters of the points) are also left unaltered.
You can specify a single direction for randomization by choosing either:
• Vector Env XY Pad X only
• Vector Env XY Pad Y only
Vec Env Times Only the time parameters of the Vector Envelope points are altered.
Vec Env Structure The Vector Envelope structure is altered. This includes: All times, the
Sustain point, the number of points, and all loop parameters.
Vec Env Shuffle Times The Vector Envelope shuffle times (within loops) are altered. This includes
the Loop Smooth value, if Loop Mode is set to Fwd or Bwd.
Logic Pro User Guide for iPad 708
Macro controls and controller assignments
Use ES2 macro controls in Logic Pro for iPad
The macro knobs provide quick access to several linked, related parameters.
When you rotate any of the macro controls, one or more parameters in the ES2 interface
update. For example, adjusting the Detune macro control simultaneously affects the Analog
parameter and the Semitone and Detune oscillator parameters.
The macro parameters are settings-compatible with ES2-based GarageBand instruments. In
other words, you can use the ES2 and some GarageBand synthesizer settings interchangeably.
Important: The impact of each macro control is completely dependent on the parameter
values of the current setting. In some patches, a number of macro controls may have no
effect.
Set ES2 controller assignments in Logic Pro for iPad
The Controller Assignments area lets you assign MIDI keyboard knobs, sliders, and other
controls to act as control sources for ES2 parameters. There are six pop-up menus, for
Ctrl A to Ctrl F. You can use any available MIDI controller for these control sources.
Ctrl A Assign to Ctrl F Assign parameters are saved with each setting. They are updated
only if the default setting that is loaded on instantiating the plug-in is used or if the setting
was saved with a project. This approach helps you to adapt all MIDI controller assignments
to the keyboard, without having to edit and save each setting separately.
Controllers 0 and 32 are reserved for Bank Select messages, controller 1 is used as
modulation source in Mod Matrix Slot 1—10, controllers 33 to 63 work as LSB for
controllers 1 to 31, controllers 64 to 69 are reserved for pedal messages, controllers 120 to
127 are reserved for channel mode messages.
In the MIDI specification, all controllers from 0 to 31 are known as Most Significant Byte
(MSB) controller definitions. Each of these controllers (0 to 31) also contains a Least
Significant Byte (LSB) controller definition (32 to 63). Use of this secondary LSB controller
in conjunction with the MSB controller allows for a resolution of 14 bits instead of 7 bits.
ES2 recognizes these control change messages—the breath or expression controllers, for
example.
To explain:
• 14-bit controllers are pairs of normal Control Change (CC) messages, where the number
of the second CC message (the LSB) is 32 higher than the first CC message (the MSB).
Examples of valid 14-bit pairs are: CC1/33, CC7/39, and CC10/42.
• 14-bit controllers have a resolution of 16,384 steps, allowing very precise control of
plug-in parameters. The first CC message of a 14-bit pair (the MSB) has a coarse
resolution of 128 steps. Each of these steps can be divided into a further 128 substeps
using the second CC message (the LSB). This results in 128 x 128 = 16,384 steps.
Logic Pro User Guide for iPad 709
• You don’t need to create new, or special, data types to use 14-bit controllers. The finer
resolution is achieved by complementing the assigned CC message (the MSB) with its
LSB. The CC message assigned in ES2 can always be used alone if your MIDI controller
isn’t capable of sending 14-bit messages, thus limiting the resolution to 7-bit = 128
steps.
The 14-bit capability is the reason why CC numbers 33–63 can’t be assigned in the
Ctrl A–F Assign pop-up menus. Using these (LSB) CC numbers would result in changing
1/128th of the parameter range—or put another way, 128 continuous steps out of 16,384.
Assign a MIDI controller in ES2
1. In Logic Pro, choose the controller name or number that you want to use from any Ctrl A
to Ctrl F Assign pop-up menu.
Learn a MIDI controller assignment in ES2
1. In Logic Pro, choose the -Learn- item from a Ctrl A to Ctrl F Assign pop-up menu.
2. Move the selected controller on your MIDI keyboard or controller.
Note: If no suitable MIDI message is received within 20 seconds, the selected control
reverts to the previous value/assignment.
ES2 MIDI Mono Mode in Logic Pro for iPad
ES2 provides additional parameters that determine the way it responds to incoming MIDI
Polyphonic Expression (MPE) data.
MIDI Mono Mode (MPE) parameters
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either mode, each voice receives on a different MIDI channel. Per-voice channels
support pitchbend, aftertouch, mod wheel, and Ctrl A-F assignment messages. See Set
ES2 controller assignments. Controllers and MIDI messages sent on the base channel
affect all voices.
• Pitch Bend Range knob: Set a value from 0 to 96.
The chosen pitch bend range affects individual note pitchbend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which is
compatible with the GarageBand for iOS keyboard in pitch mode. When using a MIDI
guitar, 24 semitones is the preferable setting because most guitar to MIDI converters
use this range by default.
Logic Pro User Guide for iPad 710
EVOC 20 Polysynth
EVOC 20 Polysynth in Logic Pro for iPad
EVOC 20 PS combines a vocoder with a polyphonic synthesizer and can be played in
real time.
It can create classic vocoder sounds, made famous by groups such as Kraftwerk during
the 1970s and 1980s. Vocoding remains popular in current electronic, hip-hop, R & B, and
other music styles.
EVOC 20 PS “listens” to an incoming audio signal—typically of a spoken or sung
performance—and imposes the sonic characteristics and level changes of this signal onto
the integrated synthesizer.
When you play notes and chords with your MIDI keyboard, the internal synthesizer “sings”
at the pitches of incoming MIDI notes, but with the articulations—level changes, vowel and
consonant sounds—of the incoming audio signal. This results in the classic “singing robot”
or “synthetic voice” sounds that vocoders are mainly known for.
EVOC 20 PS can also be used as a synthesizer, or it can be used for more subtle effects
processing—such as the creation of relatively natural-sounding vocal harmonies from a
solo voice performance. Not limited to vocal processing, you can also achieve interesting
results by processing other audio material, such as drum or instrument loops.
The EVOC 20 PS interface is divided into five main parameter sections.
• Synthesizer parameters: Control the polyphonic synthesizer of the EVOC 20 PS. See
EVOC 20 PS synthesis overview.
• Analysis Signal parameters: Determine how the input signal is analyzed and used by the
EVOC 20 PS. See EVOC 20 PS analysis controls.
• Vocoder Filter Bank parameters: Configure the analysis and synthesis filter banks. See
EVOC 20 PS formant filter.
Logic Pro User Guide for iPad 711
• Output parameters: Configure the output signal of the EVOC 20 PS. See EVOC 20 PS
output parameters.
• Global parameters: Set global tuning, bend range, and other controls. See EVOC 20 PS
global parameters.
Set up EVOC 20 PS
To add EVOC 20 PS to your project, choose it from the Instrument > Synthesizer submenu
in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins. You also need to
provide an audio signal as the analysis audio source, via a side chain.
Also see EVOC 20 PS performance tips.
1. In Logic Pro, insert EVOC 20 PS into the Instrument slot of an instrument channel strip.
2. Choose an input source from the Side Chain pop-up menu in the plug-in toolbar. This
can be an audio track, live input, or bus.
EVOC 20 PS is now ready to accept incoming MIDI data and has been assigned to an
input, audio track, or bus—via a side chain.
3. Start playback, and play your MIDI keyboard.
If applicable, mute the audio track serving as the side chain input.
4. Adjust the volume levels of EVOC 20 PS and the side chain source—if not muted—to
meet your needs.
5. To further enhance the sound, adjust the knobs, sliders, and other controls, and insert
other effect plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Vocoder basics
The word vocoder is an abbreviation for voice encoder. A vocoder analyzes and transfers
the sonic character of the audio signal arriving at its analysis input to synthesizer sound
generators. The result of this process is heard at the output of the vocoder.
The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as
the synthesis signal. This sound was popularized in the late 1970s and early 1980s. You
may be familiar with tracks such as “O Superman” by Laurie Anderson, “Funkytown” by
Lipps Inc., and numerous Kraftwerk pieces—such as “Autobahn,” “Europe Endless,” “The
Robots,” and “Computer World.”
In addition to these “singing robot” sounds, vocoding has also been used in many films—
such as with the Cylons in Battlestar Galactica, and most famously, with the voice of Darth
Vader from the Star Wars saga. See Vocoder history.
Vocoding, as a process, is not strictly limited to vocal performances. You could use a drum
loop as the analysis signal to shape a string ensemble sound arriving at the synthesis input.
Logic Pro User Guide for iPad 712
The speech analyzer and synthesizer features of a vocoder are two bandpass filter banks.
Bandpass filters allow a frequency band—a slice in the overall frequency spectrum—to pass
through unchanged. Frequencies that fall outside the band are cut.
In the EVOC 20 plug-ins, these filter banks are named the analysis and synthesis banks.
Each filter bank has a matching number of corresponding bands—if the analysis filter bank
has five bands (1, 2, 3, 4, and 5), there is a corresponding set of five bands in the synthesis
filter bank. Band 1 in the analysis bank is matched to band 1 in the synthesis bank, band 2
to band 2, and so on.
The audio signal arriving at the analysis input passes through the analysis filter bank,
where it is divided into bands.
An envelope follower is coupled to each filter band. The envelope follower of each band
tracks, or follows, volume changes in the audio source—or, more specifically, the portion of
the audio that has been allowed to pass by the associated bandpass filter. In this way, the
envelope follower of each band generates dynamic control signals.
These control signals are then sent to the synthesis filter bank—where they control the
levels of the corresponding synthesis filter bands. This is done with voltage-controlled
amplifiers (VCAs) in analog vocoders. Volume changes to the bands in the analysis filter
bank are imposed on the matching bands in the synthesis filter bank. These filter level
changes are heard as a synthetic reproduction of the original input signal—or a mix of the
two filter bank signals.
The more bands a vocoder offers, the more precisely the original sound character is
reproduced by the synthesis filter bank. EVOC 20 PS provides up to 20 bands per bank.
See EVOC 20 block diagram for a detailed image of the EVOC 20 PS signal path.
Logic Pro User Guide for iPad 713
Synthesizer parameters
EVOC 20 PS synthesis overview in Logic Pro for iPad
EVOC 20 PS is equipped with a polyphonic synthesizer that accepts MIDI note input.
Synthesizer section parameters are outlined below.
The EVOC 20 PS Synthesizer section contains the following grouped parameters:
• Oscillator parameters: Determine the basic waveforms and operating mode for the
synthesis engine of EVOC 20 PS. See EVOC 20 PS oscillators.
• Lowpass Filter parameters: Shape the basic waveforms of the oscillators with a lowpass
filter. See EVOC 20 PS lowpass filter.
• Envelope parameters: Control the level of the attack and release phases of the
synthesizer sound. See EVOC 20 PS envelope.
• Synthesizer LFO parameters: Control the pitch of the synthesizer oscillators. See
EVOC 20 PS pitch modulation.
EVOC 20 PS oscillators in Logic Pro for iPad
You can switch EVOC 20 PS oscillators between dual mode and FM mode. These operating
modes change both the behavior and sound of the synthesis engine. An integrated noise
generator can be used to add a further color to your sound.
The EVOC 20 PS Synthesizer section also incorporates a lowpass filter, an envelope, and a
dedicated pitch modulation (vibrato) LFO.
Logic Pro User Guide for iPad 714
Main oscillator parameters
• Osc 1/2 Wave knobs and fields: Choose the waveform type for oscillators 1 and 2. There
are 50 single-cycle digital waveforms with different sonic characteristics.
• 16’, 8’, 4’ value buttons: Set the octave range for oscillator 1. 16’ (16 feet) is the lowest,
and 4’ the highest setting. The use of the term feet to determine octaves comes from
the measurements of organ pipe lengths. The longer and wider the pipe, the deeper the
tone.
• Synthesis buttons: Choose the synthesis mode.
• Dual mode: Each oscillator allows you to choose a digital waveform. See EVOC 20 PS
oscillator dual mode.
• FM mode: Oscillator 1 generates a sine wave. The frequency, or pitch, of oscillator 1
is modulated by oscillator 2. This leads to a number of different tones and harmonics
becoming audible. Oscillator 2 can use any available digital waveform. See EVOC 20
PS oscillator FM mode and Frequency modulation (FM) synthesis).
Each mode changes the parameters shown in the Synthesizer section.
EVOC 20 PS oscillator dual mode in Logic Pro for iPad
In dual mode, each oscillator can use any of 50 digital waveforms.
Dual mode oscillator parameters
• Osc2 Semitone knob and field: Adjust the tuning of oscillator 2 in semitone steps.
• Detune knob and field: Fine-tune both oscillators in cents. One hundred cents equals
one semitone step.
• Osc Mix slider and field: Set the level balance between the two oscillator signals.
Logic Pro User Guide for iPad 715
EVOC 20 PS oscillator FM mode in Logic Pro for iPad
In FM mode, oscillator 1 generates a sine wave. The Osc 1 Wave knob has no effect in
this mode.
FM mode oscillator parameters
• Ratio Coarse knob and field: Adjust the frequency ratio between oscillator 2 and
oscillator 1 in semitone steps.
• Ratio Fine knob and field: Adjust the frequency ratio between oscillator 2 and
oscillator 1 in cents. One hundred cents equals one semitone step.
• Osc Mix/FM slider and field: Set the intensity of frequency modulation (FM). Higher
values result in a more complex waveform with more overtones.
EVOC 20 PS noise generator in Logic Pro for iPad
The EVOC 20 PS Synthesizer section noise generator provides a further sound source that
can be used alongside the two oscillators.
Important: The noise generator in the Synthesizer section is independent of the noise
generator found in the Output parameters. For further information about use of the Output
section noise generator for voiced and unvoiced signals, see EVOC 20 PS (U/V) detection.
Logic Pro User Guide for iPad 716
Noise generator parameters
• Noise Color knob and field: Set the timbre of the noise signal. Turn full-left to hear
white noise. Turn full-right to hear blue noise (high-passed noise). White noise has
traditionally been used to create wind and rain sound effects. It has the same energy
in each frequency interval. Blue noise sounds brighter, because its bass portion is
suppressed by a highpass filter.
Tip: Set Noise Color to the full-right position and Noise Volume to a very low value to
achieve a lively and fresh synthesis signal.
• Noise Volume knob and field: Control the amount of noise added to the signals of the
two oscillators.
EVOC 20 PS lowpass filter in Logic Pro for iPad
The EVOC 20 PS Synthesizer section includes a lowpass filter that is used for coarse signal
shaping before the signal is more precisely shaped by the individual bands of the formant
filter banks.
Synthesizer Filter parameters
• Cutoff knob and field: Set the cutoff frequency of the lowpass filter. Turn to the left
to remove high-frequency content from the synthesizer signal.
• Resonance knob and field: Boost or cut the signal portion that surrounds the
frequency defined by the cutoff knob.
Tip: Set cutoff as high as possible, then adjust resonance to achieve a brighter high-
end signal. This is useful for achieving better speech intelligibility.
Logic Pro User Guide for iPad 717
EVOC 20 PS envelope in Logic Pro for iPad
The EVOC 20 PS Synthesizer section includes an Attack/Release envelope generator that
controls the levels of the oscillators over time.
Synthesizer Envelope parameters
• Attack slider: Set the time it takes for the oscillators to reach their maximum level.
• Release slider: Set the time required for the oscillators to reach their minimum level,
after the keys have been released.
EVOC 20 PS pitch modulation in Logic Pro for iPad
EVOC 20 PS includes an LFO that is dedicated to pitch modulation (vibrato). It can either
run freely or can be synchronized with the project tempo.
Synthesizer Pitch Modulation parameters
• LFO Rate knob and field: Set the speed of modulation. Values to the left (of the
centered position) are synchronized with the host application tempo. These include
bar values, triplet values, and so on. Values to the right (of the centered position) are
nonsynchronized, and are displayed in hertz—cycles per second.
• LFO Waveform pop-up menu: Set the waveform type used for vibrato (pitch
modulation). You can choose from the following waveforms:
• Triangle
• Falling and rising sawtooth
Logic Pro User Guide for iPad 718
• Square up and down around zero (bipolar, good for trills)
• Square up from zero (unipolar, good for changing between two definable pitches)
• Random stepped waveform (S & H)
• Smoothed random waveform
• Min/Max Vibrato sliders and fields: Set the intensity of LFO pitch modulation. The Max
Vibrato slider determines the intensity when the modulation wheel is set to its maximum
value; the Min Vibrato slider determines the intensity when the modulation wheel is set
to its minimum value. This parameter is permanently assigned to the modulation wheel
of your MIDI keyboard, or corresponding MIDI data.
EVOC 20 PS analysis controls in Logic Pro for iPad
The parameters in the Analysis Signal section control how EVOC 20 PS analyzes and uses
the input signal. Be precise with these parameters to attain the best possible speech
intelligibility and the most accurate tracking.
Sidechain analysis parameters
• Attack knob: Determine how quickly each envelope follower—coupled to each analysis
filter band—reacts to rising signal levels. Longer attack times result in a slower tracking
response to transients—level spikes—of the analysis input signal. A long attack time on
percussive input signals—a spoken word or hi-hat part, for example—will translate into a
less articulated vocoder effect. Set the Attack parameter to the lowest possible value to
enhance articulation.
• Release knob: Determine how quickly each envelope follower—coupled to each analysis
filter band—reacts to falling signal levels. Longer release times cause the analysis input
signal transients to sustain for a longer period at the vocoder output. A long release
time on percussive input signals—a spoken word or hi-hat part, for example—will
translate into a less articulated vocoder effect. Use of extremely short release times
results in rough, grainy vocoder sounds. Release values of around 8 to 10 milliseconds
are useful starting points.
• Freeze button: Turn on to hold, or freeze, the current analysis sound spectrum
indefinitely. When Freeze is enabled, the analysis filter bank ignores the input source,
and the Attack and Release knobs have no effect.
Logic Pro User Guide for iPad 719
Freeze the input signal
Freezing the input signal lets you capture a particular characteristic of the signal, which
is then imposed as a complex sustained filter shape on the Synthesizer section. Here are
some examples of when this could be useful:
If you’re using a spoken word pattern as a source, the Freeze button could capture the
attack or tail phase of an individual word within the pattern—the vowel a, for example.
People cannot sustain sung notes indefinitely. To compensate for this human limitation, use
the Freeze button. If the synthesis signal needs to be sustained but the analysis source
signal—a vocal part—is not sustained, use the Freeze button to lock the current formant
levels of a sung note, even during gaps in the vocal part, between words in a vocal phrase.
The Freeze parameter can be automated, which may be useful in this situation.
• In Logic Pro, tap the Freeze button to hold, or sustain, the sound spectrum of the
analysis input signal.
Vocoder Filter Bank controls
EVOC 20 PS formant filter in Logic Pro for iPad
The EVOC 20 PS Vocoder Filter Bank section features two formant filter banks—one for
analysis and one for synthesis. Each bank provides up to 20 individual filters. The entire
frequency spectrum of an incoming signal is analyzed and is divided into a specified
number of (equally-sized) frequency bands. These analyzed filter bands are mirrored by a
corresponding number of bands in the synthesizer filter bank. Each filter bank controls the
peak levels—the formants—within these frequency bands.
The EVOC 20 PS Vocoder Filter Bank section provides an LFO that is dedicated to
modulation of the Formant Shift parameter. This offsets the analysis and synthesis filter
banks, enabling you to create rhythmic filter sweeps and phaser-like effects.
Logic Pro User Guide for iPad 720
Formant filter parameters
• Bands knob and field: Set the number of frequency bands (up to 20) used by the filter
banks.
• Low/High Frequency knobs and fields: Set the lowest and highest frequencies allowed
to pass by the formant filter. Frequencies outside these boundaries are cut.
• The Low/High Frequency knob values represent the frequency range for both
analysis and synthesis (unless Formant Stretch or Formant Shift is used).
• LowBand Mode buttons: Determine whether the lowest filter band acts as a bandpass or
lowpass filter. In bandpass mode, the frequencies above and below the highest band are
ignored. In lowpass mode, all frequencies above the highest band are filtered.
• HighBand Mode buttons: Determine whether the highest filter band acts as a bandpass
or highpass filter. In bandpass mode, the frequencies above and below the lowest band
are ignored. In highpass mode, all frequencies below the lowest band are filtered.
• Resonance knob and field: Determine the basic sonic character of the vocoder.
Low settings result in a softer character; high settings result in a sharper character.
Technically, increasing the Resonance value emphasizes the middle frequency of each
frequency band.
• Formant Shift knob and field: Move all bands in the synthesis filter bank up or down the
frequency spectrum.
• When Formant Shift is set to 0, the positions of the bands in the synthesis filter bank
match the positions of the bands in the analysis filter bank. Positive values move
the synthesis filter bank bands up in frequency, whereas negative values move them
down—in respect to the analysis filter bank band positions.
• Formant Stretch knob and field: Change the width and distribution of all bands in the
synthesis filter bank. This can be a broader or narrower frequency range than that
defined by the Low and High Frequency parameters.
• When Formant Stretch is set to 0, the width and distribution of the bands in the
synthesis filter bank match the width of the bands in the analysis filter bank. Low
values narrow the width of each band in the synthesis filter bank, whereas high
values widen the bands. The control range is expressed as a ratio of the overall
bandwidth.
When combined, Formant Stretch and Formant Shift alter the formant structure of the
resulting vocoder sound, which can lead to interesting timbral changes. For example, using
speech signals and tuning Formant Shift up results in “Mickey Mouse” effects.
Formant Stretch and Formant Shift are also useful if the frequency spectrum of the
synthesis signal does not complement the frequency spectrum of the analysis signal. You
could create a synthesis signal in the high-frequency range from an analysis signal that
mainly modulates the sound in a lower-frequency range, for example.
Note: The use of the Formant Stretch and the Formant Shift parameters can result in the
generation of unusual resonant frequencies when high Resonance settings are used.
Logic Pro User Guide for iPad 721
Set the number of filter bank bands
• In Logic Pro, use the Bands knob to set the number of frequency bands used by the
EVOC 20 PS filter bank.
The greater the number of frequency bands, the more precisely the sound can be
reshaped. As the number of bands is reduced, the source signal frequency range is
divided up into fewer bands, and the resulting sound is formed with less precision by
the synthesis engine. You may find that a good compromise between sonic precision—
allowing incoming signals such as speech and vocals to remain intelligible—and
resource usage is around 10 to 15 bands.
EVOC 20 PS filter modulation in Logic Pro for iPad
The formant filter LFO controls the Formant Shift parameter in the filter bank, enabling you
to produce dynamic phasing-like effects. It can either run freely or can be synchronized
with the project tempo.
Formant Filter modulation parameters
• LFO2 Rate knob and field: Set the speed of modulation. Values to the left (of the
centered position) are synchronized with the host application tempo. These include
bar values, triplet values, and so on. Values to the right (of the centered position) are
nonsynchronized, and are displayed in hertz—cycles per second.
Note: The ability to use synchronous bar values could be used to perform a formant
shift every four bars on a cycled one-bar percussion part, for example. Alternatively,
you could perform the same formant shift on every eighth-note triplet within the same
part. Either method can generate interesting results and lead to new ideas, or add life to
existing audio material.
• LFO2 Waveform pop-up menu: Select the waveform type used by the Shift LFO. You can
choose from the following waveforms for each LFO:
• Triangle
• Falling and rising sawtooth
Logic Pro User Guide for iPad 722
• Square up and down around zero (bipolar, good for trills)
• Square up from zero (unipolar, good for changing between two definable pitches)
• Random stepped waveform (S & H)
• Smoothed random waveform
• LFO->Formant knob and field: Define the amount of formant shift modulation by LFO2.
Output controls
EVOC 20 PS (U/V) detection in Logic Pro for iPad
Human speech consists of a series of voiced sounds—tonal sounds or formants—and
unvoiced (U/V) sounds. The main distinction between voiced and unvoiced sounds is that
voiced sounds are produced by an oscillation of the vocal cords, whereas unvoiced sounds
are produced by blocking and restricting the air flow with lips, tongue, palate, throat, and
larynx.
If speech containing voiced and unvoiced sounds is used as a vocoder analysis signal but
the synthesis engine doesn’t differentiate between voiced and unvoiced sounds, the result
sounds rather weak. To avoid this problem, the synthesis section of the vocoder must
produce different sounds for the voiced and unvoiced parts of the signal.
EVOC 20 PS includes an Unvoiced/Voiced detector for this specific purpose. This unit
detects the unvoiced portions of the sound in the analysis signal and then substitutes
the corresponding portions in the synthesis signal with noise, with a mixture of noise and
synthesizer signal, or with the original signal. If the U/V detector detects voiced parts, it
passes this information to the Synthesis section, which uses the normal synthesis signal
for these portions.
A formant is a peak in the frequency spectrum of a sound. In the context of human voices,
formants are the key component that enables humans to distinguish between different
vowel sounds—based purely on the frequency of the sounds. Formants in human speech
and singing are produced by the vocal tract, with most vowel sounds containing four or
more formants.
Logic Pro User Guide for iPad 723
U/V detection parameters
• U/V Sensitivity knob and field: Determine how responsive U/V detection is. Use higher
settings to recognize more of the individual, unvoiced portions of the input signal. When
high settings are used, the increased sensitivity to unvoiced signals can lead to the U/V
sound source being used on the majority of the input signal, including voiced signals.
Sonically, this results in a sound that resembles a radio signal that is breaking up and
contains a lot of static, or noise. The U/V sound source is determined by the Mode pop-
up menu.
• U/V Source pop-up menu: Choose the sound source used to replace the unvoiced
content in the input signal.
• Noise: Uses noise alone for the unvoiced portions of the sound.
• Noise + Synth: Uses noise and the synthesizer for the unvoiced portions of the
sound.
• Blend: Uses the analysis signal after it has passed through a highpass filter for the
unvoiced portions of the sound. The Sensitivity parameter has no effect when this
setting is used.
• U/V Level knob and field: Set the volume of the signal used to replace the unvoiced
content in the input signal.
Important: Take care with the Level knob, particularly when a high Sensitivity value is
used, to avoid internally overloading EVOC 20 PS.
EVOC 20 PS output parameters in Logic Pro for iPad
The Output section controls the type of signal, stereo width, and level of signal that is sent
from EVOC 20 PS. The Output section also has an integrated ensemble effect processor.
Output parameters
• Output Level knob and field: Set the overall volume of the output signal.
• Out buttons: Choose the signal that is sent to the main outputs.
• Voc(oder): Choose to hear the vocoder effect.
• Syn(thesis): Choose to hear only the synthesizer signal.
• Ana(lysis): Choose to hear only the analysis signal.
Note: The last two settings are mainly useful for monitoring purposes.
Logic Pro User Guide for iPad 724
• Stereo knob and field: Distribute the output signals of the Synthesis section filter bands
in the stereo field.
• At the 0 position to the left, the outputs of all bands are centered.
• At the centered position, the outputs of all bands ascend from left to right.
• At the Full position to the right, the bands are output—alternately—to the left and
right channels.
• Ensemble slider/switch: Turn the ensemble effect on or off and determine the type of
sound. The three slider/switch positions from top to bottom:
• II: Choose for a fuller and richer sound.
• I: Choose for a special chorus effect.
• Off: Choose to turn the ensemble effect off.
EVOC 20 PS global parameters in Logic Pro for iPad
The global parameters determine the keyboard mode and number of voices used by
EVOC 20 PS.
Global parameters
• Voices knob and field: Set the maximum number of voices in the numeric field (only
when Poly is turned on).
• Unison button: Turn Unison mode on or off.
• In Unison/Poly mode—where both the Unison and Poly buttons are active—each
voice is doubled. This cuts polyphony in half (to a maximum of eight voices, shown
in the Voices field). The doubled voices are detuned by the amount defined with the
Analog knob.
• In Unison/Mono mode—where both the Unison and Mono or Legato buttons are
active—up to 16 voices can be stacked and played monophonically. The Voices field
displays the number of stacked voices that are heard.
Important: Stacking voices in Unison/Mono mode increases the output volume. To
avoid overloading the instrument channel strip output, set a low Level slider value and
gradually increase it.
• Tune knob and field: Set the overall tuning in cents. One hundred cents equals one
semitone step.
• Analog knob and field: Set the amount of random pitch detuning. Analog simulates the
instability of analog circuitry found in vintage vocoders by randomly altering the pitch of
each note. This behavior is much like that of polyphonic analog synthesizers.
Logic Pro User Guide for iPad 725
• Kybd Mode switch: Determine the keyboard mode.
• Poly: When on, you can set the maximum number of voices with the Voices knob.
(When Mono or Legato is on, only a single voice is heard.)
• Mono: When on, Glide is always active and the envelopes are retriggered by every
note played (multi trigger behavior).
• Legato: When on, Glide is active only on tied notes. Envelopes are not retriggered
when tied notes are played (single trigger behavior).
• Glide knob and field: Determine the time it takes for the pitch to slide from one note to
another—portamento.
• Bender Range knob and field: Determine the pitch bend modulation range, in semitone
steps.
Performance tips
EVOC 20 PS level and frequency tips in Logic Pro for iPad
The tips in this section can help you achieve the best possible vocoder results with
EVOC 20 PS. Also see tips on avoiding sonic artifacts and enhancing speech intelligibility.
A vocoder always generates the intersection point of the analysis and synthesis signals.
If there’s no treble portion in the analysis signal, the resulting vocoder output also lacks
treble. This is also the case when the synthesis signal has a lot of high-frequency content.
Because this is true of each frequency band, the vocoder demands a stable level in all
frequency bands from both input signals to obtain the best results.
Achieving a great “classic” vocoder effect requires both the analysis and synthesis
signals to be of excellent quality, and it also requires care to be taken with the vocoder
parameters. These tips can help you achieve the best possible results.
• The less the level changes, the better the intelligibility of the vocoder. You should
therefore compress the analysis signal in most cases.
• Due to the way human hearing works, the intelligibility of speech is highly dependent
on the presence of high-frequency content. To aid in keeping speech clear, consider
using equalization to boost or cut particular frequencies in analysis signals before you
process them.
• If the analysis signal consists of vocals or speech, a simple shelving filter should
be sufficient to boost the high-mid and treble range, which is important for speech
intelligibility.
• If the synthesis signal lacks treble energy, it can be generated with a distortion
effect.
Logic Pro User Guide for iPad 726
Avoid sonic artifacts in EVOC 20 PS in Logic Pro for iPad
The tips in this section can help you achieve the best possible vocoder results with
EVOC 20 PS. Also see tips on setting level and frequency and enhancing speech
intelligibility.
A common problem with vocoder sounds involves sudden signal interruptions—ripping,
breaking sounds—and rapidly triggered noises during speech pauses.
The Release parameter defines the time it takes for a given synthesis frequency band to
decrease in level if the signal level of the respective analysis band decreases abruptly. The
sound is smoother when band levels decrease slowly. To achieve this smoother character,
use higher Release values in the Analysis section. Take care to avoid setting an over-long
release time, because this can result in a less distinct, washy sound. Use short Attack
values when a fast reaction to incoming signals is required.
If the analysis signal is compressed as recommended, the level of breath, rumble, and
background noise rises. These unwanted signals can cause the vocoder bands to open
unintentionally. To eliminate these artifacts, use a noise gate before using compression and
boosting the treble frequencies. If the analysis signal is gated appropriately, you may be
able to reduce the Release value.
When you gate speech and vocals with the Noise Gate plug-in, use Threshold to define
the level above which the gate opens, and use Hysteresis to define a lower Threshold level
below which the gate closes. The Hysteresis value is relative to the Threshold level.
Unwanted triggering by low or high frequency noise is avoided by the dedicated sidechain
filters of the Noise Gate plug-in.
Enhance speech intelligibility in EVOC 20 PS in Logic Pro for iPad
The tips in this section can help you achieve the best possible vocoder results with
EVOC 20 PS. Also see tips on setting level and frequency and avoiding sonic artifacts.
Keep these points in mind to achieve the best possible speech intelligibility:
• The spectra of the analysis and synthesis signals should almost completely overlap.
Coupling low male voices with synthesis signals in the treble range doesn’t work well.
• The synthesis signal must be constantly sustained, without breaks. The incoming side
chain signal should be played or sung legato, because breaks in the synthesis signal
stop the vocoder output. Alternatively, the Release parameter in the Synthesis section—
not the Release time in the Analysis section—can be set to a longer time. You can also
achieve nice effects by using a reverberation signal as a synthesis signal. Note that the
two latter methods can lead to harmonic overlaps.
• Do not overdrive the vocoder. This can happen easily, and distortion can occur.
Logic Pro User Guide for iPad 727
• Enunciate your speech clearly if the recording is to be used as an analysis signal.
Spoken words with a relatively low pitch work better than sung vocals—even if the
creation of vocoder choirs is your goal. Pronounce consonants well, as exemplified
in the rolled “R” of “We are the Robots,” by Kraftwerk, a classic vocoder track. This
exaggerated pronunciation was specifically made to cater to the vocoder.
• You can freely set formant parameters. Shifting, stretching, or compressing the
formants has a minimal effect on the intelligibility of speech, as does the number of
frequency bands. The reason for this is due to the human ability to differentiate the
voices of children, women, and men, whose skulls and throats vary. Such physical
differences cause variations in the formants that make up their voices. Human
perception, or recognition, of speech is based on an analysis of the relationships
between these formants. In the EVOC 20 plug-ins, these relationships are maintained
even when extreme formant settings are used.
Vocoder history
The development of the vocoder dates back to the 1930s in the telecommunications
industry.
Homer Dudley, a research physicist at Bell Laboratories in New Jersey, developed the
vocoder (short for voice encoder) as a research machine. It was originally designed to
test compression schemes for the secure transmission of voice signals over copper phone
lines.
It was a composite device consisting of an analyzer and an artificial voice synthesizer, as
follows:
• Parallel bandpass vocoder: A speech analyzer and resynthesizer.
• Vocoder speech synthesizer: A voice modeler, this valve-driven machine was played by
a human operator. It had two keyboards, buttons to recreate consonants, a pedal for
oscillator frequency control, and a wrist-bar to switch vowel sounds on and off.
The analyzer detected the energy levels of successive sound samples, measured over
the entire audio frequency spectrum via a series of narrow band filters. The results of this
analysis could be viewed graphically as functions of frequency against time.
The synthesizer reversed the process by scanning the data from the analyzer and
supplying the results to a number of analytical filters, hooked up to a noise generator. This
combination produced sounds.
In World War II, the vocoder (known then as the voice encoder) proved to be of crucial
importance, scrambling the transoceanic conversations between Winston Churchill and
Franklin Delano Roosevelt.
Werner Meyer-Eppler, the director of Phonetics at Bonn University, recognized the
relevance of the machines to electronic music—following a visit by Dudley in 1948. Meyer-
Eppler used the vocoder as a basis for his future writings which, in turn, became the
inspiration for the German “Elektronische Musik” movement.
In the 1950s, a handful of recordings ensued.
In 1960, the Siemens Synthesizer was developed in Munich. Among its many oscillators and
filters, it included a valve-based vocoding circuit.
Logic Pro User Guide for iPad 728
In 1967, a company called Sylvania created a number of digital machines that used time-
based analysis of input signals, rather than bandpass filter analysis.
In 1971, after studying Dudley’s unit, Bob Moog and Wendy Carlos modified a number of
synthesizer modules to create their own vocoder for the Clockwork Orange soundtrack.
Peter Zinovieff’s London-based company EMS developed a standalone—and altogether
more portable—vocoder. EMS is probably best known for the Synthi AKS and VCS3
synthesizers. The EMS Studio Vocoder was the world’s first commercially available
machine, released in 1976. It was later renamed the EMS 5000. Among its users were
Stevie Wonder and Kraftwerk. Stockhausen, the German “Elektronische Musik” pioneer,
also used an EMS vocoder.
Sennheiser released the VMS 201 in 1977, and EMS released the EMS 2000, which was a
cut-down version of its older sibling.
1978 saw the beginning of mainstream vocoder use, riding on the back of popularity
created through the music of Herbie Hancock, Kraftwerk, and a handful of other artists.
Among the manufacturers who jumped into vocoder production at this time are Synton/
Bode, Electro-Harmonix, and Korg, with the VC-10.
In 1979, Roland released the VP 330 ensemble/vocoder keyboard.
The late 1970s and early 1980s were the heyday of the vocoder. Artists who used them
included ELO, Pink Floyd, Eurythmics, Tangerine Dream, Telex, David Bowie, Kate Bush, and
many more.
On the production side, vocoders could—and can still—be picked up cheaply in the form of
kits from electronics stores.
From 1980 to the present, EMS in the UK, Synton in Holland, and PAiA in the USA have
been—and remain—the main flyers of the vocoding flag.
In 1996, Doepfer in Germany and Music and More joined the vocoder-producing fraternity.
From the late 1990s to the present, a number of standalone and integrated software-based
vocoders—like the EVOC 20—have appeared.
Logic Pro User Guide for iPad 729
EVOC 20 block diagram for Logic Pro for iPad
This block diagram illustrates the signal path in EVOC 20 TrackOscillator and EVOC 20 PS.
Logic Pro User Guide for iPad 730
Quick Sampler
Quick Sampler in Logic Pro for iPad
Quick Sampler lets you quickly create sampler instruments consisting of a single audio file.
You can drag a sample or Apple Loop from the Browser into Quick Sampler.
Quick Sampler offers independent control of pitch, filter, and amp parameters, coupled
with flexible sampler modes and modulation options. If you’re new to samplers,
synthesizers and the concepts behind modulation generators, such as LFOs and envelopes,
filters, and other components, see Intro to synthesizers.
Quick Sampler is inserted in instrument channel strips and is useful as both a playable
instrument and an audio manipulation utility. You can use it in a number of ways in your
productions, such as experimentation with Live Loops.
To add Quick Sampler to your project, choose it from the Instrument > Sample submenu in
an instrument channel strip or the Plug-ins area. See Intro to plug-ins.
In the Quick Sampler interface, you can see two primary sections:
• The upper section contains all sample-related functions, including the sampler mode,
the waveform display, and analysis, playback, mapping, and other options. See Choose
a Quick Sampler mode.
• The lower section contains two LFOs and Pitch, Filter, and Amp panes that each have
an independent envelope. A dedicated Mod Matrix pane provides extensive modulation
options. See Quick Sampler Mod Matrix pane.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 731
Add audio to Quick Sampler in Logic Pro for iPad
Quick Sampler provides two direct methods to add an audio file, Apple Loop, or region.
Once you’ve added the file, you can choose different modes to change playback behavior,
you can directly edit waveform markers, and you can alter the tonal color and performance
characteristics with the synthesis and modulation parameters.
You can also import audio from other locations on your iPad. See Import media.
You can quickly replace the sound for Quick Sampler on a software instrument track by
dragging an audio file or Apple Loop from the Browser to the track header. When you drag
audio material directly into the Quick Sampler waveform display, you can choose whether
Quick Sampler uses the original tuning, loudness, looping, and length of the material, or
analyzes the material and optimizes its tuning, searches for loop points, and crops silence.
Add an audio file with the Sample name field
1. In Logic Pro, tap the “Sample name” field at the top center, and choose Browse Samples
to open the Browser.
2. In the Browser, browse to the file you want to import, then drag it into Quick Sampler
where two boxes appear.
• Original: Adds the audio file to the waveform display, which uses the tuning,
loudness, looping, and length characteristics of the source file.
• Optimized: Analyzes the source file, optimizing its tuning, loudness, and length, then
adds the audio file. If the audio is rhythmic and/or cyclical (looped), Quick Sampler
automatically adds loop and crossfade markers to the waveform display. Silence at
the beginning or end of the source audio is cropped (cut), shortening the imported
audio.
Drag and drop content into Quick Sampler
This task outlines use of content in the Browser. You can also import audio from other
locations on your iPad. See Import media.
1. In Logic Pro, drag an audio file or Apple Loop from the Browser into the Quick Sampler
waveform display.
2. Drop the file into either the Original or the Optimized portion of the display.
• Original: Adds the audio file to the waveform display, which uses the tuning,
loudness, looping, and length characteristics of the source file.
• Optimized: Analyzes the source file, optimizing its tuning, loudness, and length,
then adds the audio file. If the contents are rhythmic and/or cyclical (looped), Quick
Sampler automatically adds loop and crossfade markers to the waveform display.
Silence at the beginning or end of the source audio is cropped (cut), shortening the
imported content.
Note: A resampling process is triggered when you drop a region into Quick Sampler.
The region is bounced offline and added to the waveform display.
Drag and drop an audio file using Slide Over
You can add files on your iPad to Quick Sampler using Slide Over. See Intro to importing
media.
Logic Pro User Guide for iPad 732
Replace the sound for Quick Sampler on a software instrument track using drag
and drop
• In Logic Pro, drag an audio file or Apple Loop from the Browser to a software instrument
track header with a Quick Sampler instrument inserted.
Save a Quick Sampler setting
In Logic Pro, tap the plug-in menu bar More menu to access Quick Sampler file
commands.
• Save: Saves the current instrument state. When you create a new instrument and save
it for the first time, you are asked to provide a name. If you have edited an existing
instrument and use this command, the existing filename is used and the original
instrument is overwritten.
• Save As: Saves the current instrument state, but you’re prompted to provide a different
filename. Use this command when you want to save a copy or multiple versions of an
edited Quick Sampler instrument, rather than overwriting the original version. This
command may be useful when you want to save a Quick Sampler setting that is unique
to a specific project. Storing this in a location outside of user folders may also be
practical for sharing a copy of your Quick Sampler setting with a colleague or friend.
Modes
Choose a Quick Sampler mode in Logic Pro for iPad
You can tap the Classic, One Shot, and Slice buttons to determine the sample
playback mode.
• Classic button: Enable Classic playback mode. The sample is played back while you hold
a key and stops when the key is released, depending on the envelope settings. Playback
starts from the start marker position. Classic mode also enables looped playback, set
with parameters below the waveform display. This is the most useful mode if you want
to “play” a sound across the keyboard range. See Quick Sampler Classic mode.
• One Shot button: Enable One Shot playback mode. Sample playback begins at the
start marker position and finishes at the end marker position when a key is pressed or
a note is received. This mode is great for quickly dropping a processed sample into an
arrangement, for drum loop playback, and for “effects” use. See Quick Sampler One
Shot mode.
• Slice button: Enable Slice playback mode to divide samples into multiple segments
(slices) mapped to keys starting from the defined start key. Hold a key to start playback
from the beginning of each slice. Depending on settings, playback continues until the
next slice marker or the end marker while the key is held. When the Gate parameter is
active, playback stops when you release the key. A number of Slice mode parameters
are shown below the waveform display. This mode is ideal for manipulation of musical
phrases and looped, rhythmic material, allowing you to play different slices in any order.
See Quick Sampler Slice mode.
You can also quickly create new Drum Machine Designer instruments.
Logic Pro User Guide for iPad 733
Quick Sampler Classic mode in Logic Pro for iPad
Use Quick Sampler Classic mode to play and loop full or partial samples. The audio file is
mapped to keys above and below the defined root key. Keyboard notes below this will play
the sample at a lower pitch and slower speed. Keys above this will play the sample at a
higher pitch and faster speed.
This mode is useful for a number of simple playback scenarios, including use on tracks with
Flex enabled and when using Live Loops.
Quick Sampler Classic mode parameters
• Start and end markers: Drag the blue start and end markers to set the sample start and
end points. Playback occurs between these markers.
Tip: When you tap any marker handle, parameter values are shown below the
waveform display. Tap in the parameter display bar to revert to the default behavior
and parameter view.
• Loop start and end markers: Drag the yellow loop start and end markers to set loop
boundaries. Playback begins from the start marker position and cycles between the
loop start and end markers while you hold a key. Drag the yellow shaded area between
the loop start and end markers to move the entire loop.
• Fade in and fade out markers: Drag the gray fade in or fade out marker to adjust the
length of the fade at the beginning and end of the audio file segment between the start
and end markers.
• Crossfade marker: Drag the gray crossfade marker to adjust the length of the crossfade
at the beginning and end of loop boundaries. Crossfading helps to smooth out audible
glitches at the point where the loop cycles across the loop end and start points.
• Root Key field: Drag vertically to choose a keyboard note value that is used to play the
sample at the original pitch. Keys below this will play the sample at a lower pitch and
slower speed. Keys above this will play the sample at a higher pitch and faster speed.
• Tune field: Drag vertically to set a tuning value for the assigned root key in cents (1/100
of a semitone).
Logic Pro User Guide for iPad 734
• Playback mode buttons: Enable Forward or Reverse playback from the start marker
position, inclusive of loop playback.
• Loop mode pop-up menu: Choose a loop playback mode.
• No Loop: Turn off looped playback. This hides loop markers and crossfades from the
waveform display.
• Forward: Playback cycles from the loop start point to the loop end point while you
hold a key.
• Reverse: Playback cycles from the loop end point to the loop start point while you
hold a key.
• Alternate: Playback continuously cycles from the loop start point to the loop end
point, then switches from the loop end point to the loop start point, while you hold a
key.
• Play to End on Release: When you release a key, the loop plays to the loop end
marker position, and playback smoothly continues to the sample end marker
position—provided that the amp release time is long enough for the audio portion
after the loop to be audible. This feature is useful for allowing the natural decay of
a sampled acoustic instrument to be heard during the envelope release phase, for
example.
• Flex On/Off button: Turn Flex mode on or off. If Flex mode is turned on, an audio sample
is played at its original speed for all note pitches. See Use Flex in Quick Sampler.
• Follow Tempo button: When Flex mode is active, turn on to follow the project tempo.
Tip: The Functions > Derive Tempo from Loop Length command in the More menu
calculates a tempo for the audio file based on the Loop Length. If using the Follow
Tempo button does not yield the desired results, you can choose this option to calculate
a revised tempo at which the loop is aligned to the beat. See Quick Sampler More menu.
• (Flex) Speed pop-up menu: When Flex mode is active, choose a playback speed division
or multiplication value.
Tip: Flex Speed is also available as a modulation target.
Logic Pro User Guide for iPad 735
Quick Sampler One Shot mode in Logic Pro for iPad
Use Quick Sampler One Shot mode to play an audio file, or a portion of it. It provides fade
in and fade out parameters. Notes run from the Sample Start to the Sample End marker
regardless of when the played note is released on the keyboard.
One Shot mode is useful for adding effects such as a reversed portion of a sample played
alongside the original, or fading in a slightly detuned version to double parts. Use Classic
mode if you want to loop part or all of the sample.
Quick Sampler One Shot mode parameters
• Fade in/fade out markers: Drag the gray fade in or fade out marker to adjust the length
of the fade at the beginning and end of the audio file segment between the start and
end markers.
Tip: You can tap any marker handle to show parameter values below the waveform
display. Tap at the left of the parameter display bar to revert to the default behavior
and parameter view.
• Start and end markers: Drag the blue start and end markers to set the sample start and
end points for playback.
• Root Key field: Drag vertically to choose a keyboard note value that is used to play the
sample at the original pitch. Keys below this will play the sample at a lower pitch and
slower speed. Keys above this will play the sample at a higher pitch and faster speed.
• Tune field: Drag vertically to set a tuning value for the assigned root key in cents (1/100
of a semitone).
• Playback mode buttons: Enable Forward or Reverse playback between the start and end
marker positions. Loop markers are ignored.
• Flex On/Off button: Turn Flex mode on or off. If Flex mode is turned on, an audio sample
is played at its original speed for all note pitches. See Use Flex in Quick Sampler.
Logic Pro User Guide for iPad 736
• Follow Tempo button: When Flex mode is active, turn on to follow the project tempo.
Tip: The Functions > Derive Tempo from Loop Length command in the More menu
calculates a tempo for the audio file based on the Loop Length. If using the Follow
Tempo button does not yield the desired results, you can choose this option to calculate
a revised tempo at which the loop is aligned to the beat. See Quick Sampler More menu.
• (Flex) Speed pop-up menu: When Flex mode is active, choose a playback speed division
or multiplication value.
Tip: Flex Speed is also available as a modulation target.
Quick Sampler Slice mode in Logic Pro for iPad
Use Quick Sampler Slice mode to divide the audio file into segments (slices). You can map
each segment to a keyboard key and play each slice independently. This mode is useful for
playing individual hits or portions of a sample. Slices can be played in any order, enabling
you to totally change the rhythm or pattern. For example, you may sequentially play every
second or third note to create pseudo gating effects.
In Slice mode, you can do the following:
• Insert a slice marker by tapping the waveform display.
• Reposition a slice marker by horizontally dragging the slice marker handle.
• Delete a slice marker by double-tapping the handle or tap the Trashcan icon in the
parameter display bar.
• Tap a slice marker handle to display slice parameter values below the waveform display.
Tap in the parameter display bar to close it.
Note: This is the only way to view the fade in and fade out parameters in Slice mode.
• Tap the note name shown below a slice marker to play the slice.
Logic Pro User Guide for iPad 737
Quick Sampler Slice mode parameters
• Slice markers: Drag any yellow slice marker handle to adjust the playback start position
and length of the sample segment. Playback of each segment starts when you strike the
corresponding key.
Tip: Tap the note name shown at the bottom of each slice marker to play the slice.
• Start and end markers: Drag the blue start and end markers to set the sample start and
end points for playback.
Tip: When you tap any marker handle, parameter values are shown below the
waveform display. Tap in the parameter display bar to revert to the default behavior
and parameter view.
• Fade in and fade out fields: Drag vertically to set the length of the fade at the beginning
and end of the audio file segment between the start and end markers. The fade time
values you set are applied to all slices. Depending on the sliced audio material, a small
fade may help to avoid clicks that sometimes occur at the start or end of a slice.
Note: These fields are shown only in the parameter display bar below the waveform
display when you have tapped either the sample start or the sample end marker in Slice
mode.
• Mode pop-up menu: Choose the slicing mode. You can automatically set divisions at
transient or beat positions, or divide the audio file equally. You can also manually set
divisions by placing slice markers. Your choice of mode determines the parameter field
shown alongside the menu.
• Sensitivity field: Shown when you choose Transient from the Mode pop-up menu.
Set the number of slice markers, based on detection of transients in the audio file.
Higher values display more slice markers.
• Division field: Shown when you choose Beat Divisions from the Mode pop-up menu.
Set the number of slice markers in the audio file by beat values. Higher values
display more slice markers.
• Slices field: Shown when you choose Equal Divisions from the Mode pop-up menu.
Set the number of slice markers shown between the start and end markers. Higher
values display more slice markers.
• Start Key field: Drag vertically to assign the key (note) for the first slice.
• Start Key Mapping pop-up menu: Choose Chromatic, White, or Black to map slices to
keys above the assigned Start key.
• Gate button: Turn on to enable the release phase of Pitch, Filter, and Amp envelopes
when the key is released. Turn off to play the sample in One Shot mode.
• Play to End button: Turn on to play the triggered slice to the end marker position.
• Flex On/Off button: Turn Flex mode on or off. If Flex mode is turned on, an audio sample
is played at its original speed for all note pitches. See Use Flex in Quick Sampler.
• Follow Tempo button: When Flex mode is active, turn on to follow the project tempo.
• (Flex) Speed pop-up menu: When Flex mode is active, choose a playback speed division
or multiplication value.
Tip: Flex Speed is also available as a modulation target.
Logic Pro User Guide for iPad 738
Waveform display
Quick Sampler waveform display in Logic Pro for iPad
You can see the current audio file in the waveform display and directly edit a number of
sample playback parameters. You can zoom in or out with pinch gestures, or scroll using
swipes or by dragging the scroll bar. You can change the height of the waveform display
with the resize handle.
When you tap or drag markers and handles in the waveform display, parameters and
values related to the current action are shown below the waveform display. Tap in the
parameter display bar to revert to the default behavior and parameter view.
Note: Some editing features are available only in certain modes.
Logic Pro User Guide for iPad 739
Waveform display parameters
• Sample name field and pop-up menu: Choose, rename, or perform file-handling tasks
for audio.
• Rename Current File: Opens a file renaming dialog. Type the new filename and tap OK.
• Remove Current File: Removes the selected audio file, indicated with a checkmark
beside the filename.
• Clear History: Clears all but the most recently used file.
• Browse Samples: Opens the Browser, where you can audition audio files. Drag the
audio file directly into the waveform display area, where you can choose an Original
or Optimized import. See Add audio to Quick Sampler.
• Snap pop-up menu: Choose a value. Edits to crossfade, sample, slice, or loop start and
end markers in the waveform display automatically snap to the nearest possible value.
• Zoom vertical button: Tap to switch between the maximum vertical zoom view and the
default waveform display view.
• Zoom horizontal button: Tap to switch between the last manually set zoom level, if
applicable, and an optimized zoom level that shows the area between the sample start
and end markers. When no manual zoom level is set, the entire audio file is shown.
Tip: You can horizontally zoom in or out on the waveform display with pinch
gestures, or scroll using swipes or by dragging the scroll bar.
Note: To make this facility useful, you should change the height of the waveform display
with the Zoom vertical button.
• More menu: Tap to choose a sample handling or processing command, or choose a
crossfade, display, or MIDI behavior option. See Quick Sampler More menu.
• Resize handle: Drag vertically to change the height of the waveform display.
Use Quick Sampler start, end, loop, fade, crossfade, and slice markers
In Logic Pro, you can use markers to alter audio playback. You can define the possible
positions for markers using the Snap menu.
Note: Different marker types are shown in each mode.
• Start and end markers: Drag the blue start or end marker to set the sample start and
end point. Playback occurs between these markers.
• Loop start and end markers: Drag the yellow loop start or end marker to set loop
boundaries. Playback cycles between these markers when you hold a note. Drag the
yellow shaded area between the loop start and end markers to move the entire loop.
Note: Loop boundaries can’t be dragged past the sample start and end markers.
Logic Pro User Guide for iPad 740
• Crossfade marker: Drag the gray crossfade marker to set the length of the crossfade at
the beginning and end of loop boundaries, smoothing out audible glitches as the loop
cycles across the loop end and start points.
• Fade in/fade out markers: Drag the gray fade in or fade out marker to adjust the length
of the fade at the beginning and end of the audio file segment between the start and
end markers.
• Slice marker: Shown in Slice mode. Drag any yellow slice marker to set its position. Tap
between slice markers to create a new slice marker. Double-tap a slice marker to delete
it.
Use slice markers to create new instruments and regions
In Logic Pro, you can use slice markers to create Drum Machine Designer tracks and to
create MIDI regions containing note-on events.
In the Slice mode waveform display, drag the slice handles to adjust existing transient and
start and end markers. You can also choose a number of commands from the More menu.
In Logic Pro, do any of the following:
• Tap the More button in Quick Sampler, tap Functions, then tap Create Drum Machine
Designer Track.
A new Drum Machine Designer track is created, and a new MIDI region is created on this
track. The MIDI region contains note-on events that correspond to each slice between
the start and markers, and you can edit these as you can any other MIDI region.
Individual audio slices are automatically mapped to pads in Drum Machine Designer, and
you can edit, replace, process, or route these as you like.
• Tap the More button in Quick Sampler, tap Functions, then tap Copy MIDI Pattern.
This analyzes and copies all slice markers between the start and end markers to the
Clipboard.
You can paste the Clipboard contents to a MIDI or instrument track as a new MIDI
region. This feature is ideal for creating perfectly synchronized instrument parts and for
drum replacement, Foley, and other uses.
Logic Pro User Guide for iPad 741
Quick Sampler More menu in Logic Pro for iPad
You can tap the More button to choose a number of sample-handling commands that
differ in Classic, One Shot, and Slice modes. The More menu also contains crossfade,
display, and MIDI handling options.
Functions submenu
• Auto-Loop: Analyzes the audio and automatically sets a loop. You can use the command
multiple times to try different automatic loops.
• Auto-Loop within Loop Area: Analyzes the audio and automatically sets a loop within
the area defined by the loop start and end markers. You can use the command multiple
times to try shorter automatic loops.
• Copy MIDI Pattern: Analyzes and copies slice markers to the Clipboard. You can paste
the Clipboard contents to a MIDI or instrument track as a new MIDI region. This feature
is ideal for creating perfectly synchronized instrument parts and for drum replacement,
Foley, and other uses.
• Create Drum Machine Designer Track: Creates a new Drum Machine Designer track that
contains the current Quick Sampler audio material.
• Crop Loop: Crops (cuts) the portion(s) of the sample outside the loop start and end
markers.
• Crop Sample: Crops (cuts) the portion(s) of the sample outside the start and end
markers.
• Derive Tempo from Loop Length: Calculates a tempo for the audio file based on the loop
length. If the Follow Tempo button doesn’t yield the desired results, use this option to
recalculate a loop tempo aligned to the beat.
• Initialize Synth Parameters: Recalls a neutral setting for all parameters in the Pitch,
Filter, Amp, Mod Matrix, and LFO panes. This provides a “clean slate” when adjusting
the parameters of your instrument.
• Re-Analyze Transients and Tempo: Re-analyzes the current audio for transient and
tempo changes, following edits you have made.
• Reimport Optimized: Reimports the current audio with optimized tuning, loudness, and
length characteristics of the source file. Quick Sampler automatically adds loop and
crossfade markers to the waveform display for appropriate material and crops (cuts)
silence at the beginning or end of the source audio, shortening the imported audio.
• Reimport Original: Reimports the current audio with the tuning, loudness, looping, and
length characteristics of the source file.
• Retune: Analyzes the audio and sets the root key and tuning value automatically.
Logic Pro User Guide for iPad 742
Optimize submenu
• Optimize Loop Start: Use to automatically adjust the loop start point to create a smooth
loop cycle.
• Optimize Loop Crossfade/End: Use to automatically set crossfade values at the point in
the loop cycle where the loop end and loop start markers cross over. Loop length is not
affected.
• Optimize Sample Gain: Analyzes the audio and sets automatic gain values.
Other submenus
• Loop Crossfade submenu: Set the crossfade gain value behavior.
• Linear Crossfade: Evenly scales the amplitude for the crossfade.
• Equal Power Crossfade: Applies an exponential crossfade curve that causes a
volume boost of 3 dB in the middle of the crossfade range. This fades out/fades in at
an equal volume level.
• Display submenu: Choose Display Sample, Seconds, or Beat Units values for the time
ruler in the waveform display. Choose Display Mono Sum or Stereo Channels to show a
summed mono or stereo waveform view in the waveform display.
• MIDI submenu: Set the MIDI Mono mode and pitch bend range.
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either MIDI Mono mode, each voice receives on a different MIDI channel. Per-
voice channels support pitch bend, aftertouch, modulation wheel, and controller
assignment messages. See Mod Matrix pane. Controllers and MIDI messages sent on
the base channel affect all voices.
• Mono Mode Pitch Range field: Drag vertically to set a value from 0 to 96.
The chosen pitch bend range affects individual note pitch bend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which
is compatible with the GarageBand for iOS keyboard in pitch mode. When using a
MIDI guitar, 24 semitones is the preferable setting because most guitar-to-MIDI
converters use this range by default.
Logic Pro User Guide for iPad 743
Use Flex in Quick Sampler in Logic Pro for iPad
The Quick Sampler Flex parameters are used to synchronize the audio playback tempo.
This is ideal for synchronously playing a melodic Apple Loop in a key that matches the key
of other tracks in Logic Pro, for example.
The Flex parameters are found at the lower right of the Quick Sampler waveform display in
Classic, One Shot, and Slice modes. Flex works for files with tempo information, including:
• Apple Loops
• Bounced audio files
Use Flex to synchronize an Apple Loop in Quick Sampler
Follow these steps to use Flex to play an Apple Loop synchronously with other tracks in
your project.
1. Load a project with at least a few tracks.
2. Open the Browser.
3. Drag a melodic Apple Loop, such as a rhythmic acoustic or electric guitar part, into the
Quick Sampler waveform display. Drop it on the Original dropzone.
4. Play some notes on your keyboard over a few octaves. You will hear that the pitch of the
loop changes, along with the playback speed.
5. Tap below the waveform display and play some notes on your keyboard over a few
octaves.
You will hear that the pitch of the loop changes, but the playback speed doesn’t.
6. Start playback of your project and play a few notes on your keyboard.
You will hear that the pitch of the loop changes, but the playback speed isn’t
synchronized with the project tempo.
Logic Pro User Guide for iPad 744
7. While the project is playing, tap the Follow Tempo button below the waveform display
and play some notes on your keyboard.
You will hear that the pitch of the loop changes, and the playback speed is perfectly
synchronized with the project tempo.
Tip: The Derive Tempo from Loop Length command in the More menu calculates a
tempo for the audio file based on the Loop Length. If using the Follow Tempo button
does not yield the desired results, you can choose this option to calculate a revised
tempo at which the loop is aligned to the beat.
8. As an option, you can choose a value in the Speed pop-up menu to divide or multiply
the synchronized playback speed of the Apple Loop. Try this while the project is
playing.
Tip: Flex Speed is also available as a modulation target.
Modulation
Quick Sampler Mod Matrix pane in Logic Pro for iPad
Quick Sampler LFOs and envelopes are known as modulation generators. These modulation
sources are used to control modulation targets, such as oscillator pitch or filter cutoff.
You can assign up to four independent routings of modulation sources and targets in the
Mod Matrix pane.
If you’re new to synthesizers and the concepts behind modulation generators, such as
LFOs and envelopes, see Intro to synthesizers.
Quick Sampler provides two LFOs and dedicated Pitch, Filter, and Amplitude envelopes that
can also be assigned as modulation sources or targets in the Mod Matrix pane.
Your keyboard modulation wheel, aftertouch, pitch bend, velocity, and MIDI continuous
controller features can also be assigned as real-time control sources for Quick Sampler
parameters in the Mod Matrix.
Mod Matrix parameters
• Source pop-up menu: Choose a modulation source.
• Depth field: Drag vertically to set the maximum value or intensity of modulation. You
can also tap the field to enter a numerical value.
• Target pop-up menu: Choose a modulation target.
Logic Pro User Guide for iPad 745
Set up a modulation routing
You can assign Quick Sampler LFOs and envelopes as modulation sources or targets in the
Mod Matrix pane.
You can also assign your keyboard modulation wheel, aftertouch, pitch bend, velocity,
and MIDI continuous controllers as real-time control sources for Quick Sampler target
parameters in the Mod Matrix pane.
In the Mod Matrix pane:
1. Choose a modulation target from the Target pop-up menu.
2. Choose a modulation source from the Source pop-up menu.
As an example: Use Velocity Inverted to modulate a target with a soft keystrike, and no
modulation when struck firmly.
Note: The envelope modulators shown in the image are hardwired to control Pitch,
Filter, and Amplitude, but you can also assign them as sources to modulate other Quick
Sampler parameters in the Mod Matrix pane. The envelopes and LFOs are also available
as modulation targets.
3. Drag the value in the Depth field up or down to set the maximum value or intensity of
modulation.
Set up a modulation routing of sample or loop start and end, or loop position
The Sample Start & End, Loop Start & End, and Loop Position targets can be quantized in
musical values. For example, if you modulate the loop position (the entire loop) using an
LFO, a quantization of one bar moves the loop back and forth along the timeline in one-bar
increments instead of the usual smooth LFO motion.
You could also choose to assign your keyboard modulation wheel as a real-time control
source for Loop Position, or perhaps to Sample Start or Loop Start, providing you with
direct physical control of these parameters.
In the Mod Matrix pane:
1. Choose an LFO from the Source pop-up menu.
2. Choose a Sample Start & End, Loop Start & End, or Loop Position option from the Target
pop-up menu.
The quantization value you choose in the modulation Target pop-up menu applies to all
modulation routings assigned to this target.
• Sample Start & End: Choose None, or Bar, Beat, or Triplet values to rhythmically
modulate the sample start and end positions.
• Loop Start & End: Choose None, or Bar, Beat, or Triplet values to rhythmically
modulate the loop start and end positions.
• Loop Position: Choose None, or Bar, Beat, or Triplet values to rhythmically modulate
the loop position.
3. Drag the value in the Depth field up or down to set the maximum value or intensity of
modulation.
4. As an optional second modulation routing, set up your keyboard modulation wheel (Mod
Wheel) as the source, and choose Loop Start as the target.
Logic Pro User Guide for iPad 746
Quick Sampler LFO controls in Logic Pro for iPad
Quick Sampler features two identical LFO units. Tap the tab at the top of the modulation
pane to choose LFO 1 or LFO 2.
You can use the LFO units to modulate, or control, other parameters. Parameters defined
as modulation targets are indicated by a white dot when a note is played. The modulation
range is shown as an orange ring around target parameters.
Each LFO can be used as a modulation source and target for multiple parameters in the
Quick Sampler Mod Matrix pane.
If you’re new to synthesizers and the concepts behind modulation generators, such as
LFOs and envelopes, see Intro to synthesizers.
Quick Sampler LFO parameters
• On/Off button: Turn the LFO on or off.
• Rate knob and field: Set the LFO modulation speed. Values are in hertz, or cycles per
second. When the Sync button is enabled, bar or beat values—synchronized with the
project tempo—are shown.
• Sync button: Enable or disable synchronization of the LFO with the project tempo. The
Sync button note icon is highlighted when active.
• Fade Mode pop-up menu: Choose either Fade In or Fade Out. You set the fade in or out
time with the Fade Time knob.
• Fade Time knob and field: Set the time it takes for the LFO modulation to fade in or fade
out.
• Phase knob and field: Set the LFO waveform start point when a new key is struck. Set
Trigger Mode to Poly to make effective use of this parameter.
• Waveform pop-up menu: Set the waveform type used by the LFO.
The Waveform pop-up menu also contains two options that set waveform polarity.
• Off: Choose to enable bipolar LFO waveform cycles.
• On: Choose to enable unipolar LFO waveform cycles.
• Poly button: Turn on to modulate each voice independently with the LFO. When the Poly
button is off, the LFO modulates all voices in the same way. You must release all notes
before the LFO can be retriggered. If you play legato, or any key is held, the LFO does
not restart from the beginning of the waveform cycle.
• Key Trigger button: Turn on to reset the LFO cycle to its start point, which you set with
the Phase parameter, when a key is played.
Logic Pro User Guide for iPad 747
• Target Depth slider and field: Set the amount of LFO modulation. When via is used, you
can set the minimum and maximum modulation amount with two Amount slider handles.
You can choose a second modulation source from the Via pop-up menu, which is used
to control the modulation amount of the LFO.
• Via pop-up menu: Choose a modulation source to control the amount of LFO modulation.
• Target pop-up menu: Choose a modulation target for the LFO.
Set up an LFO modulation routing
The LFOs each feature an independent modulation routing of any target, with further
control available through use of a via modulation source. You can also use the LFOs as
modulation sources for other target parameters in the Mod Matrix pane.
In either LFO pane:
1. Choose a modulation target for the LFO from the Target pop-up menu.
2. Set the amount of LFO modulation with the Target Depth slider.
You can also choose a second modulation source from the via pop-up menu, which is
used to control the modulation amount, or range, of the LFO.
3. Choose a modulation source from the Via pop-up menu.
When a via source is active, two handles are shown for the Target Depth slider.
• Use the left slider handle to set the minimum LFO amount.
• Use the right slider handle to set the maximum LFO amount, controlled by the via
source.
• You can drag either slider handle to increase or decrease the modulation range between
them. You can also directly drag the modulation range area to move both sliders.
Quick Sampler Pitch controls in Logic Pro for iPad
Quick Sampler Pitch controls affect the playback pitch behavior of the current audio file.
You can control pitch over time with a dedicated multimode envelope. Parameters that are
modulation targets are indicated by a white dot when a note is played. The modulation
range is shown as an orange ring around target parameters.
Tap the pitch envelope display to open the Pitch edit pane. You can drag points or lines in
the pane to adjust envelope parameter values. Alternatively, in envelope parameter fields,
drag values vertically to adjust them, or tap the field to open a dialog and enter values.
Tap Close at the top right of the edit pane to close it.
You can quickly switch between the Pitch, Filter, and Amp edit panes with the pop-up menu
at the top left.
If you’re new to synthesizers and the concepts behind components such as filters, LFOs,
and envelopes, see Intro to synthesizers.
Logic Pro User Guide for iPad 748
Quick Sampler Pitch parameters
• Tune knob and field: Tune the instrument in semitone steps.
• Fine Tune knob and field: Tune the instrument in cents. One cent is 1/100 of a semitone.
• Glide Time knob and field: Set the amount of time it takes to slide between the pitches
of each played note.
• Depth knob and field: Set the amount of envelope modulation.
• Pitch Bend (Up) pop-up menu: Set the pitch bend range in semitones.
• Key Track button: Turn on to change the pitch and speed of sample playback when
different notes are played. Turn off to play the sample at the original pitch and speed
when any key is struck.
• Pitch envelope display: Shows the current pitch envelope. Tap to open the Pitch edit
pane.
Quick Sampler Pitch Envelope parameters
• Type pop-up menu: Choose the pitch envelope type. This alters the number and
appearance of envelope parameter fields and the graphical envelope display. The
envelope types shown are abbreviations for the controls in the envelope shape: AD is
an envelope that provides Attack and Decay controls. AR is an envelope that provides
Attack and Release controls. ADSR provides Attack, Decay, Sustain, and Release
parameters. AHDSR provides Attack, Hold, Decay, Sustain, and Release parameters.
• Pitch Envelope Attack handle and field: Drag horizontally to set the time it takes for
the envelope to reach the initial level. Drag the field vertically.
• Pitch Envelope Hold handle and field: Drag horizontally to set the time the full level
is held, following the attack phase, before the decay phase begins. Drag the field
vertically.
• Pitch Envelope Decay handle and field: Drag horizontally to set the time it takes for
the envelope to fall to the sustain level, following the hold phase or the initial attack
time. Drag the field vertically.
• Pitch Envelope Sustain handle and field: Drag vertically to set the sustain level,
which is held until you release the key. Drag the field vertically.
• Pitch Envelope Release handle and field: Drag horizontally to set the time it takes for
the envelope to fall from the sustain level to a level of zero. Drag the field vertically.
• Pitch Envelope Velocity slider: Set the intensity of pitch envelope modulation in
response to incoming velocity data.
• If the Velocity slider is set to zero, the envelope outputs its maximum level when you
strike the keys at any velocity.
• At a Velocity slider value of 100%, the entire dynamic range is under velocity control.
To explain, raising the slider value reduces the envelope minimum amplitude, with
the difference being dynamically controlled by keyboard velocity. For example, when
you set the Velocity slider to 25%, the minimum envelope amplitude is reduced to
75%. The remaining 25% is added in response to the velocities of keys you play. A
key played with a zero velocity results in an envelope amplitude of 75%. A key played
with a MIDI velocity value of 127 will result in an envelope amplitude of 100%. When
you raise the Velocity slider value, the minimum amplitude decreases even further.
Logic Pro User Guide for iPad 749
Quick Sampler Filter controls in Logic Pro for iPad
Quick Sampler provides an extensive range of filter types, including lowpass, highpass,
bandpass, and band reject filters.
You can control the filter section over time with a dedicated multimode envelope.
Parameters that are modulation targets are indicated by a white dot when a note is played.
The modulation range is shown as an orange ring around target parameters.
Tap the filter envelope display to open the Filter edit pane. You can drag points or lines in
the pane to adjust envelope parameter values. Alternatively, in envelope parameter fields,
drag values vertically to adjust them, or tap the field to open a dialog and enter values.
Tap Close at the top right of the edit pane to close it.
You can quickly switch between the Pitch, Filter, and Amp edit panes with the pop-up menu
at the top left.
If you’re new to synthesizers and the concepts behind components such as filters, LFOs,
and envelopes, see Intro to synthesizers.
Quick Sampler Filter parameters
• On/Off button: Turn the filter on or off.
• Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal
color and response to Cutoff, Drive, and Res control values. See Quick Sampler filter
types.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are
attenuated, and lower frequencies are allowed to pass in a lowpass (LP) filter. The
reverse is true in a highpass (HP) filter. In bandpass (BP) mode, cutoff determines the
center frequency of the band that is allowed to pass. Band Reject (BR) works the same
way, but the center frequency is not allowed to pass.
• Reso knob and field: Boost or cut signals in the frequency band that surrounds the
cutoff frequency.
• Drive knob and field: Overdrive the filter. This can lead to intense distortions, depending
on filter type.
• Env Depth knob and field: Set the amount of filter envelope modulation.
• Keyscale knob and field: Set the filter cutoff frequency intensity by keyboard position.
Set to zero to filter all notes equally. Set to 100% to open the filter for higher played
notes.
• Filter envelope display: Shows the current filter envelope. Tap to open the Filter edit
pane.
Logic Pro User Guide for iPad 750
Quick Sampler Filter Envelope parameters
• Type pop-up menu: Choose the envelope type. This alters the number and appearance
of envelope parameter fields and the graphical envelope display.
• Filter Envelope Attack handle and field: Drag horizontally to set the time it takes for
the envelope to reach the initial level. Drag the field vertically.
• Filter Envelope Hold handle and field: Drag horizontally to set the time the full level
is held, following the attack phase, before the decay phase begins. Drag the field
vertically.
• Filter Envelope Decay handle and field: Drag horizontally to set the time it takes for
the envelope to fall to the sustain level, following the hold phase or the initial attack
time. Drag the field vertically.
• Filter Envelope Sustain handle and field: Drag vertically to set the sustain level,
which is held until you release the key. Drag the field vertically.
• Filter Envelope Release handle and field: Drag horizontally to set the time it takes for
the envelope to fall from the sustain level to a level of zero. Drag the field vertically.
• Filter Envelope Velocity slider: Set the intensity of filter envelope modulation in
response to incoming velocity data.
• If the Velocity slider is set to zero, the envelope outputs its maximum level when you
strike the keys at any velocity.
• At a Velocity slider value of 100%, the entire dynamic range is under velocity control.
To explain, raising the slider value reduces the envelope minimum amplitude, with
the difference being dynamically controlled by keyboard velocity. For example, when
you set the Velocity slider to 25%, the minimum envelope amplitude is reduced to
75%. The remaining 25% is added in response to the velocities of keys you play. A
key played with a zero velocity results in an envelope amplitude of 75%. A key played
with a MIDI velocity value of 127 will result in an envelope amplitude of 100%. When
you raise the Velocity slider value, the minimum amplitude decreases even further.
Quick Sampler filter types in Logic Pro for iPad
Quick Sampler provides multiple filter types you can choose in the Filter controls. Each
filter type has unique sonic characteristics and responds differently to incoming signals.
This flexible collection of filters enables you to subtly or dramatically sculpt the tone of
your instruments.
Quick Sampler filter types
• Lowpass (LP): This filter type passes the portion of a signal below a specified cutoff
frequency and rolls off the portion above that frequency.
• Bandpass (BP): This filter type passes the portion of a signal occupying a band
surrounding the cutoff frequency and rolls off the portions above and below that band.
• Highpass (HP): This filter type passes the portion of a signal above a specified cutoff
frequency and rolls off the portion below that frequency.
• Band reject (BR): This filter type cuts a narrow band around a resonant frequency. The
remainder of the signal is affected minimally.
• Peaking: This filter type boosts a narrow band around a resonant frequency. The
remainder of the signal is affected minimally.
Logic Pro User Guide for iPad 751
There are multiple two-pole, four-pole, multi-pole state-variable and analog-modeled LP,
BP, and HP filter designs in Sampler, each with distinctive characteristics that you may
prefer for a given purpose. The available LP, BP, and HP filter designs include Creamy,
Edgy, Gritty, Lush, Lush (Fat), and Sharp variants.
• Creamy: Multi-pole state-variable filter.
• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive
settings.
• Lush: Four-pole lowpass analog-modeled filters.
• Lush (Fat): Four-pole analog-modeled filters.
• Sharp: Two-pole analog-modeled filters.
The three principal filter controls have standard functions for all filter types.
• Cutoff: Controls the filter cutoff frequency.
• Resonance: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.
• Drive: Allows the filter to be overdriven; the precise effect varies with each filter design.
Quick Sampler Amp controls in Logic Pro for iPad
Quick Sampler Amp controls set the level, pan position, and polyphony.
You can control the level over time with a dedicated multimode envelope. Parameters that
are modulation targets are indicated by a white dot when a note is played. The modulation
range is shown as an orange ring around target parameters.
Tap the amp envelope display to open the Amp edit pane. You can drag points or lines in
the pane to adjust envelope parameter values. Alternatively, in envelope parameter fields,
drag values vertically to adjust them, or tap the field to open a dialog and enter values.
Tap Close at the top right of the edit pane to close it.
You can quickly switch between the Pitch, Filter, and Amp edit panes with the pop-up menu
at the top left.
If you’re new to synthesizers and the concepts behind envelopes, see Intro to synthesizers.
Logic Pro User Guide for iPad 752
Quick Sampler Amp parameters
• Amp Pan knob and field: Set the overall panorama position in the stereo field.
• Voices pop-up menu: Set the maximum number of voices that can be played
simultaneously.
• Volume knob and field: Set the overall output volume level.
• Amp envelope display: Shows the current amplitude envelope. Tap to open the Amp edit
pane.
Quick Sampler Amp Envelope parameters
• Type pop-up menu: Choose the envelope type. This alters the number and appearance
of envelope parameter fields and the graphical envelope display.
• Amp Envelope Attack handle and field: Drag horizontally to set the time it takes for the
envelope to reach the initial level. Drag the field vertically.
• Amp Envelope Hold handle and field: Drag horizontally to set the time the full level
is held, following the attack phase, before the decay phase begins. Drag the field
vertically.
• Amp Envelope Decay handle and field: Drag horizontally to set the time it takes for the
envelope to fall to the sustain level, following the hold phase or the initial attack time.
Drag the field vertically.
• Amp Envelope Sustain handle and field: Drag vertically to set the sustain level, which is
held until you release the key. Drag the field vertically.
• Amp Envelope Release handle and field: Drag horizontally to set the time it takes for the
envelope to fall from the sustain level to a level of zero. Drag the field vertically.
• Amp Envelope Velocity slider: Set the sensitivity of amplitude envelope modulation in
response to incoming velocity data.
• If the Velocity slider is set to zero, the envelope outputs its maximum level when you
strike the keys at any velocity.
• At a Velocity slider value of 100%, the entire dynamic range is under velocity control.
To explain, raising the slider value reduces the envelope minimum amplitude, with
the difference being dynamically controlled by keyboard velocity. For example, when
you set the Velocity slider to 25%, the minimum envelope amplitude is reduced to
75%. The remaining 25% is added in response to the velocities of keys you play. A
key played with a zero velocity results in an envelope amplitude of 75%. A key played
with a MIDI velocity value of 127 will result in an envelope amplitude of 100%. When
you raise the Velocity slider value, the minimum amplitude decreases even further.
Logic Pro User Guide for iPad 753
Retro Synth
Retro Synth in Logic Pro for iPad
Retro Synth is a flexible 16-voice synthesizer that can produce a wide variety of sounds.
Retro Synth provides four different synthesizer engines—Analog, Sync, Wavetable, and FM.
Each engine can generate unique sounds that are difficult or impossible to achieve with
other types of synthesizers.
Retro Synth is very easy to use, with many identical controls found in each synthesizer
engine.
If you’re new to synthesizers, it might be best to start off with Intro to synthesizers, which
will introduce you to the fundamentals and terminology of different synthesis systems.
To add Retro Synth to your project, choose it from the Instrument > Synthesizer submenu
in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
The first step in creating a new sound is to choose a Retro Synth synthesizer engine. Your
choice should be guided by the type of sound you want to generate.
Choose a synthesizer engine
• In Logic Pro, tap the name of the synthesizer engine that you want to use:
• Analog: Use for classic synthesizer sounds, such as leads, pads, and basses. See
Retro Synth Analog oscillator.
• Sync: Use for aggressive synthesizer sounds, particularly leads and basses. See
Retro Synth Sync oscillator.
• Table: Use for clean digital synthesizer sounds, such as pads and basses, and
evolving effect sounds. See Retro Synth Table oscillator.
• FM: Use for classic digital synthesizer sounds. Of note are bells, electric piano,
clavinet, and spiky bass sounds. See Retro Synth FM oscillator.
Your choice of synthesizer engine changes the controls available. Most of these changes
are seen in the Oscillator section.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 754
Synthesizer engines
Retro Synth Analog oscillator in Logic Pro for iPad
The synthesizer oscillators are used to generate one or more waveforms. You set the basic
tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound,
and set the level relationships between oscillators. The signal of one or both oscillators is
then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
See filter controls, amp and effect controls, modulation, and global and controller settings.
Analog synthesizer sounds are typically attributed with having a warm and rich tone. You
can create a wide variety of timbres using this synthesis method, notably string and pad
sounds, synthetic brass, bass, and percussion.
Analog oscillator parameters
• Oscillator 1/2 Waveform buttons: Choose the type of waveform that each oscillator
generates. The waveform is responsible for the basic tonal color. The oscillators output
a number of standard waveforms—noise, sawtooth, square, and triangle.
• Osc 1/2 PW knobs and fields: Adjust the pulse width (shape) of the square waveform
chosen for oscillator 1 or 2. This makes the square waveform more rectangular and
nasal-sounding.
• Semitone knob and field: Set the pitch of oscillator 2 in semitone steps, over a range of
±2 octaves.
• Detune knob and field: Precisely adjust the frequency of oscillator 2 in cents
(1 cent = 1/100th semitone).
Logic Pro User Guide for iPad 755
• Shape Mod knob and field: Set the intensity of waveform shape modulation. The
centered (off) position disables all waveform shape modulation with the LFO or filter
envelope.
• Left of center = LFO modulation.
• Right of center = Filter Envelope modulation.
• Vibrato Depth knob and field: Set the amount of vibrato (pitch modulation).
• Oscillator Mix slider and field: Crossfade (set the level relationships) between the
oscillators.
Retro Synth Sync oscillator in Logic Pro for iPad
The synthesizer oscillators are used to generate one or more waveforms. You set the basic
tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound,
and set the level relationships between oscillators. The signal of one or both oscillators is
then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
See filter controls, amp and effect controls, modulation, and global and controller settings.
Oscillator sync sounds are typically more aggressive than sounds generated with other
synthesis methods, making this engine most suitable for lead and hard bass instruments.
On each waveform cycle of oscillator 1 the waveform of oscillator 2 is reset to its start
position, thus oscillator 2 is hard synced to oscillator 1.
Sync oscillator parameters
• Oscillator 1/2 Waveform buttons: Choose the type of waveform that each oscillator
generates. The waveform is responsible for the basic tonal color. The oscillators output
a number of standard waveforms—sawtooth, square, and triangle.
• Osc 1/2 PW knobs and fields: Adjust the pulse width (shape) of the square waveform
chosen for oscillator 1 or 2. This makes the square waveform more rectangular and
nasal-sounding.
Logic Pro User Guide for iPad 756
• Oscillator 2 Sync slider and field: Set the maximum amount of sync modulation. This
makes the sound more or less aggressive. Technically, this control raises the pitch of
oscillator 2 in relation to oscillator 1.
• Shape Mod knob and field: Set the oscillator sync modulation intensity. The centered
(off) position disables all waveform (oscillator sync) modulation with the LFO or filter
envelope.
• Left of center = LFO modulation.
• Right of center = Filter Envelope modulation.
• Vibrato Depth knob and field: Rotate to set the amount of vibrato (pitch modulation).
• Oscillator Mix slider and field: Move to crossfade (set the level relationships) between
the oscillators.
Retro Synth Table oscillator in Logic Pro for iPad
The synthesizer oscillators are used to generate one or more waveforms. You set the basic
tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound,
and set the level relationships between oscillators. The signal of one or both oscillators is
then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
See filter controls, amp and effect controls, modulation, and global and controller settings.
Wavetable synthesis is useful for creating evolving textures and more clinical sounds. It is
well-suited for pad creation, basses, and sound effects. Despite the clean tone, wavetable
synthesis can also sound warm when combined with the right filter type. A wavetable
consists of a series of single-cycle waveforms.
Logic Pro User Guide for iPad 757
Table oscillator parameters
• Wavetables pop-up menu: Choose a factory or custom wavetable.
• Custom Wavetable: Loads the custom wavetable in memory. You can switch between
this and a factory wavetable.
• App Wavetables submenu: Load a factory-supplied wavetable. You can switch
between a factory wavetable and the custom wavetable.
• Reverse Wavetable button: Reverses playback of the loaded wavetable. For example, a
wavetable with 10 waveforms would sequentially play waveform 10 through to 1 when
reversed.
• Oscillator 1/2 Shape knobs and fields: Rotate to move through the waveforms in the
active wavetable. A wavetable consists of a series of single-cycle waveforms.
• Semitone knob and field: Rotate to set the pitch of oscillator 2—in semitone steps, over
a range of ±2 octaves.
• Detune knob and field: Rotate to precisely adjust the frequency of oscillator 2 in cents
(1 cent = 1/100th semitone).
• Shape Mod knob and field: In shape mode, set the modulation intensity. In formant
mode, stretch or compress the formant spectrum of the active wavetable. The centered
(off) position disables all wavetable shape modulation with the LFO or filter envelope.
The mode is chosen with the Osc Env Target pop-up menu.
• Left of center = LFO modulation.
• Right of center = Filter Envelope modulation.
Note: This parameter is also available as the Wave Variation (Formant) real-time
modulation target. See Retro Synth global and controller settings.
• Osc Env Target pop-up menu: Switch between shape and formant modes.
• Shape mode: Choose waveforms from default or custom wavetables with the Shape
knobs.
• Formant mode: Use the Shape Modulation knob to stretch or compress the formant
spectrum—a series of fixed frequency peaks—in the active waveform (chosen with
the Shape knobs). This is similar to grain compression in a granular synth.
• Vibrato Depth knob and field: Rotate to set the amount of vibrato (pitch modulation).
• Oscillator Mix slider and field: Move to crossfade (set the level relationships) between
the oscillators.
Logic Pro User Guide for iPad 758
Retro Synth FM oscillator in Logic Pro for iPad
The synthesizer oscillators are used to generate the basic tonal color. This signal is then
sent to other parts of the synthesizer engine for shaping, processing, or manipulation. See
filter controls, amp and effect controls, modulation, and global and controller settings.
In FM synthesis, the basic sound is generated by setting different tuning ratios between
the modulator and carrier oscillators. You can set the level of overtones created by this
process.
At the core of the Retro Synth FM synthesis engine, you’ll find a multiwave modulator
oscillator—controlled with the FM Shape slider, and a sine wave carrier oscillator—
controlled with the FM Intensity slider. The basic sine wave of the carrier oscillator is a
pure, characterless tone.
To make things more sonically interesting, the modulator oscillator is used to modulate
the frequency of the carrier oscillator. This modulation occurs in the audio range (you
can actually hear it), and results in a number of new harmonics becoming audible, thus
changing the tonal color.
The pure sine wave (of the carrier oscillator) is combined with the newly generated
harmonics, making the sound much more interesting.
You can make fine changes to the tuning ratio of the two oscillators (and therefore the
levels of the harmonics) by adjusting the FM Harmonic and FM Inharmonic controls.
FM synthesis is noted for synthetic brass, bell-like, electric piano, and spiky bass sounds.
Logic Pro User Guide for iPad 759
FM oscillator parameters
• FM Intensity slider and field: The carrier waveform is a simple sine wave. Drag up to add
harmonics.
• Harmonic/Inharmonic sliders and fields: Precisely change the levels of these sonic
elements, and therefore, the tonal color of your sound. Technically, you’re changing
the tuning ratio between the carrier and modulator oscillators, resulting in harmonic or
inharmonic content becoming more or less audible. This parameter is also available as
the Wave Variation (FM Harmonic) real-time modulation target. See Retro Synth global
and controller settings.
Note: The harmonic complexity can change significantly when you adjust the (Wave)
Shape slider, so avoid using it if making a subtle alteration to the harmonic or
inharmonic content of your sound.
• FM Shape slider and field: Change the carrier and modulator waveform. This control and
the FM slider interact as you adjust either, resulting in a range of tones with more or
less harmonic/inharmonic content.
• Shape Mod knob and field: Choose a modulation source (LFO or Filter Envelope), and
set the modulation intensity. This modulates the target chosen with the FM/Harmonic
switch.
• Osc Env Target pop-up menu: Choose a modulation target—FM Intensity, Harmonic, or
both—for the LFO or Filter Envelope.
• FM: This lets you use the LFO or Filter Envelope to modulate the FM Intensity.
• FM+Harmonic: This lets you use the LFO or Filter Envelope to modulate the FM
Intensity and Harmonic content at the same time.
• Harmonic: This lets you use the LFO or Filter Envelope to modulate the Harmonic
content.
• Vibrato Depth knob and field: Rotate to set the amount of vibrato (pitch modulation).
• Oscillator Mix slider and field: Crossfade (set the level relationships) between the
modulator and carrier oscillators.
Logic Pro User Guide for iPad 760
Retro Synth filter controls in Logic Pro for iPad
Retro Synth features a flexible filter that can operate as a lowpass, highpass, bandpass,
band reject, or peak filter. The filter can subtly, or dramatically, affect the basic tone sent
from the oscillators.
Filter use is straightforward. Choose one of the available filter types and adjust the filter
cutoff and resonance controls to sculpt the sound. You can also control the filter cutoff
and resonance controls while playing—either manually or by using keyboard position, an
envelope, or the LFO to modulate these filter controls automatically. Real-time changes
to filter cutoff and resonance can make your performance much more dynamic and
interesting. You can do this with MIDI keyboard controllers and with modulation section
controls. See Use Retro Synth modulation and Retro Synth global and controller settings.
Filter parameters
• On/off button: Turn the filter section on or off. The filter is enabled by default (indicated
by the highlighted button at the top left of the filter section). Disable the filter when
adjusting other sound controls because this makes it easier to hear changes.
• Cutoff knob and field: Set the brilliance of the signal.
• In a lowpass filter: The higher the cutoff frequency is set, the higher the frequencies
of signals that are allowed to pass.
• In a highpass filter: Cutoff sets the point where low frequencies are suppressed.
• In a bandpass, band reject, or peak filter: Cutoff sets the center frequency of the
band that is allowed to pass, is suppressed, or is emphasized.
• Resonance knob and field: Boost or cut signal portions above, below, or surrounding
the cutoff frequency.
• Filter Type pop-up menu: Choose a filter type from the menu. This changes the sonic
character and behavior of other filter parameters. There are eight lowpass filters with
different slopes, four highpass, four bandpass, a band reject, and a peak filter available.
Use the descriptive names—Creamy, Edgy, Gritty, Lush, Lush (Fat), and Sharp—to make
a choice that’s right for your sound. See Retro Synth filter types.
• LP (lowpass): Allows frequencies that fall below the cutoff frequency to pass.
You can choose one of four slopes from the eight models that change the tonal
characteristics of the filter, making it sound brighter, mellow, thinner, or fuller—
particularly in the bass end of the sound.
• HP (highpass): Allows frequencies above the cutoff frequency to pass. There are
three slopes to choose from: 6, 12, and 24 dB/octave.
Logic Pro User Guide for iPad 761
• BP (bandpass): The frequency band directly surrounding the cutoff frequency is
allowed to pass. All other frequencies are cut. The Resonance control sets the width
of the frequency band. Bandpass is a two-pole filter with a slope of either 6 or 12 dB/
octave on each side of the center frequency.
• BR (band reject): The frequency band directly surrounding the cutoff frequency is
rejected, but frequencies outside the band can pass. The Resonance control sets the
width of the rejected frequency band. Band reject has a slope of 6 dB/octave.
• Peak: A peak filter allows the level in a frequency band to be increased. The center
of the frequency band is set with the Cutoff control. The width of the band is set
with the Resonance control.
• Filter FM/Drive knob and field: Depending on the chosen filter type, set the intensity of
filter cutoff modulation with the Osc1 sine wave generator or increase filter input gain.
• Filter FM: Positions to the left set the strength of static sine wave modulations.
Positions to the right set the strength of envelope-controlled sine wave modulations.
The centered (off) position disables filter frequency modulation by the Oscillator 1
sine wave generator.
• Drive: You can alter the signal level at the filter input. This is typically used to
overdrive the signal, which distorts the waveform and changes the filter response,
leading to more aggressive tones.
Note: The Oscillator 1 sine wave generator always generates a sine signal at the
frequency of Oscillator 1.
• Filter Keyscale slider and field: Determine the effect that keyboard pitch (the note
number) has on filter cutoff frequency modulation.
At the top position, the filter follows keyboard pitch, resulting in a constant relationship
between cutoff frequency and pitch. This mirrors the properties of many acoustic
instruments where higher notes sound both brighter in tone and higher in pitch. At the
bottom position, the cutoff frequency does not change, regardless of which key (pitch)
you strike. This makes the lower notes sound relatively brighter than the higher ones.
• Cutoff by LFO knob and field: Set the strength of filter cutoff frequency modulation with
the LFO. Positions further away from the centered (off) position make modulation more
or less intense. See Retro Synth LFO and Vibrato.
• Cutoff by Env knob and field: Set the strength of filter cutoff frequency modulation
with the Filter Envelope. Positions further away from the centered (off) position make
modulation more or less intense. See Retro Synth envelopes.
Logic Pro User Guide for iPad 762
Retro Synth filter types in Logic Pro for iPad
Retro Synth provides multiple filter types.
Retro Synth filter types: lowpass, bandpass, highpass
A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and
rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a
signal occupying a band surrounding the cutoff frequency and rolls off the portions above
and below that band. A highpass (HP) filter passes the portion of a signal above a specified
cutoff frequency and rolls off the portion below that frequency.
There are multiple two-pole, four-pole, multi-pole state-variable and analog-modeled LP,
BP, and HP filter designs in Retro Synth, each with distinctive characteristics that you may
prefer for a given purpose. The available LP, BP, and HP filter designs include Creamy,
Edgy, Gritty, Lush, Lush (Fat), and Sharp variants.
• Creamy: Multi-pole state-variable filter.
• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive
settings.
• Lush: Four-pole lowpass analog-modeled filters.
• Lush (Fat): Four-pole analog-modeled filters.
• Sharp: Two-pole analog-modeled filters.
The three principal filter controls have standard functions for all filter types.
• Cutoff: Controls the filter cutoff frequency.
• Resonance: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.
• Filter FM/Drive: Depending on the selected filter type, the Drive parameter changes to
a Filter FM parameter and vice versa. The precise effect of this control varies with each
filter design.
Retro Synth filter types: band reject and peaking
A band reject filter cuts a narrow band around a resonant frequency. The remainder of the
signal is affected minimally.
A peaking filter boosts a narrow band around a resonant frequency. The remainder of the
signal is affected minimally.
• Cutoff: Sets the frequency of the cut band.
• Resonance: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.
Logic Pro User Guide for iPad 763
Retro Synth amp and effect controls in Logic Pro for iPad
Retro Synth amp controls set the overall volume. You can also mix a sine wave directly
into the output stage, which thickens the sound. You can make the sound richer with
the integrated Chorus effect or can add a sweeping, metallic character with the Flanger
effect. If you’re new to synthesizers and the concepts behind amp controls, see Intro to
synthesizers.
Amp parameters
• Output Volume slider and field: Set the overall output level.
• Sine Level slider and field: Mix a sine wave at the frequency of oscillator 1 (Shape 1)
directly into the output stage. This sine signal is not processed by the filter.
Effect parameters
• On/off button: Turn the effect section on or off.
• Effect Rate knob and field: Set the modulation speed of the effect.
• Effect Intensity knob and field: Set the level of the effect and balance between the
original and effect signals.
• Effects Type pop-up menu: Choose either the Chorus or Flanger effect.
• The Chorus effect is based on a delay line, the output of which is mixed with the
original, dry signal. The short delay time is modulated periodically, resulting in pitch
deviations. The modulated deviations, in conjunction with the original signal pitch,
produce the chorus effect.
• The Flanger effect works in a similar fashion to the chorus, but with even shorter
delay times. The output signal is fed back into the input of the delay line. This
feedback results in the creation of harmonic resonances that cyclically move through
the frequency spectrum, resulting in a sweeping, metallic sound.
Tip: Use Logic Pro effects if you need more precise control of chorus and flanging or
want to use both effects simultaneously.
Logic Pro User Guide for iPad 764
Modulation controls
Retro Synth modulation in Logic Pro for iPad
Retro Synth Glide/Autobend, LFOs, and envelopes are known as modulation generators.
These modulation sources are used to control modulation targets, such as oscillator pitch
or filter cutoff.
Glide—also known as portamento—and Autobend are hardwired to control oscillator pitch.
See Retro Synth Glide and Autobend.
The Amp Envelope is dedicated to control of the sound level over time. The Filter Envelope
controls the filter over time. See Retro Synth envelopes.
The LFO is used as a source for multiple modulation targets. The Vibrato modulation
source is dedicated to control of oscillator pitch. See Retro Synth LFO and Vibrato.
You can also use your keyboard modulation wheel, aftertouch, and velocity as realtime
control sources. See Retro Synth global and controller settings.
You should make use of all modulation options because they can help you to create
expressive performances.
If you’re new to synthesizers and the concepts behind modulation generators, such as
LFOs and envelopes, see Intro to synthesizers.
Modulate the oscillator waveform
The Analog, Sync, and Wavetable oscillator waveform shapes can be modulated by
following these steps. In the FM synth engine, you can modulate the FM or Harmonic
amount (or both).
1. In Logic Pro, move the Shape Mod control to a position away from the centered (off)
position.
2. Adjust the controls of the LFO and ADSR - Filter sections. See LFO and Vibrato and
envelopes.
3. If you’re using the LFO, select a waveform.
4. If the (LFO) Sync switch is turned off:
• Adjust the LFO Via Amount knob to set the maximum modulation intensity.
• Move your MIDI keyboard modulation wheel to change the LFO depth. If you don’t
want to use your keyboard modulation wheel, tap the LFO Via Source pop-up menu
to assign a different MIDI controller.
Logic Pro User Guide for iPad 765
5. If you’re using the Filter Envelope (ADSR - Filter), drag the handles to set the attack,
decay, sustain, and release values. Drag the Velocity slider to set the sensitivity of
envelope modulation by velocity.
Use vibrato to modulate oscillator pitch
1. In Logic Pro, rotate the VibAmnt knob to set the amount of vibrato (pitch modulation).
2. Select a vibrato waveform.
3. If the Sync switch is turned off, adjust the Vibrato Rate knob to set the vibrato speed.
If the Sync switch is turned on, vibrato speed is controlled by the project tempo. See
Retro Synth LFO and Vibrato.
4. If the (Vibrato) Sync switch is turned off:
• Adjust the VibAmnt knob to set the maximum modulation intensity.
• Move your MIDI keyboard modulation wheel to change the vibrato depth. If you don’t
want to use your keyboard modulation wheel, tap the Vib Via pop-up menu to assign
a different MIDI controller.
Logic Pro User Guide for iPad 766
Retro Synth glide and bend in Logic Pro for iPad
In glide mode, the pitch of a played note slides to the pitch of the following played note.
Bend automatically bends note pitches when you strike a key.
Glide mode behavior changes when legato is selected with the Polyphony control. See
Retro Synth global and controller settings.
Glide/Bend parameters
• On/off button: Turn the Glide/Bend section on or off.
• Glide/AB Type pop-up menu: Choose Glide or Autobend mode.
• Glide/AB Mode pop-up menu: Choose the parameter that you want to bend. Choose
from: Oscillator 1 + Sine, Oscillator 2, All Oscillators, Opposed (with one oscillator
bending up, while the other bends down by an equal amount), and Oscillators + Filter.
• Glide/AB Time knob and field: Set the time it takes for the pitch of one played note to
travel to the pitch of another played note.
• Autobend Depth knob and field: (Autobend mode only) Set the pitch bend range (over a
range of ±3 octaves).
Retro Synth envelopes in Logic Pro for iPad
Retro Synth features two identical attack, decay, sustain, and release envelopes that shape
the filter cutoff (ADSR - Filter section) and the level of the sound over time (ADSR - Amp
section).
When you think of different sounds, such as a snare drum, piano, or strings, they’re not
only tonally different, but the characteristics of the sound change over time. Both the snare
drum and piano are heard immediately when struck. This is because they both have a short
attack phase. Bowed strings, on the other hand, slowly ramp up in level—they have a long
attack time, in other words.
If you break down any sound over time, you can emulate snare drum-like, piano-like, or
string-like characteristics easily with Retro Synth envelopes.
Logic Pro User Guide for iPad 767
Envelope parameters
• Attack slider and field: Set the time it takes for the envelope to reach the initial level.
Note: Oscillators automatically switch from free mode to synced mode when the Attack
time is set to values below 0.50 ms. This has a pronounced effect on stacked voices, in
particular. See Retro Synth global and controller settings.
• Decay slider and field: Set the time it takes for the envelope to fall to the sustain level,
following the initial attack time.
• Sustain slider and field: Set the sustain level, which is held until the key is released.
• Release slider and field: Set the time it takes for the envelope to fall from the sustain
level to a level of zero.
• Velocity knob and field: Determine how sensitive the envelope is to incoming velocity.
• If the Velocity knob is set to zero, the envelope outputs its maximum level when you
strike the keys at any velocity.
• At a Velocity knob value of 100%, the entire dynamic range is under velocity control.
To explain, raising the Velocity knob value reduces the envelope minimum amplitude,
with the difference being dynamically controlled by keyboard velocity. For example,
when you set the Velocity knob to 25%, the minimum envelope amplitude is reduced
to 75%. The remaining 25% is added in response to the velocities of keys you play.
So, a key played with a zero velocity results in an envelope amplitude of 75%. A key
played with a MIDI velocity value of 127 will result in an envelope amplitude of 100%.
When you raise the Velocity knob value, the minimum amplitude decreases.
Retro Synth LFO and Vibrato in Logic Pro for iPad
The Retro Synth LFO (Low Frequency Oscillator) is a multiwaveform, polyphonic modulation
generator that modulates each voice, or note you play, individually. It can be used as a
source for multiple modulation targets.
Retro Synth also provides a dedicated Vibrato LFO for pitch modulation.
Although they are oscillators, LFOs are not audible—but their effects can certainly be heard.
The sole purpose of an LFO is to modulate other sound generating elements of the synthesizer.
Logic Pro User Guide for iPad 768
LFO/Vibrato parameters
• LFO/Vibrato Wave pop-up menus: Choose an LFO or Vibrato waveform.
• The sawtooth waves are suitable for bubbling, rhythmic effects.
• The triangle wave is suitable for vibrato and other evenly-modulated effects.
• The rectangular waves switch between two values, which is useful for stepping the
oscillator pitch by a fifth, for example.
• LFO/Vibrato Rate knobs and fields: Independently set the maximum LFO or Vibrato
speed.
• LFO/Vibrato Sync buttons: Turn on to synchronize the modulation speed with the host
tempo. Turn off to control the modulation speed manually.
• LFO Via Amount knob and field: Set the maximum LFO modulation amount. This
parameter is controlled with the MIDI controller chosen in the LFO Via Source pop-up
menu.
• LFO Via Source pop-up menu: Choose your MIDI keyboard Mod Wheel, Aftertouch, or
Modwheel + Aftertouch as the control source for the LFO amount level.
• Vibrato Via Amount knob and field: Set the maximum vibrato amount. This parameter is
controlled with the MIDI controller chosen in the Vibrato Via Source pop-up menu.
• Vibrato Via Source pop-up menu: Choose your MIDI keyboard Mod Wheel, Aftertouch,
or Modwheel + Aftertouch as the control source for the vibrato amount level.
Retro Synth global and controller settings in
Logic Pro for iPad
Retro Synth global controls are used to set the overall tuning, polyphony, and other aspects
of your instrument.
The controller settings let you assign MIDI keyboard features to Retro Synth controls. You
can use three MIDI controllers—velocity, modulation wheel, and aftertouch—to change
Filter Cutoff, Wave Shape (Pulse Width), or LFO/Vibrato Rate controls. Multiple MIDI
controllers can be assigned to the same control, so you could change filter cutoff with both
velocity and aftertouch, for example. Alternatively, a single MIDI controller can be assigned
to multiple Retro Synth parameters—with aftertouch affecting both filter cutoff and LFO
speed, for example.
If you’re new to synthesizers and the concepts behind modulation controls, see Intro to
synthesizers.
Logic Pro User Guide for iPad 769
Global parameters
• Tune knob and field: Tune Retro Synth in semitone steps.
• Transpose pop-up menu: Choose a value to transpose Retro Synth ±2 octaves.
• PB Range pop-up menu: Choose a value to set the maximum upward/downward pitch
bend. Pitch bend modulation is typically performed with your MIDI keyboard pitch bend
wheel or joystick.
• Polyphony pop-up menu: Choose the maximum number of notes that can be played
simultaneously (up to 16) or run as a monophonic synthesizer.
• If you choose Legato and play in a legato style (strike a new key while holding
another) the envelope generators are triggered only for the first note you play legato,
and continue their curve until you release the last legato played key. This means
that if you play legato, a portamento occurs (the portamento time is set with the
Autobend / Glide Time control). If you release each key before pressing a new one,
the envelope is not triggered by the new note, and there is no portamento.
• If you choose Mono, staccato playing retriggers the envelope generators every time
a new note is played.
• Unison pop-up menu: Set the number of voices played in unison mode. Behavior in
unison mode depends on the Polyphony parameter value. One of the strengths of
polyphonic analog synthesizers is unison—or stacked voices—mode. Traditionally, in
unison mode classic analog polysynths run monophonically, with all voices playing
simultaneously when a single note is struck. Because the voices of an analog
synthesizer are never perfectly in tune, this results in a rich, chorus-like effect with
great sonic depth.
• Polyphonic unison mode: When 2–16 voices are selected in the Polyphony pop-up
menu, voices are stacked, but you can play polyphonically.
• Monophonic unison mode: When Mono or Legato is chosen in the Polyphony pop-
up menu, all voices are stacked, but you can only play monophonically or in a legato
style.
• Voice Detune knob and field: Tune Retro Synth in cents (1 cent = 1/100th semitone).
• Stereo Spread knob and field: Set the amount of voice panning, relative to the center
position. Voices are panned left or right in an alternating, symmetrical pattern.
Note: Detuning and panning works in Single and Double voice mode. In Double voice
mode, detuning and panning affects the respective voice pairs.
Logic Pro User Guide for iPad 770
Controller parameters
The modulation targets available in the pop-up menus listed below change when different
synthesizer engines are active.
• MW Mod Amnt knob and field: Set the maximum modulation depth for your keyboard
mod wheel.
• Mod Wheel To pop-up menu: Choose a modulation target for your keyboard mod wheel.
• Vel Mod Amnt knob and field: Set the maximum modulation depth with keyboard
velocity.
• Velocity To pop-up menu: Choose a target for modulation with keyboard velocity.
• Touch Mod Amnt knob and field: Set the maximum modulation depth with keyboard
aftertouch.
• Aftertouch To pop-up menu: Choose a target for modulation with keyboard aftertouch.
• Ctrl X Mod Amnt knob and field: Set the maximum modulation depth with the MIDI
controller chosen in the Ctrl X Source pop-up menu.
• Ctrl X To pop-up menu: Choose a target for modulation with the MIDI controller chosen
in the Ctrl X Source pop-up menu.
• Ctrl X Source pop-up menu: Choose a MIDI continuous controller to use as a control
source.
Note: This modulation source is ideal for use with MIDI CC#4 Foot Controller that’s
often used in conjunction with aftertouch. It’s also useful for MPE devices that offer
enhanced controller functions.
Logic Pro User Guide for iPad 771
Retro Synth MIDI mono mode in Logic Pro for iPad
Retro Synth provides additional parameters that determine response to incoming MIDI
messages.
MIDI Mono Mode (MPE) parameters
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel16).
In either mode, each voice receives on a different MIDI channel. Per-voice channels
support pitchbend, aftertouch, mod wheel, and CC messages. Controllers and MIDI
messages sent on the base channel affect all voices.
• Pitch Bend Range knob: Set a value from 0 to 96.
The chosen pitch bend range affects individual note pitch bend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which is
compatible with the GarageBand for iOS keyboard in pitch mode. When using a MIDI
guitar, 24 semitones is the preferable setting because most guitar to MIDI converters
use this range by default.
Sample Alchemy
Sample Alchemy in Logic Pro for iPad
Sample Alchemy is designed to allow you to quickly resynthesize a single sample and
transform it into a unique playable instrument. It provides a variety of synthesis techniques,
such as granular, additive, and spectral synthesis, which can be combined to create a wide
range of sounds, including unique sound beds, pads, effects, and rhythms.
You can control up to four independent sound generation sources using handles. Labeled
A, B, C, and D, the handles control separate layers and can be placed at precise points on a
waveform.
The five flexible play modes offer different ways to play back a sample and interact with
it, from Classic mode, which lets you play the sample from start to finish, to Loop mode,
where you place the handles on the waveform to create up to two snippets of looped audio.
In addition, Scrub mode lets you move the handles across the waveform to trigger it as if
scrubbing through tape, and Bow mode replicates the bow action used to play stringed
instruments. Finally, Arp (arpeggiator) mode can generate repeating patterns of notes that
cycle through different sections of the sample, creating intricate sequences based on MIDI
notes.
Sample Alchemy is a sample-based instrument, so you can quickly begin creating sounds
by loading samples and loops directly from the Browser, Files app, or regions in the Tracks
area. Sample Alchemy works best with monophonic instruments, vocals, or found sounds.
When you record your instruments or vocal samples directly in Logic Pro for iPad, you can
conveniently drag audio regions straight into an instance of Sample Alchemy.
Logic Pro User Guide for iPad 772
You can use Sample Alchemy in a number of ways in your projects, such as building unique
playable instruments or recording automation of the handles to add unique sound effects
and synth elements. Here are a few examples of the types of sounds that you can create
with Sample Alchemy:
• Rich and complex synth pads
• Evocative keys
• Rhythmic and evolving arpeggiator patterns
• Unique and playable effects
• Dynamic and evolving soundscapes
• Big fat basses
• Vocal-like formants
Additionally, with a library of predesigned sounds and a wide variety of sound-manipulation
tools such as filters, synthesis effects, and modulators, Sample Alchemy allows you to
create sounds tailored to your needs.
If you’re new to samplers, synthesizers, and the concepts behind modulation generators,
such as LFOs and envelopes, filters, and other components, see Intro to synthesizers.
To add Sample Alchemy to your project, you can replace the instrument on a software
instrument track in the Plug-ins area or on a software instrument channel strip in the Mixer.
In the Instrument menu, choose Sampler > Sample Alchemy. You can also change the
default plug-in for software instrument tracks in the New Tracks dialog.
Replace an instrument plug-in with Sample Alchemy
If an instrument plug-in is already loaded, you can replace it with Sample Alchemy by doing
the following:
1. In the Plug-ins area in Logic Pro, touch and hold the instrument plug-in name, then tap
Replace.
2. Choose Sampler > Sample Alchemy from the menu.
Add the Sample Alchemy plug-in
If you have removed the default plug-in or changed the default plug-in configuration for
software instrument tracks, you can add Sample Alchemy in the Plug-ins area in Logic Pro,
by doing the following:
• In the Plug-ins area in Logic Pro, tap the Add Instrument button .
The Sample Alchemy plug-is is added to the signal chain.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 773
Sample Alchemy interface in Logic Pro for iPad
The Sample Alchemy interface consists of three primary sections:
• The upper section contains the Edit Mode buttons, the sample name and lock, and the
Amp/Mod button for the envelope generators. This view changes depending on the
selected edit mode.
• The middle section contains the source buttons, Mixer button, Play Mode buttons, Snap
menu, and Mod Matrix. The central part of this view includes the sample waveform
display and the source handles. Here you can interact with the sound by setting a play
mode and moving the handles. See play modes, Motion mode, and Trim mode.
• The lower section contains the source controls on the left, the synthesis modes and
their parameters in the middle, and the Filter controls on the right.
Add source material to Sample Alchemy in Logic Pro for iPad
Sample Alchemy provides various ways to add an audio file, Apple Loop, or region. Once
you’ve added the file, you can choose different modes to change playback behavior, you
can directly edit waveform markers, and you can alter the tonal color and performance
characteristics with the synthesis and modulation parameters.
Drag a sample or loop from the Browser into Sample Alchemy
• Drag a sample or loop from the Browser into the Sample Alchemy waveform display.
Tip: The Tonal filter accessible in the Browser under Descriptors is a good way to
find sounds that work well in Sample Alchemy. See Find sounds in the Browser.
Drag an audio region from the arrangement into Sample Alchemy
• Drag an audio region from the arrangement in your project into the Sample Alchemy
waveform display.
Drag an audio file to Sample Alchemy using Slide Over
• Files on your iPad can be added to Sample Alchemy using Slide Over. See Intro to
importing media.
Logic Pro User Guide for iPad 774
Drag an audio file from the Browser onto a track header
1. Drag a sample or loop from the Browser to a software instrument track header.
2. In the Create new track with dialog, tap Sample Alchemy.
Add an audio file using the Sample name field
1. Tap the “Sample name” field at the top center of Sample Alchemy to open the Browser.
2. In the Browser, browse to the file you want to import, then drag it into the Sample
Alchemy waveform display.
Save a Sample Alchemy preset in Logic Pro for iPad
In Logic Pro for iPad, tap the More button in the plug-in menu bar to access Sample
Alchemy file commands.
• Save: Saves the currently loaded instrument. When you create a new instrument and
save it for the first time, you are asked to provide a name. If you have edited an existing
instrument and use this command, the existing filename is used and the original
instrument is overwritten.
• Save As: Saves the currently loaded instrument, but you are prompted to provide a
different filename. Use this command when you want to save a copy or multiple versions
of an edited Sample Alchemy instrument, rather than overwriting the original version.
This command (and the Save A Copy As command) may be useful when you want to
save a Sample Alchemy setting that is unique to a specific project. Storing this in a
location outside of user folders may also be practical for sharing a copy of your Sample
Alchemy setting with a colleague or friend.
Sample Alchemy edit modes in Logic Pro for iPad
In Sample Alchemy, you can tap Play, Motion, or Trim buttons to choose from three edit
modes:
• Play button: Select Play mode. There are five play modes, each providing a different
way to play back the sample. See Sample Alchemy play modes.
• Motion button: Select Motion mode. Motion mode lets you record the movement of the
source handles. After recording, the movement plays back in sync with the tempo of
your project when the sound is triggered. See Sample Alchemy Motion mode.
• Trim button: Select Trim mode. This mode lets you crop the sample. See Sample
Alchemy Trim mode.
Logic Pro User Guide for iPad 775
Sample Alchemy play modes in Logic Pro for iPad
There are five play modes, each providing a different way to play back the sample. You can
tap the Classic, Loop, Scrub, Bow, and Arp buttons to determine the play mode.
• Classic button: Select Classic mode to play a sample from beginning to end. Sample
playback begins from the handle point and finishes at the end of the sample. This mode
is great for playing a sample in a conventional manner. In this mode, the first source
parameter (Playback Speed) determines the sample playback speed.
• Loop button: Select Loop mode to loop between two points within a sample. In this
mode, playback starts from the defined start point, playing to the defined loop end
position, then skips to the start point and repeats. These positions are set on the
sample using the source handle and source handle end point. You can also place
the handle after the loop end point to play the sample in reverse. In this mode, the
first source parameter (Loop Speed) determines the sample playback speed. Set the
playback speed of each loop on each source independently to create more dynamic
sounds. This mode is ideal for manipulating musical phrases and looped, rhythmic
material. For instance, it lets you play particular sections of a waveform and repeat them
as the basis for a new rhythmic sound.
• Scrub button: Select Scrub mode to play the sample at the touch point and in unison
with up to four sources. Play the sample at the position you touch on the waveform, or
scrub scrub through the waveform as you touch and move source handles. Up to four
sources can be heard simultaneously, depending on how many have been turned on.
Scrub mode is great for selecting precise points of the sample and playing all sources
in unison for VA synthesizer–style sounds or scrubbing through a sample waveform
like a tape machine. In this mode, the first source parameter (Scrub Jitter) determines
how much random movement is applied to the handle position for playback. This can be
useful for creating a unison-like effect.
• Bow button: Select Bow mode to play the sample at each handle position with the bow
action mechanism used to play stringed instruments. The up-and-down motion of a
bow is replicated to play the sample sources. The up motion plays the sample normally,
and the down bow plays the sample in reverse. Up to four sources can be heard
simultaneously, depending on how many have been turned on. Bow mode is great for
selecting precise points of the sample and playing them back and forth in unison. In this
mode, the first source parameter (Bow rate) determines the speed of the bow action.
The speed of the bow action can also be synced to the tempo of your project using the
Sync button.
• Arp button: Select Arp mode to generate repeating patterns of notes that trigger
different sections of the sample to create intricate sequences based on the notes
played in real time or from a MIDI region. In this mode, the first source parameter
(Arp Speed) determines the rate of the arpeggiator. The rate of the arpeggiation is
automatically synced to the tempo of your project.
Logic Pro User Guide for iPad 776
Sample Alchemy sources in Logic Pro for iPad
Sample Alchemy sound-generating modules are called sources. Four independent sources
(labeled A/B/C/D) are available in each preset, and each source has an identical set of
controls.
Source components are shown when you tap the A, B, C, and D buttons to select the
source you want to edit. Some parameters can be set globally or per source. Global
parameters override individual source settings. If you’re new to synthesis or unfamiliar with
different synthesis approaches, see Intro to synthesizers.
The components in each source are displayed in three modules: source, synthesis, and
filter.
• Source module: The first module displays the parameters for the selected source.
The first parameter available here changes depending on the selected play mode. For
example, in Classic mode you can control the speed at which the sound is played, and in
Loop mode you can control the loop speed. The other parameters in this column let you
set the panning and tuning for each source.
• Synthesis module: The second module provides multiple sound-generating modes
based on different methods of synthesis. Here you can set a synthesis mode for each
source. See Sample Alchemy synthesis modes.
• Filter module: The third module contains the filter. Here you can set the filter for each
source or globally. See Sample Alchemy Filters.
Source module parameters
• Playback Speed knob: Set the sample playback speed of the sample. Set low speed
values to create gradually evolving textures.
• Loop Speed knob: Set the sample loop speed between the start point and end point. At
100% the loop is synced to the speed of the project tempo.
• Scrub Jitter knob: Set the depth of the jitter action.
• Bow Rate knob: Set the rate of the bow action.
• Bow Rate Sync button: Allows you to set the rate in tempo synced note values, instead
of Hz.
• Arp Rate: Set the duration of each arpeggiator step. The arpeggiator is synchronized
with the project tempo, and Rate is set in bars/beats.
• Pan knob: Set the source output position in the stereo field.
• Tune Coarse knob: Tune the source in semitone increments.
• Tune Fine knob: Tune the source pitch in increments of one cent (one hundredth of a
semitone).
Logic Pro User Guide for iPad 777
Turn on a source in Sample Alchemy
• Tap a source button (A/B/C/D) to turn on a source.
Turn off a source in Sample Alchemy
• Tap a highlighted source button (A/B/C/D) to turn off a source.
Select a source in Sample Alchemy
• Tap a source handle (A/B/C/D).
Select multiple sources in Sample Alchemy
• Tap the Source menu, then choose Select All.
Mix sources in Sample Alchemy
• Tap the Mixer button on the top left side of Sample Alchemy, then drag a volume level
up or down.
Sample Alchemy synthesis modes in Logic Pro for iPad
Each source has an independent set of parameters and therefore can be set to a different
synthesis type. For example, you can combine granular synthesis with additive synthesis or
spectral synthesis. Each synthesis method has inherent strengths weaknesses that make it
more suitable for certain sound types than other synthesis engines.
If you’re new to synthesis or unfamiliar with different synthesis approaches, see Intro to
synthesizers.
The Granular, Additive, and Spectral buttons in the lower section show synthesis engine
parameters. See the following sections for detailed information on parameters and
functions:
• Sample Alchemy granular effect controls
• Sample Alchemy additive effect controls
• Sample Alchemy spectral effect controls
Logic Pro User Guide for iPad 778
Sample Alchemy granular effect controls in
Logic Pro for iPad
Granular synthesis is a technique used to create and manipulate sounds by breaking them
down into small pieces, or “grains,” and manipulating these grains independently.
In granular synthesis, a sound is typically broken down into a series of short, overlapping
grains, each of which is a few milliseconds in length. These grains are then played back in
sequence, either as a continuous stream or in a randomized or more structured pattern.
You can create a wide range of sounds and timbres by manipulating various parameters
of the grains, such as their pitch, duration, and position in the original sound waveform.
Granular synthesis can be used to create everything from subtle changes in a sound to
radical transformations, and it is often used to create unique and unconventional sounds
that are difficult to achieve using other synthesis methods.
The parameters in this section are shown when Granular is selected in a synthesis module.
Tap the source handles to select the source you want to edit.
Granular module parameters
• Size knob: Adjust the duration of each grain from 2 ms to 230 ms.
• Density knob: Determine the number of potentially overlapping grains from 1 (no
overlap) to 10.
The Size and Density parameters interact with each other. When the Density value is 1,
a single grain is sent to the output stream. As soon as one grain finishes, the next one is
sent. A Size value of 100 ms sends a new grain every 100 ms.
Increasing Density to 2 adds a second grain that is sent in between those of the first,
resulting in a new grain every 50 ms, assuming a Size value of 100 ms. The first and
second grains overlap each other. Higher Density values inject additional new grains
into the output stream. These new grains occur more frequently and overlap more
heavily.
Setting Size to around 100 ms and Density to around 5 grains is often suitable for
smooth pad sounds with no sharp transients. Setting Size between 40 and 80 ms
and Density to around 2 grains is useful for drums and other sounds featuring sharp
transients. Small Size values tend to produce a buzz that masks the original pitch of
the sample. Large Size values tend to break up the sound. You can counteract both
tendencies by increasing the Density.
• Random Time knob: Add a small random offset to grain extraction positions in the
sample. The default value is 3% because a small amount of randomization helps to
smooth the output of the granular element.
• Random Pan knob: Add a random offset to the stereo position of each grain.
Logic Pro User Guide for iPad 779
Sample Alchemy additive effects in Logic Pro for iPad
Additive synthesis represents each sound as a sum of individual partials. Each partial is
synthesized using a sine wave and is represented in terms of four parameters: amplitude,
pitch, pan, and phase, each of which changes over time.
You can think of the additive data as a series of snapshots, each of which captures the
amplitude, pitch, pan, and phase of every partial at a particular point in time. In between
snapshots, each parameter updates smoothly toward the following snapshot value.
When played in succession and with the right timing, the series of snapshots describes a
potentially complex and continuously evolving sound.
Sample Alchemy additive effect controls in
Logic Pro for iPad
The parameters in this section are shown when Additive is selected in a synthesis module.
The controls also vary depending on the selected additive effect.
Tap one of the handles labeled A/B/C/D to select the source you want to edit.
Harmonic
The Harmonic effect allows you to control groups of partial levels, with controls relating to
harmonic intervals.
• Odd/Even knob: Set the balance between odd or even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.
• Fifths knob: Set the level of the fundamental tone and all partials at fifth intervals
(7 semitones) above it. Higher values boost harmonics 1, 3, 9, 27, and so on, with a
corresponding reduction in the levels of other harmonics. Low values have the reverse
effect and can make the sound more cutting and edgy.
Logic Pro User Guide for iPad 780
• Octaves knob: Set the level of the fundamental tone and all partials at whole octave
intervals above it. Set to zero to completely remove harmonics 1, 2, 4, 8, 16, and so on,
while boosting the levels of non-octave harmonics. Set to higher values to boost the
levels of octave harmonics while reducing the levels of other harmonics.
• Fundamental knob: Set the level of the fundamental tone and all partials above it. Set to
zero to completely remove the fundamental tone. Set to 100% to hear the fundamental
tone in isolation. Higher values tend to make the sound thicker.
Partials Lock
Partials Lock is an effect that sets all of the partials to the same zero phase value at
the start. It sets the partials to have no variation in pitch over the course of the sound,
resulting in a clean, artificial sound.
• Symmetry knob: Alter the symmetry, or shape, of the sine waves by lengthening the
first half of the waveform while shortening the second, or the reverse. The audible
effect is similar when the knob is turned in either direction. Symmetry alters waveforms
until they are no longer pure sine waves in shape, resulting in each partial developing
independent harmonics and making the sound brighter.
• Odd/Even knob: Set the balance between odd or even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.
• Num Partials knob: Set the number of additive partials that are generated. The number
of oscillators required depends on the sound. For example, a flute has a limited number
of harmonics and requires fewer partials than a cello or a violin. The playable register
can also affect the number of oscillators required: high notes will accommodate only a
small number of higher harmonics before reaching the limits of audibility, whereas low
bass notes may have hundreds of harmonics without reaching the limit. Always set Num
Partials to the lowest number of partials that are required by the sound because this
helps reduce CPU load.
• Pitch Var knob: Tune all partials simultaneously. This occurs before processing by
the additive effect modules that stretch/shift partial tunings. Set to 0% to tune all
partials in a perfect harmonic series. Set to 100% to make each partial follow the pitch
fluctuations detected in the original audio file. The sonic impact of this parameter is
highly dependent on the audio material: sounds with strong inharmonic content, such as
bells, are dramatically changed by reducing pitch variations. If all partials are tuned to
the harmonic series, however, the knob has no influence on the sound.
Logic Pro User Guide for iPad 781
Partials
Partials is an effect that allows you to manipulate the spectral content of a sound by
modifying individual partials within the sound.
• Odd/Even knob: Set the balance between odd and even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.
• Symmetry knob: Alter the symmetry, or shape, of sine waves by lengthening the first
half of the waveform while shortening the second, or the reverse. The audible effect
is similar when the knob is turned in either direction. Symmetry alters waveforms
until they are no longer pure sine waves in shape, resulting in each partial developing
independent harmonics and making the sound brighter.
• Pitch Var knob: Tune all partials simultaneously. This occurs before processing by
the additive effect modules that stretch/shift partial tunings. Set to 0% to tune all
partials in a perfect harmonic series. Set to 100% to make each partial follow the pitch
fluctuations detected in the original audio file. The sonic impact of this parameter is
highly dependent on the audio material: sounds with strong inharmonic content, such as
bells, are dramatically changed by reducing pitch variations. If all partials are tuned to
the harmonic series, however, the knob has no influence on the sound.
• Num Partials knob: Set the number of additive partials that are generated. The number
of oscillators required depends on the sound. For example, a flute has a limited number
of harmonics and requires fewer partials than a cello or a violin. The playable register
can also affect the number of oscillators required: high notes will accommodate only a
small number of higher harmonics before reaching the limits of audibility, whereas low
bass notes may have hundreds of harmonics without reaching the limit. Always set Num
Partials to the lowest number of partials that are required by the sound because this
helps reduce CPU load.
Formant
Formant is an effect that allows you to shape the spectral content of a sound by
emphasizing or attenuating specific frequency bands.
• Shift knob: Shift all synthesized formant filters up or down in semitones. Higher values
can make sounds seem brighter or thinner. Lower values can create a darker, thicker
character.
• Key Track knob: Determine how the formant filter tracks notes on the keyboard. At
100%, filter resonances shift up or down in pitch with the note. Set to lower values to
reduce key tracking, which may make some sounds playable over a wider keyboard
range.
• Size knob: Stretch the formant filter to alter the perceived size of the resonant chamber.
Size works in conjunction with the Center knob.
• Center knob: Set the center frequency for the formant stretch that you set with the Size
knob. Resonances below the center frequency are shifted upward as the Size value
is increased. A corresponding downward shift occurs to resonances above the center
frequency.
Note: The Center knob has no effect when the Size knob is set to 100%.
Logic Pro User Guide for iPad 782
Formant Synth
Formant Synth is an effect that applies a vocal formant effect to shape the timbre of the
synthesized sound.
• Shift knob: Shift the formants up or down in semitones. Higher values can make sounds
seem brighter or thinner. Lower values can create a darker, thicker character.
• Size knob: Stretch the formant filter to alter the perceived size of the resonant chamber.
Size works in conjunction with the Center knob.
• Center knob: Set the center frequency for the formant stretch that you set with the Size
knob. Resonances below the center frequency are shifted upward as the Size value
is increased. A corresponding downward shift occurs to resonances above the center
frequency. Note: The Center knob has no effect when the Size knob is set to 100%.
• Vowel: Morph smoothly through the four filter shapes: A, E, I, and O. The displayed
value indicates position. Whole numbers indicate a particular filter unit, and fractional
values indicate a position between filters.
Sample Alchemy spectral effects in Logic Pro for iPad
Spectral resynthesis analyzes the changing frequency spectrum of a signal and attempts to
recreate these spectral characteristics. In Alchemy, the audible spectrum of a signal is split
into a large number of spectral bins. Energy distribution across these bins is analyzed and
the sound is recreated by filling each spectral bin with the required amount of signal, using
either sine waves or filtered noise. The results are then summed.
Sample Alchemy spectral effect controls in
Logic Pro for iPad
The parameters in this section are shown when Spectral is selected in a synthesis module.
The controls also vary depending on the selected spectral effect.
Tap one of the handles labeled A/B/C/D to select the source you want to edit.
Logic Pro User Guide for iPad 783
Formant
Formant is an effect that allows you to shape the spectral content of a sound by
emphasizing or attenuating specific frequency bands.
• Shift knob: Shift the formant filter up or down in semitones. Higher values can make
sounds seem brighter or thinner. Lower values can create a darker, thicker character.
• Key Track knob: Determine how the formant filter tracks notes on the keyboard. At
100%, filter resonances shift up or down in pitch with the note. Set to lower values to
reduce key tracking, which may make some sounds playable over a wider keyboard
range.
• Size knob: Stretch the formant filter to change the perceived size of the resonant
chamber. Use this parameter to alter the size of a guitar body or to make a child’s vocal
sample sound like that of a giant, for example. The Size knob works in conjunction with
the Center parameter.
• Center knob: Set the center frequency for formant stretching (controlled with the Size
knob). Resonances below the center frequency are shifted upward as the Size knob
value is increased. A corresponding downward shift occurs to resonances above the
center frequency.
Note: The Center knob has no effect when the Size knob is set to 100%.
Low/High Cut
Use the Low and High Cut knobs to to shape the tonal characteristics of the sound. The
Low Cut and High Cut parameters work in conjunction with each other to act as a bandpass
filter, where signals that fall within the two cutoff ranges are allowed to pass.
• Low Cut knob: Set a cutoff frequency. All signals above this frequency are allowed to
pass. Signals below the frequency are cut.
• High Cut knob: Set a cutoff frequency. All signals below this frequency are allowed to
pass. Signals above the frequency are cut.
Blur
Blur produces a frequency-blurring effect.
Tip: Try a melodic loop with pitch variations to best hear the impact of this effect.
• Mix knob: Set the balance between the original signal and the processed sound.
• Length knob: Set the time period that frequencies are sustained (blurred over time).
• Variance knob: Set the degree of variation for frequency selection (frequencies that are
blurred).
• Gate knob: Determine the impact of the source sound envelope on the effect and the
number of audible frequencies. For example, when used on a loop, higher settings
produce a simplified sound with more frequent gaps in the effect output.
Logic Pro User Guide for iPad 784
Cloud
Cloud produces what might best be described as a cloud of frequency grains, resulting in a
textured chorus effect.
Tip: Try this effect on vocal samples.
• Mix knob: Set the balance between the original signal and the processed sound.
• Threshold knob: Set a sustained emphasis on the highest amplitude harmonics.
• Attack knob: Set the time it takes for frequencies emphasized by the Threshold setting
to fade in.
• Simplify knob: Reduce lower amplitude frequencies to enhance prominent frequencies,
lessening detail in favor of an increasingly pure tone.
Metallize
Metallize produces classic comb filter–style effects.
Tip: Experiment with drum loops to clearly hear the impact of the controls.
• Mix knob: Set the balance between the original signal and the processed sound.
• Interval knob: Set the effect frequency.
• Simplify knob: Reduce the number of effect-generated frequencies, resulting in a
simplified sound.
• Feedback knob: Set the intensity of the effect. Higher settings emphasize harmonics,
creating metallic resonances.
Noise
Use Noise to fill spectral bins with filtered noise. The Low Cut and High Cut parameters
work in conjunction to act as a bandpass filter, where signals that fall within the two cutoff
ranges are allowed to pass.
• Low Cut knob: Set a cutoff frequency. All signals above this frequency are allowed to
pass. Signals below the frequency are cut.
• High Cut knob: Set a cutoff frequency. All signals below this frequency are allowed to
pass. Signals above the frequency are cut.
Logic Pro User Guide for iPad 785
Sample Alchemy filters in Logic Pro for iPad
In a Sample Alchemy, the filter module modifies the harmonic content of the sound being
produced. It can shape the tonal characteristics of the sound by removing or reducing
certain frequencies while allowing other frequencies to pass through.
Sample Alchemy provides an extensive range of filter types, including lowpass, highpass,
comb, downsampler, and FM filters. Each filter type has unique sonic characteristics and
responds differently to incoming signals.
The filters in Sample Alchemy can also be modulated by an envelope, an LFO (low
frequency oscillator), or other modulation sources, which allow them to be controlled over
time to create dynamic and evolving sounds. Modulation can be assigned in the Mod Matrix
pane, see Sample Alchemy Mod Matrix.
If you’re new to synthesizers and the concepts behind components such as filters, LFOs,
and envelopes, see Intro to synthesizers.
Sample Alchemy filter types in Logic Pro for iPad
This flexible collection of filters allow you to subtly or dramatically sculpt the tone of your
instruments.
• Lowpass (LP): This filter type passes the portion of a signal below a specified cutoff
frequency and rolls off the portion above that frequency. See Sample Alchemy lowpass
and highpass filters.
• Highpass (HP): This filter type passes the portion of a signal above a specified cutoff
frequency and rolls off the portion below that frequency. See Sample Alchemy lowpass
and highpass filters.
• Comb PM: This filter mixes the original signal with one or more copies of the signal,
which are delayed by a very short time interval. See Sample Alchemy Comb PM filter.
• Downsampler: This filter creates a lo-fi digital effect (similar to a bitcrusher). See
Sample Alchemy downsampler filter.
• FM: This filter uses a modulator oscillator and a sine wave carrier oscillator. The
modulator oscillator modulates the frequency of the waveform generated by the carrier
oscillator within the audio range, thus producing new harmonics. See Sample Alchemy
FM filter.
Sample Alchemy filter general parameters
• On/Off button: Turn the filter module on or off.
• Filter Type pop-up menu: Choose a filter characteristic. Each option provides a different
tonal color and response to Cutoff, Drive, and Res control values.
Logic Pro User Guide for iPad 786
Sample Alchemy lowpass and highpass filters in
Logic Pro for iPad
There are multiple two-pole, four-pole, multipole state-variable, and analog-modeled
lowpass (LP) and highpass (HP) filter designs in Sample Alchemy, each with distinctive
characteristics that you may prefer for a given purpose. The available LP and HP filter
designs include Sharp, Clean, Gritty, and Edgy variants.
• Sharp: Two-pole analog-modeled filters.
• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper
roll-off of frequencies beyond the cutoff.
• Clean: Bi-Quad filters.
• Gritty: Two-pole filters designed to saturate heavily at higher resonance (Res) settings.
Sample Alchemy lowpass and highpass filter parameters
The filter controls have standard functions for all lowpass (LP) and highpass (HP) filter types.
• Cutoff knob: Set the cutoff frequency for the filter. Higher frequencies are attenuated,
and lower frequencies are allowed to pass in an LP filter. The reverse is true when using
an HP filter.
• Res knob: Boost or cut signals in the frequency band that surrounds the cutoff
frequency.
Sample Alchemy Comb PM filter in Logic Pro for iPad
A comb filter is a type of digital audio effect that creates a characteristic “comb” pattern
of peaks and troughs in the frequency spectrum of an audio signal. It is named after the
shape of the frequency response curve, which looks like the teeth of a comb.
The Comb PM filter is useful for classic bright Karplus-Strong style sounds, where the
exciter impulse is not easily heard and the comb is more prominent. Be careful with your
resonance level because it is capable of quickly going to extremes, which can lead to
feedback. Start with a resonance level of zero, and increase (or decrease) slowly to find a
suitable effect strength.
Comb PM filter parameters
• Note: Set the modulation frequency.
• Feedback: Controls the amount of feedback in the comb circuit.
Sample Alchemy downsampler filter in Logic Pro for iPad
The downsampler filter is a type of digital audio effect that reduces the sampling rate
of a digital audio signal. This can be used to create a range of different effects, such as
creating a lo-fi or vintage sound.
Downsampling works by reducing the number of samples that are used to represent the
audio signal. This can be done by discarding some of the samples. The resulting audio
signal has a lower sample rate and a lower frequency range, which can give it a different
character or timbre.
Logic Pro User Guide for iPad 787
Downsampler filter parameters
• Freq: Set the downsample frequency.
• Mix: Set the balance between the original and filtered signals. High values result in
stronger downsampling.
Sample Alchemy FM filter in Logic Pro for iPad
Frequency modulation (FM) in Sample Alchemy has a different character from classic
FM synths. Unlike dedicated FM synths, Sample Alchemy does not have preconfigured
algorithms or a mod matrix setup specifically for FM.
FM in Sample Alchemy is more like working with FM on analog synths, where you are
modulating oscillator frequency rather than phase. As a result, Sample Alchemy’s FM is
great for adding different kinds of effects to your sound, as well as “organic” distorted
textures.
FM filter parameters
• Note: Set the carrier oscillator frequency.
• Mod: Set the degree to which the modulator (source audio) can modulate the frequency
of the carrier.
Sample Alchemy envelope generators in Logic Pro for iPad
You can control the level of the amplitude or modulation over time with dedicated envelope
generators. Use the Amp/Mod button to access each envelope. The controls for each
envelope are the same.
Amp and Mod Envelope menu
• Amp/Mod button: Choose the envelope type. Here you can choose between the Amp
(amplitude) envelope or Mod (modulation) envelope.
• Attack value: Drag up or down to set the time it takes for the envelope to reach the
initial level.
• Decay value: Drag up or down to set the time it takes for the envelope to fall to the
sustain level, following the hold phase or the initial attack time.
• Sustain value: Drag up or down to set the sustain level, which is held until you release
the note.
• Release value: Drag up or down to set the time it takes for the envelope to fall from the
sustain level to a level of zero.
Logic Pro User Guide for iPad 788
Sample Alchemy Mod Matrix in Logic Pro for iPad
Sample Alchemy LFOs and envelopes are known as modulation generators. These
modulation sources are used to control modulation targets, such as filter cutoff, source
synthesis parameters, and source controls. You can assign up to four independent routings
of modulation sources and targets in the Mod Matrix pane.
Sample Alchemy provides four LFOs and dedicated Modulation and Amplitude envelopes
that can also be assigned as modulation sources or targets in the Mod Matrix pane.
Use the Mod Matrix to control how the sound changes as you move handles up and
down the waveform using the Waveform Y modulator. Your keyboard modulation wheel,
aftertouch, pitch bend, velocity, and MIDI continuous controller features can also be
assigned as real-time control sources for Sample Alchemy parameters in the Mod
Matrix pane.
When a parameter is the target of one or more modulators, an orange modulation arc is
shown beside the blue value arc for the knob. This indicates that the knob is an active
modulation target and shows the modulation range. The amount of Depth you assign in the
Mod Matrix pane determines how much a modulation source affects its target.
The Mod Matrix pane shows the modulators applied to the currently selected control in
Sample Alchemy. This is shown via the Target field at the top of the Mod Matrix pane as
well as by the dot that appears in the center of the currently selected knob.
If you’re new to synthesizers and the concepts behind modulation generators, such as
LFOs and envelopes, see Intro to synthesizers.
Mod Matrix parameters
• Source pop-up menu: Choose a modulation source.
• Depth field: Drag vertically to set the maximum value or intensity of modulation. You
can also tap the field to enter a numerical value.
Logic Pro User Guide for iPad 789
Set up a Sample Alchemy modulation routing in
Logic Pro for iPad
You can assign Sample Alchemy LFOs and envelopes as modulation sources or targets
in the Mod Matrix pane. You can also assign Waveform Y and your keyboard modulation
wheel, aftertouch, pitch bend, velocity, and MIDI continuous controllers as real-time control
sources for Sample Alchemy target parameters in the Mod Matrix pane.
When a parameter is the target of one or more modulators, an orange modulation arc is
shown beside the blue value arc for the knob. This indicates that the knob is an active
modulation target and shows the modulation range.
Sample Alchemy Motion mode in Logic Pro for iPad
Using Motion mode, you can record the movement of source handles to automate various
parameters so that they change over time, producing dynamic and evolving sounds.
After you record a motion sequence, it is automatically looped and remains tempo-
synchronized to your project. When you play back the sound, the Motion sequence you
recorded is visually replicated on the screen.
Add to your recording by making overdubs or manually setting the Loop Start and Loop End
points. If you’re unsatisfied with your recording, you can use the Clear button to erase the
motion recording and start over.
Tip: Instead of using Motion mode to record the movement of the handles, you
can record it directly to a region. After you record your performance, you can edit the
automation captured in the region to suit your project. See Show region automation.
Logic Pro User Guide for iPad 790
Motion mode parameters
• Record button: Tap the Record button to start recording motion. Recording when a
recording already exists will cause any additional touches to be interpreted as Touch or
Trim automation, depending on setting, and they will override that particular section of
the recording.
• Clear button: Delete the motion recording. This button only appears after a motion
recording has been made.
• Timeline: Displays the playback position of the latest note, with beat markers as the
axis.
• Loop Start: Set the motion playback loop start point in beats.
• Loop End: Set the motion playback loop end point in beats.
• Duration: Set the duration of the recording in beats. Changing this value will stretch the
motion recording and loop start and end positions accordingly.
How to record a motion sequence
1. Tap the Record button to arm the motion recorder. Recording does not start until you
touch the handles.
2. Move the source handles as required for the duration of the recording.
3. Release the handles to automatically stop the recording, or tap the Stop button.
4. Tap Record again if you want to overdub the motion recording.
5. Play a MIDI note to listen to and visualize your motion recording. You can now switch to
Play mode if you want. Any movement of the handles shifts your motion recording up/
down/left/right.
Sample Alchemy Trim mode in Logic Pro for iPad
Trim mode lets you select the exact part of the sample you want to use. You can see the
current audio file in the waveform display and directly trim the sample using markers. You
can zoom in or out with pinch gestures or scroll using single or two-finger swipes. When
you zoom in, the scroll bar indicates the current position within the waveform.
When you tap or drag markers and handles in the waveform display, you can trim the
waveform more accurately by choosing a Snap value, which allows you to snap the markers
to a transient or beat.
Logic Pro User Guide for iPad 791
Trim mode parameters
• Start and end markers: Drag the blue start or the end marker to set the sample start or
end point. Playback occurs between these markers. Then drag either the start or end
marker to move the entire audio section between these markers.
• Snap pop-up menu: Choose a value. In play modes and Motion mode this affects the
movement of source handles. In Trim mode, the Snap value affects edits to loop start
and end markers in the waveform display. The following options are available in the
Snap pop-up menu:
• Auto: The Snap value is automatically set to the best value based on the selected
mode and the sample.
• Off: Turn snap off.
• Transients: Snap to transients in the sample.
• Beat: Snap to beat values in the sample.
• Fixed: Set the Snap value to allow source handles to move only on the Y axis
(vertically) in play modes and Motion mode.
• Zoom in/out: Use the pinch gesture to zoom in and out.
Set trim start and end markers
To set the start and end markers in Trim mode, do any of the following:
• Tap the Snap menu and choose a Snap value.
• Tap the start marker then, drag it left or right to set the start position of the sample.
• Tap the end marker then, drag it left or right to set the end position of the sample.
Note: You can pinch the waveform to zoom in and out for more precise editing. If you
zoom in to the waveform, swipe to the left or right to see the start or end markers.
Sample Alchemy More menu in Logic Pro for iPad
Tap the More menu at the upper right to choose a number of global, sample, and MIDI
handling options.
Global settings
• Volume: Set the volume level of the preset.
• Polyphony: Set the maximum polyphony of a preset (up to 16 voices). A value of 1
results in a monophonic preset or source.
• Glide: Set the portamento rate. Glide causes slides from one note pitch to the next.
• Play Mode: Determine how new notes are treated. This parameter interacts with the
Polyphony and Glide controls.
• Always: If the Polyphony value is 1, a trigger is generated at the start of each legato
group, and portamento occurs at the start of every note. For all other Polyphony
values, a trigger is generated at the start of every note, and portamento occurs at
the start of every note.
• Retrigger: A trigger is generated at the start of every note, and portamento occurs at
the start of every note.
Logic Pro User Guide for iPad 792
• Legato: If the Polyphony value is 1, a trigger is generated at the start of each legato
group, and portamento occurs at the start of each legato group. For all other
Polyphony values, behavior is unchanged when you play single notes. When you play
a chord, each note of the chord is triggered individually.
• Pitch Bend: Set the maximum range for upward and downward pitch bend modulation,
typically performed with your keyboard pitch bend wheel.
Sample settings
• Preview Mode: Turn preview mode off or on (it’s on by default). When preview mode is
on, a MIDI note is generated when you touch a handle. Turning preview mode off results
in no sound when you tap the handles.
• Pitch Lock: Lock the pitch of the sample to the root key. If you import an audio file
containing notes with various pitches, Pitch Lock allows you to lock them all to a single
note. After this, you can play Sample Alchemy (for example, with a MIDI keyboard), and
it will play the notes you hold down, not the differing pitches within the sample.
• Reverse: Set the sample to play in reverse.
• Root Key: Adjust the pitch of the sound in semitones.
• Root Cents: Adjust the pitch of the sound in cents.
• Tempo: Set the tempo (shown in beats per minute) of the sample, or choose None if the
sample is not rhythmic.
• Derive Tempo from Loop Length: Calculate a tempo for the audio file based on the
length of the sample between trim handles.
MIDI settings
• MIDI Mono Mode (MPE): You can choose the settings for MIDI Mono Mode:
• MIDI Mono Mode: Choose Off, On (Common Base Channel 1), or On (Common Base
Channel 16). In either mode, each voice receives on a different MIDI channel. Per-
voice channels support pitch bend, aftertouch, modulation wheel, and controller
assignment messages.
• Pitch Bend Range: Set a value from 0 to 96. The chosen pitch bend range affects
individual note pitch bend messages received on all but the Common Base Channel.
The default is 48 semitones. When using a MIDI guitar, 24 semitones is the
preferable setting because most guitar-to-MIDI converters use this range by default.
• MIDI Assign: You can choose one of four different modulation sources from the MIDI
submenu. Ctrl A/B/C/D can be assigned to modulation targets in the Mod Matrix pane.
These are ideal for adding breath and foot controller modulations.
• Ctrl A–D: Set the MIDI continuous controller that is assigned to Ctrl A–D.
Logic Pro User Guide for iPad 793
Sampler
Sampler in Logic Pro for iPad
Sampler is a sample playback instrument.
Note: Sampler provides no user controls in Details view. A Volume knob that sets the
overall instrument level is shown in the Plug-ins area.
Audio files, called samples, are combined into tuned, organized collections called sampler
instruments. A sampler instrument is the file type that is loaded into Sampler. When you
choose a sampler instrument, the associated audio files are automatically located and are
loaded into RAM. You play and record the loaded sampler instrument in the same way as
any software instrument.
Because sampler instruments are based on audio recordings, they are ideally suited to
emulating real instruments such as guitars, pianos, and drums.
Sampler provides an extensive library of sampler instruments that includes these and many
other sounds. You can load sampler instruments or patches from the Browser.
Logic Pro for iPad Sampler provides playback compatibility with Logic Pro for Mac projects.
You can load presets for this plug-in, but parameter editing is available only when using
Logic Pro for Mac.
Note: In the Logic Pro for Mac version of Sampler, you can analyze imported samples
and can manipulate them using the Sampler synthesis engine. Logic Pro for Mac Sampler
provides extensive sample mapping, looping, and grouping facilities that make it easy to
create instruments containing hundreds of samples and layers. Dozens of modeled analog
and digital filters are available, in addition to an extensive modulation section.
To add Sampler to your project, choose it from the Instrument > Sampler submenu in an
instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 794
Sculpture
Sculpture in Logic Pro for iPad
This section contains key information and concepts that you need to understand before
looking at Sculpture features and parameters. If you’re new to synthesizers, it might be
best to start off with Intro to synthesizers, which will introduce you to the terminology and
give you an overview of different synthesis methods and how they work.
To add Sculpture to your project, choose it from the Instrument > Synthesizer submenu in
an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
Sculpture is a synthesizer that generates sounds by simulating the physical properties
of a vibrating string. This approach to tone generation is called component modeling. It
enables you to create a virtual model of an acoustic instrument, such as a violin or cello.
Components such as the length of the neck, the material the instrument is made of—wood
or metal, for example—the diameter, tension, and material of the strings—nylon or steel, for
example—and the size of the instrument body can be modeled.
In addition to the physical properties of the instrument, you can determine how and where
it is played—softly bowed, or plucked, on top of a mountain, or under the sea. Other
aspects such as finger noise and vibrato can also be emulated. You can even hit your
virtual instrument strings with a stick, or emulate dropping a coin onto the bridge.
Sculpture is not limited to recreating real-world instruments. You are free to combine
components in any way, leading to bizarre hybrids such as a six-foot-long guitar with a
bronze bell for a body—played with a felt hammer.
You can also create more traditional synthesizer tones in Sculpture. These benefit from
the modeling process itself, which tends to add a level of richness and an organic quality
to sounds. The end results are lush, warm pads, deep and round synthesizer basses,
and powerful lead sounds. If you need to create an endlessly evolving texture for a film
soundtrack, or a spaceship takeoff sound, Sculpture is the perfect instrument for the job.
Like a real instrument, Sculpture generates sounds by using an object, such as a fingertip,
wind, drumstick, or violin bow, to stimulate another object, such as a guitar string or reed.
Note: For clarity, the stimulated object is always referred to as the string.
As with a real instrument, the sound consists of multiple elements. It’s not only the string
that is responsible for the tonal color, but also the objects that stimulate or otherwise
affect the string, and therefore the sound.
For example, imagine a steel-stringed guitar that is alternately strummed with your thumb
and then picked strongly with your fingers. Changing to nylon strings, or 12 strings, would
significantly change the tone. Now imagine the impact of pressing the strings down onto
the fretboard, which not only changes the chord but also momentarily bends the strings,
and therefore their pitch. Other aspects to consider are the size and material of the guitar
body and how they influence the resonant characteristics of your sound. Further elements,
such as the size or type of sound hole—round or F-shaped—the finger noise on the strings,
and the medium that the guitar is played in, also have roles to play in the overall sound that
you produce.
Logic Pro User Guide for iPad 795
Sculpture enables you to virtually model the physical consistency and behavior of all
components involved—hence component modeling synthesis.
This figure shows the signal flow of the core Sculpture synthesis engine.
Following the stimulation of the string by various objects, the vibration of the string is
captured by two movable pickups—you can view these as being similar, in concept and
operation, to the electromagnetic pickups found on guitars, electric pianos, or clavinets.
The pickups send the signal to the ADSR-equipped amplitude stage, a Waveshaper
module, and a multimode filter. These all serve to sculpt your sound.
Note: All elements described above exist on a per voice basis.
The sum of all voice signals can then be sent to an EQ-like module (the Body EQ), which
simulates the spectral shape/body response of your instrument, and then processed by an
integrated delay effect. The resulting signal is then fed to a level limiter section.
A vast number of modulation sources are also available, from tempo-synced LFOs to jitter
generators and recordable envelopes. These can control the string and object properties,
the filter, and other parameters. You can even modulate other modulation sources.
A recordable morph function also allows for smooth or abrupt transitions between up to
five morph points. A morph point is essentially a collection of parameter settings at a given
moment in time.
Important: The interaction between various sections of the component modeling synthesis
engine is more dynamic and more tightly intertwined than that of other synthesis methods.
This can lead to some truly unique sounds, but sometimes even a small parameter change
can deliver dramatically different, and unexpected, results. Sculpture requires a more
measured approach to sound creation than a traditional synthesizer design. Refer to the
flowchart while learning the interface and programming.
Sculpture is a performance-oriented synthesizer that benefits from the use of controllers,
modulations, and different playing techniques. Take time to experiment with all available
controls and parameters when you initially audition some of the supplied sounds, and when
you create new ones of your own.
Sculpture is an instrument that requires some investment of your time, but it can reward
you with beautifully warm and organic sounds, evolving soundscapes—or a harsh and
metallic “Hell’s Bells” patch, if required. Don’t be afraid to experiment; that’s what
Sculpture was created to do.
Logic Pro User Guide for iPad 796
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Sculpture interface in Logic Pro for iPad
Sculpture is divided into three main parameter groupings.
• Sound engine: The upper section of Sculpture contains the sound engine. It is divided
into five subsections:
• String parameters: These are used to create and control the string, thus determining
the basic timbre of your sound. See Sculpture string overview.
• Object parameters: The objects are used to stimulate or otherwise affect the string
in some way. See Sculpture objects overview.
• Processing parameters: The processing parameters capture the string signal and
provide further tonal control. These include the pickups, filter, Waveshaper, and
Spectral Shape EQ which affects the tone of the entire instrument.
• Global and output parameters: These affect the overall behavior of Sculpture. Global
parameters include bend range, keyboard mode, and tuning controls. Further options
include the amplitude envelope, delay effect and output parameters.
• Modulation section: The sections below the sound engine contain the modulation
sources—LFOs, jitter and random generators, and recordable envelopes. The
modulators also incorporate the morph pad, a dedicated controller for morphable
parameters, and Morph Envelope.
• MIDI control sources: The area at the bottom of the interface enables you to assign MIDI
controllers to Sculpture parameters.
Logic Pro User Guide for iPad 797
String parameters
Sculpture string parameters in Logic Pro for iPad
The string is responsible for the basic tone of your sound. You can define its material—
what it’s made of—with the Material Pad, and can determine its behavior when bowed,
plucked, struck, and so on.
The string itself doesn’t make a sound unless it is stimulated—excited or disturbed—by at
least one object. Up to three different types of objects are used to excite, disturb, or damp
the string (make it vibrate or affect its movement). See Sculpture objects overview.
Sculpture’s string and the excite/disturb objects are similar to the oscillators in traditional
synthesizers. The string is considerably more sophisticated in concept than simple
oscillators, however.
In essence, you’re creating the waveform, or base timbre, by mathematically describing
the string properties, and the properties of its environment. These include, among others,
the material the string is made of; the thickness, length, and tension of the string; its
characteristics over time; the atmosphere it is being played in (such as water or air); and
the way it is being played—struck, bowed, and so on.
Sculpture goes far beyond the mere creation of an infinite number of base timbres,
however. One of the key differences between the Sculpture string and a traditional
synthesizer waveform is that the base timbre provided by the string is in a constant state
of flux. For example, if the Sculpture string is still vibrating for a specific note, retriggering
that same note interacts with the ongoing vibration. This is not dissimilar to the effect of
repeatedly plucking a guitar string, where the string is still vibrating when the next note is
played. This alters the harmonic spectrum each time—which is why acoustic guitars sound
organic when a note is played repeatedly, and sampled guitars don’t.
This is quite different from other synthesis methods where the base timbre waveform, even
if modulated, does not harmonically interact with currently audible notes when retriggered.
What usually happens in traditional synthesizers is that the waveform is restarted—from
mid-cycle, or from the beginning—with the result being an increase in volume, or a slight
cyclical wave shift.
The string parameters apply on a per-voice basis. A number of parameters can be morphed
between up to five morph points. These are indicated in the parameter descriptions. See
Sculpture morph overview.
Logic Pro User Guide for iPad 798
String parameters
Resolution, Media Loss, and Tension Mod can be scaled independently above and below
middle C. See Sculpture string parameter scaling.
• Resolution knob: Set the maximum number of harmonics contained in (and spatial
resolution of) the sound at C3. Changes to the Resolution value alter the interaction of
the string with the objects, which has a corresponding effect on overtone frequencies—
very low Resolution values result in inharmonic spectra, even with Stiffness set to 0.
Higher resolution values enhance the precision of calculations, increasing computer
processing requirements. Resolution behavior interacts with the Render Mode buttons,
changing the way it behaves.
• Render Mode buttons: Choose Basic, Extended, or High Definition mode. Each Render
Mode option changes the number of available elements and/or processing.
Sculpture’s string model can roughly be seen as a chain of springs and masses. The
maximum number of elements (masses) is set with the Resolution knob. The Resolution
control interacts with the pitch, stiffness and pitch bend range settings to automatically
set the number of overtones that are actually used. This Sculpture string model affords
advantages over the more common waveguide models, especially when it comes to
interactions with the string with multiple or larger objects. An inherent property of this
flexible string model is that higher overtones are slightly below integer multiples of the
fundamental, leading to increasingly inharmonic higher overtones for a string without
any stiffness.
• Basic: Choose to set a maximum of 100 elements, with some internal headroom for
extreme key scaling. Suitable for many sound types, and has a lower processing
load than other render modes. There is a direct correlation between the number
of vibration modes and elements, resulting in a maximum of 99 overtones in
the spectrum of a single voice. For example, a 100 Hz bass note (with no string
stiffness) has a highest overtone of around 10 kHz, making the more audibly
inharmonic upper third of the harmonic series fall into the audible range.
• Extended: Choose to set a maximum of 1000 elements. The Resolution knob,
coupled with pitch, stiffness and pitch bend range settings affect the number of
elements (overtones) used. This mode automatically reduces the number of audible
inharmonic overtones until none of the overtones happen at rates above half the
sampling frequency.
• High Definition: Choose to set a maximum of 1000 elements and to also turn on
internal 2x oversampling, which adds frequency headroom for more overtones.
The Resolution knob, coupled with pitch, stiffness and pitch bend range settings
affect the number of elements (overtones) used. This mode is significantly more
processor-intensive than Extended mode as it runs at double the frequency and
allows more elements per string for the same note pitch.
• Material Pad: Drag the gray dot to determine the basic tone of the string by setting
the stiffness and inner loss (damping) properties. See Material Pad controls.
Logic Pro User Guide for iPad 799
• Media Loss slider: Set the amount of string damping caused by the surrounding
media (the atmosphere)—for example, air, water, olive oil, and so on. These losses are
independent of frequency. This provides control over the duration of the exponential
amplitude decay, after the excitation of the string has stopped. Values above 1.0 cause
media losses to increase when the key is released. This parameter can be used to
simulate a string that is dropped into a bucket of water after initially vibrating in air, for
example. Obviously, this is not what the average violinist would do, but it can be useful
for some interesting sound variations.
Note: Both the Media Loss and Tension Mod sliders are set relative to middle C. As you
play above or below this note, tuning and other elements of the string can, and will,
change.
• Tension Mod slider: Set the momentary detuning of the string. Strings, such as those
of a guitar, exhibit a particularly prominent nonlinear behavior—if the string excursion is
large, the string is detuned upward. Because this detuning is caused by the momentary,
rather than the average, excursion of the string, the detuning occurs very quickly. This
phenomenon is known technically as tension modulation nonlinearity. Nontechnically,
setting or modulating the Tension Mod slider to values above 0 emulates this
momentary detuning effect in Sculpture.
Note: This nonlinear effect can deliver surprising results and can also make the entire
model unstable, especially when combined with a low Media Loss value. If your sound
spikes or drops out during the decay phase, try reducing Tension Mod, and perhaps
Resolution.
Sculpture Material Pad controls in Logic Pro for iPad
The Material Pad works as a matrix of Stiffness (x-axis) and Inner Loss (y-axis) values.
The four corners of the Material Pad each represent a combination of maximum/minimum
Stiffness and Inner Loss values. The combination of the Inner Loss and Stiffness parameter
positions determine the string material and, therefore, the general timbre of your sound.
Here are examples of how Inner Loss and Stiffness settings can change the tonal color:
• Low Stiffness values, combined with low Inner Loss values, lead to metallic sounds.
• Higher Stiffness values, combined with low Inner Loss values, make the sound become
more bell-like or glass-like.
• Higher Inner Loss values, combined with a low Stiffness level, correspond to nylon or
catgut strings.
• High Stiffness values, combined with high Inner Loss values, simulate wood-like
materials.
Logic Pro User Guide for iPad 800
Material Pad parameters
Inner Loss and Stiffness can be scaled independently above and below middle C. See
Sculpture string parameter scaling.
Drag the gray dot to control both the Inner Loss and Stiffness parameters simultaneously.
• Inner Loss: Emulate damping of the string caused by the string material—steel, glass,
nylon, or wood. These are frequency-dependent losses that cause the sound to become
more mellow during the decay phase.
• Stiffness: Set the rigidity of the string. In reality, this is determined by the string
material and diameter—or, to be more precise, by its geometrical moment of inertia.
Increasing the Stiffness parameter to the maximum value turns the string into a solid
metal bar. Stiffer strings also exhibit an inharmonic vibration, where overtones are not
integer multiples of the base frequency. Rather, they have higher frequencies, which
can make upper/lower notes sound somewhat out of tune with each other.
Sculpture string parameter scaling in Logic Pro for iPad
The String Parameter Scaling controls determine the behavior of string parameters across
the key range.
Tap the Hide, KeyScale, or Release button to show or hide the corresponding parameters.
Hide, KeyScale, and Release buttons
• Hide button: Hide Key Scale or Release parameters.
• KeyScale button: Show and set parameters for notes that fall below C3 or notes that are
positioned above it. In simple terms, the impact of these parameters can be controlled
across the keyboard range. For example, a parameter such as string Stiffness could be
more intense for high notes and less intense for low notes. In practical terms, this would
result in more harmonic (sweeter) sounding bass notes and inharmonic overtones in
treble notes (notes above C3).
• Release button: Show and set string Release parameters, which affect the vibrations of
the string after the key is released.
Logic Pro User Guide for iPad 801
KeyScale parameters
These parameters work in conjunction with controls found in the String Parameters and
Material Pad sections.
• Resolution Low slider: Set the key tracking resolution for notes below middle C (C3).
The Resolution Keyscale parameters change the scaling of (harmonic and inharmonic)
overtones as you play lower or higher on the keyboard. Use these parameters to smooth
out or accentuate these overtones across the key range.
• Resolution High slider: Set the key tracking resolution for notes above middle C.
• TensMod Low slider: Set the tension modulation tracking behavior for notes below
middle C. The Tension Mod Keyscale parameters change the scaling of the momentary
detuning (pitch bend) of the string as you play lower or higher on the keyboard. Use
these parameters to smooth out or accentuate this momentary detuning across the key
range.
• TensMod High slider: Set the tension modulation behavior for notes above middle C.
• Stiffness Low slider: Set the Stiffness key tracking behavior for notes below middle C.
The Stiffness Keyscale parameters change the scaling of inharmonic content that
is heard as you play lower or higher on the keyboard. Use them to smooth out or
accentuate the inharmonic content across the key range.
• Stiffness High slider: Set the Stiffness key tracking behavior for notes above middle C.
• InnerLoss Low slider: Set the Inner Loss key tracking behavior for notes below middle C.
The Inner Loss Keyscale parameters change the way string damping is scaled as you
play lower or higher on the keyboard.
• InnerLoss High slider: Set the Inner Loss key tracking behavior for notes above
middle C.
• MediaLoss Low slider: Set the Media Loss key tracking behavior for notes below
middle C. The Media Loss Keyscale parameters change the way damping of the
atmosphere in which the string is vibrating is scaled as you play lower or higher on the
keyboard.
• MediaLoss High slider: Set the Media Loss key tracking behavior for notes above
middle C.
Logic Pro User Guide for iPad 802
Release parameters
In Release view, you define changes to the damping amount when the key is released.
Conservative use of these parameters allows a natural simulation of strings that are
dampened when a note-off message is received. See String Parameters and Material Pad.
Note: You can’t adjust the release behavior of the Stiffness parameter.
• InnerLoss R(elease) slider: Set inner loss behavior (string damping) when the key is
released.
• MediaLoss R(elease) slider: Set media loss behavior (the atmosphere in which the string
is vibrating) when the key is released.
Objects parameters
Sculpture objects in Logic Pro for iPad
The objects are used to stimulate or otherwise affect the string in some way. The object
parameters discussed in this section apply on a per-voice basis. A number of parameters
can be morphed between up to five morph points. These are indicated in the parameter
descriptions. For more information, see Sculpture morph overview.
Important: At least one object must be used to excite or disturb the string, because the
string itself does not make any sound.
There are a number of different string excite/disturb/damp models available, such as blow,
pluck, bow, and so on. These can radically alter the general timbre of the string attack
phase, making it possible to create bowed or plucked flute and bell sounds, or guitars with
a flute-like attack, for example.
Judicious use of the object parameters can deliver very accurate emulations of real-world
instruments, or sounds that are altogether more other-worldly.
It is important to note that each additional disturb/damp object that is activated affects the
string. This in turn alters the interaction of any other active object with the string, often
resulting in a completely different sonic character.
The goal of changing the sound character is the reason you would use a new object, but the
pluck and blow object combination you chose may sound like fingernails on a blackboard,
rather than the plucked pan flute you were trying to create—depending on other string
settings. Therefore, you need to pay special attention to the model type and strength
of objects. You may find that the flavor of the excite object (Object 1), for example, has
changed significantly—and you may need to adjust or change the parameters of all objects
(and perhaps several string parameter values) after you introduce a new disturb/damp
object (2 or 3). Similarly, the selection of a different type of excite object affects the disturb/
damp objects—and the string itself—thereby changing the character of your sound.
Logic Pro User Guide for iPad 803
Repositioning objects also changes the timbre of the string. If you’re emulating a guitar, for
example, changing an object position would be similar to picking or strumming a string at
various spots along the fretboard.
Object parameters
• On/Off buttons (Object 1, 2, 3): Turn the object on or off.
• Type pop-up menus: Choose the excite, disturb, or damp type. Your choice affects
string interaction and changes the behavior of the Timbre and Variation controls. See
Sculpture excite objects 1 and 2 and Sculpture disturb and damp objects 2 and 3.
• Gate mode pop-up menus: Determine when the object is active—that is, when it
disturbs or excites the string. You can choose from:
• Key On: Between note-on and note-off
• Always: Between note-on and the end of the release phase
• Key Off: Triggered at note-off, and remaining active until the voice is released
Note: Some object types, such as Gravity Strike, may retrigger the note when you
release a key—when in Key On gate mode. If you encounter this artifact, try setting gate
mode to Always, or reduce the Strength of the object.
• Position sliders: Drag to determine the respective position of each (excite/disturb/damp)
object along the string. This parameter can be morphed.
• Strength knob: Set the intensity of the excitation/disturbance (depending on type). A
value of 0.0 effectively disables excitation/disturbance. In contrast to the On/Off button
of each object, you can fade in the Strength parameter with modulation or morphing
options. This parameter can be morphed.
• Timbre knob: Determine the timbre (tonal color) of the chosen excitation/disturbance
type. Behavior varies between object types. Zero (0.0) is the default value for the
object. Positive values make the sound brighter. Negative values lead to a more mellow
sound. This parameter can be morphed.
• Variation knob: Adjust this additional timbre parameter. Behavior varies between object
types. This parameter can be morphed.
• VeloSens knob: Reduce velocity sensitivity to 0. Excite objects are velocity sensitive,
but this may not be appropriate for all sounds, which is where this parameter is useful.
Note: An object is velocity sensitive only when a type that actively excites the string
is selected. The Velocity Slider is available only for objects that are velocity sensitive.
Object 1 is velocity sensitive. Object 2 can be both, depending on the object type you
choose. Object 3 is not velocity sensitive.
Logic Pro User Guide for iPad 804
Sculpture excite objects 1 and 2 in Logic Pro for iPad
Before you look at the tables of object types and properties, you should note the following:
• Object 1 can only use the excite types found in the first table.
• Object 2 can use the excite and disturb/damp types available in both tables.
• Object 3 can only use the disturb/damp types found in the second table. See Sculpture
disturb and damp objects 2 and 3.
The table outlines all excite types available for Objects 1 and 2, and provides information
on the controls available for each object type.
Name Description Strength controls Timbre controls Variation controls
Impulse A short impulse Impulse amplitude Width Velocity dependence
excitation of width
Strike Short excitation, like Hammer start speed Hammer mass Felt stiffness
a piano hammer or (velocity dependent)
mallet
GravStrike Like hammer but Hammer start speed Felt stiffness Gravitation
with gravitation
toward the string,
leading to multiple
hammer-string
interactions and
disturbed string
vibrations
Pick Finger or plectrum Pickup force and Force/speed ratio Plectrum stiffness
picking speed
Bow Bowing of the string Bow speed Bow pressure Slip stick
characteristics
Bow wide Same as bow, but Bow speed Bow pressure Slip stick
wider, resulting in a characteristics
more mellow tone,
especially suited for
smooth bow position
changes
Noise Noise injected into Noise level Noise bandwidth/ Noise resonance
the string cutoff frequency
Blow Blow into one end Lip clearance Blow pressure Noisiness
of the string (an air
column, or tube). At
various positions,
starting from 0.0
(far left), move the
blowing direction
and position from
along the string
toward one end.
The string is blown
sideways at the
chosen position.
External (available Feeds side chain Level Cutoff frequency of Width (size) of the
only for Object 2) signal into string. lowpass filter being string area being
used to process side affected by the side
chain signal chained signal
Logic Pro User Guide for iPad 805
Sculpture disturb and damp objects 2 and 3 in Logic Pro for iPad
The table outlines all disturb and damp types available for Objects 2 and 3. For information
on excite types available for Objects 1 and 2, see Sculpture excite objects 1 and 2.
Name Description Strength controls Timbre controls Variation controls
Disturb A disturb object The hardness of the The distance from Controls width.
that is placed at a object the resting position • Negative values:
fixed distance from • Negative values: Affect only a small
the string resting Push the string section of the
position away from the string.
resting position. • Positive values:
• Positive values: Affect a broader
Do not affect section of the
the string in the string.
resting position.
Disturb 2-sided Somewhat like a ring The hardness of the The clearance of the No effect
placed around the ring ring (the distance
string, which limits between the ring and
string vibration in all string)
directions • Negative values:
The sides of
the damping
ring overlap,
influencing the
string if any
movement occurs.
• Positive
values: There
is an amount
of clearance
inside the ring.
The string is
influenced only if
moved sufficiently
to actually touch
the ring.
Bouncing Emulates a loose Controls the The stiffness of the The damping of the
object lying or gravity constant object object
bouncing on, and for the object lying/
interacting with, the bouncing on the
vibrating string. This string.
is very random by
nature and can’t be
synchronized.
Bound A boundary that The distance from The slope The amount of
limits and reflects the boundary center (steepness) of the reflection at the
string movement. position to the string boundary. A value boundary limits
This is much like resting position of 0.0 places the
a fingerboard boundary parallel
that limits string to the string. Other
movement when the values move the
string is plucked boundary closer to
very firmly. the string on one
end and farther away
on the other.
Logic Pro User Guide for iPad 806
Name Description Strength controls Timbre controls Variation controls
Mass Used to model an The mass size/ No effect No effect
additional mass weight
attached to the
string. This can
lead to inharmonic
sounds, and very
interesting results, if
the position of this
mass is modulated
along the string.
Damp Localized damper, The intensity of the The damping The width of the
which is useful for damping characteristics damped string
soft damping section
Pickups and amp envelope
Sculpture pickup parameters in Logic Pro for iPad
The pickup parameters discussed in this section apply on a per-voice basis. A number of
parameters can be morphed between up to five morph points. These are indicated in the
parameter descriptions. See Sculpture morph overview.
The pickups are the first element beyond the sound-generating portion of Sculpture—
consisting of the string and objects—and act as the input to the virtual signal processing
chain. You can view the pickups as being like those of an electric guitar or clavinet.
Obviously, changing their positions alters the tone of your instrument, just like the pickups
in Sculpture.
The volume level of the pickup signals is controlled with the amplitude envelope.
Pickup parameters
• PickupA Pos slider: Set the position of Pickup A along the string. Values of 0.0 and 1.0
determine the left and right ends of the string, respectively. This parameter can be
morphed.
• PickupB Pos slider: Set the position of Pickup B along the string. This parameter can be
morphed.
• Pickup Stereo knob: Use to spread the two pickups across the stereo base.
• Key Stereo knob: Set the amount of panning (pan position) by MIDI note number.
Depending on settings, the farther up or down the keyboard you play, the more the
voice is panned left or right.
Logic Pro User Guide for iPad 807
Tip: You can create animated width and chorus effects by modulating the Stereo
parameters with an LFO or other modulator.
• PickupB Phase pop-up menu: Invert the phase of Pickup B. Options are: normal or inverted.
Note: If the phase of Pickup B is inverted, the sound can become thinner due to
portions of the Pickup A and Pickup B signals canceling each other out. Depending on
the position of the pickups, however, the reverse may happen, with the sound actually
becoming richer.
Sculpture amplitude envelope in Logic Pro for iPad
The parameters discussed in this section apply on a per-voice basis. This is a
straightforward ADSR envelope that scales the pickup signals before passing them on to
the Waveshaper and filter.
The positioning of the amplitude envelope at this point in the signal path produces more
natural-sounding results because you can control signal levels before sending them to
the Waveshaper (if used). The Waveshaper can have a significant impact on the spectral
content of the sound, which can lead to synthetic-sounding results.
Amplitude envelope parameters
• Attack Soft/Hard sliders: Set the attack time for a note played at maximum velocity with
the lower slider (Soft). Set the attack time for a note played at minimum velocity with
the top slider (Hard). You can adjust both slider halves simultaneously by dragging in
the space between them.
Important: The attack time parameters of the amplitude envelope have a major impact
on the way a single note is retriggered. When both Attack Soft and Hard are set to a
value of 0, the vibrating string is retriggered. If either of these parameters is set to a
value above 0, a new note is triggered. Sonically, the retriggering of a vibrating string
results in different harmonics being heard during the attack phase.
• Decay slider: Set the time it takes for the signal to fall to the sustain level, following the
initial strike/attack time.
• Sustain slider: Set the sustain level. The sustain level is held until the key is released.
• Release slider: Set the time it takes for the signal to fall from the sustain level to a level
of 0. Short Release values help to reduce CPU load, because the voice is no longer
processed after the release phase has completed.
Note: Even with long decay and release times, the sound may decay quickly. This can be
caused by high Inner or Media Loss values in the string material section or by objects (2 or
3) that are used to damp the string.
Logic Pro User Guide for iPad 808
Processing functions
Sculpture processing functions in Logic Pro for iPad
Sculpture provides sophisticated shaping and filtering processors you can use to change
the tonal color and to alter the harmonic spectra. You can also impose the characteristics
of an instrument “body” on the overall sound.
Included are the Waveshaper, the multimode filter, and the Spectral Shape EQ.
The Waveshaper and multimode filter both operate on a per-voice basis.
The Spectral Shape EQ operates on all summed voices.
Use Sculpture Waveshaper in Logic Pro for iPad
The Waveshaper imposes a nonlinear shaping curve on each voice of the signal coming
from the pickups and amplitude envelope. This reshaped signal is then passed on to the
filter. This process is quite similar to the waveshaping of oscillators in synthesizers such as
the Korg O1/W.
Waveshaper parameters
• Waveshaper On/Off button: Turn the Waveshaper on or off.
• Type pop-up menu: Choose one of four waveshaping curves. See the table.
• InScale knob: Cut or boost the input signal, prior to processing by the Waveshaper.
Positive values result in a richer harmonic spectrum. Any level increase introduced by
this parameter is automatically compensated for by the Waveshaper. This parameter
can be morphed.
Note: Given its impact on the harmonic spectrum, InScale (Input Scale) should be
viewed and used as a timbral control, rather than a level control. Also note that extreme
InScale values can introduce processing noise at the Waveshaper output.
• Variation knob: Set the value of the preassigned parameter for the selected Waveshaper
curve. Behavior varies between curve types. This parameter can be morphed. See the
table.
Logic Pro User Guide for iPad 809
Type Variation controls Value of 0.0 Negative values Positive values
Vari Drive Wet/dry ratio Provides shaped Reduces shaped Raises shaped
signal only. signal and adds dry signal and adds
signal. phase-inverted dry
signal, making sound
sharper.
• Soft Saturation Bias—alters the Results in Alters symmetry. Alters symmetry.
• Tube-like symmetry of the symmetrical shaping.
distortion shaping curve.
• Scream
Sculpture filter parameters in Logic Pro for iPad
The parameters discussed in this section apply on a per-voice basis. A number of
parameters can be morphed between as many as five morph points. These are indicated in
the parameter descriptions. For more information, see Sculpture morph overview.
The filter parameters provide further timbral/spectral control over your sound. They will be
familiar to you if you have any experience with synthesizers. If you’re new to the concepts
behind synthesizer filters, see Filters overview.
Filter parameters
• Filter On/Off button: Turn the filter section on or off.
• Cutoff knob: Set the cutoff or center frequency, depending on the chosen filter type. In
a lowpass filter, all frequency portions above the cutoff frequency are suppressed, or
cut off, hence the name. The cutoff frequency controls the brilliance of the signal. The
higher the cutoff frequency is set, the higher the frequencies of signals that are allowed
to pass through the lowpass filter. This parameter can be morphed.
• Resonance knob: Set the filter resonance value. This parameter can be morphed.
• In highpass and lowpass modes, Resonance emphasizes the portions of the signal
that surround the center frequency.
• In Peak, Bandpass, and Notch modes, Resonance controls the width of the band that
surrounds the center frequency.
Logic Pro User Guide for iPad 810
• KeyTrack knob: Determine how cutoff frequency responds to key position. The farther
up or down the keyboard you play, the more bright or mellow the sound becomes.
Technically speaking, the cutoff frequency is modulated by the keyboard position. A
value of 0.0 disables key tracking. A value of 1.0 makes the cutoff frequency follow the
fundamental of the note across the entire keyboard range. Play an octave higher and
the cutoff frequency also changes by an octave.
• Filter type buttons: Tap to choose the filter mode.
• HP: Allow frequencies above the cutoff frequency to pass. Because frequencies
below the cutoff frequency are suppressed, it’s also known as a low cut filter. The
slope of the highpass filter is 12 dB/octave.
• LP: Allow frequencies that fall below the cutoff frequency to pass. Because
frequencies above the cutoff frequency are suppressed, it’s also known as a high cut
filter. The slope of the lowpass filter is 12 dB/octave.
• Peak: Choose to specify the center of a frequency band with Cutoff. Control
bandwidth and gain with Resonance. Frequencies outside the band remain at their
current level. Peak filters are generally used to enhance a frequency range.
• BP: Allow the frequency band surrounding the center frequency to pass. Resonance
controls the width of this band. All other frequencies are cut. The bandpass filter is a
two-pole filter with a slope of 6 dB/octave on each side of the band.
• BR: Cut the frequency band surrounding the center frequency. Resonance controls
the width of this band. All other frequencies are allowed to pass. Band reject, or
“notch” filters are generally used to suppress noise or a particular frequency.
• VeloSens knob: Determine how cutoff frequency responds to incoming note velocities.
The harder you strike the keyboard, the higher the cutoff frequency—and generally the
brightness of the sound—becomes. A value of 0.0 disables velocity sensitivity. A value
of 1.0 results in maximum velocity sensitivity.
Sculpture Spectral Shape EQ in Logic Pro for iPad
The Spectral Shape EQ can work as a simple Lo Mid Hi EQ, as a complex spectral shaper,
or as a body response simulator. In effect, the Spectral Shape EQ can emulate the resonant
characteristics of a wooden or metallic body—such as that of a guitar, violin, or flute.
The various models are derived from impulse response recordings of actual instrument
bodies. These recordings have been separated into their general formant structure and fine
structure, enabling you to alter these properties separately.
Note: The Spectral Shape EQ affects the summed signal of all voices, rather than each
voice independently.
Logic Pro User Guide for iPad 811
Spectral Shape EQ parameters
• On/Off button: Turn the Spectral Shape EQ on or off.
• Model pop-up menu: Choose from various emulations of acoustic instrument bodies or
the basic EQ model (Lo Mid Hi).
Note: When Lo Mid Hi or another Spectral Shape EQ model is chosen, the knob
behaviors change.
• Low/Fmnt Int knob: Set the gain of a low shelving filter when the Lo Mid Hi model is
chosen. When a spectral shape model is chosen, rotate to scale the intensity of model
formants. Any formants (harmonics) in the model become louder or are inverted,
depending on how this parameter is used. A value of 0.0 results in a flat response. A
value of 1.0 results in strong formants. Negative values invert the formants.
• Mid/Fmnt Shift knob: Set the gain of a peak filter when the Lo Mid Hi model is chosen.
This is sweepable—see Freq/Fine knob below. When a spectral shape model is chosen,
rotate to shift the formants logarithmically. A value of −0.3, for example, shifts all
formants one octave downward, and a value of +0.3 shifts the formants up one octave.
A value of +1.0 shifts up by a factor of 10—from 500 Hz to 5000 Hz, for example.
• Hi/FmntStre knob: Set the gain of a high shelving filter when the Lo Mid Hi model
is chosen. When a spectral shape model is chosen, rotate to stretch the formant
frequencies, relative to each other. This parameter alters the width of all bands being
processed, extending or narrowing the frequency range. Low values move the formants
closer together (centered around 1 kHz), whereas high values move the formants
farther apart from each other. The control range is expressed as a ratio of the overall
bandwidth.
Note: When combined, the formant stretching and shifting controls alter the formant
structure of the sound and can result in some interesting timbral changes.
• Freq/Fine knob: Sweep the center frequency of the mid band between 100 Hz and
10 kHz when the Lo Mid Hi model is chosen. When a spectral shape model is chosen,
rotate to the right of the center position to enhance the spectral (harmonic) structure.
This results in a more detailed sound that is harmonically richer and—depending on the
model selected—more guitar-like or violin-like, for example. In other words, the cavities
of the instrument become more resonant—somewhat like the increased depth of tone
provided by a larger-bodied guitar. A value of 0.0 denotes no enhancement. A value of
1.0 results in enhanced/full precision of the selected model.
Note: Rotating Freq/Fine to the right may not actually result in much difference in your
sound. It is highly dependent on several string, Waveshaper, and other parameter
settings. As always, use your ears!
Logic Pro User Guide for iPad 812
Global and output parameters
Sculpture global parameters in Logic Pro for iPad
Sculpture Global parameters affect the overall behavior of the instrument.
Global parameters
• Voices knob: Specify the number of voices that can be played at any one time. Sixteen
voices is the maximum polyphony of Sculpture.
• Glide Time knob: Set the time required to slide from the pitch of one played note to
another. The Glide parameter behavior depends on the keyboard mode you choose.
• If you set the keyboard mode to Poly or Mono and set Glide to a value other than 0,
portamento is active.
• If you choose Legato and set Glide to a value other than 0, you need to play legato
(press a new key while holding the old one) to activate portamento. If you don’t play
in a legato style, portamento won’t work. This behavior is also known as fingered
portamento.
• KYBD Mode buttons: Choose polyphonic, monophonic, and legato behaviors. A
polyphonic instrument, such as an organ or piano, allows several notes to be played
simultaneously. Many older analog synthesizers are monophonic, which means that only
one note can be played at a time, much like a brass or reed instrument. This shouldn’t
be viewed as a disadvantage in any way, because it allows playing styles that are not
possible with polyphonic instruments.
• In Mono mode, staccato playing retriggers the envelope generators every time a new
note is played. If you play in a legato style (play a new key while holding another),
the envelope generators are triggered only for the first note you play legato. They
then continue their curve until you release the last legato played key. Mono mode is
also known as multi trigger mode.
• Legato mode is also monophonic, but with one difference: the envelope generators
are retriggered only if you play staccato—releasing each key before playing a new
key. If you play in a legato style, envelopes are not retriggered. Legato mode is also
known as single trigger mode.
Note: All modes retrigger a potentially sounding voice with the same pitch, instead
of allocating a new one. Therefore, multiple triggering of a given note results in slight
timbral variations, depending on the current state of the model at note-on time. If
the string is still vibrating for a specific note, retriggering that same note interacts
with the ongoing vibration, or current state of the string. A true retrigger of the
vibrating string happens only if both Attack sliders of the amplitude envelope are
set to 0. If either slider is set to any other value, a new voice is allocated with each
retriggered note. See Sculpture amplitude envelope.
Logic Pro User Guide for iPad 813
• Tune knob: Fine-tune the entire instrument, in cents. A cent is 1/100th of a semitone.
• Transpose pop-up menu: Tune the entire instrument by octaves. Given the ability of
component modeling to radically alter pitch with certain settings, coarse tuning is
limited to octave increments.
• Warmth knob: Slightly detune each voice to warm or thicken the sound. This parameter
emulates the random fluctuations caused by the components and circuitry of analog
synthesizers.
• Bend Up/Dn sliders: Set the upward/downward pitch bend range.
• Separate settings are available for upward and downward pitch bends—using your
MIDI keyboard pitch bend controller.
• When Bend Dn is set to “linked” (bottom position), the Bend Up slider value is used
to set both the up and down bend range.
Note: Bending the string, just like the string on a real guitar, alters the shape of the
modeled string, rather than acting as a simple pitch bend.
Sculpture delay effect in Logic Pro for iPad
This is a stereo delay that can be synchronized with the project tempo. It can also run
freely (unsynchronized).
Sculpture Delay effect parameters
• Delay On/Off button: Turn the Delay effect on or off.
• Base Time knob: Set the delay time. This can be in either musical note values—1/4, 1/4t
(1/4 triplet), and so on (when Time Mode Sync button is on)—or in milliseconds (when
Time Mode Free button is on).
• Time Mode buttons: Set either free-running (Free) or tempo-synced (Sync) delay
modes.
• LR Spread knob: Adjust for wide stereo delay effects. Values above the default,
centered position increase the delay time of the right delay line or decrease the delay
time of the left delay line—in effect, smearing the delay times of the left and right
channels. Negative values invert this effect.
• LR Groove knob: Distribute delay taps to the left/right channels rather than smearing
them across channels, like the Spread parameter. Value adjustments reduce the
delay time of one delay line by a given percentage, while keeping the other delay line
constant.
Logic Pro User Guide for iPad 814
For example, a value of +50% reduces the right delay time by half. If a value of 1/4 was
used as the Base Time, the right delay would equal 1/8th of a note and the left delay
would remain at 1/4th of a note. Needless to say, this parameter is perfect for the
creation of interesting rhythmic delays—in stereo.
• Input Balance knob: Move the stereo center of the Delay input to the left or right,
without the loss of any signal components. This makes it ideal for ping-pong delays.
• Feedback knob: Set the amount of delay signal that is routed back from the delay unit
output channels to the delay unit input channels. Negative values result in phase-
inverted feedback.
• CrossFeed knob: Set the amount of delay signal that is fed from the delay unit left
output channel to the right input channel, and vice versa. Negative values result in
phase-inverted feedback of the crossfed signal.
• Lf Damp slider: Determine the cutoff frequency of the highpass filter at the delay line
output/feedback loop.
• Hf Damp slider: Determine the cutoff frequency of the lowpass filter at the delay line
output/feedback loop.
• Output Width knob: Change the stereo base of the wet signal. A value of 0.0 results
in mono output. A value of 1.0 results in full stereo output—the left delay line output
channel is panned hard left, and the right delay line output channel is panned hard right,
but the stereo center is unaffected.
Note: This parameter is aimed primarily at achieving pure delay grooves in both
channels, without hard left/right ping-pong panning.
• Wet Level knob: Set the Delay output level.
Sculpture output parameters in Logic Pro for iPad
The integrated Level Limiter is useful for softening some of the more aggressive aspects—
such as snarling or roaring sonic artifacts—that you may encounter when using Sculpture.
Output parameters
• Level knob: Set the overall output level of Sculpture.
• Limiter Mode pop-up menu:
• Off: Turn the limiter off.
• Mono: Turn on a monophonic limiter that processes the summed signal of all voices.
• Poly: Turn on a polyphonic limiter that processes each voice independently.
• Both: Turn on a combination of both limiter types.
Logic Pro User Guide for iPad 815
Modulation
Sculpture modulation overview in Logic Pro for iPad
Sculpture is equipped with a huge number of modulation sources and targets, making it an
instrument that can generate extraordinary sounds that constantly evolve, sound like audio
loops, or are just plain expressive to play.
Some of the modulation sources provided are like those found on traditional synthesizer
designs. These include:
• Two freely assignable LFOs, with (project) tempo-syncable rates. See Sculpture LFOs.
• A third LFO that is dedicated to vibrato—pitch modulation. See Sculpture Vibrato
parameters.
• Two envelopes that can be used as standard envelopes, but which can also be used
quite differently. See Sculpture envelope overview.
Sculpture also includes a number of specially designed modulation sources that are less
conventional. These include:
• Two jitter generators with adjustable bandwidth—used to create random variations. See
Sculpture Jitter generators.
• Two Randomizers that change values only at note start/on—perfect for emulating
the lip, breath, and tongue effects of brass instrument players, for example. See
Sculpture note-on random modulators.
• Two recordable envelopes that can be used as MIDI controlled modulators—with the
ability to polyphonically play back on a per-voice basis, and modify incoming MIDI
controller movements. See Record Sculpture envelopes.
All modulation routings—choosing a modulation target and/or via source—are made within
each modulator section or in the MIDI controllers section.
LFOs
Sculpture LFOs in Logic Pro for iPad
Sculpture offers two multiwaveform LFOs. Both can be used either polyphonically,
monophonically, or somewhere in-between.
If used monophonically, the modulation is identical for all voices. Imagine a scenario
where a chord is played on the keyboard. If LFO 2 is used to modulate pitch, for example,
the pitch of all voices in the played chord rise and fall synchronously. This is known as a
phase-locked modulation.
In the same scenario, if LFO 2 is used polyphonically—to modulate multiple voices—they
are not phase-locked.
If a random (in-between) value is used, some notes are modulated synchronously, and
others are not modulated synchronously.
Furthermore, both LFOs are key-synced: Each time you play a key, the LFO modulation of
this voice is started from 0.
Logic Pro User Guide for iPad 816
To understand the non-phase-locked characteristic more easily, imagine a situation where
a chord is played on the keyboard. If LFO 2 is used to modulate pitch, for example, the
pitch of one voice might rise, the pitch of another voice might fall, and the pitch of a third
voice might reach its minimum value. As you can see from this example, the modulation is
independent for each voice, or note.
The key sync feature ensures that the LFO waveform cycle always starts from 0, which
results in consistent modulation of each voice. If the LFO waveform cycles were not
synchronized in this way, individual note modulations would be uneven.
Both LFOs can also be faded in or out automatically, courtesy of built-in envelope
generators. See Modulate Sculpture LFOs.
LFO parameters
• Waveform pop-up menu: Choose the waveform used for LFO modulation. See Sculpture
LFO waveforms.
• Curve knob: Change the shape of modulation waveforms. A pure waveform of the
chosen type is active at a value of 0.0. The +1 and −1 positions deform the wave. For
example, with a sine wave chosen as the LFO waveform type:
• Curve value of 0.0: Wave is sine-shaped.
• Curve values above 0.0: Wave is smoothly changed into a nearly rectangular wave.
• Curve values below 0.0: The slope at the zero crossing is reduced, resulting in
shorter soft pulses to +1 and −1.
• Rate knob: Set the rate of LFO modulation. This is either a freely definable Hz value
(when the Free button is active), or a rhythmic value (when the Sync button is active).
When synchronized with the project tempo, available rates range from 1/64 notes to a
periodic duration of 32 bars. Triplet and punctuated values are also accessible.
• Sync Mode buttons: Choose either free-running (Free) or synchronized (Sync) LFO
rates. These buttons interact with the Rate knob. The synchronized value is derived
from the Logic Pro tempo and meter.
• Phase Vari knob: Choose between monophonic or polyphonic LFO modulations. These
can have similar phases, completely random phase relationships, key-synced phases, or
anything in-between.
Tip: If you move the Phase Vari(ation) knob slightly away from the mono position,
you get nonlocked modulations for all voices running at similar, but not identical,
phases. This is ideal for string-section vibratos.
• Rate Mod Amount knob: Set the intensity—the amount—of LFO rate modulation.
• Rate Mod Src pop-up menu: Choose a modulation source for the LFO Rate parameter.
• EG slider: Set the time it takes for the LFO modulation to fade in or fade out. See
Modulate Sculpture LFOs.
Logic Pro User Guide for iPad 817
Sculpture LFO waveforms in Logic Pro for iPad
The LFO Waveform pop-up menus set different waveforms for the LFOs. The table outlines
how these can affect your modulations.
Waveform Comments
Sine Ideal for constant, even, modulations.
Triangle Well-suited for vibrato effects.
Sawtooth Well-suited for helicopter and space gun sounds.
Intense modulations of the oscillator frequencies with
a negative (inverse) sawtooth wave lead to “bubbling”
sounds. Intense sawtooth modulations of lowpass filter
cutoff and resonance create rhythmic effects. The
waveform can also be inverted, resulting in a different
start point for the modulation cycle.
Rectangle Use of the rectangular waves periodically switches
the LFO between two values. The Rectangle Unipolar
wave switches between a positive value and 0. The
Rectangle Bipolar wave switches between a positive
and a negative value set to the same amount above and
below 0.
An interesting effect can be achieved by modulating
pitch with a suitable modulation intensity that leads
to an interval of a fifth. Choose the upper rectangular
wave to do this.
Sample & Hold The three Sample & Hold (S & H) waveform settings
of the LFOs output random values. A random value is
selected at regular intervals, as defined by the LFO
rate. The S & H waveform steps between randomized
values (rapid switches between values).
The S & H Lag setting smooths the random waveform,
resulting in fluid changes to values.
The S & H from CtrlA setting is controlled by the
CtrlA modulation source. For example, you could
assign aftertouch as the CtrlA source to trigger S & H
modulation of pitch.
The term Sample & Hold refers to the procedure of
taking samples from a noise signal at regular intervals.
The values of these samples are then held until the
next sample is taken.
Tip: A random modulation of pitch leads to an effect
commonly referred to as a random pitch pattern
generator or sample and hold. Try using very high
notes, at very high rates and high intensities—you’ll
recognize this well-known effect from hundreds of
science fiction movies.
Filtered Noise Can be used for chaotic modulations, but it is
principally of use in conjunction with the LFO envelope
function, where you would introduce a brief modulation
at some point in the note phase—for example, to
introduce breath in a brass emulation, or to control an
organ key click or piano hammer noise. The random
nature of the noise waveform means that such
modulations would vary slightly each time.
Logic Pro User Guide for iPad 818
Modulate Sculpture LFOs in Logic Pro for iPad
Two modulation targets can be assigned per LFO. An optional via modulation can also be
assigned.
The LFOs also feature a simple envelope generator (the EG slider in each LFO section),
which is used to control the time it takes for the LFO modulation to fade in or fade out.
When either LFO EG slider is at a centered position, the modulation intensity is static—in
other words, no fade-in or fade-out occurs.
LFO target and source parameters
• Target 1/2 Enable buttons: Turn each LFO on or off, independently.
• Amount 1/2 knobs: Move to set the modulation amount (when the incoming via signal is
0)— for example, when the modulation wheel is at its minimum position.
In cases where the via source is set to off, only one amount slider is visible (the via
amount slider is hidden). In cases where any via source other than off is selected, there
are two sliders.
• Target 1/2 pop-up menus: Choose the modulation targets.
• Via Amount 1/2 knobs: Set the maximum via modulation amount, such as when the
Modulation wheel is at the maximum position, for example.
• Via 1/2 pop-up menus: Choose (or disable) the via sources that control the modulation
scaling for each LFO.
Set the LFO modulation fade time in Sculpture
In Logic Pro, do the following in either Sculpture LFO:
• To fade in the modulation: Set the EG slider to a positive value (above the center
position).
The higher the value, the longer the delay time.
• To fade out the modulation: Set the EG slider to a negative value.
The lower the slider position, the shorter the fade-out time.
Set up a delayed vibrato in Sculpture
LFO envelopes are often used for delayed vibrato—many instrumentalists and singers
intonate longer notes this way.
1. In Logic Pro, set the LFO EG slider toward the top (delay) and choose pitch as the
target.
2. Set a slight modulation intensity.
3. Select an LFO Rate of 5 Hz.
4. Choose the triangular wave as the LFO waveform.
Logic Pro User Guide for iPad 819
Tip: Chaotic and fast modulations of pitch by an LFO source—with a delayed
Sample&Hold waveform, a high Rate, and short fade-out—are ideal for emulating the attack
phase of brass instruments.
Sculpture Vibrato parameters in Logic Pro for iPad
A dedicated LFO is hard-wired to pitch for vibrato effects (periodic pitch modulations). You
can adjust the strength of the vibrato effect with the MIDI controller you choose from the
Vibrato Ctrl pop-up menu in the MIDI Controller Assignments section.
Vibrato parameters
• Waveform pop-up menu: Choose the waveform used for vibrato. See Sculpture LFO
waveforms.
Note: There are two special rectangular waves that are useful for vibrato: Rectangle
unipolar and Rectangle bipolar—the former switches between values of 0.0 and 1.0, and
the latter switches between values of −1.0 and +1.0.
• Curve knob: Change the shape of modulation waveforms. Such variations can result in
subtle or drastic changes to your modulation waveforms.
• Rate knob: Set the rate of vibrato, which can be either synced to the host application
tempo or set independently in Hz values.
• Phase Vari knob: Choose between strictly monophonic or polyphonic vibrato with
variable phase relationships. These can be similar phases, completely random phase
relationships, key-synced phases—or any value in between. For more details, see
Sculpture LFOs.
• Sync Mode buttons: Choose either a free-running (Free) or synchronized (Sync) vibrato
rate. These buttons interact with the Rate knob. The synchronized value is derived from
the Logic Pro tempo and meter.
• Min/Max Depth sliders: Drag to define the impact of the controller assigned to Vibrato
Ctrl (see Define Sculpture MIDI controllers).
• Min slider: Determine the minimum modulation amount.
• Max slider: Determine the maximum modulation amount.
Logic Pro User Guide for iPad 820
Sculpture Jitter generators in Logic Pro for iPad
Found in the Random Variations 1/2 sections of Sculpture are two jitter generators.
These special LFO sources are designed to produce continuous, random variations—such
as those of smooth bow position changes. The jitter generators are equivalent to general
purpose LFOs set to a noise waveform.
Many sounds can benefit from small, random modulations to parameters. These can
emulate the subtle variations that occur when particular instruments are played.
Tip: Jitter modulation of pickup positions as the target produces great chorus-like
effects.
Random Variations parameters
The two Random Variations sections provide two jitter generators, for a total of four
potential modulators when fully utilized.
• Jitter 1/2 Bandwidth knobs: Set the speed of the modulation (jitter) signal for each jitter
generator.
• Jitter 1/2 Enbl buttons: Turn each jitter generator on or off, independently.
• Jitter Amount 1/2 knobs: Determine the amount of modulation for each jitter source.
• Target 1/2 pop-up menus: Choose modulation targets for each jitter generator.
Sculpture per note random modulators in Logic Pro for iPad
The two Per Note Random Variations modulation sources are designed to introduce random
variations between different notes or voices. Values are randomly generated for each note
and remain constant until the voice is released.
Such randomizations are useful for adding interest or thickening the sound when you
play polyphonically. Per note randomization is also useful for emulating the periodic
fluctuations that a musician introduces when playing an instrument—even when repeating
the same note.
Logic Pro User Guide for iPad 821
Per Note Random Variations parameters
• Rnd 1/2 Enbl buttons: Turn per note random modulation on or off for each source.
• Rnd 1/2 Amt knobs: Set the amount, or strength, of modulation.
• Rnd 1/2 Tgt pop-up menus: Choose the modulation target—the parameter that is
randomly modulated when a note is played.
Sculpture velocity modulators in Logic Pro for iPad
The excite objects and the filter have dedicated velocity sensitivity controls. Many other
modulation routings also allow you to select velocity as a via source.
In some cases, however, it may be useful to directly control other synthesis core
parameters by velocity. This can be done in this section—where two independent target/
amount/velocity curve slots are available.
Velocity Modulation parameters
• Velo 1/2 Enbl buttons: Turn velocity modulation on or off.
• Target 1/2 pop-up menus: Choose the target parameter that you want to modulate with
velocity.
• Velo Curve 1/2 pop-up menus: Choose from concave, linear, and convex velocity curves.
• Velo Amount 1/2 knobs: Set the amount, or strength, of modulation.
MIDI Controller A and B in Sculpture in Logic Pro for iPad
These parameters each define two discrete modulation targets. The modulation intensity,
or strength, is assigned to Controller A, Controller B, or both.
Logic Pro User Guide for iPad 822
MIDI Controller A and B parameters
The two MIDI Controller sections provide two targets, for a total of four controllable
parameters when both MIDI controllers are fully utilized.
• Ctrl 1/2 Enbl buttons: Turn the controller A or B modulation sources on or off.
• Ctrl Mode 1/2 pop-up menus: Select either Continuous modulation, or a Sample&Hold at
Note On modulation value that is updated only when a note-on message is received.
• Ctrl Amount 1/2 knobs: Set the amount, or strength, of modulation.
• Target 1/2 pop-up menus: Choose the target parameter that you want to modulate with
the specified controller.
Envelopes
Sculpture envelope overview in Logic Pro for iPad
Sculpture control sources include two envelopes. In traditional synthesizer designs,
envelopes are used to control amplitude and filter levels over time. By comparison,
Sculpture envelopes are somewhat special in that they can be used as:
• Traditional four-segment envelopes.
• MIDI controller modulations.
• A combination of both—as MIDI controller movement recorders with ADSR-like macro
parameters, for polyphonic playback.
Logic Pro User Guide for iPad 823
Control Envelope Mode parameters
The two Control Envelope sections provide two targets, for a total of four controllable
parameters when both envelopes are fully utilized.
• Ctrl/Env buttons: Select either controller (run mode) or standard envelope behavior.
If both buttons are turned on, the controller value is added to the envelope output,
resulting in a modulation offset.
Note: When the envelopes are used as polyphonic modulation recorders and playback
units, each voice is handled independently, with a separate envelope being triggered as
each note is played.
• Record Enable button: Start or stop envelope recording. Recording can also be stopped
using the trigger mode function described below.
• Record Trigger pop-up menu: Choose different record trigger modes to start and stop
recording when the Record Enable button is active.
• NoteOn: Recording starts when a note is played.
• Note + Ctrl Movement: Recording starts when MIDI control change messages arrive
while a note is held (for information about assigned MIDI controllers, see Define
Sculpture MIDI controllers.
• Note + Sustain Pedal: Recording starts when the sustain pedal is depressed while a
note is held.
Control Envelope Target and Source parameters
• Target 1/2 Enable buttons: Turn the control envelope 1 and 2 modulation sources on or
off.
• Amount and Via Amount knobs: Set the modulation amount. In cases where any via
source other than “Off” is selected, both knobs are available for use.
• Amount knob: Set the modulation amount when the incoming via signal is 0, such as
when the modulation wheel is at its minimum position, for example.
• Via Amount knob: Set the modulation amount when the incoming via signal is at full
level, such as when the modulation wheel is at its maximum position, for example.
• Target 1/2 pop-up menus: Choose modulation targets 1 and 2. Two targets can be
assigned per envelope, with an optional via modulation.
• Via 1/2 pop-up menus: Choose the modulation source used to scale the amount of
envelope modulation. Source options include Off, Velocity Concave, Velocity, Velocity
Convex, KeyScale, Ctrl A, and Ctrl B.
Logic Pro User Guide for iPad 824
Control Envelope Level, Time, and Curve parameters
The following parameters are active only if the envelope is engaged (either the Env or both
the Ctrl and Env buttons are active).
The maximum time/length of the envelope is 48 bars/40 seconds.
You can create your own envelopes manually by manipulating the Level slider and Time
knob values, or you can record an envelope, as discussed in Record Sculpture envelopes.
• TimeScale knob: Scale the duration of the entire envelope between 10% (ten times
faster) and 1000% (ten times slower). This also affects the appearance of the envelope
curve displayed as it is shortened (sped up) or lengthened (slowed down).
• Attack Velosens knob: Set velocity sensitivity for the attack phase of the envelope.
Positive values reduce the attack time at lower velocities. Negative values reduce the
attack time at higher velocities.
• Time Mode buttons: Select either a free-running envelope (Free) or a tempo-synced
(Sync) envelope with note value options, such as 1/8 or 1/4.
Note: Switching between values forces a recalculation of times to the nearest note value
or ms time, respectively, based on the current project tempo.
• Level 0-4 sliders: When an envelope is first engaged, a default envelope curve is
automatically created, containing several control points and segments. You can use
the Level sliders to set the amount of each envelope segment. Each segment has a
corresponding time control, except the Start segment (Level 0 slider), which is always
positioned at the envelope start point.
• Level 0 slider: Set the envelope Start value.
• Level 1 slider: Set the envelope Attack value.
• Level 2 slider: Set the envelope Loop value.
• Level 3 slider: Set the envelope Sustain value.
• Level 4 slider: Set the envelope End value.
• Time 1-4 knobs: Set the duration of each envelope segment. As you change values,
the overall length of the envelope changes—with all following control point times and
segments being moved.
Note: You cannot move a control point beyond the position of the preceding control
point. You can, however, move control points beyond the position of the following one—
effectively lengthening both the envelope segment and the overall envelope.
• Time 1 knob: Set the envelope Attack time.
• Time 2 knob: Set the envelope Loop time position.
• Time 3 knob: Set the envelope Sustain time position.
• Time 4 knob: Set the envelope End time position.
• Curve 1-4 fields: Drag vertically to create a curved shape between envelope control
points for the corresponding segment, rather than straight lines.
Logic Pro User Guide for iPad 825
Control Envelope Loop and Sustain parameters
• Sustain Point knob: Set one of the envelope control points as the sustain point.
• Loop Point knob: Set one of the envelope control points as the loop point.
• Sustain Mode pop-up menu: Choose the behavior of the envelope while a note is held.
Choices are Sustain mode (default), Finish mode, and three loop modes—Loop Forward,
Loop Backward, and Loop Alternate. See Loop Sculpture envelopes.
Loop Sculpture envelopes in Logic Pro for iPad
The envelope can run in one-shot mode, like any envelope—the envelope stages run for as
long as the note is held. It can also run through each phase several times or in an infinite
cycle, much like an LFO. You can achieve this through the use of loops.
You can synchronize loops to the project tempo automatically by using the Sync and Free
buttons.
When in any of the loop modes, the loop always cycles between the control point you have
set as the Loop start point and the Sustain point.
Your selection in the Sustain Mode pop-up menu changes looping behavior in the
following ways:
• When set to Finish, the envelope runs in one-shot mode from beginning to end—even
if the note is released before all envelope stages have completed. The other loop
parameters are disabled.
• When set to Loop Forward, the envelope runs to the Sustain point, and begins to
periodically repeat the section between the Loop and Sustain points—always in a
forward direction.
• When set to Loop Backward, the envelope runs to the Sustain point, and begins to
periodically repeat the section between the Sustain and Loop points—always in a
backward direction.
• When set to Loop Alternate, the envelope runs to the Sustain point, then periodically
returns to the Loop point and back to the Sustain point, alternating in both a backward
and forward direction.
Note: If the control point you have set as the Loop point lies after the Sustain point time
position, the loop starts after the key is released.
Record Sculpture envelopes in Logic Pro for iPad
It is important to note that you can only record the movements of the assigned MIDI
controller. MIDI controller assignments for the envelopes must be set in the MIDI Controller
Assignment section at the bottom of the Sculpture interface (see Define Sculpture MIDI
controllers).
Record an envelope in Sculpture
1. In Logic Pro, choose a Record Trigger Mode, such as Note + Ctrl.
2. Tap the Record Enable button to start recording.
3. Play, and hold, a key—and start moving the controllers assigned to envelope controls 1
or 2 or both, such as the modulation wheel.
Logic Pro User Guide for iPad 826
Stop an envelope recording in Sculpture
In Logic Pro, do one of the following:
• Tap the Record Enable button to disengage it.
• Release all voices.
• Play a new note after releasing all keys.
Note: When a controller movement has been recorded, the Record Enable button is
automatically turned off and Record Trigger Mode is set to Env. This ensures that only the
recorded movement is active, regardless of the stop position of the recorded controller.
Play a recorded envelope in Sculpture
• In Logic Pro, play a key to begin polyphonic playback of the recorded envelope.
Note: The Record Trigger Mode parameter must be set to Env and the Record Enable
button must be off.
You can also turn on both the Env and Ctrl buttons, which enables you to use controllers
assigned to Ctrl Env1 or Ctrl Env2 to manipulate the envelope in real time, alongside
playback of the recorded envelope.
Note: When both Env and Ctrl are turned on, the controller value is added to the envelope
output, resulting in a modulation offset.
Morph features
Sculpture morph overview in Logic Pro for iPad
Sculpture has a number of morphable parameters that can be independently adjusted and
stored with a morph point. In essence, the values of all morphable parameters are captured
at a particular moment in time, much like a photograph. You can smoothly change the
sound—in a subtle or radical way—by transitioning between up to five morph points.
The Morph Parameters and Morph Envelope enable you to create, and precisely control,
the movements and blending between morph points.
The morphing features of Sculpture are spread across two interface sections:
• Morph Parameters: There are five morph points, or “scenes”, that are assigned to the
four corners—A,B,C,D—and the center of the Morph Pad. A number of menu options are
also available for randomizing, copying, and pasting morph points or Morph Pad states.
• Morph Envelope: Use to edit morph points—either onscreen or with recorded
MIDI controller movements. For example, you could use a vector stick (Morph X/Y
controllers) or drag the gray dots on the Morph Envelope pads.
Logic Pro User Guide for iPad 827
Morph Parameters in Logic Pro for iPad
One of the five Morph Pad points (A, B, C, D, and Ctr) is always selected for editing.
The current morph point position is indicated by the gray dot in the Morph Pad. This can
be moved with MIDI controllers, such as a vector stick, or with your finger. Movements
can be recorded and played back independently—with each voice being morphed in a
different way.
Morph Parameters
• Morph Pad: Indicates the current morph position. Drag the gray dot to change.
• Auto Select button: Turn on to automatically select the nearest morph point (A, B, C, D,
or Ctr) when you move the gray dot in the Morph Pad.
• Point Copy/Paste pop-up menu: Choose a menu command to copy, paste, or exchange
morph points between morph positions (scenes).
• Copy selected Point: Copies the current morph point into the Clipboard.
• Copy current Pad Position: Copies the current morph state into the Clipboard.
• Paste to selected Point: Pastes the Clipboard content to the selected point.
• Exchange selected Point: Swaps previously copied data with the selected point.
• Paste to all Points: Pastes the Clipboard content to all selected points.
• Select Morph Scene buttons: Tap the Ctr, A, B, C, or D buttons to manually select a
Morph Pad point.
Logic Pro User Guide for iPad 828
Randomize Sculpture morphs in Logic Pro for iPad
The randomize feature creates random variations of selected morph points. When
combined with the copy/paste functions, randomizing lends itself to using the Morph Pad
as an automatic sound generator.
Use of the Morph Pad can yield interesting composite sounds—hybrids of the original
and morphed sound. You can copy this hybrid sound to a corner of the Morph Pad, or
to multiple corners, and randomize it by a definable amount. The morphed sound then
becomes a new timbral element that can, in turn, be moved to the corners, randomized,
and so on.
In effect, you’re “breeding” a sound, while maintaining some control by selecting parent
and child sounds. This approach can result in new, complex sounds—even if your sound
programming knowledge is limited.
Morph Randomize parameters
• Random Group pop-up menu: Limit the type of morphable parameters that are affected
by randomization.
• All morphable parameters: Randomizes all parameters in the following groups,
which can lead to unusual sounds. This can lead to some interesting results, but it is
uncontrolled, making it unsuitable for the “sound breeding” idea.
• All except TensMod: Identical to All morphable parameters, but excludes the
TensionMod parameter from randomization.
• String Material/Media: Includes the Material Pad position, Stiffness, Inner Loss,
Media Loss, Resolution, and Tension Modulation parameters for randomization.
• Objects&Pickups: Alters the positions of objects and pickups, plus various object
parameters, when randomization is used.
• Waveshaper&Filter: Alters the positions of all Waveshaper and filter parameters
when randomization is used.
• Random Point pop-up menu: Choose the morph points (or edges) you want to
randomize.
• Random Intensity knob: Set the amount of randomization from 1% (slight deviation) to
100% (completely random values).
• Random Trigger button: Create randomized values for all parameters of the chosen
morph points.
Logic Pro User Guide for iPad 829
Randomize morph points in Sculpture
This example provides a general approach you can follow for morph point randomization.
1. In Logic Pro, tap a Morph Scene button (Ctr, A, B, C, or D).
2. Tap the Auto Select button.
3. Set the Random Intensity knob to a value of 25%.
4. Tap the Random Trigger button.
5. Drag the gray dot to each corner in the Morph Pad. Do this along the edges and through
the center of the Morph Pad.
Note how this affects the morph.
6. Strike a few notes on your MIDI keyboard while dragging the gray dot.
Note that positions on the Morph Pad that fall in between the various morph points cause
the randomized parameters to interpolate between values. You can use the Copy and Paste
commands to make use of these in-between values.
Sculpture Morph Envelope in Logic Pro for iPad
The Morph Envelope contains nine control points and eight time segments. Its recording
behavior is similar to the controller envelopes.
• The maximum time/length of the Morph Envelope is 48 bars/40 seconds.
• You can create your own envelopes manually by changing Morph Envelope parameter
values, or you can record an envelope. See Record Morph Envelopes.
• You can run the Morph Envelope as you would with any envelope while the note is
sustained. You can also run it several times, or in an infinite cycle, much like an LFO.
See Morph Envelope sustain and loop.
Logic Pro User Guide for iPad 830
Morph Envelope parameters
• Morph Control Pad/Env buttons: Turn on the Morph Envelope.
• Both buttons off: Morph function is disabled.
• Only Morph Control Pad button on: Morphing is controlled by the gray dot in the
Morph Pad or X/Y MIDI controllers only.
• Only Morph Control Env button on: Morph envelope is running, but the gray dot in
the Morph Pad and X/Y MIDI controllers are deactivated.
• Both Morph Control Env + Pad buttons on: Morph envelope is running, and the
position of the gray dot in the Morph Pad or X/Y MIDI controllers is used as an offset
for any envelope movements.
• Morph Pad Mode pop-up menu: Choose a Morph Envelope mode when both Morph
Control Env + Pad buttons are active.
• Offset: The default mode. Envelope is running, and the position of the gray dot in the
Morph Pad or X/Y MIDI controllers is used as an offset for any envelope movements.
• Point Set: Envelope is running. The selected envelope point can be edited by
moving the gray dot in the Morph Pad or with a MIDI controller (MorphX and MorphY
Controller Assignments).
• Point Solo: Envelope is in a kind of snapshot mode. The selected envelope point can
be edited by moving the gray dot in the Morph Pad.
• Morph Record Enable button: Arm the morph envelope for recording. See Record Morph
Envelopes.
• MrReT pop-up menu: Choose the event type that triggers recording.
• NoteOn: Recording starts when a note is played.
• Note + Move Morph Point: Recording starts when MIDI control change messages
(as assigned in the Morph X and Y parameters of the MIDI controller section) arrive
while a note is held.
• Note + Sustain Pedal: Recording starts when the sustain pedal is depressed while a
note is held.
• Time Mode buttons: Select either a free-running (Free) envelope or a tempo-synced
envelope (Sync) with note value options, such as 1/8 or 1/4.
Note: Switching between values forces a recalculation of times to the nearest note value
or time value (shown in msec), based on the current project tempo.
• TimeScale knob: Scale the duration of the entire envelope between 10% (ten times
faster) and 1000% (ten times slower).
• Time 1-8 knobs: Set the duration of each morph envelope segment. As you change
values, the overall length of the envelope changes—with all following control point times
and segments being moved.
Note: You cannot move a control point beyond the position of the preceding control
point. You can, however, move control points beyond the position of the following one—
effectively lengthening both the envelope segment and the overall envelope.
Logic Pro User Guide for iPad 831
• Morph Envelope XY pads 0-8: Drag the gray dot to set the morph envelope level at the
corresponding morph envelope time. Morph Envelope XY pad 0 represents the starting
level at the beginning of the morph envelope, so has no corresponding Time knob
parameter.
• Depth knob: Scale the amount of morph movement caused by the Morph Envelope. As
you increase or decrease the value, the morph trajectory is also scaled.
• DM Amount knob: Set the intensity of Morph Envelope movements within the scaled
range set with the Depth knob.
• Depth Mod source pop-up menu: Choose a modulation source that is used to control
the intensity of Morph Envelope movements.
• Trans Shape knob: Control transitions between morph control points (gray dot
positions in Morph Envelope XY pads 0-8). This can be the original (possibly recorded)
movement, linear, or stepped transitions. The latter remains at one morph state and
then abruptly switches to another morph state at the following envelope control point.
This parameter (and the Morph Envelope itself) can lead to interesting, evolving sounds,
or even rhythmic patches.
Sculpture Morph Envelope sustain and loop in Logic Pro for iPad
The Sustain Mode pop-up menu lets you choose one of the following modes: Sustain,
Finish, Loop Forward, Loop Backward, Loop Alternate, and Scan via CtrlB.
When in any of the loop modes, the loop cycles between the Loop and Sustain points that
you set with the Sustain Point and Loop Point controls. The Morph Envelope can, like any
envelope, run in one-shot mode—it runs normally, for as long as the note is sustained. It
can also run several times, or in an infinite cycle, much like an LFO. You can achieve the
latter through the use of loops.
Logic Pro User Guide for iPad 832
Morph Envelope Sustain and Loop parameters
• Sustain Point knob: Set one of the morph envelope control points (gray dot positions in
Morph Envelope XY pads 0-8) as the Sustain point.
• Loop Point knob: Set one of the morph envelope control points (gray dot positions in
Morph Envelope XY pads 0-8) as the Loop point.
• Sustain Mode pop-up menu: Choose the behavior of the Morph Envelope while a note is
held. See Morph Envelope Sustain and loop.
• Finish: The Morph Envelope runs in one-shot mode from its beginning to its end—
even if the note is released before the envelope has completed. The other loop
parameters are disabled.
• Loop Forward: The Morph Envelope runs to the Sustain point (set with the Sustain
Point knob) and begins to repeat the section between the Loop point (set with the
Loop Point knob) and Sustain point periodically—always in a forward direction.
• Loop Backward: The Morph Envelope runs to the Sustain point and begins to repeat
the section between the Sustain point and Loop point periodically—always in a
backward direction.
• Loop Alternate: The Morph Envelope runs to the Sustain point and returns to the
Loop point and back to the Sustain point periodically, alternating in both a backward
and forward direction.
• Scan via CtrlB: The timeline position within the Morph Envelope is disconnected from
normal, real-time operation, enabling you to manually scan the overall time range
with the MIDI controller assigned to Ctrl B (in the MIDI controllers section).
Note: If one of the three loop modes is selected, and the Loop point is positioned
before the Sustain point, the loop remains active until the key is released. Following
key release, the envelope then continues beyond the Sustain point, as usual. If the
Loop point is positioned after the Sustain point, the loop begins as soon as the
key is released, and cycles continuously until the complete voice has finished the
amplitude envelope release phase.
Record Morph Envelopes in Sculpture in Logic Pro for iPad
This section outlines the steps needed to record a Morph Envelope.
Choose a record trigger mode in the Sculpture Morph Envelope
• In Logic Pro, tap the MrReT pop-up menu to choose one of the following trigger modes
to start recording when the Record Enable button is activated:
• NoteOn: Recording starts when a note is played.
• Note + Move Morph Point: Recording starts when MIDI control change messages
(as assigned in the Morph X and Y parameters of the MIDI controller section) arrive
while a note is held.
• Note + Sustain Pedal: Recording starts when the sustain pedal is depressed while a
note is held.
Logic Pro User Guide for iPad 833
Record a Morph Envelope in Sculpture
1. In Logic Pro, choose a trigger mode from the MrReT pop-up menu if you don’t want to
use the Morph Pad.
Skip this step if using the Morph Pad.
2. Tap the Record Enable button to arm the morph envelope record function.
3. Play a note on your MIDI keyboard, and do either of the following:
• Drag the gray dot in the Morph Pad.
• Move an external controller (see Define Sculpture MIDI controllers).
Following the recording of a controller movement, the Record Enable button is
automatically turned off and the Morph Control Env button is activated. This ensures that
only the recorded movement is active, regardless of the controller position or further
movements after you finish recording.
Note: The mode defaults to Morph Control Pad as soon as you tap the Record
Enable button. See Morph Envelope parameters.
Stop a morph envelope recording in Sculpture
In Logic Pro, do one of the following:
• Tap the Record Enable button (or trigger) a second time.
• Release all keys, and allow all voices to complete their decay phase. This automatically
ends the recording.
Note: You can stop recording early, before the decay phase completes, by releasing all
keys and then pressing a single key.
Sculpture MIDI controllers in Logic Pro for iPad
Parameters at the bottom of the Sculpture interface let you define MIDI controllers—
for vibrato depth control or Morph Pad movements, for example. You can use any MIDI
controller shown in the menus for these control sources.
These parameters are saved with each setting. They are updated only if the default setting
that is loaded on instantiating the plug-in is used, or if the setting was saved with a project.
This approach helps you to adapt all MIDI controllers to the keyboard without having to edit
and save each setting separately.
Logic Pro User Guide for iPad 834
MIDI controller parameters
• Vibrato Ctrl pop-up menu: Choose the MIDI controller used for vibrato depth control.
• Ctrl A/B Assign pop-up menus: Choose two controllers that can be used for side chain
modulations or as via modulation sources, as set in the CtrlA and CtrlB modulation
routing panes.
• EnvCtrl 1/2 Assign pop-up menus: Choose controller assignments for the two control
envelopes, which can be used as a modulation signal or an offset. Offsets occur
in cases where the control envelope is set to Ctrl only or Ctrl+Env modes. These
assignment pop-up menus also define the source for recording controller movements.
• Morph X/Y Assign pop-up menus: Choose controller assignments for the x and y
coordinates of the Morph Pad. After they are assigned, the controller can be used to
manually move the morph point, program single Morph Envelope points, shift the entire
Morph Envelope, and serve as a source for recording morph movements.
• Ctrl Assignment handling menu: Choose either the default MIDI controller assignments
or controller assignments loaded from the setting. If you choose Use Default,
assignments remain unchanged. If you choose Load From Setting, you use the controller
assignments you saved with the setting. (The default assignments are taken from the
#default.pst setting, if it exists, which is loaded when Sculpture is inserted into an
instrument channel strip.)
MIDI Mono Mode (MPE) parameters
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either mode, each voice receives on a different MIDI channel. Per-voice channels
support pitchbend, aftertouch, mod wheel, Vibrato Depth Ctrl, and Ctrl A and Ctrl B
assignment messages. Controllers and MIDI messages sent on the base channel affect
all voices.
• Pitch Bend Range knob: Set a value from 0 to 96.
The chosen pitch bend range affects individual note pitch bend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which is
compatible with the GarageBand for iOS keyboard in pitch mode. When using a MIDI
guitar, 24 semitones is the preferable setting because most guitar to MIDI converters
use this range by default.
Learn a MIDI controller assignment in Sculpture
1. In Logic Pro, open a controller assignment pop-up menu, and choose the -Learn- item.
2. Move the controller on your MIDI keyboard or MIDI controller.
Note: If no suitable MIDI message is received within 20 seconds, the selected control
reverts to the previous value/assignment.
Logic Pro User Guide for iPad 835
Studio Instruments
Studio Instruments in Logic Pro for iPad
The studio instruments are high-quality multisampled brass and string players that offer a
collection of solo and grouped instrument presets. See Studio Horns and Studio Strings.
If you’re new to using plug-ins see Intro to plug-ins.
Each studio instrument preset provides a range of articulations that enable you to create
expressive, nuanced performances and recordings. Some articulation features, such as
polyphonic true legato, apply to all presets, whereas some articulation features are specific
to certain instruments.
Articulations are accessed from the Articulation pop-up menu in the plug-in menu bar.
Articulations can be remotely switched while performing or recording, enabling you to add
a fall or trill to a solo saxophone part, or to instantly switch between a bowed or staccato
string section, for example.
When you play a chord while using an ensemble or section instrument, Studio Horns
and Studio Strings provide an automatic voice split feature that can help you to create
balanced, natural-sounding arrangements. For example, automatic voice splitting can
allocate voices (notes in the chord) to different players, based on what instrument group
is best suited to a particular note range. You can also directly access and play individual
instruments within sections. See Studio instruments section MIDI channels.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Studio Horns
Studio Horns in Logic Pro for iPad
Studio Horns provides a collection of highly expressive single and section brass
instruments. It provides controls that enable you to customize Studio Horns to match your
preferences and to work best with your controllers. See Studio Horns details parameters.
Studio Horns instruments feature a large collection of samples that cover different playing
styles, such as sustain, staccato, or falls. These playing styles, called articulations, are
accessed from the Articulation pop-up menu in the plug-in menu bar. You can also switch
articulations remotely with keyswitches.
Default section and single instrument keyswitches are covered in Studio Horns keyswitch
mapping.
Logic Pro User Guide for iPad 836
To add Studio Horns to your project, choose it from the Instrument > Studio Instruments
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins. Also see
Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in
the Mixer.
Studio Horns Instrument parameters
The parameters shown in the plug-in change when a solo or section instrument is chosen.
• Instrument pop-up menu: Choose a solo or section instrument.
You can use MIDI channel events to control section instruments. If you want to play
specific instruments in a section, you can send MIDI messages on their respective
channels, then add a list of channel assignments. See Studio instruments section MIDI
channels.
• Last Played field: Displays the most recently used articulation.
• Monophonic button: Turn on monophonic mode for solo instruments.
• Dynamics via Ctrl button: Turn on to enable control of an instrument’s dynamics (soft-
loud) and timbre in real time. Additional dynamic control and mapping functions are
available in the Details parameters.
• Auto Vibrato knob and field: Set the intensity of vibrato in the chosen sound. You
can also assign manual vibrato control in the details parameters.
• Humanize knob and field: Set the amount of random variation in the chosen sound. This
emulates changes in embouchure by introducing small pitch and level fluctuations.
• Key Clicks knob and field: Set the level of key and pad noise for sections that contain
saxophones and solo saxophone instruments.
Note: The Key Clicks knob isn’t shown for trumpet or trombone instruments.
• Attack knob and field: Set the amount of time it takes for the instrument to fade in,
following a MIDI note on message.
• Release knob and field: Set the amount of time it takes for the instrument to fade out,
following a MIDI note off message.
• Volume knob and field: Set the output level of the instrument.
Logic Pro User Guide for iPad 837
Use advanced articulation features
Studio Horns provides several articulations for falls and doits. These can be played on
your keyboard like any other articulation. Horn players often attach a fall or doit directly to
a note end, so the fall or doit happens with no gap after the previous note. Studio Horns
features a special mode which allows you to smoothly connect a fall or doit articulation to
the previous note at any position “on-the-fly”, as a real musician would play it.
• In Logic Pro, to create a smooth fall or doit, add a second (Fall or Doit articulation) note
of the same pitch directly following any note. There should be no, or a minimal, gap
from the previous note.
Note: Velocity of the Fall or Doit note can be different to the previous note. You can
also vary the length of the Fall or Doit note. This allows you to create very subtle falls or
doits at the end of any note.
• To perform falls and doits live on a keyboard, you can use the predefined keyswitches
for Falls and Doits. These operate in Trigger mode, which automatically creates the Fall
or Doit event and places it immediately after the previous note. Try this by holding a
note with a Sustain articulation. While the note is playing, press the keyswitch for the
Fall Long articulation. The sustained note is then stopped with a long fall.
Studio Horns details parameters in Logic Pro for iPad
The Details parameters provide advanced control of performance and controller functions.
Note: The parameters are different for solo and section instruments.
Studio Horns common details parameters
The following parameters apply to solo or section instruments.
• Vibrato Ctrl pop-up menu: Choose a MIDI controller to adjust vibrato.
• Vibrato Mode pop-up menu: Choose a vibrato response curve for incoming MIDI
controller data. Choices are Off, Normal, Slow, Fast, Gentle, and Expressive.
Note: This affects manually controlled vibrato only.
• Dynamic Ctrl pop-up menu: Choose the MIDI controller used to adjust an instrument’s
dynamics (soft-loud) while a note is playing. This function requires the Dynamics via CC
button in the main interface to be turned on.
Logic Pro User Guide for iPad 838
• Dyn Ctrl Mode pop-up menu: Choose a mode to determine assigned MIDI controller
behavior and instrument response to incoming velocity data.
• Controller (Absolute): Dynamics are controlled only by the absolute value of the
assigned MIDI controller.
• Velocity & Controller (Catch): Dynamics are controlled both by incoming velocity
data and by the value of the assigned MIDI controller when it matches any existing
controller value. For example, a MIDI control knob with a value of 15 has no impact
on dynamic behavior until it reaches a velocity value of 47 in an existing region. Once
this controller value is reached, the assigned MIDI control knob will have an impact
on instrument dynamics.
• Velocity & Controller (Relative): Dynamics are controlled by both incoming velocity
data and by the value of the assigned MIDI controller, relative to any existing
controller value. For example, a MIDI control knob with a value of 15 will immediately
impact dynamic behavior, relative to the existing velocity value. Adjusting a knob
with a value of 15 to a value of 18 will adjust an existing velocity value of 47 to a
value of 50.
• Legato Transitions button: Turn on to enable legato transition samples for both
monophonic and polyphonic modes, enhancing the realism of instruments played in a
legato style.
• Extended Keyrange button: Turn on to allow the instrument (or instruments in a section)
to play beyond its normal key range.
• When off, the instrument (or instruments in a section) plays in the original key range.
This is the default, and should be used if you’re aiming for authentic-sounding
performances.
• When on, the instrument uses the full keyboard range, allowing you to create parts
that extend beyond the realistic range of the instrument (or instruments in a section).
• Release Samples knob and field: Set the volume of release samples. Release samples,
as the name suggests, are triggered when you release a key. These allow for a natural-
sounding decay in sustained articulations, for example. If a low release sample value is
set, the sound may cut off abruptly, which can sound unnatural.
• Pitch Bend Range knob and field: Determine the range for pitch bend modulation. This
is bipolar, with a range of ±12 semitones.
Studio Horns voice split parameters
The following parameters apply only to section instruments.
• Allow Unison button: Turn on to enable unison mode for split voices.
• When enabled, multiple instruments within a section can play the same note
simultaneously when a single or multiple keys are pressed.
• When disabled, one instrument within the section is played per key. To have all
instruments of a seven piece section play, you need to press seven keys.
• Inst via MIDI Channel button: Turn off to play the full section on any incoming MIDI
channel. Active Unison / Split settings apply. When on (default), the following applies:
• MIDI Channel 1: Full section is played with the active Unison / Split settings.
• MIDI Channels 2-16: Access individual instruments within the section. See Studio
instruments section MIDI channels.
Logic Pro User Guide for iPad 839
• Split Voicing pop-up menu: Enable or disable automatic voice splitting. When active,
you can determine the octaves used by the respective voices/instrument(s) in the
section. Results vary based on your Split Mode pop-up menu choice.
When any value other than Off is chosen, chords played on the keyboard are
automatically assigned to different instruments or instrument groups, or “voices” in
the section. Depending on the size and type of section, a voice can consist of one or
multiple instruments. This mimics the distribution of notes (voicings) among players,
based on what instrument group is best suited to a particular note range, for example.
• Off: Disables voice splitting.
Note: When Off is chosen, horn section instruments that share a key range are
layered, with all horns assigned to a key range played simultaneously.
• 8va: Double the top part an octave up. This is a common technique used to make
melody lines more prominent.
• Drop 2: Transpose the second note from the top of the chord down an octave. This
technique is used to make an arrangement sound thicker and richer.
• Drop 2+4: Transpose the second and fourth note from the top of the chord down
an octave. This technique is used to thicken an arrangement. It is more suitable
for sections with five or more instrument “voices,” but can be useful with smaller
sections.
• Split Mode pop-up menu: Choose the mode used to split individual or grouped
ensemble instruments.
• Start with Lead Voice: The first incoming note is assigned to the Lead Voice, which
is usually a higher-range instrument such as a trumpet. All subsequent notes are
assigned, in descending order, to the Middle and Bass Voices.
• Start with Bass Voice: The first incoming note is assigned to the Bass Voice. All
subsequent notes are assigned, in ascending order, to the Middle and Lead Voices.
• Start by Key Split: Incoming notes below the defined split key (set with the Split Key
field) are assigned to the Bass Voice and the lower Middle Voices. Notes above the
split key are assigned to the Lead Voice and the higher Middle Voices.
• Split Key field: Drag vertically to set the MIDI note number used as the split point for
individual ensemble instruments.
Note: This parameter applies only when Start By Key Split is chosen in the Split Mode
pop-up menu.
Logic Pro User Guide for iPad 840
Studio Horns keyswitch mapping in Logic Pro for iPad
This section outlines the default keyswitch mapping of the Studio Horns instruments.
Articulations are accessed from the Articulation pop-up menu in the plug-in menu bar.
Articulations can be remotely switched while performing or recording, enabling you to add
a fall or trill to a solo saxophone part, for example.
The table shows the default keyswitch mapping, starting from C1 (MIDI note number 24).
You can, of course, transpose the octave of notes used as keyswitches.
X indicates available articulation.
* Trumpet 1, Trombone 1, Alto Sax 1, and Tenor Sax 1.
Key MIDI Note # Articulation ID Articulation Sections Lead
Instruments*
C1 24 1 Sustain X X
C#1 25 14 Growl X
D1 26 6 Expressive X X
Medium
D#1 27 7 Expressive Long X
E1 28 8 Expressive Short X X
F1 29 2 Staccato X X
F#1 30 4 Marcato Short X
G1 31 10 Fall Long X X
G#1 32 5 Marcato Long X
A1 33 11 Fall Medium X X
A#1 34 9 Passionate X
B1 35 12 Fall Short X X
C2 36 13 Doit X X
C#2 37 16 Scoop X
D2 38 15 Shake (Horns) / X X
Trill (Saxes)
Logic Pro User Guide for iPad 841
Studio Strings
Studio Strings in Logic Pro for iPad
Studio Strings provides a collection of highly expressive single and section stringed
instruments. It provides controls that enable you to customize Studio Strings to match your
preferences and to work best with your controllers. See Studio Strings details parameters.
Studio Strings instruments feature a large collection of samples that cover different playing
styles, such as sustain, staccato, or falls. These playing styles, called articulations, are
accessed from the Articulation pop-up menu in the plug-in menu bar. You can also switch
articulations remotely with keyswitches.
Default section and single instrument keyswitches are covered in Studio Strings keyswitch
mapping.
To add Studio Strings to your project, choose it from the Instrument > Studio Instruments
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins. Also see
Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in
the Mixer.
Studio Strings Instrument parameters
The parameters shown in the plug-in change when a solo or section instrument is chosen.
• Instrument pop-up menu: Choose a solo or section instrument.
You can use MIDI channel events to control section instruments. If you want to play specific
instruments in a section, you can send MIDI messages on their respective channels,
then add a list of channel assignments. See Studio instruments section MIDI channels.
• Last Played field: Displays the most recently used articulation.
• Monophonic button: Turn on monophonic mode for solo instruments.
• Dynamics via Ctrl button: Turn on to enable control of an instrument’s dynamics
(soft-loud) and timbre in real time. Additional dynamic control and mapping functions
are available in the Details parameters.
• Cutoff knob and field: Set the cutoff frequency of the sound.
• Resonance knob and field: Set the amount of cut or boost of the frequency range
surrounding the defined cutoff frequency.
• Attack knob and field: Set the amount of time it takes for the instrument to fade in,
following a MIDI note on message.
• Release knob and field: Set the amount of time it takes for the instrument to fade out,
following a MIDI note off message.
• Volume knob and field: Set the output level of the instrument.
Logic Pro User Guide for iPad 842
Use advanced articulation features
Studio Strings provides several articulations for falls. These can be played on your
keyboard like any other articulation. String players often attach a fall directly to a note end,
so the fall happens with no gap after the previous note. Studio Strings features a special
mode which allows you to smoothly connect a fall articulation to the previous note at any
position “on-the-fly”, as a real musician would play it.
• In Logic Pro, to create a smooth fall, add a second (Fall articulation) note of the same
pitch directly following any note. There should be no, or a minimal, gap from the
previous note.
Note: Velocity of the Fall note can be different to the previous note. You can also vary
the length of the Fall note. This allows you to create very subtle falls at the end of any
note.
• To perform falls live on a keyboard, you can use the predefined keyswitches for
Falls. These operate in Trigger mode, which automatically creates the Fall event and
places it immediately after the previous note. Try this by holding a note with a Sustain
articulation. While the note is playing, press the keyswitch for the Fall Long articulation.
The sustained note is then stopped with a long fall.
Studio Strings details parameters in Logic Pro for iPad
The Details parameters provide advanced control of performance and controller functions.
Note: The parameters are different for solo and section instruments.
Studio Strings common details parameters
The following parameters apply to solo or section instruments.
• Vibrato Ctrl pop-up menu: Choose a MIDI controller to adjust vibrato.
• Dynamic Ctrl pop-up menu: Choose the MIDI controller used to adjust an instrument’s
dynamics (soft-loud) while a note is playing. This function requires the Dynamics via CC
button in the main interface to be turned on.
• Dyn Ctrl Mode pop-up menu: Choose a mode that determines assigned MIDI controller
behavior and instrument response to incoming velocity data.
• Controller (Absolute): Dynamics are controlled only by the absolute value of the
assigned MIDI controller.
Logic Pro User Guide for iPad 843
• Velocity & Controller (Catch): Dynamics are controlled by both incoming velocity
data and by the value of the assigned MIDI controller when it matches any existing
controller value. For example, a MIDI control knob with a value of 15 has no impact
on dynamic behavior until it reaches a velocity value of 47 in an existing region. Once
this controller value is reached, the assigned MIDI control knob will have an impact
on instrument dynamics.
• Velocity & Controller (Relative): Dynamics are controlled by both incoming velocity
data and by the value of the assigned MIDI controller, relative to any existing
controller value. For example, a MIDI control knob with a value of 15 will immediately
impact dynamic behavior, relative to the existing velocity value. Adjusting a knob
with a value of 15 to a value of 18 will adjust an existing velocity value of 47 to a
value of 50.
• Legato Transitions button: Turn on to enable legato transition samples for both
monophonic and polyphonic modes, enhancing the realism of instruments played in a
legato style.
• Extended Keyrange button: Turn on to allow the instrument (or instruments in a section)
to play beyond its normal key range.
• When off, the instrument (or instruments in a section) plays in the original key range.
This is the default, and should be used if you’re aiming for authentic-sounding
performances.
• When on, the instrument uses the full keyboard range, allowing you to create
parts that extend beyond the realistic range of the instrument (or instruments in a
section).
• Release Samples knob and field: Set the volume of release samples. Release samples,
as the name suggests, are triggered when you release a key. These allow for a natural-
sounding decay in sustained articulations, for example. If a low release sample value is
set the sound may cut off abruptly, which can sound unnatural.
• Pitch Bend Range knob and field: Determine the range for pitch bend modulation. This
is bipolar, with a range of ±12 semitones.
Studio Strings voice split parameters
The following parameters apply only to section instruments.
• Allow Unison button: Turn on to enable unison mode for split voices.
• When enabled, multiple instruments within a section can play the same note
simultaneously when a single or multiple keys are pressed.
• When disabled, one instrument within the section is played per key. To have all
instruments of a seven piece section play, you need to press seven keys.
• Inst via MIDI Channel button: Turn off to play the full section on any incoming MIDI
channel. Active Unison / Split settings apply. When on (default), the following applies:
• MIDI Channel 1: Full section is played with the active Unison / Split settings.
• MIDI Channels 2-16: Access individual instruments within the section. See Studio
instruments section MIDI channels.
• Split Voicing pop-up menu: Enable or disable automatic voice splitting. When active,
you can determine the octaves used by the respective voices/instrument(s) in the
section. Results vary based on your Split Mode pop-up menu choice.
Logic Pro User Guide for iPad 844
When any value other than Off is chosen, chords played on the keyboard are
automatically assigned to different instruments or instrument groups, or “voices” in
the section. Depending on the size and type of section, a voice can consist of one or
multiple instruments. This mimics the distribution of notes (voicings) among players,
based on what instrument group is best suited to a particular note range, for example.
• Off: Disables voice splitting.
Note: When Off is chosen, sections are split by key ranges, with each string
instrument within the section spanning a specific key range, and no layered
instruments.
• 8va: Double the top part an octave up. This is a common technique used to make
melody lines more prominent.
• Drop 2: Transpose the second note from the top of the chord down an octave. This
technique is used to make an arrangement sound thicker and richer.
• Drop 2+4: Transpose the second and fourth note from the top of the chord down
an octave. This technique is used to thicken an arrangement. It is more suitable
for sections with five or more instrument “voices,” but can be useful with smaller
sections.
• Split Mode pop-up menu: Choose the mode used to split individual or grouped
ensemble instruments.
• Start with Lead Voice: The first incoming note is assigned to the Lead Voice, which
is usually a higher-range instrument such as a violin. All subsequent notes are
assigned, in descending order, to the Middle and Bass Voices.
• Start with Bass Voice: The first incoming note is assigned to the Bass Voice. All
subsequent notes are assigned, in ascending order, to the Middle and Lead Voices.
• Start by Key Split: Incoming notes below the defined split key (set with the Split Key
field) are assigned to the Bass Voice and the lower Middle Voices. Notes above the
split key are assigned to the Lead Voice and the higher Middle Voices.
• Split Key field: Drag vertically to set the MIDI note number used as the split point for
individual ensemble instruments.
Note: This parameter applies only when Start By Key Split is chosen in the Split Mode
pop-up menu.
Logic Pro User Guide for iPad 845
Studio Strings keyswitch mapping in Logic Pro for iPad
This section outlines the default keyswitch mapping of the Studio Strings instruments.
Articulations are accessed from the Articulation pop-up menu in the plug-in menu bar.
Articulations can be remotely switched while performing or recording, enabling you to
instantly switch between a bowed or staccato string section, for example.
The table shows the default keyswitch mapping, starting from C1 (MIDI note number 24).
You can, of course, transpose the octave of notes used as keyswitches.
X indicates available articulation.
Key MIDI Note # Articulation ID Articulation Sections, Violins, Violas,
Double Bass Cellos
C1 24 1 Sustain X X
C#1 25 31 Tremolo X X
D1 26 19 Accented Sustain X X
D#1 27 25 Fortepiano Slow X X
E1 28 23 Fortepiano Fast X X
F1 29 3 Spiccato X X
F#1 30 2 Staccato X X
G1 31 28 Pizzicato X X
G#1 32 29 Trill Semi X X
A1 33 30 Trill Whole X X
A#1 34 10 Fall Long X
B1 35 12 Fall Short X
C2 36 17 Scoop Slow X
C#2 37 16 Scoop Fast X
D2 38 21 Crescendo Slow X
D#2 39 20 Crescendo Fast X
E2 40 27 Glissando Up X
F2 41 26 Glissando Down X
Logic Pro User Guide for iPad 846
Studio instruments section MIDI channels in
Logic Pro for iPad
In section presets, each instrument uses a dedicated MIDI channel. This enables you
to play specific instruments in a section by sending MIDI messages on their respective
channels. Similarly, if you create a region for a section instrument, you can assign each
MIDI event a specific MIDI channel to ensure that it is played only by a particular instrument
within the section.
• MIDI channel 1 is always the “section” channel, meaning that it is used to play the entire
section, either via automatic voice splitting or as a layer/key split, depending on the
plug-in setting.
• MIDI channel 2 and above are used to access the different instruments of a section
directly.
Note: When the Inst via MIDI Channel button in the Details parameters is turned off, the full
section is played on any incoming MIDI channel. Active Unison / Split settings apply. Full
section playback is also triggered by incoming MIDI channel data that is not used in the
section.
MIDI Channel Horn Sections String Sections
1 Full Section Full Section
2 Alto Sax 1 Violins 1
3 Alto Sax 2 Violins 2
4 Tenor Sax 1 Violas
5 Tenor Sax 2 Cellos
6 Baritone Sax Double Basses
7 Trumpet 1
8 Trumpet 2
9 Trumpet 3
10 Trumpet 4
11 Trombone 1
12 Trombone 2
13 Trombone 3
14 Bass Trombone
Logic Pro User Guide for iPad 847
Utility instruments
Utility instruments in Logic Pro for iPad
The Utilities found in the instrument plug-in menu of Instrument channel strips include:
• External Instrument lets you route hardware MIDI sound generators through the Mixer,
which you can then process with Logic Pro effects.
• Klopfgeist is an instrument that provides a metronome click.
• Test Oscillator can be used as an instrument or effect. It is used to calibrate tuning of
studio equipment and instruments.
To add any of these plug-ins to your project, choose it from the Instrument > Utility
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
External Instrument in Logic Pro for iPad
You can use External Instrument to route hardware MIDI sound generators through the
Mixer, which you can then process with Logic Pro effects. The plug-in is inserted into
instrument channel strips in place of a software instrument. External Instrument supports
MIDI communication through the instrument channel strip, enabling you to control both
MIDI and audio routing of an external sound module with a single plug-in.
To use the External Instrument plug-in, choose Utility > External Instrument in an
Instrument channel strip Instrument plug-in menu or the Plug-ins area. See Intro to plug-
ins. Also see Add, replace, reorder, and remove plug-ins in the Plug-ins area and Work with
plug-ins in the Mixer.
The track routed to an instrument channel strip that is being used for an external MIDI
sound module behaves just like a standard software instrument track. This enables you to
record and play back MIDI regions on it, with the following benefits:
• You can use the sounds and synthesis engine of your MIDI module with no overhead
on the computer CPU—apart from effects used in the channel strip (or destination
channels).
• You can send MIDI bank and program change messages to your MIDI module.
• You can use insert and send effects. To use send effects, route the instrument channel
strip to aux channel strips.
• You can bounce external MIDI instrument parts, with or without effects, to an audio file
in real time (bouncing cannot happen faster because MIDI hardware is involved). This
makes the creation of a mix, including all internal and external devices and tracks, a
one-step process.
Logic Pro User Guide for iPad 848
Tip: To avoid constant repatching of devices, it is best to use an audio interface that
supports multiple inputs and outputs.
Tip: When using multi-timbral MIDI sound sources, you can gain maximum flexibility
with multiple External Instrument instances. In this situation, connect a separate audio
output of the tone generator (if equipped with multiple outputs) to different inputs on your
audio interface—each addressed by an individual External Instrument instance.
External Instrument parameters
• MIDI Destination pop-up menu: Choose the target MIDI port.
• MIDI Channel pop-up menu: Choose the target MIDI channel.
• Audio Input pop-up menu: Choose the inputs of your audio hardware that the MIDI
sound generator is connected to.
• Latency Comp button: Turn on to automatically compensate for small timing differences
(latency) between MIDI and audio playback.
• In Vol knob and field: Set the incoming signal level.
• Program pop-up menu: Choose a MIDI program change number.
• Bank pop-up menu: Choose a MIDI bank select number.
• Send Program Change button: Send the MIDI program change (and bank select, if
applicable) message.
Note: Program/bank change messages are stored when you save a plug-in setting and
are automatically sent when you load the setting.
Process external MIDI instruments with effects
1. Connect the output (or output pair) of your MIDI module with an input (or input pair) on
your audio interface.
Note: These can be either analog or digital connections if your audio interface and MIDI
sound generator are equipped with either, or both.
2. Create an instrument channel strip.
3. Tap the Instrument slot, then choose Utility > External Instrument from the pop-up
menu.
4. Choose the MIDI Destination from the pop-up menu in the External Instrument plug-in.
5. Choose a MIDI Channel from the pop-up menu, if required, when using a multi-timbral
device.
6. Choose the input (of your audio interface) that the MIDI sound generator is connected
to from the Audio Input pop-up menu.
7. Choose a MIDI program change number from the Program pop-up menu, and a bank
select message if required.
Logic Pro User Guide for iPad 849
8. Tap the Send Program Change button to send the program change (and bank select, if
applicable) message.
9. Adjust the input level with the In Vol control, if necessary.
10. Insert any required effects into the effect slots of the channel strip (or channel strips, if
using multiple External Instrument instances with a multi-timbral sound source).
You can also route the instrument channel strip to aux channel strips, if you want to use
send effects.
Klopfgeist in Logic Pro for iPad
Klopfgeist is an instrument that provides a metronome click. It is inserted in the channel
strip adjacent to the highest numbered channel strip by default.
Klopfgeist has a number of synthesizer parameters that you can use to quickly create
metronome click or other sounds. It can be inserted in any instrument channel strip for use
as an instrument.
To use Klopfgeist, choose Utility > Klopfgeist in an Instrument channel strip Instrument
plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace, reorder,
and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Klopfgeist parameters
• Semitone knob and field: Tune Klopfgeist in semitone steps.
• Detune knob and field: Rotate to fine-tune in cents (one cent equals 1/100th of a
semitone).
• Mode buttons: Enable poly to use Klopfgeist as a four-voice polyphonic instrument.
Enable mono to use it as a monophonic instrument.
• Tonality slider and field: Change the sound from a short click to a pitched percussion
sound, similar to a wood block or claves.
• NoteOff Damp slider and field: Set the release time. The shortest release time is
attained when set to the maximum value.
• Level Min Vel/Level sliders and fields: Set velocity sensitivity. The left slider sets the
volume at minimum velocity. The right slider sets the volume at maximum velocity. Drag
the area between the two sliders to move both simultaneously.
Logic Pro User Guide for iPad 850
Test Oscillator in Logic Pro for iPad
Test Oscillator is useful for tuning studio equipment and instruments. It can be inserted
as an instrument or effect plug-in. It operates in two modes, generating either a static
frequency or a sine sweep.
• In Test Tone mode, a test signal is generated immediately when the plug-in is inserted.
You can switch off the test tone by bypassing the plug-in or by activating Sine Sweep
mode.
• In Sine Sweep mode, a user-defined frequency spectrum tone sweep is generated when
you tap the Sweep Trigger button.
To use Test Oscillator, choose Utility > Test Oscillator in an Instrument channel strip
Instrument plug-in menu or the Plug-ins area. See Intro to plug-ins. Also see Add, replace,
reorder, and remove plug-ins in the Plug-ins area and Work with plug-ins in the Mixer.
Test Tone mode parameters
• Frequency knob and field: Set the frequency of the oscillator (the default is 1 kHz).
You can also double-tap this field and enter a value ranging from 1 Hz to 22 kHz,
exceeding the possible values that can be set with the knob. If you enter “1,” a 1 Hz test
tone is the result.
• Waveform buttons: Select the waveform to use for test tone generation. The Square
Wave and Needle Pulse (Dirac) waveforms are available as either aliased or anti-aliased
versions. The Sine and Square waveforms are bipolar. The Needle Pulse waveform is
a unipolar impulse waveform that is always positive, which makes it a useful tool for
analyzing polarity or phase issues. The noise waveforms are useful for “tuning” the
room and speakers.
• Anti Aliased button: Enable to use anti-aliased versions of the Square or Needle Pulse
(Dirac) waves.
• Decorrelated Noise button: Enable to change the phase when either White or Pink Noise
is active. This alters the spatial characteristics of the noise signal.
• Level knob and field: Set the overall output level. This parameter is common to both
test tone generator modes.
• Dim button: Reduce the output level by 50%. This parameter is common to both test
tone generator modes.
Logic Pro User Guide for iPad 851
Sine Sweep mode parameters
• On/off button: Activate sine sweep mode and disable test tone mode.
• Time knob and field: Set the duration of the sine wave sweep.
• Mode buttons: Choose a sweep curve—Linear or Log(arithmic).
• Start/End Freq sliders and fields: Set the oscillator frequency for the beginning and end
of the sine sweep.
• Trigger button: Start the sine sweep of the spectrum set with the Start and End
Frequency parameters.
• Repeat buttons: Tap Single to play the sine sweep once or tap the infinity button to play
the sine sweep indefinitely when you tap the Trigger button.
Vintage B3 Organ
Vintage B3 Organ in Logic Pro for iPad
Vintage B3 Organ (abbreviated to Vintage B3 in the guide) emulates the sound and
features of the Hammond B3 organ with two manuals (keyboards) and a pedalboard, each
of which can have its own registration (sound setting). You can play all registers with a
single-manual master keyboard, or you can use two manuals and a MIDI pedalboard. The
Vintage B3 component modeling synthesis engine faithfully replicates the tonewheel
generators of an electromechanical Hammond organ, down to the smallest detail. This
includes charming flaws, such as the enormous level of crosstalk and the scratchiness of
the key contacts. You can adjust the intensity of these characteristics, enabling tones that
range from flawlessly clean through to dirty and raucous—or anything in between.
Vintage B3 also simulates various types of Leslie sound cabinets—with rotating speakers,
with and without deflectors. A flexible integrated effects section provides tube overdrive,
an equalizer, a wah wah, and a reverberation effect.
To add Vintage B3 Organ to your project, choose it from the Instrument > Vintage Keys
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 852
Main sound controls
Vintage B3 sound controls in Logic Pro for iPad
Vintage B3 is divided into multiple areas. The draw bars at the top change the basic organ
sound in real time. See Vintage B3 draw bar controls.
• The Scanner Vibrato and Percussion controls add a vibrato or chorus-like effect or
percussive element to your organ sound. See Vintage B3 Vibrato and Chorus and
Vintage B3 Percussion effect.
• Vintage B3 incorporates a number of flexible effects processing units, that include
Reverb, EQ, Wah, and Distortion.
• Advanced modeling controls let you precisely adjust a number of characteristics such
as key clicks, aging of components, enhanced bass response, and more.
• Vintage B3 also includes detailed models of the Hammond cabinets used with the B3,
again with extensive control options.
• The Preset (registration) and Morph controls enable remote switching and interesting
real time changes. See Use Vintage B3 preset keys and Use Vintage B3 Morph controls.
• MIDI keyboard controls can be assigned to specific drawbar controllers. See Vintage B3
MIDI setup and Set a Vintage B3 MIDI control mode.
Logic Pro User Guide for iPad 853
Vintage B3 draw bar controls in Logic Pro for iPad
Vintage B3 provides 20 draw bars, nine each for the upper and lower manuals, and two for
the pedalboard.
Drag down the draw bars to make the selected sine choirs louder. You should note that
MIDI control of the draw bars is also reversed when using a standard MIDI fader unit.
Each sine choir is a sine wave that is mixed in at a particular level, determined by the draw
bar position. You add sine choirs in this way to build up the overall organ sound for the
upper or lower manual. This is a basic form of additive synthesis; for more information, see
Additive synthesis with draw bars. You can intuitively pick up the fundamental principles of
additive synthesis by playing a little with the draw bars.
Two draw bars are available for the bass pedals. The waveform used for the bass pedal
sound is not a pure sine wave, like the waveforms used for the upper and lower manuals.
The pedalboard sound uses a mixed waveform, which accurately emulates B3 bass tones.
The two registers differ in pitch, with the left, 16-foot register containing more octave
harmonics. The right, 8-foot register has a more prominent fifth portion (fifth harmonics
are enhanced). The term foot is derived from pipe organ lengths.
You can simulate the behavior of the Model A, the first Hammond organ ever made. This
model had no foldback for the 16’ draw bar in the lowest octave, with the bottom 12 tone
generator outputs available on the first draw bar of the manuals’ bottom octave. Without
foldback, the sound is more strident and similar to the pedal sound. Tap the Ultra Bass
button in the Model Parameters to simulate the Model A.
Vintage B3 Vibrato and Chorus in Logic Pro for iPad
Vintage B3 emulates the Scanner Vibrato of the original B3. Few organ players use the
Scanner Vibrato, preferring to work with a Leslie in isolation. Others, like B3 virtuoso Brian
Auger, prefer the integrated organ vibrato over the Leslie. Compare the chorus and vibrato
effects with the sound of the rotor cabinet simulation to see which you prefer.
The Scanner Vibrato is based on an analog delay line, consisting of several lowpass filters.
The delay line is scanned by a multipole capacitor that has a rotating pickup. It is a unique
effect that cannot be simulated with low frequency oscillators (LFOs). The vibrato of the
organ itself should not be confused with the Leslie effect, which is based on rotating
speaker horns. Vintage B3 simulates both.
Logic Pro User Guide for iPad 854
The (Scanner Vibrato) Chorus effect is derived from mixing the vibrato signal with the
original, statically pitched signal. The organ chorus sounds different from modern chorus
effects.
Scanner Vibrato and Chorus parameters
• Vibrato Upper/Lower buttons: Switch the scanner vibrato on or off, independently, for
the upper and lower manuals. The treble portion of the organ is boosted slightly when
any vibrato setting is used. Because the B3 mixes the bass register (pedal) signal with
the lower manual signal, the pedal register is also affected by the lower manual scanner
vibrato settings.
• Scanner Mode switch: Set to Model to approximate the sound of the scanner vibrato.
Set to Real to simulate the original circuitry, comprised of a delay line and a multi-
section capacitor, which blends between delay line taps.
• Vibrato knob and field: Choose from three Vibrato positions (V1, V2, and V3) or three
Chorus positions (C1, C2, and C3). In the Vibrato positions, only the delay line signal is
heard, and like the Hammond B3, Vintage B3 vibrato types have different intensities.
The three Chorus positions (C1, C2, and C3) mix the signal of the delay line with the
original signal.
• Vibrato Rate knob and field: Set the vibrato or chorus speed.
• Chorus Int knob and field: Mix the dry signal with the chorus signal. This parameter is
active only when a chorus setting is engaged (C1, C2, or C3).
Vintage B3 Percussion effect in Logic Pro for iPad
Vintage B3 emulates the (Key) Percussion features of the original B3. The Percussion
function is available only for the upper manual. The effect adds the second or third
harmonics to the attack envelope of a note. These harmonics quickly fade out, leaving the
chosen draw bar tones.
The Percussion effect is polyphonic, but is only (re)triggered after all keys have been
released. If you release all keys, new notes or chords sound with percussion. If you play
legato, or sustain other notes on the upper manual, no percussion is heard.
Important: Percussion controls are spread across two interface sections: Percussion and
Percussion Options.
Logic Pro User Guide for iPad 855
Percussion parameters
• Percussion switch: Activate percussion for the upper manual.
• Perc Volume switch: Switch between a low (Soft) or high (Normal) decay level. The level
is set with the Volume knobs in the Percussion Options parameters.
• Perc Decay switch: Switch between a Slow or Fast decay. The time is set with the Time
knobs in the Percussion Options parameters.
• Perc Harmonic switch: Determine which harmonic is heard (the switch toggles between
the 2nd and 3rd harmonic).
Vintage B3 Global controls in Logic Pro for iPad
Global parameters
• Pitchbend Up/Down knobs and fields: Independently set the upward/downward pitch
bend sensitivity in semitone steps. The maximum sensitivity for upward bends is one
octave. The Hammond B3 has no pitch bend facilities. Therefore, use of pitch bend is
not suitable for realistic organ simulations, but it does provide a number of creative
options.
Note: If you drag the Pitchbend Down slider to the far right, the tonewheels gradually
slow down until they totally stop—when your keyboard pitch bend control is at the
minimum position. This setting re-creates an effect heard at the end of “Knife Edge” by
Emerson, Lake, and Palmer. Keith Emerson’s virtuoso Hammond work was recorded on a
reel-to-reel tape recorder that was gently slowed to a total stop.
• Volume knob and field: Set the overall output level. The Volume knob must be lowered
whenever crackling or other digital distortion occurs. Volume levels over 0 dB can occur
if you maximize the levels of all registers, play numerous notes, and make use of the
Distortion effect.
• Expression knob and field: Set the sensitivity for a connected expression pedal (on
a MIDI keyboard with an Expression or assignable controller input). Extensive, often
rhythmic, use of the expression (volume) pedal forms part of the style of many organ
players. The expression control also emulates the tonal changes of the B3 pre-amplifier,
where bass and treble frequencies are not attenuated as much as the mid frequencies.
Your master keyboard should transmit MIDI control change #11 when the pedal is
moved. Vintage B3 defaults to the use of CC #11 for Expression.
• MIDI Mode pop-up menu: Choose a supported MIDI controller device. Choose Off if you
do not own a supported device and don’t want to use a special assignment mode. See
Set a Vintage B3 MIDI control mode.
Logic Pro User Guide for iPad 856
Effects
Vintage B3 global effect controls in Logic Pro for iPad
Vintage B3 features a reverb effect, a three-band EQ, a pedal-controllable wah effect, and
a distortion effect that simulates the sound of an overdriven tube amplifier. In addition, the
signal can be routed through the Leslie rotor speaker emulation.
The default effect signal flow is as follows: the organ signal runs through the Equalizer,
Wah, and Distortion effects. This treated signal is then fed into the Reverb and finally
passed to the Leslie Rotor Cabinet.
Effects global parameters
• Master FX button: Enable or disable the entire Vintage B3 effects section.
Tip: You can also use the On/off buttons to independently enable or disable the
Reverb, EQ, Wah, and Distortion effects.
• FX Chain pop-up menu: Choose the signal flow you require in the Vintage B3 effects
section.
• EQ-Wah-Dist: This routing is perfect for a classic B3 patch—an equalized organ,
plugged into a wah pedal, amplified by an overdriven Leslie.
• EQ-Dist-Wah: The sound of the overdrive changes if the input signal is being filtered,
either by the EQ or the Wah. Placing the EQ before the Distortion provides further
sonic flexibility. Although the output signal of the Distortion effect always contains
high frequency content, this content can be suppressed by positioning the Wah as
the final effect in the chain.
• Wah-Dist-EQ: If you want to create a screaming sound (achieved by distorting the
Wah effect output), you can minimize any harshness by choosing this routing.
• Dist-EQ-Wah: Choose this routing to suppress the harsh overtones of extreme
distortions with two filters.
• Dist-Wah-EQ: Choose this routing to control extreme distortions with two filters.
• Bypass: Choose to bypass effects.
• Effect Bypass pop-up menu: Choose Pedal to bypass effects for the pedal register. If
you choose None, the entire output of the organ is processed.
Bypassing the Distortion, Wah, and EQ effects separately for the pedal register avoids
suppression of the bass portion of your organ sound by the Wah effect. It also avoids
intermodulation artifacts when the Distortion effect is used.
Logic Pro User Guide for iPad 857
Vintage B3 Reverb effect in Logic Pro for iPad
Vintage B3 features a simple reverberation effect that emulates several room types and a
spring reverb.
Vintage B3 Reverb parameters
• Reverb On/off button: Turn on or bypass the reverb effect.
• Reverb Mode pop-up menu: Choose a reverb algorithm: Air, Box, Small, Medium, Large,
Big, and Spring.
• Reverb (Pre/Post) pop-up menu: Patch the reverb effect before (Pre) or after (Post) the
rotor effect. The reverb is always patched after the EQ, Wah, and Distortion effects, but
before the Leslie rotor cabinet. Switch to Post if you don’t want the reverb to sound like
it is played back through the rotor speaker.
• Reverb knob and field: Set the balance between the reverb and original signal levels.
Vintage B3 Equalizer controls in Logic Pro for iPad
Vintage B3 features a simple, effective EQ section.
Vintage B3 EQ parameters
• EQ On/off button: Turn on or bypass the equalizer.
• EQ Low knob and field: Adjust the level of the low frequency range.
• EQ Mid knob and field: Adjust the level of the mid frequency range.
• EQ High knob and field: Adjust the level of the high frequency range.
• EQ Level slider and field: Adjust the overall EQ level.
Logic Pro User Guide for iPad 858
Vintage B3 Wah effect in Logic Pro for iPad
The name wah wah comes from the sound it produces. It has been a popular effect with
electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency
of a bandpass, lowpass, or—less commonly—highpass filter. The wah pedal is also used
extensively with the Hammond organ.
For the most dynamic and musical performance of the Wah effect, consider attaching an
expression pedal to your MIDI master keyboard. Your master keyboard should transmit
MIDI control change #11, which would normally be used to control Vintage B3 volume while
playing.
Vintage B3 Wah parameters
• Wah On/off button: Turn on or bypass the Wah effect.
• Wah Range knob and field: Determine the sensitivity of the Wah effect to incoming MIDI
controller data.
• Wah Mode pop-up menu: Choose one of several Wah effect types.
• Classic Wah: This setting mimics the sound of a popular wah pedal with a slight peak
characteristic.
• Retro Wah: This setting mimics the sound of a popular vintage wah pedal.
• Modern Wah: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting. The Q determines the resonant characteristics. Low Q
values affect a wider frequency range, resulting in softer resonances. High Q values
affect a narrower frequency range, resulting in more pronounced emphasis.
• Opto Wah 1: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting.
• Opto Wah 2: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting.
• Resonant LP: In this mode, the Wah works as a resonance-capable lowpass filter. At
the minimum pedal position, only low frequencies can pass.
• Resonant HP: In this mode, the Wah works as a resonance-capable highpass filter. At
the maximum pedal position, only high frequencies can pass.
• Peak: In this mode, the Wah works as a peak (bell) filter. Frequencies close to the
cutoff frequency are emphasized.
Logic Pro User Guide for iPad 859
• Bite knob and field: Boost the levels of signals surrounding the cutoff frequency. Bite is
effectively a filter resonance parameter, where high values make the Wah effect sound
more aggressive.
• Wah Controller pop-up menu: Assign a MIDI controller to the Wah effect.
• Wah Pedal slider and field: Control the pedal position of the Wah effect. When a MIDI
controller is used, the slider and field reflect the current incoming MIDI CC value.
Use an expression pedal to control the Wah effect
1. In the Logic Pro Vintage B3 Global parameters, set the Expression knob to a value of 0.
2. Choose controller 11 from the from the Wah Controller pop-up menu in the Wah
parameters.
This enables control of Wah cutoff frequency with the expression pedal and requires no
further setup of your master keyboard. If step 1 is overlooked, the expression pedal is
used to control both Vintage B3 main volume and the Wah effect.
Note: Consult the user manual for your keyboard to learn more about use of an
expression pedal.
3. Adjust the Wah Range knob to set the sensitivity of the Wah to incoming expression
pedal controller data.
Learn a MIDI controller to control the Wah effect
1. In the Logic Pro Vintage B3 Wah parameters, choose Learn from the Wah Controller
pop-up menu.
When Learn is active, the parameter is assigned to the first appropriate incoming MIDI
data message.
2. Move the MIDI controller on your MIDI device.
Learn mode has a 20-second time-out facility: if Vintage B3 does not receive a MIDI
message within 20 seconds, the parameter reverts to its original MIDI controller
assignment.
Vintage B3 Distortion effect in Logic Pro for iPad
The Distortion effect simulates an overdriven two-stage tube amplifier. Its primary role is to
simulate the Leslie amplifier or another amplifier used to feed the Leslie speaker cabinet.
Logic Pro User Guide for iPad 860
Vintage B3 Distortion parameters
• Distortion On/off button: Turn on or bypass the Distortion effect.
• Dist Drive knob and field: Set the amount of overdrive distortion. The output level
is automatically compensated for, so there’s no need for a distortion output volume
control. A level of 0 effectively turns off the Distortion circuit.
• Dist Tone knob and field: Change the distorted portion of the sound. This has no effect
on the dry signal portion. Limiting changes to the distorted signal allows for very warm
overdriven sounds that do not become scratchy if you try to get more treble out of
Vintage B3.
• Dist Type pop-up menu: Choose a tube amplifier model.
• Growl: Simulates a two-stage tube amplifier. It closely resembles the Leslie 122
model, the classic partner for the Hammond B3 organ.
• Bity: Reminiscent of a bluesy guitar amp.
• Nasty: Delivers hard distortions and is suitable for very aggressive sounds.
• Class AB Soft: Tube distortion sound modeled on a class AB amp head with a subtle
distortion.
• Class AB Hard: Tube distortion sound modeled on a class AB amp head with a more
pronounced distortion.
Rotor Cabinet controls
Vintage B3 Rotor Cabinet controls in Logic Pro for iPad
The Hammond story can’t be fully told without discussing the rotor cabinets manufactured
by Leslie. In fact, playing the B3 organ without a rotor cabinet is viewed as something of
a special effect these days. Vintage B3 not only simulates the speaker cabinet itself, but
also allows you to change the listening position by placing virtual microphones in different
locations.
Some of the speaker cabinet models are mathematically simulated, and others use a
recording of the spatial characteristics of the speaker. The latter is known as an impulse
response. If you’re unfamiliar with the concepts of the Leslie rotating speaker cabinets, see
The Leslie cabinet.
The Leslie rotation speed control is shown in the Rotation section. Advanced speed and
other controls are shown in the Rotor Cabinet section.
The advanced Leslie rotating speaker cabinet controls are useful for specialized sounds, or
when you’re creating realistic emulations. See Vintage B3 Cabinet parameters, Vintage B3
Motor parameters, and Vintage B3 Brake parameters.
For information about microphone parameters, see Vintage B3 Microphone parameters.
Logic Pro User Guide for iPad 861
Basic rotor speaker parameter
This parameter is shown in the Rotation section.
• Rotation switch: Switch the rotor speed between Slow, Brake, and Fast modes.
• Slow: Slow rotor movement.
• Brake: Stops the rotor.
• Fast: Fast rotor movement.
Note: When using a pedal to control rotor speed, you can hold down the pedal for a
second or so, then release it to activate braking. Repeat to switch to the previously
active speed mode: Fast or Slow.
Vintage B3 Cabinet parameters in Logic Pro for iPad
The advanced Leslie cabinet parameters shown in the Rotor Cabinet section are divided
into three groups: Cabinet, Motor, and Brake. See Vintage B3 Motor parameters and
Vintage B3 Brake parameters.
The microphone parameters are described in Vintage B3 Microphone parameters.
Rotor Cabinet parameters
• Rotor Cabinet button: Turn the Leslie cabinet emulation on or off.
• Cabinet pop-up menu: Choose a cabinet model.
• Real Cabinet: Uses an impulse response recording of a Leslie cabinet.
• Wood: Mimics a Leslie with a wooden enclosure, and sounds like the Leslie 122 or
147 model.
• Proline: Mimics a Leslie with a more open enclosure, similar to a Leslie 760 model.
• Single: Simulates the sound of a Leslie with a single, full-range rotor. The sound
resembles the Leslie 825 model.
• Split: The bass rotor signal is routed slightly to the left, and the treble rotor signal is
routed more toward the right.
• Wood & Horn IR: Uses an impulse response of a Leslie with a wooden enclosure.
• Proline & Horn IR: Uses an impulse response of a Leslie with a more open enclosure.
• Split & Horn IR: Uses an impulse response of a Leslie with the bass rotor signal
routed slightly to the left, and the treble rotor signal routed more to the right.
• Horn Deflector button: Emulate a Leslie cabinet with the horn deflectors removed or
attached. A Leslie cabinet contains a double horn, with a deflector at the horn mouth.
This deflector makes the Leslie sound. You can remove the deflector to increase
amplitude modulation and decrease frequency modulation.
Logic Pro User Guide for iPad 862
Vintage B3 Motor parameters in Logic Pro for iPad
The advanced Leslie cabinet parameters shown in the Rotor Cabinet section are divided
into three groups: Cabinet, Motor, and Brake. See Vintage B3 Cabinet parameters and
Vintage B3 Brake parameters.
The microphone parameters are described in Vintage B3 Microphone parameters.
Motor parameters
• Acc/Dec Scale knob and field: Set the time required for the rotors to attain the speed
set with the Max Rate knob and also the time required for them to slow down. The Leslie
motors need to physically accelerate and decelerate the speaker horns in the cabinets,
and their power to do so is limited. Turn Acceleration to the far left position to switch to
the preset speed immediately. As you rotate the knob to the right, it takes more time to
hear the speed changes. At the default, centered, position the behavior is Leslie-like.
• Rotor Fast Rate knob and field: Set the maximum possible rotor speed.
• Motor Control pop-up menu: Choose different speeds for the bass and treble rotors.
Use the Rotation switch to choose slow, brake, or fast mode. See Rotor Cabinet
controls.
• Normal: Both rotors use the speed determined by the Rotation switch position.
• Inv (inverse): In fast mode, the bass compartment rotates at a fast speed, while the
horn compartment rotates slowly. This is reversed in slow mode. In brake mode, both
rotors stop.
• 910: The 910 (also known as “Memphis”), stops the bass drum rotation at slow
speed, while the speed of the horn compartment can be switched. This is useful
when you’re after a solid bass sound but still want treble movement.
• Sync: The acceleration and deceleration of the horn and bass drums are roughly the
same. This sounds as if the two drums are locked, but the effect is clearly audible
only during acceleration or deceleration.
Note: If you choose Single Cabinet from the Cabinet pop-up menu, the Motor Control
setting is not relevant because there are no separate bass and treble rotors in a single
cabinet.
• Speed Control pop-up menu: Choose a MIDI controller that is used to remotely switch
the rotor speed. All items (except ModWheel) in the pop-up menu switch between Fast
and the speed set with the Rotor Speed switch positions—either switching between
Slow and Fast, or switching between Brake and Fast. If Fast is chosen, the rotor speaker
switches between Fast and Slow.
Logic Pro User Guide for iPad 863
Note: When using a pedal to control rotor speed, you can hold down the pedal for a
second or so, then release it to activate braking. Repeat to switch to the previously
active speed mode: Fast or Slow.
• Mod Wheel: Assigns the modulation wheel to switch between all three speed
settings. Brake is selected around the modulation wheel center position, slow is
selected in the lower third, and fast in the upper third of the modulation wheel range.
• Mod Wheel Toggle: Switches as soon as the modulation wheel moves away from the
centered position. If the modulation wheel passes the center position when moved
from a high to low position, no switching occurs. This caters to Roland keyboards
with combined pitch bend and modulation controls.
• Mod Wheel Temp: Switches as soon as the modulation wheel passes the center
position, regardless of whether you have moved the modulation wheel from high to
low or from low to high positions. This caters to Roland keyboards with combined
pitch bend and modulation controls.
• Touch: Switches with aftertouch on messages. No switching occurs on aftertouch
release.
• Touch Temp: Switches with aftertouch on messages. A second switch occurs with
aftertouch release messages.
• Sustain Pedal Toggle: Switches when you press the sustain pedal. No switching
occurs when the sustain pedal is released.
• Sustain Pedal Temp: Switches when you press the sustain pedal. A second switch
occurs when you release the sustain pedal.
• CC #18 and CC #19 Toggle: Switches when you press controller 18 or 19. No
switching occurs when either controller is released.
• CC #18 and CC #19 Temp: Switches when you press controller 18 or 19. A second
switch occurs when you release controller 18 or 19.
• Sostenuto Toggle: Switches when you play sustained notes. No switching occurs
when you don’t play sostenuto.
• Sostenuto Temp: Switches when you play sustained notes. A second switch occurs
when you release played notes.
• Una Corda Toggle: Switches when you press the soft pedal. No switching occurs
when the soft pedal is released.
• Una Corda Temp: Switches when you press the soft pedal. A second switch occurs
when you release the soft pedal.
Logic Pro User Guide for iPad 864
Vintage B3 Brake parameters in Logic Pro for iPad
The advanced Leslie cabinet parameters shown in the Rotor Cabinet section are divided
into three groups: Cabinet, Motor, and Brake. See Vintage B3 Cabinet parameters and
Vintage B3 Motor parameters.
The microphone parameters are described in Vintage B3 Microphone parameters.
Brake parameters
• Dry Level knob and field: Set the level of the dry signal. This can also be useful if Dry is
active for the Output switch.
• Drum/Horn Brake Pos knobs and fields: Set an exact stop position for the Leslie horn
or drum (bass) rotator. The original Leslie did not provide this type of control. This
occasionally resulted in a horn aimed at the back of the cabinet when it came to a halt,
leading to a muffled sound.
• Brake switch: Choose either switch position to modify the Vintage B3 brake mode.
• Dry: The rotor cabinet is bypassed when stopped, with a delay time of one second.
This is useful when using the modulation wheel to switch between fast and slow
rotor speeds. If you then switch to brake mode, the rotors are slowed down during
the transition to the dry sound.
• Rotor: The movement of the rotor is gradually slowed down to a total stop.
Vintage B3 Microphone settings in Logic Pro for iPad
Vintage B3 provides modeled microphones that pick up the sound of the Leslie cabinet.
You can set the listening position with these parameters.
Logic Pro User Guide for iPad 865
Microphone parameters
• Horn/Drum Mic pop-up menus: Choose a microphone type for the horn and drum
speakers when Real Cabinet is chosen in the Cabinet pop-up menu in the Rotor Cabinet
section.
• Dynamic: Emulates the sound of a dynamic cardioid microphone. This microphone
type sounds brighter and more cutting than the Condenser mic.
• Condenser: Emulates the sound of a studio condenser microphone. The sound of
condenser microphones is fine, transparent, and well-balanced.
• Mid-Side Mic: A Middle and Side (MS) configuration where two microphones are
positioned closely together. One is a cardioid (or omnidirectional) microphone
that directly faces the cabinet—in a straight alignment. The other is a bidirectional
microphone, with its axes pointing to the left and right of the cabinet at 90° angles.
The cardioid microphone captures the middle signal to one stereo side. The
bidirectional microphone captures the side signal to the other stereo side.
• Mic Position switch: Choose either the Front or Rear position for the virtual microphone.
• When Real Cabinet is chosen in the Cabinet pop-up menu in the Rotor Cabinet section:
• Horn Width knob and field: Define the stereo width of the Horn deflector
microphone.
• Drum Width knob and field: Define the stereo width of the Drum deflector
microphone.
• When other cabinets are chosen in the Cabinet pop-up menu in the Rotor Cabinet
section:
• Mic Distance knob and field: Determine the distance of the virtual microphones (the
listening position) from the emulated speaker cabinet. Turn to the right for a darker
and less defined sound.
• Mic Angle knob and field: Define the stereo image by changing the angle of the
simulated microphones between 0 and 180 degrees.
• Balance slider and field: Set the balance between the horn and drum microphone
signals.
Logic Pro User Guide for iPad 866
Modeling controls
Vintage B3 modeling controls in Logic Pro for iPad
The modeling parameters provide precise control over your organ sound. These include not
only basic level and tonal balance controls, but a number of parameters that emulate the
sonic characteristics—and technical “flaws” or limitations—of the original Hammond B3.
You can even emulate the quirks of the B3 by aging the virtual components. See the Click
options, Percussion optionsPitch options, Sustain options, Model parameters, and Organ
condition sections.
For more information about the technical aspects of the Hammond B3 and the concepts
behind tonewheel sound generation, see A brief Hammond history and Tonewheel sound
generation.
Vintage B3 Click options in Logic Pro for iPad
The key contacts of electromechanical tonewheel organs tend to saw a little on the busbar,
thus introducing a short click sound. Corrosion of the key contacts or busbar increases
the length and level of this click. This aspect of the B3 design causes irregular scratching
noises (commonly referred to as key click) when striking and releasing keys. Hammond
fans like these clicking noises because they introduce a transient, percussive quality to
the note.
Vintage B3 allows you to adjust the volume and sound of the key click. The tonal color and
volume of clicks are altered randomly, and independently, from the click on and click off
(release) volume settings.
Click Options parameters
• Click Min/Max knobs and fields: Combined, these knobs determine a range for click
duration, which can vary between a short “tick” and a longer “scratch.” A random click
duration (that falls within the defined range) is used as you play.
Note: Even if both parameters have identical values, there is a random variation in
sound that makes some clicks seem shorter than the value set with Click Minimum.
• Click Color knob and field: Set the tonal color of the click. This acts as a global control
for the treble portion of the click sound, which overrides (but works alongside) random
click color variations.
• Click On/Off knobs and fields: Set the level of the key click sound heard during note on
or note off messages.
• Pedal Click knob and field: Set the level of the key click sound heard during note on and
note off messages for the pedal register.
• Velo to Click knob and field: Set the velocity sensitivity of the click parameters.
Logic Pro User Guide for iPad 867
Vintage B3 Percussion options in Logic Pro for iPad
Vintage B3 emulates the (Key) Percussion features of the original B3. The Percussion
function is available only for the upper manual. The effect adds the second or third
harmonics to the attack envelope of a note. These harmonics quickly fade out, leaving the
chosen draw bar tones.
The Percussion effect is polyphonic, but is only (re)triggered after all keys have been
released. If you release all keys, new notes or chords sound with percussion. If you play
legato, or sustain other notes on the upper manual, no percussion is heard.
Important: Percussion controls are spread across two interface sections: Percussion and
Percussion Options.
Percussion Options parameters
• Percussion Polyphonic buttons: Determine the percussion effect behavior.
• Mono: Enable to trigger a mono percussion effect with each key press.
• Para: Enable to trigger a polyphonic percussion effect. Each played note in a chord
triggers the effect.
• Poly: Enable to engage a polyphonic percussion effect that only (re)triggers after
all keys are released. If you release all keys, new notes or chords sound with
percussion. If you play legato or sustain other notes on the upper manual, no
percussion is heard.
• Percussion Mode switch: Set to Only B to simulate the B preset key restriction. Choose
Always if you want percussion to always be available.
• Perc Slow/Fast knobs and fields: Set independent percussion decay times for the slow
and fast Time switch settings. No percussion decay occurs when Perc Slow is set to
maximum.
• Perc Time knob and field: Set an overall decay time that scales the Perc Slow/Fast knob
values.
• Perc Soft/Normal knobs and fields: Set independent low (Soft) and high (Normal) levels
for the low and high Perc Volume switch settings. This is an improvement from the B3,
where Time and Volume could only be turned on or off.
• Perc Level knob and field: Set an overall percussion level that scales the Perc Soft/
Normal knob values.
• Upper Level knob and field: Set the balance between the upper (percussive) manual and
the lower manual/pedals. On the B3, percussion is available only if the B preset key is
selected. See Use Vintage B3 preset keys.
• Perc Velocity knob and field: Set the percussion velocity sensitivity (unlike the original
B3, which is not velocity sensitive). Engaging percussion on a B3 slightly reduces the
volume of the normal, nonpercussive registers.
Logic Pro User Guide for iPad 868
Vintage B3 Pitch options in Logic Pro for iPad
Vintage B3 provides several parameters that change its pitch behavior, adding flexibility
that isn’t possible with the original instrument.
Vintage B3 is tuned to an equal-tempered scale. As a deviation from this standard
tuning, you can stretch the tuning in the bass and treble ranges, much like acoustic
pianos (especially upright pianos). The tones of clavinets, harpsichords, and pianos
have inharmonicities in their harmonic structure. The frequencies of these overtones
(harmonics) are not exact, whole-number multiples of the base frequency. This means
that the overtones of lower (tuned) notes are more closely related to the main frequencies
of the upper notes. Due to the lack of strings, this inharmonic relationship is not true of
organs. The stretch feature was principally included for situations in which you want to use
Vintage B3 in an arrangement alongside a recording of an acoustic piano.
You can also randomly detune the sound using the Warmth parameter, and you can even
use the pitch bend wheel of your keyboard to bend the sound. The latter isn’t true to the
original, but it’s a nice creative option.
Pitch Options parameters
• Tune knob and field: Change Vintage B3 tuning in cents. A cent is 1/100th of a semitone.
At a value of 0 c (zero cents), the central A key is tuned to 440 Hz, or concert pitch.
• Upper Stretch knob and field: Set the amount of deviation from the equal-tempered
scale in the treble end of the sound. The higher the value, the further up the high notes
are tuned. At a setting of 0, Vintage B3 is tuned to an equal-tempered scale, with each
octave up exactly doubling the frequency.
• Lower Stretch knob and field: Set the amount of deviation from the equal-tempered
scale in the bass frequencies. The higher the value, the further down the low notes
are tuned. At a setting of 0, Vintage B3 is tuned to an equal-tempered scale, with each
octave below exactly halving the frequency.
• Warmth knob and field: Set the amount of random deviation from an equal-tempered
scale.
Note: Use of both Warmth and Stretch controls may result in a detuned sound, which is
similar to a heavy chorus effect. Set Warmth to 0 if you’re after a purer sound.
Logic Pro User Guide for iPad 869
Vintage B3 Sustain options in Logic Pro for iPad
The time it takes for a note to fade out to silence, after the key has been released, is called
the release time in synthesizers. Vintage B3 provides control of this parameter, known as
sustain in organ terminology.
Sustain Options parameters
• UM Sustain knob and field: Control the sustain (release) phase of the upper register.
• LM Sustain knob and field: Control the sustain (release) phase of the lower register.
• Pedal Sustain knob and field: Control the sustain (release) phase of the pedal register.
• Sustain Mode buttons: Choose one of two sustain behaviors:
• Normal: Allows polyphonic sustain phases. All released notes continue to sustain,
even if new notes are played.
• Smart: Cuts the sustain phase of released notes when you play new notes.
Note: Smart mode allows for long sustain times, even in the bass register, which would
cause rumbling dissonances if you used Normal mode.
Vintage B3 Model parameters in Logic Pro for iPad
The Model parameters change the basic tonal quality.
Model parameters
• Max Wheels knob and field: Set the number of tonewheels that are emulated. Reduce
the value to minimize processing load. Reducing the value diminishes some overtones,
so keep the number high if you’re after an ultra-realistic simulation.
• Tonal Balance knob and field: Change the mix relationship of the higher and lower
tonewheels. Use positive values for a lighter and brighter sound. Experiment with
different tonal balance and equalizer settings. See Vintage B3 EQ controls, for further
information.
• Lower Volume knob and field: Set the relative level between the upper and lower
manuals (and the pedalboard).
Logic Pro User Guide for iPad 870
• Pedal Volume knob and field: Set the relative level between the upper (and lower)
manual and the pedalboard.
• Shape knob and field: Alter the waveforms of the tonewheel generator to produce
sounds that resemble the tones of Farfisa, Solina, or Yamaha organs. The Hammond
tone generators produce pure sine waves (albeit with a few artifacts), whereas some
other organs deliver distorted waveforms. The Shape parameter is placed after the
filters that follow the sine generators.
• Move the Shape knob to the right to make the tone brighter (and louder).
• Move the Shape knob to the left to make the tone duller (and softer).
• Bass Filter knob and field: Adjust to suppress the treble of the pedal draw bars which
can sound bright within the context of the combined upper/lower/pedal sound. At the
maximum position you hear only a solid bass organ fundamental in the bass register.
• Ultra Bass button: Turn on to disable duplication of the 16” drawbar in the lowest
octave. Turn off to mirror the original B3 behavior. The on position results in a sound
that resembles that of early tone wheel organs like the B, BV, and BCV, which had no
dedicated tone wheels with a complex waveform for the pedal. This is also known as
“Bass all the way down”. See Use multiple or multichannel controllers with Vintage B3.
Note: Ultra Bass and Extended Bass can be combined, but Ultra Bass has no effect on
the added lowest octave. This octave always has a duplication of the 16” drawbar tone.
• Extended Bass button: Add another low octave to the playable range of both the upper
and lower manuals.These additional low octaves, and the ability to independently
transpose both manuals, are not available on the original B3.
Vintage B3 Condition controls in Logic Pro for iPad
Technical limitations of electromechanical draw bar organs, with tonewheels, can cause
some strange tonal artifacts, such as crosstalk. These quirks form an integral part of the
B3’s charm. You can adjust a number of parameters to define the age and condition of your
Vintage B3.
Organ Condition parameters
• Filter Age knob and field: Set the center frequencies of the filters to emulate aging
capacitors. The high frequency output signals of B3 tonewheel generators are passed
through bandpass filters. The center frequency of these filters changes as the
capacitors (used for filtering) get older.
Note: This colors the sound of the jitter applied by Random FM and the background
noise resulting from leakage. Filter Age also influences the intonation of the organ, if
you use a pitch bend.
• Leakage knob and field: Add a “breathy” quality to your sound—the result of crosstalk
between all tonewheels—including the tonewheels of notes that you don’t play.
Logic Pro User Guide for iPad 871
• Drawbar Leak knob and field: Set the minimum output level of the draw bars when
they are at their minimum positions. The B3 tonewheel generators aren’t completely
quiet, even if all draw bars are at their minimum positions. This is due to leakage of the
tonewheels, causing crosstalk at the output.
• Use the minimum setting to completely eliminate draw bar leakage.
• Use the maximum setting to make draw bar leakage clearly audible.
• Crosstalk knob and field: Set the crosstalk level. There are two tonewheels that are four
octaves apart for each key (pitch), on each rotating shaft. The signal of the lower wheel
has a small amount of audible crosstalk, induced by the higher wheel, and vice versa.
For more information, see Tonewheel sound generation. Because crosstalk is audible
only on certain B3 tonewheels, any “rumble” when chords are played is avoided.
• Random FM knob and field: Simulate irregular rotation of tonewheels in an old B3. If the
tonewheel generator of a B3 is clean, all frequencies are even and in tune. The three-
fold decoupling of the tonewheels—via springs, flexible couplings, and flywheels—is
effective, but it can’t compensate for irregularities that come with dirt and grease in
the driving gears. A gradual build-up of grime in the mechanism makes the tonewheel
assembly turn unevenly on its axis. This irregular rotation is transmitted to the
tonewheels, and therefore, the higher frequency ranges of the sound.
Preset and Morph
Vintage B3 Preset and Morph controls in Logic Pro for iPad
The Hammond B3 is equipped with 12 buttons, located below the draw bars. These preset
keys are laid out like a keyboard octave, but with black keys and white sharps. They are
used to recall draw bar registrations (draw bar positions). Vintage B3 replicates these
features. See Use Vintage B3 preset keys.
You can also switch—or smoothly crossfade (morph)—between the presets of the upper
manual. See Use Vintage B3 Morph controls.
Preset and Morph parameters
Preset and Morph parameter use is covered in Use Vintage B3 preset keys and Use Vintage
B3 Morph controls.
• Morph Range pop-up menu: Choose a range of keys for morph presets. Choose Off to
disable the morph range that is set up.
• Morph Mode pop-up menu: Choose Step to abruptly switch between presets. Choose
Linear to smoothly morph (crossfade drawbar positions), between presets.
• Morph knob and field: Control the switching or morphing between presets. You can also
assign and use a MIDI controller such as your keyboard modulation wheel to control the
Morph parameter.
Logic Pro User Guide for iPad 872
• Save Morph To pop-up menu: Choose Preset keys for the morph.
• Morph #CC pop-up menu: Assign a MIDI controller to the Morph knob. You can choose
any MIDI controller number shown (or channel aftertouch). You can also tap -Learn- to
teach the Morph knob to respond to any incoming MIDI message.
• Drawbar Affects pop-up menu: Choose Current Presetkey to always change the
registration of the currently active preset registration key. Choose B and Bb Key to
mirror the behavior of a real Hammond organ, where the draw bars affect only the Bb
(upper manual) and B (lower manual) preset registrations.
• Pstkys button: Enable or disable preset switching with MIDI notes 24 to 35.
• UM Preset pop-up menu: Choose a preset key for the upper manual. The current upper
manual drawbar settings are immediately stored to the chosen key (unless the Drawbar
Affects pop-up menu is set to B and Bb Key.)
• UM Cancel button: Tap to clear the registration of the preset key shown in the UM
Preset pop-up menu.
• LM Preset pop-up menu: Choose a preset key for the lower manual. The current lower
manual drawbar settings are immediately stored to the chosen key (unless the Drawbar
Affects pop-up menu is set to only B and Bb Key.)
• LM Cancel button: Tap to clear the registration of the preset key shown in the LM Preset
pop-up menu.
Use Vintage B3 preset keys in Logic Pro for iPad
The Hammond B3 is equipped with 12 buttons, located below the draw bars. These preset
keys are laid out like a keyboard octave, but with black keys and white sharps. They are
used to recall draw bar registrations (draw bar positions). Vintage B3 replicates these
features.
You can edit the draw bars of recalled presets immediately, with changes to draw bar
positions being automatically memorized as you make them. You can, however, use the
Save Morph To function to save a registration to a specific preset key. See Use Vintage B3
Morph controls.
Important: The presets relate only to the registration (draw bar) settings of a single
manual. They do not store vibrato or other parameter settings. If you want to save and
recall the overall instrument settings (including effects), use the Settings pop-up menu.
On keys C# to A#, the percussion works only if the Percussion Mode is set to Always. See
Percussion options.
The default range for preset (registration) keys spans MIDI note numbers 24 to 35 (C0 to
B0). This means that the lowest playable MIDI note number is 36 (C1). You can transpose
the keyboard range in Logic Pro or Vintage B3 itself. A 61-note keyboard—which spans
notes C to C—can be played across the entire range when Logic Pro Transpose values are
set to 0. The preset (registration) keys are positioned one octave below this transposed or
non-transposed range. See Use a single-channel controller with Vintage B3.
Logic Pro User Guide for iPad 873
Choose a registration
1. In Logic Pro, do any of the following:
• Choose a preset key from the UM Preset pop-up menu (upper manual).
• Choose a preset key from the LM Preset pop-up menu (lower manual).
• Play one of the preset key MIDI notes (MIDI note numbers 24 to 35).
Note: MIDI note 24 (C0) is assigned as a “clear” key that initializes the current
registration.
Initialize a registration
1. In Logic Pro, do any of the following:
• Choose None from the UM Preset pop-up menu (upper manual).
• Choose None from the LM Preset pop-up menu (lower manual).
• Play MIDI note number 24 (C0). The Pstkys button must be turned on if you want to
use MIDI note 24.
• Tap the UM Cancel or LM Cancel button.
Switch Vintage B3 registrations while playing (organ gate effect)
1. In Logic Pro, hold the Clear key (C0) on your master keyboard with the small finger of
your left hand, while sustaining a chord with your right hand.
2. Press the preset keys with the other fingers of your left hand.
The chord being played with your right hand is retriggered (with the new registration)
each time you play one of the preset keys. This two-handed technique results in an
organ-specific gate-type effect. Each time you switch to a new registration, the chord
is retriggered.
Note: The Pstkys button must be turned on for this feature to work.
Disable MIDI preset key switching
Disable preset switching with MIDI notes 24 to 35, thus eliminating problems that may arise
from transpositions.
1. In Logic Pro, tap Pstkys to turn it off.
Switch Vintage B3 registrations with a two-draw bar controller
When you use a two-draw bar hardware controller, there is an additional mode that
allows Hammond-like switching between two registrations. By default, moving draw bars
always changes the registration of the currently active preset registration key. This works
differently in a real Hammond organ, where the draw bars affect only the Bb (upper manual)
and B (lower manual) preset registrations. You can use the “Drawbar Affects” feature to
prepare a new registration while playing, then switch to the new registration later.
1. In Logic Pro, choose the B and Bb Key item from the Drawbar Affects pop-up menu.
The upper manual drawbars can now change the registration of the Bb preset key, and
the drawbars of the lower manual affect the B preset key.
2. Change the drawbars of the Bb preset key. You can play the keyboard while doing so,
without changing the currently chosen registration.
3. Switch to the prepared registration with the Bb preset key.
Logic Pro User Guide for iPad 874
Use Vintage B3 Morph controls in Logic Pro for iPad
You can switch—or smoothly crossfade (morph)—between the presets of the upper manual.
See Use Vintage B3 preset keys.
Learn a MIDI controller for morphing
1. In Logic Pro, choose Learn from the Morph #CC pop-up menu.
When Learn is active, the parameter is assigned to the first appropriate incoming MIDI
data message.
2. Move the MIDI controller on your MIDI device.
Learn mode has a 20-second time-out function: if Vintage B3 does not receive a
MIDI message within 20 seconds, the parameter reverts to its original MIDI controller
assignment.
Set the Vintage B3 morph range
Once you have chosen a controller to use for switching or morphing between upper manual
registrations, you can determine the number of preset keys that are affected. You can
morph between two and eleven presets for the upper manual.
Morphing always begins with the top preset key, the B.
1. In Logic Pro, choose a Morph Range pop-up menu value.
• When Morph Range pop-up menu value = A#, you morph between two presets.
• When Morph Range pop-up menu value = G#, you morph between four presets (B,
A#, A, and G).
• When Morph Range pop-up menu value = F#, you morph between six presets (and
so on).
Save a registration while morphing
In Linear mode (morphing), the seamless crossfades result in a variety of new drawbar
registrations that you might want to save to preset keys. You can change drawbar positions
manually, before saving.
• In Logic Pro, choose a preset key from the “Save Morph To” pop-up menu.
Logic Pro User Guide for iPad 875
Keyboard parameters
Vintage B3 MIDI setup overview in Logic Pro for iPad
Vintage B3 is unique among the included instruments in that it can be played with three
simultaneous controllers—namely, a MIDI bass pedal unit and two 73-key MIDI keyboards.
This mirrors the two 73-key manuals (organ terminology for keyboards) and the 2-octave
pedalboard configuration of the original B3. See Use multiple or multichannel controllers
with Vintage B3 for more information.
Vintage B3 can also be played with a standard 61-key (5 octaves C to C) MIDI keyboard.
See Use a single-channel controller with Vintage B3 for more information.
Vintage B3 also emulates B3 preset keys—the lowest octave of attached MIDI keyboards
can switch between Vintage B3 registrations. This matches the behavior of the original
B3, which features a number of inverted (black) keys in the lowest octave of each manual.
These inverted keys are used as buttons that recall preset registrations (a preset of your
draw bar settings). See Use Vintage B3 preset keys.
For information about setup and use of dedicated MIDI draw bar controllers, see Set a
Vintage B3 MIDI control mode.
Use multiple or multichannel controllers with Vintage B3 in
Logic Pro for iPad
By default, Vintage B3 receives the notes for the upper and lower manuals, and for the
pedalboard, on three consecutive MIDI channels, mapped as follows:
• MIDI channel 1: You play the upper manual sound.
• MIDI channel 2: You play the lower manual sound.
• MIDI channel 3: You play the pedalboard sound.
This allows you to simultaneously play Vintage B3 with up to three MIDI controllers.
You can also use a single-manual master keyboard—with different keyboard zones, or a
keyboard split feature—that sends data on different MIDI channels to address all three
Vintage B3 sounds simultaneously. Each keyboard zone can be transposed independently.
You can use any of your MIDI interface inputs for your master keyboard or pedalboard.
Regardless of the input devices used, the only relevant factor is the MIDI send channel.
Note: See the user manual for your master keyboard to learn how to set up splits and zones
or how to set its MIDI transmission channel (often called TX Channel).
Logic Pro User Guide for iPad 876
Set the keyboard mode
There are three keyboard modes: single, split, and multi.
1. In Logic Pro, choose an option from the Keyboard Mode pop-up menu.
• Single: Uses the entire keyboard. You can only play the upper sound.
• Split: Divides the keyboard into two. You can play the upper and lower sounds in
different keyboard zones.
• Multi: Divides the keyboard into three. You can play the upper, lower, and pedalboard
sounds in different keyboard zones.
Change the default MIDI channels
Changing MIDI channels can be useful when you perform live and require quick access to
another sound module.
1. In Logic Pro, choose Multi from the Keyboard Mode pop-up menu.
2. Change the channel numbers for the upper, lower, and pedal manuals with the Pedal,
Lower, and UM MIDI Ch pop-up menus.
Set keyboard zones
1. In Logic Pro, choose Split from the Keyboard Mode pop-up menu.
2. Tap the StLMSP and/or the StUMSP button.
3. Choose a note name/number in the Split Point Pd/LM pop-up menu and/or the SP LM/
UM pop-up menu.
Note: If you select the same value for both split points, the lower manual is turned off. If
the lower/pedal split is moved above the upper/lower split, the other split point is moved
(and vice versa).
Transpose keyboard zones by octaves
You can make transpositions that are independent of the global Vintage B3 Tune parameter
or transposition features of Logic Pro. These have no impact on the preset keys which is
particularly important when you want to use preset switching. See Use Vintage B3 preset
keys when split keyboard mode is active.
1. In Logic Pro, choose Split from the Keyboard Mode pop-up menu.
2. Choose an octave value (+/– 2 octaves) in one or more of the Transpose Pedal,
Transpose LM, or Transpose UM pop-up menus.
Logic Pro User Guide for iPad 877
Use a single-channel controller with Vintage B3 in Logic Pro for iPad
If you don’t have a master keyboard that allows multichannel transmission, you can use
a MIDI keyboard that is capable of transmitting on only one MIDI channel. You can use
Vintage B3 Split parameters to split the keyboard in order to play upper, lower, and pedal
sounds in different keyboard zones. Each keyboard zone can be transposed independently.
Set the keyboard mode
1. In Logic Pro, choose an option from the Keyboard Mode pop-up menu.
• Single: Uses the entire keyboard. You can only play the upper sound.
• Split: Divides the keyboard into two. You can play the upper and lower sounds in
different keyboard zones.
• Multi: Divides the keyboard into three. You can play the upper, lower, and pedalboard
sounds in different keyboard zones.
Note: Technically, Vintage B3 remaps the incoming single-channel MIDI data into two
or three MIDI channels when either split or multi keyboard mode is active.
Change the default MIDI channels
Changing MIDI channels can be useful when you perform live and require quick access to
another sound module.
1. In Logic Pro, choose Multi from the Keyboard Mode pop-up menu.
2. Change the channel numbers for the upper, lower, and pedal manuals with the Pedal,
Lower, and UM MIDI Ch pop-up menus.
Set keyboard zones
1. In Logic Pro, choose Split from the Keyboard Mode pop-up menu in the Keyboard
parameter section.
2. Tap the StLMSP and/or the StUMSP button.
3. Choose a note name/number in the Split Point Pd/LM pop-up menu and/or the SP LM/
UM pop-up menu.
Note: If you select the same value for both split points, the lower manual is turned off. If
the lower/pedal split is moved above the upper/lower split, the other split point is moved
(and vice versa).
Logic Pro User Guide for iPad 878
Transpose keyboard zones by octaves
You can make transpositions that are independent of the global Vintage B3 Tune parameter
or transposition features of Logic Pro. These have no impact on the preset keys which is
particularly important when you want to use preset switching. See Use Vintage B3 preset
keys when split keyboard mode is active.
1. In Logic Pro, choose Split from the Keyboard Mode pop-up menu.
2. Choose an octave value (+/– 2 octaves) in one or more of the Transpose Pedal,
Transpose LM, or Transpose UM pop-up menus.
Use a MIDI draw bar controller
Set a Vintage B3 MIDI control mode in Logic Pro for iPad
You can choose a supported external MIDI controller to use with Vintage B3.
The MIDI Mode pop-up menu in the Global section determines the way Vintage B3 draw
bars respond to remote MIDI control change messages. Most users won’t need to change
anything here.
If you own a MIDI draw bar organ, you’ll want to use its hardware draw bars to control
Vintage B3. Most hardware draw bar organs use an independent MIDI control change
number for each draw bar.
Choose a MIDI hardware controller
1. In the Logic Pro Vintage B3 Global section, choose a device (mode) from the MIDI Mode
pop-up menu. Choose Off if you do not own a supported device and don’t want to use a
special assignment mode.
• Choose Roland VK or Korg CX mode if you use a Roland VK series or Korg CX-3 draw
bar organ as a remote controller for Vintage B3.
• Choose Hammond Suzuki mode if you use a Hammond XB series organ as a remote
controller for Vintage B3.
• Choose Native Instruments B4D mode if you use a Native Instruments B4D remote
controller for Vintage B3.
• Choose Nord Electro mode if you use a Clavia Nord Electro 2 as a remote controller
for Vintage B3.
• Choose a Crumar mode if you use a Crumar Mojo Classic or another controller that
supports Crumar mode as a remote controller for Vintage B3.
Logic Pro User Guide for iPad 879
Vintage B3 Roland VK or Korg CX mode in Logic Pro for iPad
The table outlines MIDI controller assignments when MIDI mode is set to Roland VK or Korg
CX. Choose either setting if you use a Roland VK series or Korg CX-3 draw bar organ as a
remote controller for Vintage B3.
Controller number MIDI mode VK or CX: assigned parameter
70 draw bar 16’
71 draw bar 5 1/3’
72 draw bar 8’
73 draw bar 4’
74 draw bar 2 2/3’
75 draw bar 2’
76 draw bar 1 3/5’
77 draw bar 1 1/3’
78 draw bar 1’
Rotor Cabinet
80, 92 Slow/Brake/Fast
81 Slow/Brake
Reverb
82 Reverb Level
Vibrato
85 Upper Vibrato on/off
86 Lower Vibrato on/off
87 Chorus Vibrato Type
Percussion
94 on/off
95 2nd/3rd
102 Percussion Volume
103 Percussion Time
Equalizer
104 EQ Low
105 EQ Mid
106 EQ Hi
107 EQ Level
Wah
Logic Pro User Guide for iPad 880
Controller number MIDI mode VK or CX: assigned parameter
108 Wah Mode
109 Wah Bite
Distortion
110 Distortion Type
111 Distortion Drive
112 Distortion Tone
Click Levels
113 Click On Level
114 Click Off Level
Balance
115 Main Volume
116 Lower Volume
117 Pedal Volume
Rotor Fast Rate
118 Rotor Fast Rate
Vintage B3 Hammond Suzuki modes in Logic Pro for iPad
The table outlines MIDI controller assignments when MIDI mode is set to Hammond Suzuki
models. The SK and XK settings match the controller mapping of Hammond XB-series
organs.
Controller number MIDI mode Hammond Suzuki: assigned parameter
80 All upper draw bars
81 All lower draw bars
82 Pedal draw bars, Scanner Vibrato, Bass Filter
Rotor Cabinet
Leslie On Rotor Cabinet on/off
Leslie Fast Slow/Brake
Leslie Brake Controls Brake function of Rotor Cabinet
Vibrato
Vibrato On Upper Vibrato on/off (on XK-3 only)
Vibrato Mode Vibrato type (V1-C3, XK-3 only)
87 Chorus Vibrato type
Logic Pro User Guide for iPad 881
Controller number MIDI mode Hammond Suzuki: assigned parameter
Drive Distortion Drive
Reverb Level Reverb Level
Perc 2nd and Perc 3rd Percussion Harmonic, 3rd harmonic has priority over 2nd. Translation from
XK buttons to Vintage B3 is as follows:
• 2nd off, 3rd off x Vintage B3 Percussion off
• 2nd on, 3rd off x Vintage B3 2nd Harmonic
• 2nd off, 3rd on x Vintage B3 3rd Harmonic
• 2nd on, 3rd on x Vintage B3 3rd Harmonic
Perc Fast Selects a preset decay time for fast or slow decay
Perc Soft Selects a preset level for either soft or normal percussion
Vibrato Mode Selects either Vibrato Off, V1/V2/V3, or C1/C2/C3 (XK-2 only)
Vibrato VC Switches between Vibrato or Chorus Vibrato (XK-2 only)
Vintage B3 Native Instruments B4D mode in Logic Pro for iPad
The table outlines MIDI controller assignments when MIDI mode is set to Native
Instruments B4D. This setting matches the controller mapping of the Native Instruments
B4D controller.
Controller number MIDI mode Native Instruments B4D: assigned parameter
12 Upper draw bar 16’
13 Upper draw bar 5 1/3’
14 Upper draw bar 8’
15 Upper draw bar 4’
16 Upper draw bar 2 2/3’
17 Upper draw bar 2’
18 Upper draw bar 1 3/5’
19 Upper draw bar 1 1/3’
20 Upper draw bar 1’
21 Lower draw bar 16’
22 Lower draw bar 5 1/3’
23 Lower draw bar 8’
24 Lower draw bar 4’
25 Lower draw bar 2 2/3’
26 Lower draw bar 2’
27 Lower draw bar 1 3/5’
Logic Pro User Guide for iPad 882
Controller number MIDI mode Native Instruments B4D: assigned parameter
28 Lower draw bar 1 1/3’
29 Lower draw bar 1’
Vibrato
31 Upper Vibrato on/off
30 Lower Vibrato on/off
Brightness Vibrato
Attack Time Chorus Intensity
Percussion
Sostenuto Percussion on/off
Release Time Percussion Harmonic (2nd/3rd)
Sound Variation Percussion Volume
Harmonic Content Percussion Time
Equalizer
90 EQ Low
70 EQ Mid
5 EQ High
Distortion/Click
76 Distortion Drive
78 Distortion Tone
75 Click On Level
Leslie
Pan MSB Microphone Angle
3 Microphone Distance
GP 8 Leslie Accelerate/Decelerate
GP 7 Leslie Fast
ModWheel MSB Leslie Speed
68 Controls Brake function: if Value = 0.0, switches Leslie to Brake. All other
values switch Leslie to previous speed.
Logic Pro User Guide for iPad 883
Vintage B3 Nord modes in Logic Pro for iPad
The table outlines MIDI Control Change Message number assignment when MIDI mode is
set to Nord Electro or C2D. This setting matches the controller mapping of the Clavia Nord
Electro and C2D.
Controller number MIDI mode Nord Electro: assigned parameter
16 Upper draw bar 16’
17 Upper draw bar 5 1/3’
18 Upper draw bar 8’
19 Upper draw bar 4’
20 Upper draw bar 2 2/3’
21 Upper draw bar 2’
22 Upper draw bar 1 3/5’
23 Upper draw bar 1 1/3’
24 Upper draw bar 1’
70 Lower draw bar 16’
71 Lower draw bar 5 1/3’
72 Lower draw bar 8’
73 Lower draw bar 4’
74 Lower draw bar 2 2/3’
75 Lower draw bar 2’
76 Lower draw bar 1 3/5’
77 Lower draw bar 1 1/3’
78 Lower draw bar 1’
Chorus/Vibrato
85 Upper Vibrato on/off
86 Lower Vibrato on/off
84 Vibrato mode (selection goes from V1 to C3, C0 is excluded)
Percussion
87 Percussion on/off
88 Percussion Volume (soft/normal) and Time (short/long)
95 Percussion Harmonic (2nd/3rd)
Equalizer
113 EQ High
114 EQ Low
Logic Pro User Guide for iPad 884
Controller number MIDI mode Nord Electro: assigned parameter
Distortion/Click
111 Distortion Drive
Leslie
GP 6 on/off
GP 7 Leslie Speed
GP 8 Controls Brake function
Vintage B3 Crumar modes in Logic Pro for iPad
The table outlines MIDI Control Change Message number assignment when MIDI mode
is set to Crumar or Crumar Classic. This setting matches the controller mapping of the
Crumar Mojo Classic.
Controller number MIDI mode Crumar: assigned parameter
12 to 20 Upper draw bars 1 to 9
21 to 29 Lower draw bars 1 to 9
33 and 35 Pedal 1 and 2
55 Pedals to Lower
56 Pedalboard Release Time
Chorus/Vibrato
31 Upper Vibrato on/off
30 Lower Vibrato on/off
73 Vibrato mode (selection goes from V1 to C3, C0 is excluded)
Percussion
66 Percussion on/off
70 and 71 Percussion Volume (soft/normal) and Time (short/long)
89 Percussion Level
72 Percussion Harmonic (2nd/3rd)
Equalizer
10 EQ High
9 EQ Mid
8 EQ Low
Reverb
91 Reverb Amount
Logic Pro User Guide for iPad 885
Controller number MIDI mode Crumar: assigned parameter
Distortion/Click
76 Distortion Drive
75 Key Click
Leakage/Crosstalk
86 Leakage
87 Crosstalk
88 Crosstalk Shape
Leslie
85 on/off
1 Leslie Speed
68 Controls Brake function
Speaker/Mic
90 Balance
93 Mic. Distance
94 Horn EQ
B3 and Leslie information
Additive synthesis with draw bars
The Hammond B3 is the classic draw bar organ. As with an air-driven pipe organ, the
registers (draw bars, or “stops” on a pipe organ) can be pulled out to engage them. In
contrast to a pipe organ, however, the B3 allows seamless mixing of any draw bar registers.
The closer toward you that the draw bars are dragged, the louder the corresponding tones.
Despite characteristics such as key clicks, variable intonation, distortions, and crosstalk
(all of which Vintage B3 emulates), playing a single note, with a single register, results
in a pure sine tone. Mixing sine tones results in more complex harmonic spectra; this is
known as additive synthesis. Organs—even pipe organs—can be regarded as additive
synthesizers. Several limitations should be considered before viewing the instrument in this
way. These limitations, on the other hand, constitute the charm and character of any real
musical instrument.
The naming of the draw bars is derived from the length of organ pipes, measured in feet (').
This naming convention is still used with electronic musical instruments.
• Halving the length of a pipe doubles its frequency.
• Doubling the frequency results in an upward transposition of one octave.
Logic Pro User Guide for iPad 886
The lowest register—16’ (far left, brown draw bar)—and the higher octave registers—8’,
4’, 2’, and 1’ (white draw bars)—can be freely mixed, in any combination. 16’ is commonly
described as the sub-octave. With the sub-octave regarded as the fundamental tone, or
first harmonic, the octave above 8’ is the second harmonic, 4’ the fourth harmonic, 2’ the
eighth harmonic, and 1’ the sixteenth harmonic.
With the 5 1/3’ register—the second brown draw bar—you can add the third harmonic. This
is the fifth above the 8’. Basically, the draw bars are arranged by pitch, with one exception.
The second draw bar (5 1/3’) sounds a fifth higher than the third draw bar. See the residual
effect for an explanation.
The 2 2/3’ register generates the sixth harmonic, 1 3/5’ the tenth harmonic, and 1 1/3’ the
twelfth harmonic.
An electromechanical tonewheel organ offers the choice of the following registers/
harmonics: 1 (16’), 2 (8’), 3 (5 1/3’), 4 (4’), 6 (2 2/3’), 8 (2’), 10 (1 3/5’), 12 (1 1/3’), and
16 (1’). As you can see, the harmonic spectrum is nowhere near complete. This is one of
the main reasons for the common practice of using overdrive and distortion effects with
electromechanical tonewheel organs—they enrich the harmonic spectra by generating
more harmonics.
Note: 2 2/3’ is the fifth over 4’. 1 3/5’ is the major third over 2’. 1 1/3’ is the fifth over 2’. In
the bass range, this can lead to inharmonic tones, especially when playing bass lines in a
minor key. This is because mixing 2’, 1 3/5’, and 1 1/3’ results in a major chord.
The residual effect
The residual effect is a psychoacoustic phenomenon. Humans can perceive the pitch of a
note, even when the fundamental tone is completely missing. If you pull out all registers of
a draw bar organ, except for the fundamental—16’—you’ll still perceive the same pitch. The
sound becomes thinner, with less bass and less warmth, but the pitch remains the same.
If human beings didn’t hear this way, it would make listening to music on a small transistor
radio impossible. The tiny speaker of a small radio can’t accurately play back the
fundamental tone of the bass line because this frequency is far below the range that the
speaker can reproduce.
Setting draw bar registrations often involves this psychoacoustic phenomenon. In the
lower octaves, mixing the 8’ and 5 1/3’ sine draw bars creates the illusion of a 16’ sound,
although the lower frequency is missing.
Old pipe organs also make use of the residual effect, by combining two smaller pipes, thus
eliminating the need for long, heavy, and expensive giant pipes. This tradition is continued
in modern organs and is the reason for arranging the 5 1/3’ under 8’: the 5 1/3’ tends to
create the illusion of a pitch that is one octave lower than 8’.
Logic Pro User Guide for iPad 887
Tonewheel sound generation
Tonewheel sound generation resembles that of an air horn, or a siren. Of course, there’s no
air being blown through the holes of a revolving wheel. Rather, an electromagnetic pickup,
much like a guitar pickup, is used to capture the sound.
A notched metal wheel, called a tonewheel, revolves at the end of a magnetized rod. The
teeth of the wheel cause variations in the magnetic field, inducing an electrical voltage.
This voltage/tone is then filtered, has vibrato and expression applied to it, and is then
amplified.
An AC synchronous motor drives a long drive shaft. Twenty-four driving gears with 12
different gear sizes are attached to the shaft. These gears drive the tonewheels. The
frequency depends on the gear ratios and the number of notches in the wheels. The
Hammond is tuned to an (almost exact) equal-tempered scale.
As with pipe organs that feature multiplexed registers, the Hammond organ uses certain
generators for more than one purpose. Some high frequency wheels serve as the
fundamental for high notes and provide harmonics for lower notes. This has a positive
impact on the overall organ sound, avoids detuning, and stabilizes levels between octaves.
A brief Hammond history
Three inventions inspired Laurens Hammond (1895–1973), a manufacturer of electric
clocks, to construct and market a compact electromechanical organ with tonewheel sound
generation. The Telharmonium by Thaddeus Cahill was the musical inspiration; Henry
Ford’s mass production methods and the domestic synchron clock motor were the other
factors.
The Telharmonium (built around 1900) was the first musical instrument that made use of
electromechanical sound generation techniques. Its immense tonewheel generators filled
a two-story building in New York. For a short period around this time, subscribers could
order Telharmonium music over the New York telephone network (the streaming audio
system of the time). The only amplification tool was the telephone mechanical diaphragm
because a proper tube amplifier and acceptable speakers had not yet been invented.
The Telharmonium was a commercial flop, but its historical status as the predecessor of
modern electronic musical instruments is undeniable. The Telharmonium also introduced
the principles of electronic additive synthesis. See Additive synthesis with draw bars.
Laurens Hammond began producing organs in 1935 in Chicago, Illinois, making use of the
same sound generation method. However, he used much smaller tone generators and fewer
registers. The patent for his model A organ dates from 1934.
Hammond also holds the patent for the electromechanical spring reverb, still found in
countless guitar amplifiers today.
The Hammond B3 was manufactured between 1955 and 1974. It is the Hammond model
preferred by jazz and rock organ players, such as Fats Waller, Wild Bill Davis, Brother
Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve Winwood, Joey
DeFrancesco, and Barbara Dennerlein.
In addition to the B3, there are a number of smaller Hammond instruments, known as
the spinet series (M3, M100, L100, T100). Bigger console models, many of which were
designed to suit the needs of American churches or theaters (H100, X66, X77, E100, R100,
G-100), were also manufactured.
Logic Pro User Guide for iPad 888
The production of electromechanical organs ceased in 1974. Thereafter, Hammond built
fully electronic organs.
The Hammond name lives on in the Hammond-Suzuki range of electronic draw bar organs,
starting with the 2002 release of a digital B3 model that mimics the design and functions
of the classic B3 (without the weight). This model, as well as newer units, can be partnered
with real, mechanical, rotor speaker cabinets, also from the company.
The Leslie cabinet
Don Leslie developed his rotor cabinets in 1937 and began marketing them in 1940.
Laurens Hammond wasn’t keen on the concept of rotating speakers at all.
Leslie’s approach was to simulate a variety of locations in the pipes (as in pipe organs),
resulting in a new spatial perception for every note. The rotor speaker cabinets could
simulate this effect, and the sense of space that they impart is incomparable, when placed
side-by-side with any fixed speaker. The periodic undulations in sound and volume and the
vibrato caused by the Doppler effect (see below) aren’t all there is to the Leslie sound—it’s
the spatial effect, too.
The “classic” Leslie speaker design features two drivers—a treble driver with horns (only
one works; the other simply acts as a counter-weight) and a bass driver. The horns of
the treble driver and the sound baffle of the bass driver are physically rotated by electric
motors.
Because the speakers rotate toward the front of the cabinet (the listening position), then
toward the back of the cabinet, you hear a “Doppler effect”—where sounds become louder
and brighter as their position changes. To give you an idea of this effect, it is much like the
sound of a train going past if you were standing on the platform. On approach, the sound
is muffled, but then it becomes both louder and brighter as the train passes, and finally it
becomes more muffled as it moves away from you.
The rotating driver/sound baffle can be switched between two speeds—fast/Tremolo or
slow/Chorale (or stopped completely with a mechanical brake). The transition between
the two speeds, or the use of a fixed speed, produces the characteristic “Leslie” vibrato,
tremolo, and chorus effects.
The first Leslie, the model 30, had no Chorale—just tremolo and stop. The Chorale idea
(which came much later) was born of a desire to add a vibrato to the organ. Chorale, which
offers far more than a simple vibrato, was first introduced to the market with the 122/147
models. At this time, Leslie also added the “Voice of the pipe organ” label to his cabinets.
It wasn’t until 1980 that the two companies and brand names came together, six years after
the last tonewheel organ was built. Mechanical Leslie rotor cabinets are still being built
today, by the Hammond-Suzuki company.
Logic Pro User Guide for iPad 889
Vintage Clav
Vintage Clav in Logic Pro for iPad
Vintage Clav emulates the classic Hohner D6 Clavinet. The sound of the D6 is synonymous
with funk, but it was also popularized in the rock, pop, and electric jazz of the 1970s
by artists like Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner, and the
Commodores. If you’ve heard “Superstition” or “Higher Ground” by Stevie Wonder, then
you know the D6 sound. See D6 Clavinet history.
Vintage Clav uses a component modeling synthesis engine that not only simulates the
basic sounds of the D6 but also the various string buzzes, key clicks, and the tone of
the pickups found in the original instrument. Vintage Clav accurately emulates the pluck
and bite of the attack phase as well as the sticking of the hammer pads. See D6 Clavinet
mechanical details.
The Vintage Clav synthesis engine improves on the Hohner D6 Clavinet with a stereo,
rather than mono, output. The 60-key range (F to E) of the original D6 has also been
extended across the full 127 MIDI note range.
You can radically alter the tone of the instrument, enabling you to simulate an aging D6 or
to create unique new timbres that have little in common with the sound of a clavinet. See
Click and Excite controls and String parameters.
Vintage Clav also incorporates an effects section that emulates classic wah, distortion, and
modulation processors—often used with the original instrument. The effects are modeled
on vintage effect pedals and adapted for optimized use with Vintage Clav.
To add Vintage Clav to your project, choose it from the Instrument > Vintage Keys submenu
in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
Logic Pro User Guide for iPad 890
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Vintage Clav models in Logic Pro for iPad
The Model pop-up menu lets you choose a basic type of tone, or model. Each model offers
a unique tonal characteristic and different harmonic structure, designed to create very
different sounds. See Vintage Clav models.
The individual models are fully realized instruments and are immediately playable, without
further modification. You can shape the tonal character of any loaded model with the
string, click, pitch and other model editing parameters.
In some respects, you can view the choice of model as being similar to selecting an
oscillator waveform in a synthesizer. As with raw synthesizer waveforms, parameters can
affect the model quite differently. For example, using identical parameter settings can
make one model more nasal sounding and another model more noisy.
Note: When playing, you may notice some points on the keyboard where the sound
changes significantly between adjacent keys. This is intentional and reflects the behavior
of some of the clavinet models emulated by Vintage Clav. The original D6 has some strong
key-to-key timbral differences, the most obvious being between the highest wound string,
and the lowest, non-wound string. If you like the sound of the original instrument but not
the mechanical timbre jumps, try the Mellotone model.
Vintage Clav model characteristics in Logic Pro for iPad
The table outlines the characteristics of each clavinet model.
Model name Comments
Belltone A bell-like model with strong inharmonic overtones (inharmonicities).
Classic I and II Classic I is a near exact emulation of the original D6. It includes string
noises on long decays and accurate behavior following the release of
keys. Each D6 was unique in its way, so you can adjust the sound to match
the tone of D6 clavinets you have heard. Classic II is brighter and more
punchy.
Dulcitone A dulcimer-like model.
Funktone This model invites heavy, funk-style bass playing in the lower octaves,
coupled with sustained chords in the mid-to-upper octaves. It works well
with phaser and delay effects.
In the lower bass-octave ranges, the string oscillations become
increasingly resonant over time, until they finally collapse (after 20 to
30 seconds). Higher notes have a much shorter decay, which has a
corresponding impact on the resonating behavior.
Harpsitone I and II Harpsichord-like models.
Mellotone This model is smooth and mellow sounding across the entire keyboard
range.
Logic Pro User Guide for iPad 891
Model name Comments
Plectratone I and II These models emulate a picked string. Change the pickup positions to
make the sound more guitar-like. For a harp-like sound, position the lower
pickup near the mid point and increase String Release and (Excite) Shape
knob values, while decreasing (Excite) Brilliance.
Sitartone A sitar-like sound, rich in resonance.
Vintage I and II These models emulate a D6 with aged and worn hammers and strings. The
sound of the sticky hammer heads is modeled as well as the richer bass
range.
Woodtone This model sounds wooden, thin, and contains inharmonic overtones. It
can sound slightly detuned in some contexts.
Vintage Clav pickups in Logic Pro for iPad
The original D6 is equipped with two electromagnetic pickups, much like those found
in electric guitars—one below the strings (lower) and one above the strings (upper). In
contrast to the fixed pickups of the original instrument, Vintage Clav pickups can be set to
arbitrary positions and angles.
Unlike the original D6, Vintage Clav has a stereo output that you can configure with the Key
Stereo and Pickup Stereo knobs.
Also central to the D6 sound are the color switches. The four tone controls of the D6 are
switchable high or low pass filters that change the preamplifier EQ response in the original
instrument.
Try moving pickup positions while repeatedly striking a note to hear the effect that the
pickup position has on the overall tone. Interesting, phaser-like effects can be achieved by
automating the pickup positions.
Settings with both pickups placed near the upper end of the strings and active Brilliant
and Treble color switches result in a weak fundamental tone. Therefore, you mostly hear
the overtones of the chosen model. These can be “out of tune,” particularly for models
such as Wood, which has strong inharmonic content. Move the pickups halfway along the
strings with the lower and upper Pickup Position sliders, and deactivate all color switches
to circumvent this detuned effect.
You can cross over the pickup positions. This may lead to a hole (silent or very quiet notes)
in your keyboard range. This is due to phase cancelations between the pickups. If you
encounter this phenomenon, adjust the position of one or both pickups—until the quiet or
silent notes are playable.
Logic Pro User Guide for iPad 892
Pickup parameters
• Pickup Mode pop-up menu: Choose to activate one or both pickups. Lower and Upper
activate a single pickup. The Lower-Upper (out of phase) and Lower+Upper (in-phase)
options activate both pickups, which run in parallel. Choose Lower+Upper for a richer
sound. Choose Lower-Upper for a thinner sound.
Tip: Experiment with different pop-up menu options and different color switch
settings.
• Pickup L PosL slider and field: Use to move the lower pickup position for the low strings.
• Pickup L PosH slider and field: Use to move the lower pickup position for the high
strings.
• Pickup U PosL slider and field: Use to move the upper pickup position for the low
strings.
• Pickup U PosH slider and field: Use to move the upper pickup position for the high
strings.
• Pickup Stereo knob and field: Use to spread the two pickup signals across the stereo
spectrum when both pickups are active (Upper+Lower or Upper-Lower modes). Higher
values move the signals of both pickups away from the center position—one further to
the right and the other further to the left. Set this parameter to the maximum value for
extreme left/right panning.
• Key Stereo knob and field: Set the range for key scale modulation of the panning
position. In other words, the played keyboard note position determines the panning
position. Set this parameter to the maximum value for extreme left/right panning which
starts from MIDI note number 60 (C3). The higher or lower you play, the further away
the sound is from the center pan position.
Note: You can use both stereo spread types at the same time. They are automatically
mixed.
• Level knob and field: Set the overall output level.
Note: MIDI controller 11 (Expression) scales the output level—unless it is assigned to
control Wah or Damper parameters.
• Damper slider and field: Mute the strings. The Damper parameter can also be
controlled with a MIDI controller. See Vintage Clav misc parameters.
Adjust a pickup angle
In this example, only the Lower pickup is active.
• In Logic Pro, adjust the Pickup L PosL slider while leaving the Pickup L PosH slider value
untouched.
This changes the angle between the two ends of the pickup, which is similar to that
used on an electric guitar.
Reposition a pickup
In this example, only the Lower pickup is active.
• In Logic Pro, adjust both the Pickup L PosL slider and the Pickup L PosH slider to the
same value.
This effectively moves the pickup to a new position along the strings.
Logic Pro User Guide for iPad 893
Vintage Clav color controls in Logic Pro for iPad
Central to the D6 sound are the color switches. The four tone controls of the D6 are
switchable high or low pass filters that change the preamplifier EQ response in the original
instrument.
Color parameters
• Filter switches: The four filter switches emulate the original tone control switches of the
D6. Brilliant and Treble are different high pass filters that create an edgy and punchy
tone. The Medium and Soft switches act as a low pass filter for mellower, darker tones.
Experiment with different switch combinations.
• Brilliant switch: Make the sound nasal with a strong bass cut.
• Treble switch: Make the sound sharper with a gentle bass cut.
• Medium switch: Make the sound thinner with a slight bass reduction.
• Soft switch: Make the sound softer or more muted.
• Brilliance knob and field: Set the level of the harmonic content caused by string
excitation. Positive values—to the right—result in a sharper sound. Negative values
result in a more muted sound.
• Decay knob and field: Set the decay time of the strings, following the attack phase of a
played note. Positive values increase the decay time. Negative values reduce the decay
time.
Effects
Vintage Clav effects in Logic Pro for iPad
No clavinet simulation would be complete without a selection of effect processors.
Vintage Clav incorporates three “classic” foot-pedal effect emulations Wah, Distortion,
and Modulation. Each effect is modeled on pedals that were available in the heyday of
the Clavinet—the 1970s—adding an authentic sound to your performances. A simple
compression circuit is also included.
Vintage Clav effects work in series—where the output of one effect is fed into the next in
an effects chain. The FX Order pop-up menu lets you choose whether a distorted signal
should be wah-filtered (for funkier sounds) or the wah-filtered sound should be distorted
(for screaming sounds)—as an example.
Effects global parameters
• FX Bypass button: Turn the entire effects section on or off. Each effect in the effects
chain can also be independently turned on or off.
• FX Order pop-up menu: Determine the order of the effects chain.
Logic Pro User Guide for iPad 894
Vintage Clav Wah effect in Logic Pro for iPad
Vintage Clav provides simulations of several classic wah effects, as well as some basic
filter types. The name wah comes from the sound it produces. It has been a popular effect
(usually a pedal effect) with electric guitarists since the days of Jimi Hendrix. The pedal
controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass filter.
Wah wah pedals are also used extensively with the D6.
Wah effect parameters
• Wah On/Off button: Turn the Wah effect on or off.
• Range knob and field: Set the cutoff frequency of the filter. At the extreme left position,
Range limits cutoff modulation to a narrow frequency range. Turn the Range knob to the
right to set a wider control range.
• Env Depth knob and field: Determine the sensitivity of the (filter) envelope to incoming
note velocity messages. An auto wah effect is produced by using the integrated
envelope follower function, which controls the depth of filter cutoff modulation. In
practical terms, this means that the dynamics of your performance directly control the
depth of the Wah effect.
• Mode pop-up menu: Choose a Wah effect type.
• Classic Wah: This setting mimics the sound of a popular wah pedal with a slight peak
characteristic.
• Retro Wah: This setting mimics the sound of a popular vintage wah pedal.
• Modern Wah: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting. The Q determines the resonant characteristics. Low Q
values affect a wider frequency range, resulting in softer resonances. High Q values
affect a narrower frequency range, resulting in more pronounced emphasis.
• Opto Wah 1: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting.
• Opto Wah 2: This setting mimics the sound of a distortion wah pedal with a constant
Q(uality) Factor setting.
• Resonant LP: In this mode, the Wah works as a resonance-capable lowpass filter. At
the minimum pedal position, only low frequencies can pass.
• Resonant HP: In this mode, the Wah works as a resonance-capable highpass filter. At
the maximum pedal position, only high frequencies can pass.
• Peak: In this mode, the Wah works as a peak (bell) filter. Frequencies close to the
cutoff frequency are emphasized.
• Pedal Pos slider and field: The value of this parameter represents the current pedal
position, ensuring that it is saved with the setting.
Logic Pro User Guide for iPad 895
Vintage Clav Compressor effect in Logic Pro for iPad
The Compressor effect is normally used just before the Distortion effect. This allows you
to increase or decrease the perceived gain, thus providing a suitable input level to the
Distortion circuit. You can, however, place the Compressor at any position in the effects
chain with the FX Order pop-up menu or can disable it completely.
Compressor effect parameters
• Compressor On/Off button: Turn the Compressor effect on or off.
• Ratio knob and field: Adjust the compression slope. The additional gain offered by the
compression circuit—when directly preceding the Distortion effect—lets you create
crunchy distortions. The Compressor is also useful for enhancing the key click sound
and for emphasizing harmonics in different clavinet models.
Vintage Clav Distortion effect in Logic Pro for iPad
The Distortion effect can provide warm overdrive or aggressive distortion.
Distortion effect parameters
• Distortion On/Off button: Turn the Distortion effect on or off.
• Gain knob and field: Set the level of the Distortion effect. If Gain is at the minimum
value, no distortion is heard.
• Tone knob and field: Change the tonal color of the Distortion effect.
• Use low Tone and Gain settings to create warm overdrive effects.
• Use high Tone and Gain settings for bright, screaming distortion effects.
Logic Pro User Guide for iPad 896
Vintage Clav Modulation FX in Logic Pro for iPad
Vintage Clav features a choice of three modulation effect types: Phaser, Flanger, or
Chorus.
Modulation FX parameters
• Modulation FX On/Off button: Turn the Modulation FX section on or off.
• Intensity knob and field: Set the depth of the phasing, flanging, or chorus effect. Use of
high Intensity values leads to ensemble-type effects when the Chorus effect is active.
WARNING: When the Phaser effect is active, high Rate and Intensity values lead to very
deep, self-oscillating phase shifts that can damage ears and speakers.
• Mode buttons: Choose Phaser, Flanger, or Chorus as the modulation effect.
• Rate knob and field: Set the speed of the phasing, flanging, or chorus effect. The rate is
set in hertz values, or bar/beat values when the Sync button is turned on.
• Sync button: Synchronize the Phaser or Flanger effect to the host application tempo.
The Rate knob sets bar and beat values, including triplets.
Modeling controls
Vintage Clav click and excite in Logic Pro for iPad
The Release Click and Excite Detail parameters determine the string excitation, emulating
the characteristics and power of the hammers striking the string and other elements that
form part of the initial key strike.
Also emulated are string excitations that occur on key release. To explain, the rubber
hammers of the original D6 age and decay, just like piano hammer felts. Worn out D6 units
produce a distinctive “click” when a key is released. This is due to the string sticking to the
rubber hammer before being released. The characteristics of this release click are part of
each model and can be precisely adjusted.
Logic Pro User Guide for iPad 897
Release Click parameters
• Intensity knob and field: Set the level of the release click. A negative value of −1.00
eliminates the release click. To simulate an old D6, increase the value.
• Velocity knob and field: Set the velocity sensitivity for the key click sound. The
maximum key click level is set with the Intensity slider and the velocity mode is
determined with the Velocity mode switch.
• Random knob and field: Control the amount of release click level variance across the
keyboard. This slider simulates the wearing of some hammers, but not others, emulating
the “wear and tear” of a D6. The farther to the right the slider is moved, the greater the
variation between release clicks on some keys. At the leftmost position, all keys have an
identical release click level.
• Velocity Mode buttons: Turn attack (Key On) or release (Key Off) velocity on or off. Turn
on the Auto button to automatically detect incoming release velocity values. Received
release velocity data is used to shape the sound. If no release velocity data is detected,
it acts as if it is turned off.
Excite Detail parameter
• Shape knob and field: Contour the attack shape, simulating the hardness of the rubber
hammers in a D6. As the instrument ages, hammers wear and split, changing brightness
and tone. Negative values—to the left—provide a softer attack, and positive values
result in a harder attack.
Vintage Clav string parameters in Logic Pro for iPad
The selected model determines the basic qualities of the strings and has a significant
bearing on the behavior, and impact, of each String Details parameter. This is primarily due
to the different harmonic content present in each model.
String Details parameters
• Release knob and field: Set the release time of the strings, following the decay phase
of a played note. Positive Release values provide a longer release time—after you have
released a key.
• Damping knob and field: Change the damping behavior of the strings. Damping is
essentially a faster decay for the higher harmonics in a sound. Damping is directly
related to the string material properties—high damping for catgut strings, medium
damping for nylon strings, and low damping for steel strings. Depending on the model,
damping results in a more mellow and rounded, or woody, sound. A positive Damping
value makes the sound more mellow. A negative Damping value allows more high
harmonics through, making the sound brighter.
Logic Pro User Guide for iPad 898
• Stiffness/Inharmonicity knobs and fields: Intensify or reduce inharmonic overtones.
Different values let you create metallic, bell-like sounds or DX-style electric pianos. The
controls can also be useful for attaining wood bass sounds.
• Stiffness knob: Control the intensity of the stretching or spectral spreading set by
the Inharmonicity control.
Note: The fundamental note pitch is not affected by the Stiffness and Inharmonicity
parameters.
• Inharmonicity knob: Determine the lowest harmonic—the harmonic threshold.
Inharmonic content above this threshold is stretched or spread across the frequency
spectrum.
• Tension Mod knob and field: Add a slight upward pitch bend effect immediately
after being plucked, struck, or strummed. This type of modulation is common to
stringed instruments like the D6, guitars, and so on. A predefined Tension Modulation
characteristic is built into each model, but this can be altered with the Tension Mod
parameter. The impact of this parameter can be significant, enabling you to generate
strange sound effects with Vintage Clav. You can also use it to simulate an out-of-tune
clavinet, or a sitar-like sound.
• Pitch Fall knob and field: Set the intensity of a D6 characteristic where the pitch of each
note falls immediately after you release the key. This sonic quirk is due to the physical
construction of the D6. The intensity of this effect varies with each model, but it can be
completely deactivated by setting Pitch Fall to the leftmost position.
Vintage Clav pitch parameters in Logic Pro for iPad
The Pitch Details parameters affect the tuning of the selected model.
Pitch Details parameters
• Tune knob and field: Adjust tuning in one-cent intervals. At a value of 0 c (zero cents),
the central A key is tuned to 440 Hz, or concert pitch.
• Stretch Tune knob and field: Use to deviate from the default equal-tempered scale
by altering the bass and treble ends of the sound. This simulates the way stringed
keyboard instruments such as pianos are tuned (see information below).
Note: Use of both Warmth and Stretch Tune may result in a detuned sound that is quite
similar to a heavy chorus effect. In some instances, this effect may be so extreme that
Vintage Clav sounds out of tune with your project or concert.
• Warmth knob and field: Set the amount of random deviation from an equal-tempered
scale. High values add life to sounds. The Warmth parameter can be useful when you’re
emulating an instrument that hasn’t been tuned for a while, or for slightly thickening the
sound. When you're playing chords, Warmth creates a slight detuning or beating effect
between notes.
Logic Pro User Guide for iPad 899
• Aftertouch->Freq knob and field: Adjust aftertouch sensitivity. On an original D6,
applying pressure to a depressed key raises the pitch slightly. Aftertouch->Freq
emulates this behavior. Values to the left of the center position lower the pitch slightly
with aftertouch messages. Values to the right raise the pitch when aftertouch is applied
on your MIDI controller.
Tip: Not all MIDI keyboard controllers generate aftertouch information. Many MIDI
keyboard controllers do, however, offer drum pads that send aftertouch information.
You can use aftertouch capable drum pads to trigger note and/or aftertouch events.
Stretch tuning in acoustic instruments
The tones of upright pianos, and to a lesser extent grand pianos (due to their longer
strings), have inharmonicities in their harmonic structure. This also applies to other
stringed instruments, but it particularly affects pianos due to the length, density, and
tension of the strings. If a piano is perfectly tuned to equal temperament across the
keyboard range, the overtones of the low strings and the fundamentals of the high strings
sound out of tune with each other.
To circumvent this problem, piano tuners use a technique known as stretch tuning, where
the high and low registers of the piano are tuned higher and lower, respectively. This
results in the harmonics of the low strings being in tune with the fundamental tones of the
upper strings. In essence, pianos are intentionally “out of tune” (from equal temperament),
so that the lower and upper registers sound in tune.
Because the original D6 is a stringed instrument, this inharmonic relationship also applies
to Vintage Clav and the instruments it emulates. The stretch feature, however, was
primarily included for situations where you want to use Vintage Clav alongside an acoustic
piano recording or performance.
Vintage Clav misc parameters in Logic Pro for iPad
The Misc parameters affect the polyphony, keyboard response, and other core aspects of
Vintage Clav.
Misc parameters
• Pitch Bend Range knob and field: Determine the pitch bend range in semitone steps.
Use your MIDI keyboard pitch bend wheel to control pitch bends.
• Voices pop-up menu: Choose the maximum number of voices that can be played
simultaneously. Lowering the value of this parameter limits the polyphony and
processing requirements of Vintage Clav. There are two monophonic settings: mono and
legato. Each setting provides a single voice when playing Vintage Clav.
• Mono: Vintage Clav voice is triggered each time a key is pressed.
• Legato: Vintage Clav sound-shaping processes are not triggered if the notes are
played legato—only the pitch changes. If the notes are played staccato, a Vintage
Clav voice with all sound-shaping processes is triggered.
Logic Pro User Guide for iPad 900
• Velo Curve pop-up menu: Choose one of nine preset velocity curves to suit your playing
style or the selected model. The nine curves available are: Fix 25%, Fix 50%, Fix 75%,
Fix 100%, Convex 1, Convex 2, Linear (the default), Concave 1, and Concave 2.
• Fixed curves: These are linear curves with a fixed dynamic range of 25%, 50%, 75%,
and 100%.
• Convex curves: These curves are more dynamically responsive in the center octaves
of the keyboard range.
• Concave curves: These curves are less dynamically responsive in the center octaves
of the keyboard range.
• Damper Control pop-up menu: Choose the MIDI controller (or MIDI velocity or
aftertouch) you want to use to control the Damper parameter. Off disables MIDI control
of damping.
• Ctrl Num pop-up menu: Choose the MIDI controller you want to use as a manual
Wah effect control. MIDI foot controllers such as Expression pedals are commonly used
for this type of task, but any controller can be assigned. You can also use MIDI velocity
or aftertouch messages to control the Wah effect. Off disables MIDI control.
Choose the Learn menu item to automatically assign the parameter to the first
appropriate incoming MIDI data message, then move the controller on your MIDI
keyboard. Learn mode has a 20 second time-out feature. If Vintage Clav does not
receive a MIDI message within 20 seconds, the parameter reverts to its original MIDI
controller assignment.
Note: You can simultaneously control the Wah effect with both the integrated envelope
follower function (“auto-wah”) and a manual controller. In this situation, the controller
events of the envelope follower and manual controls are mixed.
Vintage Clav MIDI parameters in Logic Pro for iPad
Vintage Clav provides two parameters that control response to incoming MIDI messages.
MIDI Mono Mode (MPE) parameters
• MIDI Mono Mode pop-up menu: Choose Off, On (Common Base Channel 1), or On
(Common Base Channel 16).
In either Mono mode, each voice receives on a different MIDI channel. Controllers and
MIDI messages sent on the base channel affect all voices.
• Pitch Bend Range knob: Set a value from 0 to 96.
The chosen pitch bend range affects individual note pitch bend messages received
on all but the assigned Common Base Channel. The default is 48 semitones, which is
compatible with the GarageBand for iOS keyboard in pitch mode. When using a MIDI
guitar, 24 semitones is the preferable setting because most guitar to MIDI converters
use this range by default.
Logic Pro User Guide for iPad 901
D6 Clavinet information
D6 Clavinet history
The German company Hohner, manufacturer of the D6 Clavinet, was known mainly for its
reed instruments (harmonicas, accordions, melodicas, and so on) but had made several
classic keyboards prior to the first incarnation of the Clavinet, known as the Cembalet.
Musician and inventor Ernst Zacharias designed the Cembalet in the 1950s. It was intended
to be a portable version of the cembalo, or harpsichord—which could be amplified. Its
mechanism worked by plucking the end of a flat reed with the key, which was then picked
up and amplified, in much the same way as an electric guitar.
A year or two after the Cembalet release, two Pianet models appeared. Both the CH and N
models used flat reeds for tone generation but employed a very different plucking/striking
action. When a key was depressed, it engaged a sticky pad with a foam backing, which
actually stuck to the reed. When the key was released, the weight of the key caused the
pad adhesive to free itself from the reed. This made the reed vibrate, and this vibration was
then amplified.
The model T Pianet was released several years later and utilized a soft rubber suction
pad on the reeds, rather than the adhesive of the CH and N models. This method resulted
in limited keyboard dynamics and also damped all reeds on release, thus negating any
possibility of sustaining the sound via a foot pedal. Despite these problems, the sound of
the model T Pianet was popularized by bands such as The Zombies and Small Faces in the
1960s.
In the years between the releases of the Pianet N and T models, Zacharias invented what
was to become Hohner’s most successful, and certainly funkiest, keyboard—the Clavinet.
The Clavinet was designed to replicate the sound of a clavichord, but with an altogether
fuller sound (the clavichord was notoriously thin sounding).
The early models—Clavinet I with a built-in amp, Clavinet II with tonal filters, Clavinet L with
its bizarre triangular shape—all led to the Clavinet model C. This, in turn, was refined into
the more portable D6. The D6 uses a hammer action, which strikes a string against a metal
surface to produce a tone. It has a fully dynamic keyboard because the striker is directly
beneath the key—the harder you hit, the louder and more vibrant the tone.
Mention the Clavinet today and most people automatically think of Stevie Wonder’s
“Superstition”—a recording that owes as much to the D6 as it does to the artist who
wrote and performed it. The D6 was later superseded by the E7 and the Clavinet/Pianet
Duo. These were basically the same as the D6 but more roadworthy, quieter, and better
protected against proximity hums than previous models.
D6 Clavinet mechanical details
Each D6 keyboard key forms a single arm lever. When a key is depressed, a plunger below
the key strikes the string and presses it onto an anvil. The string hits the anvil with a
strength determined by key velocity, thus affecting both the dynamics and harmonics of
the sounding string.
The mechanical vibrations of the action are captured by magnetic pickups and converted
into electrical signals, which are amplified and reproduced through speakers.
Logic Pro User Guide for iPad 902
As the key is released, contact between the plunger/striker and the anvil is immediately
broken, leaving the wool-wound part of the string free. This immediately suppresses the
string vibration.
When experimenting with Vintage Clav, or auditioning some of the included settings, you
may encounter sounds that seem to be triggered on both the note on and the note off.
This is actually a feature that emulates the original D6. The real D6 has the “problem”
of strings sticking to worn-out hammers, producing a second trigger when the key is
released. You can adjust the amount of this release click with the Intensity knob. See
Vintage Clav Excite controls.
Vintage Electric Piano
Vintage Electric Piano in Logic Pro for iPad
Vintage Electric Piano simulates the sound of various Rhodes and Wurlitzer pianos as well
as the sound of the Hohner Electra Piano. See Rhodes models and Hohner and Wurlitzer
models.
The unmistakable tones of Fender Rhodes pianos are some of the best-known keyboard
instrument sounds used in the second half of the 20th century. Various Rhodes models
have been popularized in a wide range of musical styles, encompassing pop, rock, jazz,
and soul, as well as more recent genres such as house and hip-hop. Nearly as popular was
the Wurlitzer piano, which enjoyed most of its success in the 1970s.
The Vintage Electric Piano sound engine uses component modeling synthesis techniques
to generate ultra-realistic electric piano sounds, with smooth dynamics and scaling over
the entire 88-key range. Component modeling has no abrupt changes between samples,
sample looping, or filtering effects during the decay phase of notes.
Vintage Electric Piano also simulates the physical characteristics of the original
instruments, including the movement of the electric piano reeds, tines, and tone bars in the
(electric and magnetic) fields of the pickups. It also emulates the ringing, smacking, and
bell-like transients of the attack phase as well as the hammer action and damper noises of
the original instruments.
The integrated effects include classic equalizer, overdrive, stereo phaser, stereo tremolo,
and stereo chorus effects that are commonly used with electric piano sounds.
To add Vintage Electric Piano to your project, choose it from the Instrument > Vintage Keys
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Logic Pro User Guide for iPad 903
Vintage Electric Piano main controls in Logic Pro for iPad
The Vintage Electric Piano main controls let you choose the piano model and provide
overall level and bass boost controls.
• Model pop-up menu: Choose an electric piano model. Several Rhodes models are
available, plus Hohner Electra Piano and Wurlitzer models. See Rhodes models and
Hohner and Wurlitzer models.
Note: When you choose a new model, all currently sounding voices are muted and all
parameters are reset to default values.
• Bass Boost knob and field: Enhance the low end of the sound. This parameter
emulates the behavior of the control found on the original Rhodes piano.
• Volume knob and field: Set the overall output level of Vintage Electric Piano.
Effects
Vintage Electric Piano effects in Logic Pro for iPad
Vintage Electric Piano integrated effects units include classic equalizer, overdrive, stereo
chorus, stereo phaser, and stereo tremolo that are commonly used with electric piano
sounds.
• EQ: The EQ allows you to boost or cut the high and low frequency ranges of your
Vintage Electric Piano sound. The EQ is positioned after the Drive circuit in the Vintage
Electric Piano effects chain.
• Drive: Electric pianos sound best when played through tube amplifiers. Tube amplifiers
offer a wide range of tones—from the subtle warmth or crunch of guitar amplifiers to
psychedelic, screaming rock distortions. The Drive effect simulates the saturation
characteristics of a tube amplifier stage. The Drive effect is the first signal processing
circuit in the Vintage Electric Piano effects chain.
Logic Pro User Guide for iPad 904
• Chorus: The most commonly used effect on electric piano sounds, the Vintage Electric
Piano Chorus effect is based on a delay circuit. The delay time is modulated by an LFO.
The delayed effect signal is mixed with the original signal.
• Phaser: The Phaser effect is based on analog phaser pedals used by electric guitarists
in the 1960s and 1970s, including the subtle analog-style distortion typical of these
units. These phaser pedals were also popular among electric pianists—especially in the
electric jazz, jazz-rock, and pop styles of the 1970s.
The Phaser effect runs the original signal through a series of four filters that enhance
particular aspects of the Vintage Electric Piano frequency spectrum. This filtered signal
is slightly phase delayed and mixed with the original signal, resulting in notches in the
frequency spectrum. The notches in the phase-delayed signal are moved up and down
through the frequency spectrum by an LFO (low frequency oscillator) modulation. This
results in the amplitudes of the two signals reaching their highest and lowest points at
slightly different times.
Note: Logic Pro offers a sophisticated Phaser effect (and other modulation plug-ins)
that can be used alongside, or to replace, the integrated Vintage Electric Piano Phaser
effect.
• Tremolo: A periodic modulation of the amplitude (level) of the sound is known as a
tremolo. This modulation is controlled with an LFO in the Vintage Electric Piano Tremolo
effect. The Fender Rhodes suitcase piano features a stereo tremolo. Other electric
pianos have a simple, often obtrusive, mono tremolo that can introduce an unusual
polyrhythmic feel to performances.
Vintage Electric Piano EQ controls in Logic Pro for iPad
The Vintage Electric Piano EQ lets you boost or cut the high and low frequency ranges of
your Vintage Electric Piano sound.
EQ parameters
• On/off button: Turn the equalizer on or off.
• Bass knob and field: Control the low frequency range. Either shelving or peak-type
filters are used—depending on the piano model selected. Optimized frequency ranges
are preselected for each model.
• Treble knob and field: Control the high frequency range. Either shelving or peak-type
filters are used, depending on the piano model selected. Optimized frequency ranges
are preselected for each model.
Tip: You can achieve a sound with a more dominant mid-range by suppressing the
treble and bass frequency ranges. If you require more precise equalization, you can
insert any of the equalizer plug-ins in the instrument channel strip. You can also use the
Tone control of the Drive effect to contour the harshness of your sound.
Logic Pro User Guide for iPad 905
Vintage Electric Piano Drive effect in Logic Pro for iPad
The Vintage Electric Piano Drive effect simulates the saturation characteristics of a tube
amplifier stage.
Drive effect parameters
• On/off button: Turn the Drive effect on or off.
• Gain knob and field: Set the amount of harmonic distortion.
• Tone knob and field: Equalize the sound before amplification or distortion by the virtual
tube amplifier circuit.
• Use low Tone values to set a mellow tonal color. If the sound becomes too soft,
boost the treble portion of your sound with the EQ Treble control.
• Use higher Tone values for harsh distortion characteristics, typical of overdriven
transistor stages. If the sound is too aggressive, suppress the treble portion of your
sound with the EQ Treble control.
• Mode buttons: Switch between two types of distortion effect.
Vintage Electric Piano Chorus effect in Logic Pro for iPad
The Vintage Electric Piano Chorus effect is an LFO-modulated delay circuit that mixes the
delayed effect signal with the original signal.
Chorus parameters
• On/off button: Turn the Chorus effect on or off.
• Rate knob and field: Set the speed of the Chorus effect, in Hz. High values may result in
the piano sounding detuned.
• Intensity knob and field: Set the intensity of the Chorus effect. Technically, this sets the
amount of delay time deviation.
Logic Pro User Guide for iPad 906
Vintage Electric Piano Phaser effect in Logic Pro for iPad
The Vintage Electric Piano Phaser effect is based on analog phaser pedals used by electric
guitarists in the 1960s and 1970s, including the subtle analog-style distortion typical of
these units.
Phaser effect parameters
• On/off button: Turn the Phaser effect on or off.
• Rate knob and field: Set the speed of the phasing effect. The rate is set in Hz values, or
bar/beat values when the Sync button is turned on.
• Sync button: Synchronize the Phaser effect to the host application tempo. The Rate
knob sets bar and beat values, including triplets.
• Color knob and field: Set the amount of Phaser output signal that is fed back to the
effect input. This changes the tonal color of the phasing effect.
• Stereo knob and field: Determine the relative phase shift between the left and right
channels.
• At a value of 0 the effect is most intense, but not stereophonic.
• At a value of 180 the effect symmetrically rises in the left channel while falling in the
right channel, and vice versa.
Vintage Electric Piano Tremolo effect in Logic Pro for iPad
The Vintage Electric Piano Tremolo effect uses an LFO to periodically modulate the
amplitude of the sound.
Tremolo effect parameters
• On/off button: Turn the Tremolo effect on or off.
• Rate knob and field: Set the speed of the tremolo effect (LFO frequency). The rate is set
in Hz values, or bar/beat values when the Sync button is turned on.
• Sync button: Synchronize the Tremolo effect to the host application tempo. The Rate
knob sets bar and beat values, including triplets.
Logic Pro User Guide for iPad 907
• Depth knob and field: Set the amount of amplitude modulation.
• Stereo knob and field: Determine the relative phase shift between the left and right
channels.
• A value of 0 changes the level of both channels—in phase.
• A value of 180 (out-of-phase modulation), results in a stereo tremolo effect that is
also known as auto panning. This is similar to manually turning the pan pot from side
to side.
Tip: The original Wurlitzer Piano has a mono tremolo with a fixed modulation rate of
5.5 Hz. For an authentic Wurlitzer sound, select a Tremolo Stereo value of 0 degrees. For
Rhodes sounds, set the Tremolo Stereo value to 180 degrees. The settings in between
result in spacious effects—especially when low Tremolo Rate knob values are used.
Modeling controls
Vintage Electric Piano model controls in Logic Pro for iPad
The model parameters affect the instrument chosen in the Model pop-up menu.
Model parameters
• Voices knob and field: Set the maximum number of voices that can sound
simultaneously. Lower the value to limit polyphony. When Voices is set to 1, Vintage
Electric Piano is monophonic. The maximum value is 88, allowing for glissandi over the
entire keyboard range when the sustain pedal is depressed.
• Stereo knob and field: Adjust the stereo field. At high values, bass notes are heard in
the left channel and treble notes are heard in the right channel.
Tip: Avoid using this parameter if you’re trying to faithfully recreate a vintage
electric piano because these instruments were not equipped with stereo outputs.
• Decay knob and field: Set the decay time of the piano sound. The lower the value, the
less the sound sustains and the higher the level of damping applied to the vibration of
the tines. When short values are set, the main tone is more pronounced and is heard for
a longer period than the transient harmonics. Sonically, the effect is reminiscent of an
electric guitar string being damped with the palm of the picking hand. Electric pianos
can be modified in a similar way. Higher values (longer settings) result in more sustain
and a less dynamic feel.
• Release knob and field: Set the amount of damping applied after the keys are released.
Extremely long settings (high Release values) let you play the piano like a vibraphone.
• Bell Volume knob and field: Set the level of the (inharmonic) treble portion of the tone.
This is useful for emulating classic electric piano sounds.
• Damper Volume knob and field: Set the level of damper noise. This emulates the
damping felt hitting the vibrating tine in the original instruments.
Logic Pro User Guide for iPad 908
Vintage Electric Piano pitch controls in Logic Pro for iPad
Vintage Electric Piano is tuned to an equal-tempered scale. You can deviate from this scale
and can stretch the tuning in the bass and treble ranges, much as you can do with acoustic
pianos (especially upright pianos). You can also modulate the tuning of each note randomly.
Pitch parameters
• Tune knob and field: Tune Vintage Electric Piano in one-cent increments. At a value of
0 c (zero cents), the central A key is tuned to 440 Hz, or concert pitch. The range is
plus or minus half a semitone.
• Warmth knob and field: Set the amount of (random) deviation from the equal-tempered
scale. Each note is slightly detuned from the next, adding life and richness to the sound.
Note: Use of both Warmth and Upper or Lower stretch can result in a detuned sound
that is similar to a heavy chorus effect. In some instances, this effect may be so
extreme that Vintage Electric Piano sounds out of tune with the rest of your project.
• BndDwn/Bend Range Up knobs and fields: Set the pitch bend range in semitone steps.
• Lower Stretch knob and field: Set the amount of deviation from the equal-tempered
scale in the bass end of the sound. The higher the value, the farther down the low notes
are tuned. At a setting of 0, Vintage Electric Piano is tuned to an equal-tempered scale,
with each octave down halving the frequency.
• Upper Stretch knob and field: Set the amount of deviation from the equal-tempered
scale in the treble end of the sound. The higher the value, the farther up the high notes
are tuned. At a setting of 0, Vintage Electric Piano is tuned to an equal-tempered scale,
with each octave above (up) doubling the frequency.
Stretch tuning in acoustic instruments
The tones of upright pianos, and to a lesser extent grand pianos (due to their longer
strings), have inharmonicities in their harmonic structure. This also applies to other
stringed instruments, but it particularly affects pianos due to the length, density, and
tension of the strings. If a piano is perfectly tuned to equal temperament across the
keyboard range, the overtones of the low strings and the fundamentals of the high strings
sound out of tune with each other.
To circumvent this problem, piano tuners use a technique known as stretch tuning, in
which the high and low registers of the piano are tuned higher and lower, respectively. This
results in the harmonics of the low strings being in tune with the fundamental tones of the
upper strings. In essence, pianos are intentionally “out of tune” (from equal temperament),
so that the lower and upper registers sound in tune.
Electric pianos don’t have strings, so this inharmonic relationship doesn’t apply to Vintage
Electric Piano nor to the original instruments it emulates. The stretch feature was primarily
included for situations where you want to use Vintage Electric Piano alongside an acoustic
piano recording or performance.
Logic Pro User Guide for iPad 909
Vintage Electric Piano details controls in Logic Pro for iPad
The Vintage Electric Piano details parameters allow you to define a delay response to
incoming MIDI velocities and to set the way the instrument handles MIDI controllers.
Details parameters
• Delay Pianissimo knob and field: Set the delay time (in milliseconds) when the keys are
struck pianissimo (PP-soft).
• Delay Fortissimo knob and field: Set the delay time (in milliseconds) when the keys are
struck forte (FF-hard).
• MIDI Mode pop-up menu: Determine how Vintage Electric Piano responds to MIDI
controllers. Choose from: Off, Modwheel to Tremolo, and Full Remote.
Emulated models
Rhodes models
Harold Rhodes (born 1910) constructed what is arguably the best known and most widely
used electric piano. Designed in 1946—as a piano surrogate for practice, education, and
army entertainment—the Rhodes piano was marketed by guitar manufacturer Fender from
1956. The Fender Rhodes is one of the most popular musical instruments in jazz, especially
electric jazz. CBS took over production of the Rhodes in 1965, enhancing its popularity in
pop and rock music. There are also a number of Rhodes synthesizers, developed by former
manufacturer ARP. Roland Corporation owned the Rhodes name for a while and released
several digital pianos under the Rhodes moniker. From 1997 until his death in December
2000, Harold Rhodes again owned the name.
The Rhodes piano was also made available as a suitcase piano (with a pre-amplifier and
two-channel combo amplifier) and as a stage piano, without an amplifier. Both of these
73-key “portable” versions have a vinyl-covered wooden frame and a rounded plastic top.
In 1973, an 88-key model was introduced. Smaller Celeste and bass versions were less
popular. The MkII (1978) had a flat top that allowed keyboardists to place extra keyboards
on top. The Mark V, introduced in 1984, had a MIDI output.
The mid-1980s saw a decrease in Rhodes production as most keyboard players invested in
the lighter and more versatile digital synthesizers that became available around this time.
These keyboards could easily emulate the Rhodes sound and also offered a range of new
piano sounds.
Logic Pro User Guide for iPad 910
The Rhodes piano bases its method of sound generation on metal reeds, which function
much like a tuning fork. These reeds are struck with a velocity sensitive hammer action
that works in a similar fashion to that of a grand piano. The asymmetrical tuning fork
consists of a thin tine and a large tone bar that are bolted together. Due to construction
considerations, some of the tone bars are rotated by 90 degrees. The piano is kept in tune
by the mass of a spring, which can be moved along the tine. The tine oscillates in front
of an electric pickup, similar to that of an electric guitar. This oscillation functions along
inductive principles, with permanent magnets placed around the tine that have a damping
effect on tine movement and therefore, the sound.
The Rhodes output signal is like that of an electric guitar and requires pre-amplification.
The Rhodes sound is not harmonically rich. This is why so many performers use a treble
boost or an overdrive effect when playing the Rhodes piano. The Rhodes sounds best when
played through tube amplifiers.
The characteristic sound of each Rhodes piano depends more on the adjustment and
maintenance of the individual instrument than on the model. Early models had hammers
covered with felt, resulting in a smoother sound than later models with neoprene-covered
hammers. The suitcase piano featured a pre-amplifier that could create a sound with a
very dominant mid-range. Appropriate pre-amplification and equalization can, however,
deliver an identical tone from almost any stage piano. The MkII does not have the treble
range resonance clamps of earlier models; it has less sustain in the treble range. The
most significant sonic differences are dependent on the proximity of the tine to the
pickup. When the tine is moved closer to the pickup, the bell characteristic becomes more
prominent. In the 1980s, many Rhodes pianos were adjusted to have more “bell.”
Note: The Vintage Electric Piano Metal Piano and Attack Piano models feature idealized
sound qualities that could only be aimed at with the original Rhodes instruments. Although
these models may not sound realistic, they have at least partially achieved the goals that
Rhodes technicians may have envisaged when preparing their keyboards.
Hohner and Wurlitzer models
The extremely rare Hohner Electra Piano (not the similarly named all-electronic
Electrapiano from RMI) offers striking hammers like those of the Rhodes, but a stiffer
keyboard action. It was designed to resemble the look of a conventional acoustic upright
piano. Led Zeppelin’s John Paul Jones played it on “Stairway to Heaven,” “Misty Mountain
Hop,” and “No Quarter.”
Wurlitzer, best-known for manufacturing music boxes and organs, also built electric pianos
that helped write pop and rock music history. The 200 series, notably the 200A and 240V,
Wurlitzer pianos are smaller and lighter than the Rhodes pianos, with a keyboard range of
64 keys (A to C) and an integrated amplifier and speakers.
The velocity sensitive hammer action resembles that of a conventional acoustic piano. The
Wurlitzer sound generation system is based on spring steel reeds that can be tuned with a
solder weight. The Wurlitzer has electrostatic pickups The reeds are supplied with a zero
volt current and move between the teeth of a comb, connected to a 150-volt current. The
tone of the Wurlitzer, which was first manufactured in the early 1960s, features a number
of odd harmonics.
The Wurlitzer is best known as the signature piano sound of the band Supertramp, as heard
on their “Crime of the Century” album. You might also recognize the Wurlitzer sound when
listening to Pink Floyd’s “The Dark Side of the Moon” or “I Am the Walrus” by The Beatles.
Logic Pro User Guide for iPad 911
Note: The Vintage Electric Piano Funk Piano model offers a special synthetic piano
engine sound, with an exaggerated bass. This is not based on any real-world Wurlitzer
instruments, but it can be a useful sound nonetheless.
Vintage Electric Piano MIDI controllers in Logic Pro for iPad
Vintage Electric Piano responds to the MIDI continuous controller numbers (CC) outlined in
the table.
Controller number Parameter name
1 Main Volume knob
12 Model pop-up menu
13 Model parameters Decay knob
14 Model parameters Release knob
15 Model parameters Bell Volume knob
16 Model parameters Damper Volume knob
17 Model parameters Stereo knob
18 EQ parameters Treble knob
19 EQ parameters Bass knob
20 Drive parameters Gain knob
21 Drive parameters Tone knob
22 Phaser parameters Rate knob
23 Phaser parameters Color knob
24 Phaser parameters Stereo knob
25 Tremolo parameters Rate knob
26 Tremolo parameters Depth knob
27 Tremolo parameters Stereo knob
28 Chorus parameters Int(ensity) knob
Logic Pro User Guide for iPad 912
Vintage Mellotron
Vintage Mellotron in Logic Pro for iPad
Vintage Mellotron recreates the features and a number of sounds from this famous
keyboard instrument that has featured on dozens of classic rock and pop songs from the
1960s, ‘70s, and beyond.
The Mellotron is considered a precursor to modern sample-playback instruments. It uses a
number of magnetic tapes that are drawn across a tape head when a key is pressed. Each key
has an individual tape playhead and pressure pads on a spring-loaded mechanism. Rollers for
each key are driven by a constantly turning capstan that spans the keyboard range.
Each key has a tape strip with up to three different sounds running in parallel. Sound length
is limited to eight seconds, at which point the sound abruptly stops. Tapes return to their
start position when the corresponding key is released. By offsetting the playheads with the
racks that hold the tapes, a musician can switch the entire keyboard between a string and
choir sound, for example. Partial offsets of the tape heads result in a layered blend of two
adjacent sounds on each tape strip.
More advanced Mellotron models can use longer tapes, with different sounds allocated at
precise positions along their length. This is similar to switching between banks of presets
on a modern synth. Even then, a maximum of around 24 sounds is possible. If you require
different sounds, the machine needs to be dismantled, and a new tape rack is used to replace
one already in place. Not ideal, and certainly tough to accomplish during a live performance.
The original library sounds were recorded note by note, with varied performances and pitch
fluctuations. This makes Mellotron instrument mapping somewhat inconsistent across the
keyboard range, which is an essential part of its sonic character and charm.
The mechanical complexity of early Mellotrons—tape stretching, head alignment problems,
and environmental factors, such as temperature and humidity fluctuations, smoke, dust,
and magnetic fields—made them difficult to maintain. Even when new, no two Mellotrons
sounded exactly the same because of these variables.
Vintage Mellotron features painstakingly sampled versions of each note from the original
Mellotron sound library tapes, capturing the full sound length and performance quirks.
Unlike the originals, Vintage Mellotron sounds are looped, enabling you to indefinitely
sustain notes. Looping isn’t static, so sounds retain their “organic” flavor and mirror the
continuous sonic movement of the original instruments.
Vintage Mellotron also allows you to blend any two sounds together, including
combinations that weren’t available in the original tape library. A further bonus is control of
the balance between sounds, a feature not found on the original machines.
A tape speed control mimics the tonal fluctuations caused by this feature on the original
instruments. Also included are octave transposition and tone controls. See Vintage
Mellotron controls.
As with other instrument plug-ins, you can fully automate Vintage Mellotron parameters.
If you’re new to synthesizers, see Intro to synthesizers, which will introduce you to the
terminology and give you an overview of different synthesis methods and how they work.
To add Vintage Mellotron to your project, choose it from the Instrument > Vintage Keys
submenu in an Instrument channel strip or the Plug-ins area. See Intro to plug-ins.
Logic Pro User Guide for iPad 913
User Guide conventions
Logic Pro for iPad plug-ins have two primary views:
• Tile view, which shows a few key parameters in the Plug-ins area
• Details view, where you can access all plug-in parameters
Throughout the guide, parameters available in Tile view are indicated by .
Vintage Mellotron controls in Logic Pro for iPad
Vintage Mellotron lets you choose one or two sounds, set the playback octave for each,
and adjust the mix between them.
Vintage Mellotron parameters
Vintage Mellotron offers additional controls that were not available on the original
instruments. These provide flexibility, but their use isn’t true to the source hardware.
• Layer 1/2 pop-up menus: Choose an instrument sound for each layer.
• Transpose Layer 1/2 buttons: Set an independent playback octave for the instrument
sound chosen on each layer.
This mimics the behavior of the half speed or double speed tape switches found on
some Mellotron models, but enhances these facilities by enabling independent octave
control for each sound layer.
• Layer Blend knob and field: Set the level balance between instrument sound 1 and 2.
Set to the full left or right position to hear layer 1 or layer 2 in isolation.
• Tape Speed knob and field: Set the tape speed for all notes. This mimics the tonal
fluctuations caused by this control on the original instrument.
• Tone knob and field: Rotate to the right to reduce bass and to make the sound
brighter and more nasal. Rotate to the left to reduce brightness, making the sound
warmer and more mellow.
• Volume knob and field: Set the overall output level of Vintage Mellotron.
• Attack slider and field: Set the time required for the signal to reach the initial signal
level, known as the sustain level. Not available on the original instrument.
• Release slider and field: Set the time it takes for the signal to fall from the sustain level
to a level of zero, after releasing a key. Not available on the original instrument.
Logic Pro User Guide for iPad 914
• Pitch Bend Range knob and field: Set the pitch bend range in semitone steps. This
allows you to use the pitch bend controller of your keyboard to bend Vintage Mellotron
pitch. Not available on the original instrument.
• Fixed Velocity button: Turn on to ignore incoming note velocity information from your
MIDI keyboard or a MIDI region.
This mimics the behavior of the original instrument which was not velocity sensitive.
Synth basics
Intro to synthesizers
If you're new to synthesizers, this appendix will help you understand the basics of sound
itself and how this applies to synthesizers.
Important facts about synthesizers are discussed and explained, including the differences
between analog, digital, and virtual analog synthesizers. You will also be introduced to
the major synthesizer terms as you learn about the basic workings of these hardware- or
software-based devices.
This appendix is not a detailed, scientific treatise on the inner workings and mathematical
theories of synthesis. It is a basic guide to what you need to know, including some extras
that are useful to know.
Experiment with ES1, ES2, Retro Synth, and other instruments while you read. Seeing and
using the parameters and other elements that are discussed will help you understand the
conceptual and practical aspects of synthesizers. See Intro to plug-ins.
Note: Information that references built-in instruments is based on features available in
Logic Pro for Mac.
Sound basics
Sound basics overview
Prior to considering any of the sound-generating components found in a synthesizer, it’s
important that you understand sound itself.
Technically, sound is the conversion of physical energy—such as a hand clap—to an air
pressure disturbance. This change in air pressure is transmitted as a series of vibrations—a
sound wave—through the air. Sound vibrations can also be transmitted through other
matter, such as a wall or floor.
Logic Pro User Guide for iPad 915
If the vibrations follow a periodic pattern, the sound is said to have a waveform.
The figure above shows an oscillogram—a graphical representation—of a sine wave, the
simplest and purest kind of waveform.
If the vibrations do not follow a discernible pattern, the sound is called noise.
A repetition of a waveform—each peak and trough in the oscillogram—is known as a cycle.
The number of cycles that occur per second determines the basic pitch of the waveform—
commonly known as the frequency. Most instruments provide an oscillator frequency
control, measured in hertz (Hz), that determines the number of cycles per second—and
therefore the basic pitch of your sound.
Logic Pro User Guide for iPad 916
Tones, overtones, harmonics, and partials
The base, or core, frequency of a sound is known as its fundamental tone.
The waveforms of all sounds, apart from a basic sine wave, consist of the fundamental tone
and many other tones of different frequencies.
Non-fundamental tones that are whole-number multiples of the fundamental tone are
known as overtones or harmonics. A tone with a frequency that is a fraction of the
fundamental tone is referred to as a subharmonic.
• The fundamental tone is referred to as the first harmonic. This is generally louder than
the other harmonics.
• A tone played at twice the frequency of the first harmonic is called the second harmonic.
• A tone played at four times the frequency of the first harmonic is called the fourth
harmonic, and so on.
Each of these harmonics has a timbral quality that is different from that of the fundamental
tone. In general, harmonics that can be multiplied or divided by a whole number, such as
octaves, odd-numbered or even-numbered harmonics, and so on, sound more “musical.”
Tones that cannot be multiplied or divided by a whole number are known as inharmonic
overtones, or partial tones. When you combine a number of these inharmonic overtones, it
tends to sound “noisy.”
Non-fundamental tones that are multiplied by fractional amounts—not whole numbers—are
called partials.
The frequency spectrum
A fundamental tone, when combined with various harmonics of different levels, is
perceived as a sound. The level relationships between these sonic elements change
over time (controlled by envelopes, as described in Amplifier envelope overview). The
combination of a number of harmonics is referred to as the harmonic spectrum or, more
commonly, the frequency spectrum.
The frequency spectrum shows all individual sonic elements in a sound. It is shown low
to high and runs from left to right over time. The respective levels of all harmonics are
reflected vertically, with taller spikes indicating higher levels.
The illustration shows the level and frequency relationships between the fundamental tone
and the harmonics at a particular moment in time. These relationships constantly change
over time, which results in continuous changes to the frequency spectrum and, therefore,
changes to the sound.
Logic Pro User Guide for iPad 917
Other waveform properties
In addition to frequency, other properties of sound waves include amplitude, wavelength,
period, and phase.
• Amplitude: The amplitude of a waveform indicates the amount of air pressure change. It
can be measured as the maximum vertical distance from zero air pressure, or “silence”
(shown as a horizontal line at 0 dB in the illustration). Put another way, amplitude is the
distance between the horizontal axis and the top of the waveform peak, or the bottom
of the waveform trough.
• Wavelength: The wavelength is the distance between repeating cycles of a waveform of
a given frequency. The higher the frequency, the shorter the wavelength.
• Period: The wave period is the amount of time it takes to complete one full revolution of
a waveform cycle. The higher and faster the frequency, the shorter the wave period.
• Phase: Phase compares the timing between waveforms and is measured in degrees—
from 0 to 360.
When two waveforms begin at the same time, they are said to be in phase or phase-
aligned. When a waveform is slightly delayed in comparison to another waveform, the
waveforms are said to be out of phase.
Note: It is difficult to discern a constant phase difference over the entire wave period,
but if the phase of one of the waveforms changes over time, it becomes audible. This is
what happens in common audio effects such as flanging and phase shifting.
When you play two otherwise identical sounds out of phase, some frequency
components—harmonics—can cancel each other out, thereby producing silence in those
areas. This is known as phase cancelation, and it occurs where the same frequencies
intersect at the same level.
Logic Pro User Guide for iPad 918
Fourier theorem and harmonics
According to the Fourier theorem, every periodic wave can be seen as the sum of sine
waves with certain wave lengths and amplitudes, the wave lengths of which have harmonic
relationships—that is, ratios of small numbers. Translated into more musical terms,
this means that any tone with a certain pitch can be regarded as a mix of sine tones
consisting of the fundamental tone and its harmonics, or overtones. For example, the
basic oscillation—the fundamental tone or first harmonic—is an “A” at 220 Hz, the second
harmonic has double the frequency (440 Hz), the third harmonic oscillates three times as
fast (660 Hz), the next harmonics four and five times as fast, and so on.
Synthesizer fundamentals
Sound synthesis is the electronic production of sounds—starting from basic properties
such as sine tones and other simple waves.
Synthesizers are so named because they can emulate, or synthesize, a wide variety of
sounds—such as the sound of another instrument, a voice, a helicopter, a car, or a barking
dog. Synthesizers can also produce sounds that don’t occur in the natural world. The
ability to generate tones that cannot be created in any other way makes the synthesizer a
unique musical tool.
The simplest form of synthesizer would be a basic sine wave generator that provided little
or no control over pitch. Such a synthesizer would not be able to synthesize anything
except a sine wave. Combining multiple sine generators with pitch control, however, can
produce interesting and useful tones.
In a synthesizer, the task of tone generation falls to a component known as an oscillator.
Most synthesizer oscillators generate harmonically rich waveforms such as sawtooth,
triangle, square, and pulse waves, in addition to sine waves. These waveform names are
based on the resemblance of their respective shapes to a tooth on the blade of a saw, to
a triangle, to a square, and so on. For information about the most common synthesizer
waveforms, see Oscillators.
Sculpting the fundamental tone and related harmonics into another sound is achieved
by routing the signal from one component, also known as a module, to another in the
synthesizer. Each module performs a different job that affects the source signal.
In a modular synthesizer, signal routing is achieved by physically cabling modules to
each other. In most modern synthesizers the signal routing between modules is internally
prewired and is typically changed using switches, knobs, and other controls.
For a discussion of synthesizer components and their interaction with each other to control
and shape sound, see How subtractive synthesizers work.
Synthesizers have existed far longer than you might imagine. In the days that preceded
the use of digital technology, all electronic synthesizers were analog. Prior to the use of
electricity, synthesizers were mechanical. There are significant differences between analog
and digital synthesizers:
• Analog: An analog synthesizer combines voltage-controlled circuits—such as oscillators,
filters, and amplifiers—to generate and shape sounds. The amount of voltage is typically
related directly to the waveform pitch, with higher voltages equaling higher pitches.
• Digital: In a digital synthesizer, the signal flow is digital. Binary descriptions of the
signal—a string of zeros and ones—are fed from one algorithm to another.
Logic Pro User Guide for iPad 919
• Hybrid analog and digital synthesizers: Some synthesizer designs feature digital
oscillators that generate signals—using binary descriptions of waveforms. The digital
oscillator signal is then sent to analog filters and amplifiers. The main advantage of this
approach is that digital oscillators don’t drift in pitch, which is a common problem in
analog oscillators.
• Virtual analog: A virtual analog synthesizer is a digital synthesizer that mimics the
architecture, features, and peculiarities of an analog synthesizer. The behaviors and
functions of the oscillators, filters, and other modules that you would find in an analog
synthesizer are emulated by computer algorithms.
ES1 is a virtual analog synthesizer. Its virtual signal flow is that of a typical analog
synthesizer, but all components and signal processing—the virtual oscillators, filters, and
so on—are calculated by the central processing unit (CPU) of your computer.
ES1 emulates some of the idiosyncrasies of particular analog circuits—in cases where
they tend to sound nice—such as high oscillator levels overdriving the filter. Other analog
synthesizer phenomena, such as slowly drifting out of tune (as the instrument heats up),
are not simulated. See ES1 overview.
Virtual analog synthesizers have other advantages over their analog counterparts as
well. They are programmable, which means that you can save sound settings; they can
be automated, so you can record and play back fader and knob movements; and they are
often multi-timbral, which allows you to play different sounds at the same time, on different
instrument channels. Aspects such as polyphony—the ability to play multiple notes—and
velocity sensitivity are found in most virtual analog synthesizers but in very few analog
instruments.
Subtractive synthesizers
How subtractive synthesizers work
There are many approaches to sound creation with a synthesizer. See Other synthesis
methods overview. There are also numerous differences between synthesizer models,
but most follow a fundamentally similar architecture and signal flow that is based on
subtractive synthesis principles.
According to legend, when Michelangelo was asked how he managed to carve David out of
a block of stone, he replied, “I just cut away everything that doesn’t look like David.”
In essence, this is how subtractive synthesis works. You filter, or cut away, parts of the
sound that you don’t want to hear. In other words, you subtract parts of the frequency
spectrum, consisting of the fundamental tone and associated harmonics.
Subtractive synthesis assumes that an acoustic instrument can be approximated with a
simple oscillator that can produce waveforms with different frequency spectrums. The
signal is sent from the oscillator to a filter that represents the frequency-dependent losses
and resonances in the body of the instrument. The filtered (or unfiltered) signal is shaped
over time by the amplifier section of the synthesizer.
The distinctive timbre, intonation, and volume characteristics of a real instrument can
theoretically be recreated by combining these components in a way that resembles the
natural behavior of the instrument you’re trying to emulate.
Logic Pro User Guide for iPad 920
In reality, however, subtractive synthesizers aren’t perfect at emulating real-world
instruments. No synthesized clarinet is going to be mistaken for a real clarinet—particularly
when compared with sample playback instruments like Alchemy or Sampler, which are able
to recreate real instruments far more convincingly by using multi-gigabyte sound libraries.
The true strength of subtractive synthesizers is that they offer a unique sound palette of
their own.
Subtractive synthesizer components
The front panel of most subtractive synthesizers provides similar signal-generating and
processing modules—coupled with a number of modulation and control modules. The
signal-generating and processing modules typically run from left to right, mirroring the
synthesizer signal flow.
Signal-generating and processing components
• Oscillators: Generate the basic signal. This is usually a waveform that is rich in
harmonics. See Oscillators. Many synthesizers provide more than one oscillator, and
almost all synthesizer oscillators can generate several waveform types.
• Filter section: Used to alter the basic signal by filtering out (removing) portions of the
frequency spectrum. Many synthesizers have a single filter that is applied universally to
all oscillator signals. Multioscillator synthesizers can provide multiple filters, allowing
each oscillator signal to be filtered in a different way. See Filters overview.
• Amplifier section: Used to control the level of the signal over time. The amplifier has a
module known as an envelope, which is divided into several elements that provide level
control for the beginning, middle, and end portions of your sound. Simple synthesizers
generally have a single envelope, which is used to control the oscillator (and filter)
over time. More complex synthesizers can provide multiple envelopes. See Amplifier
envelope overview.
Modulation and control components
• Modulators: Used to modulate the signal-generating and processing components.
Modulations can be machine-based—automatically generated by a synthesizer
component—or can be manually activated by using the modulation wheel, for example.
Most synthesizers have a component called an LFO (low frequency oscillator) to provide
a waveform that modulates the signal. See Modulation overview.
• Global controls: Set the overall characteristics of your synthesizer sound, such as
tuning, glides between notes, pitch bends, and monophonic or polyphonic playback.
See Global controls.
Logic Pro User Guide for iPad 921
Oscillators
The audio signal of a synthesizer is generated by the oscillator. You can choose from a
selection of waveforms that contain various types and amounts of harmonics. The level
relationships between the fundamental tone and the harmonics of the chosen waveform are
responsible for the basic sound color or timbre.
Waveform types
• Sine wave: Clean and clear-sounding, a sine wave contains only the first harmonic; in
other words, it is the fundamental tone. The sine wave, used alone, can create “pure”
sounds like whistles, the sound of wet fingers on the rim of a glass, tuning forks, and so
on.
• Sawtooth wave: Clear and bright-sounding, a sawtooth wave contains both odd and
even harmonics, as well as the fundamental tone. It is ideal for creating string, pad,
bass, and brass sounds.
• Square and pulse waves: Hollow and woody-sounding, a square wave can contain a
wide range of odd harmonics, as well as the fundamental tone. It is useful for creating
reed instruments, pads, and basses. It can also be used to emulate kick drums, congas,
tom-toms, and other percussive instruments—often when blended with another
oscillator waveform, such as noise.
Logic Pro User Guide for iPad 922
The square wave can be reshaped to make the waveform cycles, or pulses, more
rectangular, by using a pulse width modulation (PWM) control. The more rectangular
the wave becomes, the more nasal it sounds. When modulated in this way, the square
wave is known as a pulse wave, and contains fewer harmonics. It can be used for reeds,
basses, and brass sounds.
• Triangle wave: A triangle wave contains only odd harmonics, as well as the fundamental
tone. The higher harmonics of the triangle wave roll off faster than those of a square
wave, making the triangle wave sound softer. It is ideal for creating flute sounds, pads,
and vocal “oohs.”
• Noise: white, pink and red, blue: Noise is useful for emulating percussive sounds, such
as snare drums, or wind and surf sounds. There are more noise wave colors than those
listed, but they are rarely found in synthesizers.
• White noise: The most common noise waveform found on synthesizers. White noise
contains all frequencies—at full level—around a center frequency.
Logic Pro User Guide for iPad 923
• Pink and red noise: These noise colors also contain all frequencies, but they are not
at full level across the frequency spectrum. Pink noise decreases the level of higher
frequencies by 3 dB per octave. Red noise decreases the level by 6 dB per octave.
• Blue noise: Blue noise is inverse pink noise, and increases the level of all frequencies
in higher octaves by 3 dB.
You can deform the basic waveforms to create new waveforms, which results in a different
timbre, or tonal color, thus expanding the palette of sounds you can create.
There are many ways to reshape a waveform, the most common of which is changing
the pulse width of a square wave. Other ways include changing the phase angle, moving
the start point of a waveform cycle, or combining multiple waveforms in multioscillator
synthesizers.
When waveforms are reshaped in these and other ways, the relationships between the
fundamental tone and other harmonics change, thus altering the frequency spectrum and
the basic sound being produced.
Filters
Filters overview
The purpose of the filter in a subtractive synthesizer is to remove portions of the signal—
the frequency spectrum—sent from the oscillators. After filtering, a brilliant-sounding
sawtooth wave can become a smooth, warm sound without sharp treble.
The filter sections of most subtractive synthesizers contain two primary controls known
as cutoff frequency—often abbreviated to cutoff—and resonance. Other common filter
parameters are drive and slope. The filter section of most synthesizers can be modulated
by envelopes, LFOs, the keyboard, or other controls such as the modulation wheel. See
Modulation overview.
Logic Pro User Guide for iPad 924
Basic filter types
There are several basic filter types. Each has a different effect on various portions of the
frequency spectrum.
• Highpass filter: High frequencies are passed; low frequencies are attenuated.
• Lowpass filter: Low frequencies are passed; high frequencies are attenuated.
• Bandpass filter: Only frequencies within a frequency band are passed.
• Band reject filter: Only frequencies within a frequency band are attenuated. This filter
type is also known as a notch filter.
• Allpass filter: All frequencies in the spectrum are passed, but the phase of the output is
modified.
Cutoff frequency
The cutoff frequency, or cutoff, determines where the signal is cut off. Simpler
synthesizers have only lowpass filters. If a signal contains frequencies that range from 20
to 4000 Hz and the cutoff frequency is set at 2500 Hz, frequencies above 2500 Hz are
filtered. The lowpass filter allows frequencies below the cutoff point of 2500 Hz to pass
through unaffected.
The figure below shows a sawtooth wave. The filter is open, with cutoff set to its maximum
value. In other words, this waveform is unfiltered.
Logic Pro User Guide for iPad 925
The figure below shows a sawtooth wave with the filter cutoff near a 50% value. This filter
setting results in suppression of the higher frequencies and a rounding of the edges of the
sawtooth waveform, making it resemble a sine wave. This setting makes the sound softer
and less “brassy.”
This example illustrates how using a filter to cut away portions of the frequency spectrum
alters the waveform shape, thus changing the timbre of the sound.
Resonance
The resonance control emphasizes or suppresses signals around the cutoff frequency.
The figure below shows an ES1 sawtooth wave with a high resonance setting and the cutoff
frequency set to 660 Hz.
This resonant filter setting results in much brighter and harsher signals close to the cutoff
frequency. Frequencies below the cutoff point are not affected.
The result of using filter resonance is a change in the basic waveform shape and, therefore,
the timbre of the sound.
Very high filter resonance settings can cause the filter to self-oscillate, resulting in the
filter generating an audible sine wave.
Logic Pro User Guide for iPad 926
Filter drive
Filter drive adds an amount of gain to the waveform as it enters the filter—an input gain
control—overdriving the filter and distorting the waveform. This waveform distortion
changes the timbre of the sound, making it harsher.
The figure shows an unfiltered sawtooth wave, with drive set to a value of 80%. Note the
wave cycles touching the floor and ceiling of the filter dynamic range.
Filter slope
A filter cuts off the signal at the specified cutoff frequency. This cutoff doesn’t happen
abruptly but rather at a given slope, which is measured in decibels (dB) of gain reduction
per octave. You can define how steep the “cliff” is at the cutoff point by choosing a severe
or gentle slope.
Logic Pro User Guide for iPad 927
Envelopes in the amplifier
Amplifier envelope overview
The amplifier module of a synthesizer is responsible for controlling the level, or loudness,
of the signal over time.
Consider the sound of a violin, for example. The sound slowly ramps up to a peak, or
maximum, level as the bow is dragged across a string, then it is sustained for a period until
the bow is moved away from the string, at which point it cuts off abruptly.
In contrast to the violin example, hitting a snare drum with a drumstick results in a very fast
peak level with no sustain portion, then the sound immediately dies out—although there is
some decay, the time it takes to fall from the peak level.
These two sounds clearly have different characteristics over time.
Synthesizers emulate these sonic characteristics by providing control over different parts—
the beginning, middle, and end—of the sound level over time. This control is achieved using
a component called an envelope generator.
Note: Envelope generators are not limited to controlling signal amplitude. They can
also control the rise and fall of the filter cutoff frequency or they can modulate other
parameters. In short, envelope generators can be used as a modulation source—or as a
“remote control” for a given parameter. See Modulation overview.
Attack, decay, sustain, and release
The oscillogram of a percussive tone shown below illustrates the level rising immediately
to the top of its range and then decaying. If you drew a box around the upper half of the
oscillogram, you could consider it the “envelope” of the sound—an image of the level as a
function of time. The role of the envelope generator is to set the shape of this envelope.
The envelope generator usually features four controls—Attack, Decay, Sustain, and
Release, commonly abbreviated as ADSR.
Logic Pro User Guide for iPad 928
Envelope controls
• Attack: Sets the time it takes for the signal to rise from an amplitude of 0 to 100% (full
amplitude).
• Decay: Sets the time it takes for the signal to fall from 100% amplitude to the
designated sustain level.
• Sustain: Sets the steady amplitude level produced when a key is held down.
• Release: Sets the time it takes for the sound to decay from the sustain level to an
amplitude of 0 when the key is released.
Note: If a key is released during the attack or decay stage, the sustain phase is usually
skipped. A sustain level of 0 produces a piano-like—or percussive—envelope, with no
continuous steady level, even when a key is held.
Modulation
Modulation overview
Without modulation, sounds tend to be uninteresting and fatiguing to the ear. They also
sound synthetic, rather than natural, in the absence of some type of sonic modulation.
Vibrato is a type of modulation commonly used by orchestral string players to add
animation to their instrument pitch.
To make sounds less static, you can use a range of synthesizer controls to modulate basic
sound parameters. To this end, many synthesizers, including ES2 and Quick Sampler,
provide a modulation router. Sculpture provides further unique modulation options.
The router enables you to direct, or route, one or more modulation sources (the parameter
or control that is modulating another parameter) to one or more modulation targets (the
parameter being modulated).
You can affect modulation targets, such as oscillator pitch or filter cutoff frequency, by
using modulation sources that include the following:
• Velocity modulation: You can modulate a target in different ways with the impact of your
keyboard playing (harder or softer). The most common example of modulation controller
use is a velocity-sensitive keyboard, set to control the filter and level envelopes. The
harder you strike the notes, the louder and brighter the sound is.
• Key scaling: You can modulate a target in different ways by adjusting the position you
play on the keyboard (low or high notes). Keyscale modulation is often used to control
filter cutoff, resonance, or both; higher notes sound brighter than low notes. This
emulates the behavior of many acoustic instruments.
• Controls: You can use controls such as the modulation wheel, ribbon controllers, or
pedals attached to your keyboard. The modulation wheel is most commonly used for
pitch bends during performance.
• Automatic modulation: You can use envelope generators or LFOs to modulate signals
automatically. The most common LFO modulations are control of the pitch or level of a
sustained note, resulting in a vibrato or tremolo.
Modulation sources can be—and often are—triggered by something you’ve done, such as
playing a note on the keyboard or moving the modulation wheel.
The modulation wheel, pitch bend ribbons, foot pedals, keyboard, and other input options
are referred to as modulation controllers, MIDI controllers, or just controllers.
Logic Pro User Guide for iPad 929
Modulation routing in ES1 and ES2
ES1 and ES2 provide an easy way to route a control—a modulation source—to part of the
sound engine—a modulation target.
ES1 modulation routing
You create an ES1 modulation routing by selecting a modulation target.
• The modulation target can be controlled, in amount, with the modulation wheel of your
keyboard.
• The target you select in the Destination pop-up menu dynamically responds to keyboard
velocity.
• The amount, or range, of this modulation is determined by the two sliders, Wheel Min
and Wheel Max. These determine the minimum and maximum amount of modulation.
ES2 modulation routing
ES2 provides ten modulation routings, in Mod Matrix Slots. Each routing is quite similar to
the modulation controls found in ES1.
In the routing shown above:
• The modulation target is Pitch123. The pitch—the Frequency parameter—of Oscillators
1, 2, and 3 is affected by LFO2, the modulation source.
• LFO2 is the modulation source. The two sliders beside the Source and Target pop-up
menus indicate the modulation amount. To make the modulation more intense, drag the
slider handles, thereby increasing the range of the modulation amount. The Amount
Via slider determines the maximum amount of modulation, and the Amount slider
determines the minimum amount of modulation.
Logic Pro User Guide for iPad 930
• The Via control is the ModWhl. Its range is determined by the sliders. The amount of
modulation is directly controlled with the modulation wheel of your keyboard. When
the modulation wheel is at the minimum setting, at the bottom of its travel, the amount
of oscillator pitch modulation is minimal, or off (no modulation). As you move the
modulation wheel upward, the frequency of all three oscillators is directly controlled by
the LFO (within the range determined by the sliders).
Common modulation sources
The main envelope generator of the synthesizer not only controls levels over time, but it
also is often used to modulate other sound parameters when you press or release keyboard
keys. Many synthesizers, such as ES2, feature multiple envelope generators.
The most common use of envelope modulation is to control the filter cutoff and resonance
parameters with the keyboard velocity or keyboard scaling modulation sources (see
Modulation overview).
A modulation source found on nearly all synthesizers is the LFO (low frequency oscillator).
This oscillator is used only as a modulation source and does not generate any audible
signals that form part of your actual synthesizer sound, because it’s too low to be heard. It
can, however, affect the main signal by adding vibrato, filter sweeps, and so on.
Common LFO controls
• Waveform: Allows you to choose the type of waveform—triangle waves and square
waves are common.
• Triangle waves are useful for filter sweeps—slow changes to the filter cutoff
frequency—or when simulating an ambulance siren—slow changes to the oscillator
frequency.
• The square waveform is useful for rapid switches between two different pitches,
such as vibratos or octaving.
• Frequency/Rate: Determines the speed of the waveform cycles produced by the LFO.
When it is set to low values, very slow ramps are produced, making it easy to create
sounds such as ocean waves rolling in—when white noise is chosen as the waveform in
the main oscillator.
• Sync mode: Allows you to choose between free running—a user-defined LFO rate—or
synchronization with the project tempo.
• LFO Envelopes: The LFO can also be controlled with an envelope generator in some
synthesizers. For example, imagine a sustained string section sound where vibrato is
introduced a second or two into the sustained portion of the sound. If this can happen
automatically, it allows you to keep both hands on the keyboard. Some synthesizers
include a simple LFO envelope generator for this purpose. Often, this envelope consists
only of an attack parameter—some may also include decay or release options. These
parameters perform in the same way as the amplitude envelope parameters (see Attack,
decay, sustain, and release), but they are limited to control of LFO modulations.
Logic Pro User Guide for iPad 931
Global controls
Global controls affect the overall output signal of your synthesizer.
Common global controls
• Level or Volume: Sets the overall loudness of your sound. This control is the master
output volume control of your synthesizer.
• Tune: Sets the overall pitch of your sound—typically in semitone steps. Many Logic Pro
instruments provide additional fine-tuning in cents; a hundredth of a semitone.
• Glide (portamento): Sets the amount of time that it takes for one note pitch to slide up
or down to another note pitch. This control is useful for emulating wind instruments that
slide from note to note, rather than move directly to another clear and distinct pitch.
• Bender/bend range: Bends the pitch—the oscillator frequency—up or down. This control
is generally hard-wired to a pitch bend wheel on a keyboard. As the name suggests,
moving the wheel up or down from its centered position bends the pitch up or down.
The Bender/Bend Range parameter usually has an upper and lower limit of one octave
but is typically set to around three semitones up or down. This setting is ideal for
emulating small (or extreme) pitch fluctuations that occur in some instruments—such as
when moving between notes with a trumpet, or bending the strings during a guitar solo.
• Voices: Sets an upper limit to the number of notes that can be played at a given time.
Producing notes simultaneously is known as the polyphony—literally, “many voices”—of
the instrument. The Voices parameter sets an upper limit to the number of notes that
can be produced simultaneously.
• Unison: Used to “stack” voices—with the unison voice being heard one octave above
the frequency of the played note. Because two voices are being used when you play
a note, unison has two effects—it makes the sound richer and fuller, and it halves the
polyphony.
• Trigger mode: Determines how the polyphony of the instrument is handled when
the number of notes played exceeds the number of available voices. Trigger mode
also allows you to assign legato mode. Essentially, this control changes the way the
synthesizer responds to your playing technique. It is invaluable when you’re emulating
monophonic instruments, such as flutes, clarinets, and trumpets. When you use the
trigger mode control and assign a last note priority, the played note is cut off by playing
another note.
• Last note priority: When new notes are triggered while all voices are playing, the
synthesizer frees up polyphony (voices) by ending the notes played earliest. This is
the default trigger mode of Logic Pro synthesizers when in a monophonic mode.
• First note priority: Notes played earlier are not stopped. In this mode you need to
stop playing notes in order to play a new one after you have reached the limit of the
polyphony (voices) of the instrument.
Note: The trigger mode parameter can also allow you to set priorities for lower- or higher-
pitched notes when playing monophonically (one voice at a time) in some synthesizers,
such as Alchemy.
There are many other global controls found on different synthesizer models that have an
impact on your overall sound.
Logic Pro User Guide for iPad 932
Other synthesis methods
Other synthesis methods overview
There are many ways to create sounds, using different technologies and approaches to
synthesis. This section covers all main methods, with reference to Logic Pro instruments
where applicable.
Many of the methods described incorporate at least some elements of the subtractive
synthesis design. See How subtractive synthesizers work.
• Sample-based synthesis
• Frequency modulation (FM) synthesis
• Component modeling synthesis
• Wavetable, Vector, and LA synthesis
• Additive synthesis
• Spectral synthesis
• Resynthesis
• Phase distortion synthesis
• Granular synthesis
Sample-based synthesis
Sample-based synthesis, which is sometimes known as Pulse Code Modulation (PCM), or
sampling and synthesis (S&S) synthesis, is differentiated from subtractive synthesis mainly
by the use of samples in place of oscillator waveforms.
The samples—digital recordings of existing sounds—are mapped across the keyboard.
Typically, each sample is mapped to a note in the center of a keyboard range that spans
a few notes that are unique to that sample. The reason for this limited range of notes is
that samples tend to sound much less like the source sound if played more than a few
notes higher or lower than the original pitch—due to the relationship between the pitch and
playback speed of samples.
The pitch of each sample isn’t changed with a frequency control, unlike the oscillator
waveform of a synthesizer. Rather, a sample is played back at a faster or slower speed
to alter its pitch, which has a corresponding impact on the sample playback time. For
example, a sample played back at twice the speed requires half the time to play through.
The Logic Pro for Mac version of Sampler is a sample player that can be used much like
a sample-based synthesizer, due to the subtractive synthesis features that it offers. The
Logic Pro for Mac version of Alchemy can also be used in this way, but adds additive and
spectral resynthesis features that can result in very different sounds than are possible with
subtractive synthesis techniques. Alchemy also provides a granular synthesis engine that
offers further sample manipulation options, again extending the potential sonic outcome.
See Resynthesis and Granular synthesis.
Popular instruments that use the sample-based synthesis approach include the Korg M1,
O1/W, and Triton; the Roland JV/XP instruments; the Yamaha Motif series; and many others.
Logic Pro User Guide for iPad 933
Frequency modulation (FM) synthesis
FM synthesis uses a modulator oscillator and a sine wave carrier oscillator. The modulator
oscillator modulates the frequency of the waveform generated by the carrier oscillator
within the audio range, thus producing new harmonics. These harmonics are known as
sidebands.
Where there is a mathematical relationship between the carrier and modulator waveforms,
the sound produced is harmonic. Where the modulator is a non-integer multiple of the
carrier waveform, inharmonic sidebands are produced, resulting in an inharmonic sound.
Typically, FM synthesizers don’t incorporate a filter. You can generate some subtractive
synthesizer style sounds with FM synthesis, but it is difficult to recreate the sound of a
resonant subtractive synthesizer filter using this method. FM synthesis is extremely good,
however, at creating sounds that are difficult to achieve with subtractive synthesizers—
sounds such as bell timbres, metallic tones, and the tine tones of electric pianos. Another
strength of FM synthesis is punchy bass and synthetic brass sounds.
The EFM1 and Retro Synth FM synthesizers can produce many of the classic FM sounds
made famous by the Yamaha DX series of synthesizers. The DX7, sold from 1983 to 1986,
remains the most commercially successful professional-level hardware synthesizer ever
made. The Retro Synth FM synthesizer adds a filter section and other features to the FM
engine, opening up a much broader range of potential sounds.
ES2 also features some FM techniques that allow you to modulate one oscillator with
another. You can use these FM techniques to partially bridge the gap between the digital
sound of FM synthesis and the fat analog sound that ES2 is noted for.
Component modeling synthesis
Also known as physical modeling, this synthesis method uses mathematical models to
simulate instruments. Parameters are used to describe the physical characteristics of
an instrument, such as the materials the instrument is made of, the dimensions of the
instrument, and the environment it is played in—under water, or in the air, for example.
Equally important are descriptions of how the player would interact with the instrument—
whether it is played by blowing; by plucking, bowing, or strumming strings; by hitting it with
sticks; by placing fingers on sound holes, and so on.
Logic Pro User Guide for iPad 934
To model a drum sound, for example, the following aspects need to be taken into account.
Of primary importance is the actual drum strike—how hard it is and whether the drumhead
is struck with a wooden stick, a mallet, a beater, and so on. The properties of the drumhead
(the skin or membrane) include the kind of material, its degree of stiffness, its density,
its diameter, and the way it is attached to the shell of the drum. The volume of the drum
cylinder itself, its material, and the resonance characteristics of all of the above need to be
mathematically described.
To model a violin, you need to take into account the bow against the string, the bow width
and material, the bow tension, the string material, the string density, the string tension,
the resonance and damping behavior of the strings, the transfer of string vibrations
through the bridge (materials, size, and shape of the bridge), and the materials, size,
and resonance characteristics of the violin body. Further considerations include the
environment that your modeled violin is played in and the playing style—“hammering” or
tapping with the bow as opposed to drawing it across the strings.
The Sculpture component modeling synthesizer can produce convincing recreations of
acoustic (and electronic) instruments. It is also exceptionally good at creating atmospheric,
constantly evolving pad sounds. Other instruments that include physical modeling
components and techniques are: Vintage B3, Vintage Clav, and Vintage Electric Piano.
Wavetable, Vector, and LA synthesis
Wavetable synthesis uses a number of different single-cycle waveforms, laid out in what is
known as a wavetable.
Playing a note on the keyboard triggers a predetermined sequence of waves. In general,
this is not a stepped transition but rather a smooth blend from one waveform into another,
resulting in a constantly evolving waveform. Multiple wavetables can also be used
simultaneously—either played one after the other, or blended together—resulting in more
harmonically complex waveforms.
A single wavetable can emulate filter cutoff with a series of bright, less bright, then dull-
sounding waveforms played in sequence—which resembles a reduction of the filter cutoff
frequency in a subtractive synthesizer.
Wavetable synthesis isn’t well-suited for emulating acoustic instruments. It is noted for
producing constantly evolving sounds; harsh and metallic, or bell-like sounds; punchy
basses; and other digital tones.
Wavetable synthesis was championed by the PPG and Waldorf instruments. ES2 and Retro
Synth include a number of wavetable features. Logic Pro for Mac Alchemy and Sample
Alchemy take this a step further with granular synthesis, which shares some aspects with
wavetable synthesis. See Granular synthesis.
Roland LA (Linear Arithmetic) synthesizers such as the D-50 work on a similar principle. In
these synthesizers, complex sampled attack phases are combined with simple sustain or
decay phases to create a sound. In essence, this is a simple wavetable that consists of two
samples.
Where LA and wavetable synthesizers differ is that the latter were designed to create
new, original, digital sounds. LA synthesizer designers, in contrast, wanted to emulate real
instruments using a minimum of memory. To achieve this goal, they combined samples of
the attack phase—the crucial part of a sound—with appropriate decay and sustain phases
that were played with filtered sawtooth or pulse waves.
Logic Pro User Guide for iPad 935
Vector synthesis—used in the Sequential Circuits Prophet-VS and Korg Wavestation—allows
you to move through wavetables and sequences arranged on a two-dimensional grid (two
different vectors, or less technically, on the X or Y axis). The main benefit of this approach
is that the balance between samples and waves is achieved in real time by moving a
joystick. You can also use ES2 to perform vector synthesis by modulating the Oscillator Mix
parameter with the Vector Envelope.
Additive synthesis
Additive synthesis could be considered the reverse approach to subtractive synthesis. See
Sound basics overview, Tones, overtones, harmonics, and partials, and How subtractive
synthesizers work.
To obtain an insight into the additive synthesis method, consider the fact that all sounds
are a sum of various sine tones and harmonics.
In additive synthesis, you start out with nothing and build a sound by combining multiple
sine waves of differing levels and frequencies. As more sine waves are combined, they
begin to generate additional harmonics. In most additive synthesizers, each set of sine
waves is viewed and used much like an oscillator.
Depending on the sophistication of the additive synthesizer you’re using, you will either
have individual envelope control over the level and pitch of each sine wave, or you will be
limited to envelope control over groups of sine waves—one envelope per sound and its
harmonics, or all odd or all even harmonics, for example. In practical terms, working with
groups of related harmonics is the best approach due to the mathematical relationships
between them and the impact this has on the overall tone when adjusting them en masse,
rather than individually.
Logic Pro for Mac Alchemy can be used as a true additive synthesizer, where you create
sounds from scratch with sine waves, with full control of the level, pitch, and pan position
of each harmonic. Logic Pro for Mac Alchemy and Sample Alchemy also allows you to
resynthesize imported samples with additive (and spectral) synthesis techniques. See
Resynthesis.
Some aspects of the additive synthesis approach are also used in Vintage B3 and other
drawbar organs. In Vintage B3 you start with a basic tone and add harmonics to it, to
build up a richer sound. The level relationships between the fundamental tone and each
harmonic are determined by how far you pull each drawbar out. Because Vintage B3
doesn’t provide envelope control over each harmonic, it is limited to organ emulations.
Spectral synthesis
Spectral (modeling) synthesis lets you build a sound by combining multiple (sine wave)
harmonics and filtered noise signals. This synthesis method shares many underlying
principles with vocoders, but tracks peaks in the overall spectrum, rather than individual
amplitudes and frequencies in the signal.
Logic Pro User Guide for iPad 936
Logic Pro for Mac Alchemy and Sample Alchemy provides a flexible spectral synthesis
implementation, known technically as multiresolution sinusoidal modeling. In other words,
a custom filter bank is used to analyze peaks (and other elements) in the frequency
spectrum of the signal. Harmonic components, based on the spectral analysis, are modeled
as a combination of sine waves and white noise passed through a filter that changes over
time. The noise components are typically used to model “percussive” elements such as a
piano strike or a speech fricative in a vocal sample, for example. The (sine wave) harmonic
components are used to model the piano note or remainder of the vocal sound. The output
of the modeled sound is a combination of the frequencies and levels of the detected
harmonic components and the noise signal passed through a time-variable filter.
The spectral synthesis engine in Alchemy can be used to create sounds from scratch, by
drawing or painting in the spectral edit window. You can also import and convert an image
file into a spectrogram (an image of the frequency spectrum) in the spectral edit window.
You can then edit this converted image with the drawing and painting tools. Alchemy
analyzes the spectrogram and replaces peaks and percussive components with sine
harmonics and filtered noise elements to create a sound.
Alchemy can also break imported samples down into “spectral bins,” with each bin storing
the amplitude and phase values in the given frequency band. These bins are used to
resynthesize (or reconstruct an approximation of) the original sound. See Resynthesis. In
noise mode, the amplitude values are used to generate filtered noise for each bin. In pitch
mode, the amplitude and phase values are used to synthesize a sine wave for each bin. The
signals associated with each bin are then summed and sent to other parts of the Alchemy
synthesis engine.
Resynthesis
You can analyze the frequency components of a recorded sound and then resynthesize—
reconstruct—a representation of the sound using additive or spectral techniques. See
Additive synthesis and Spectral synthesis.
At a basic conceptual level, additive synthesis and spectral (modeling) synthesis are similar
in that both techniques can recreate complex sounds by adding together many simpler
signals. In practice, however, the two methods are very different. Additive resynthesis
attempts to understand the harmonic structure of an audio file and then recreates each
harmonic partial with a separate sine wave. Spectral resynthesis instead analyzes the
changing frequency spectrum of the signal and attempts to recreate these spectral
characteristics in the resynthesized signal.
An additive resynthesis system generates a series of sine waves, with appropriate pitches
and levels over time, for each harmonic. It does this by calculating the frequency and
amplitude of each harmonic in the overall frequency spectrum of the analyzed sound.
After the sound has been resynthesized in this fashion, you can adjust the frequency
and amplitude of any harmonic (sine wave). Theoretically, you could even restructure a
harmonic sound to make it inharmonic, for example.
In a spectral resynthesis system, the audible spectrum is split into a large number of
“spectral bins,” and the distribution of energy across these bins is analyzed. The sound is
recreated by filling each spectral bin with the required amount of signal, either using sine
waves or filtered noise, and the results are then summed.
Logic Pro User Guide for iPad 937
The difference in approach means the two techniques are suited to different types of
sounds. Additive resynthesis excels at recreating single notes with a clear harmonic
structure. Spectral resynthesis is better suited for complex inharmonic sounds such as
drums, or polyphonic material containing chords rather than individual notes.
Logic Pro for Mac Alchemy and Sample Alchemy can resynthesize sounds using additive
or spectral methods. It can also perform resynthesis using a combination of the two
techniques, which is useful for sounds that feature both a clear pitch component and a
noisy component. Examples of such sounds are the hammer strike of a piano and the string
tone, or the breath noise of a flute and the flute tone.
Phase distortion synthesis
Phase distortion synthesis creates different waveforms by modifying the phase angle of a
sine wave with a second modulator wave. In some respects, this is similar to FM synthesis.
The principal difference between the two approaches is that the two waveforms are
synchronized each cycle in phase distortion synthesis, resulting in the creation of more
harmonic overtones.
In essence, you can bend a sine wave until it becomes a sawtooth wave, a triangle wave, a
square wave, and so on. The synthesis engine beyond the waveform generators typically
follows a subtractive synthesizer design.
Phase distortion synthesis was commercially introduced in the 1984 Casio CZ series
synthesizers.
Several Logic Pro synthesizers allow you to reshape the source waveform, but you’re not
restricted to sine waves as the raw material.
Granular synthesis
The basic premise behind granular synthesis is that a sound can be broken down into tiny
particles, or grains. In many respects, granular synthesis is similar to wavetable synthesis,
but it works on a much finer scale. This method is ideal for creating constantly evolving
sounds and truly unique tones.
Sample Alchemy extracts sampled grains—2- to 230-milliseconds long—which can be
manipulated, reorganized, or combined with grains from other sounds to create new
timbres. The effects that result from this technique depend on factors such as the duration
and amplitude envelope of each grain, the degree of overlap or separation from one grain
to the next, and the pitch and pan position of each piece of sound.
If each new grain is extracted from slightly further into the sample than its predecessor,
playback of the resulting stream of grains in their original sequence, at the original speed,
essentially puts the pieces of sound back together to closely resemble the source audio
material. If you play back the stream of grains at a slower speed, separation (a small gap)
occurs between grains. If you play back the stream of grains at a faster rate, each grain
overlaps with the next one.
A number of interesting manipulations are possible using this synthesis method.
Logic Pro User Guide for iPad 938
• Time-stretching. Grains can be sent out at a faster or slower rate than their
counterparts in the original sample, allowing faster or slower playback—without the
changes to pitch that occur with traditional sample playback. You can even “freeze” a
sample at a certain position by extracting multiple grains from a single point. On this
latter point, you could repeat a drum hit “grain” multiple times in a time-stretched loop
to create a different drum pattern, for example.
• Pitch-shifting. Modifications to the pitch of each grain allow you to vary the pitch of
a sample without affecting its timing. By modulating the pitch or pan position of each
grain, you can also create spatial and “blurring” effects.
• You can also scramble the order in which grains are played back to produce effects
ranging from mild fuzziness to extreme mangling.
A brief synthesizer history
Precursors to the synthesizer
The earliest seeds of modern electronic synthesizers began in the twilight years of the
19th century. In 1897, an American inventor named Thaddeus Cahill was issued a patent to
protect the principle behind an instrument known as the Telharmonium, or Dynamophone.
Weighing in at 200 tons, this mammoth electronic instrument was driven by 12 steam-
powered electromagnetic generators. It was played in real time using velocity-sensitive
keys and, amazingly, was able to generate several different sounds simultaneously.
The Telharmonium was presented to the public in a series of “concerts” held in 1906.
Christened “Telharmony,” this music was piped into the public telephone network, because
no public address systems were available at the time.
In 1919, Russian inventor Leon Theremin took a markedly different approach. Named after
the man who masterminded it, the monophonic Theremin was played without actually
touching the instrument. It gauged the proximity of the player’s hands as they were waved
about in an electrostatic field between two antennae, and used this information to generate
sound. This unorthodox technique made the Theremin enormously difficult to play. Its
eerie, spine-tingling—but almost unvarying—timbre made it a favorite on countless horror
movie soundtracks. R. A. Moog, whose synthesizers would later garner worldwide fame,
began to build Theremins at the age of 19.
In Europe, Frenchman Maurice Martenot devised the monophonic Ondes Martenot in 1928.
The sound generation method of this instrument was akin to that of the Theremin, but in its
earliest incarnation it was played by pulling a wire back and forth.
In Berlin during the 1930s, Friedrich Trautwein and Oskar Sala worked on the Trautonium,
an instrument that was played by pressing a steel wire onto a bar. Depending on the
player’s preference, it enabled either infinitely variable pitches—much like a fretless
stringed instrument—or incremental pitches similar to that of a keyboard instrument. Sala
continued to develop the instrument throughout his life, an effort culminating in the two-
voice Mixturtrautonium in 1952. He scored numerous industrial films, as well as the entire
soundtrack of Alfred Hitchcock’s masterpiece The Birds, with this instrument. Although the
movie does not feature a conventional musical soundtrack, all bird calls and the sound of
beating wings heard in the movie were generated on the Mixturtrautonium.
Logic Pro User Guide for iPad 939
In Canada, Hugh Le Caine began to develop his Electronic Sackbut in 1945. The design of
this monophonic instrument resembled that of a synthesizer, but it featured an enormously
expressive keyboard that responded not only to key velocity and aftertouch but also to
lateral motion.
The instruments discussed thus far were all designed to be played in real time. Relatively
early, however, people began to develop instruments that combined electronic sound
generators and sequencers. The first instrument of this kind—named the Automatically
Operating Musical Instrument of the Electric Oscillation Type—was presented by the French
duo Edouard Coupleux and Joseph Givelet in 1929. This hybrid married electronic sound
generation to a mechanically punched tape control. Its name was unofficially shortened to
Coupleux-Givelet Synthesizer by its builders, the first time a musical instrument was called
a “synthesizer.”
The term was formally introduced in 1956 with the debut of the RCA Electronic Music
Synthesizer Mark I, developed by American engineers Harry F. Olson and Herbert Belar. Its
dual-voice sound generation system consisted of 12 tuning forks, which were stimulated
electromagnetically. For its time, the instrument offered relatively sophisticated signal-
processing options. The output signal of the sound generator could be monitored by
loudspeakers and, amazingly, recorded directly onto two records. A single motor powered
both turntables and the control unit of the Mark 1. The synthesizer was controlled by
information punched onto a roll of paper tape, enabling continuous automation of pitch,
volume, timbre, and envelopes. It was extremely complicated to use, it was unreliable, and
spontaneous playing was impossible.
Early voltage-controlled synthesizers
With the exception of the Telharmonium, which was conceived prior to the advent of the
thermionic valve, the precursors to the modern-day synthesizer were all based on tube
circuitry. This made these instruments unwieldy and volatile. After the transistor became
available in 1947/48, more rugged, smaller, and thus portable, instruments were soon
to come.
At the end of 1963, American innovator R. A. (Bob) Moog met the composer Herbert
Deutsch. Deutsch inspired Moog to combine a voltage-controlled oscillator and amplifier
module with a keyboard, and in 1964 the first prototype of a voltage-controlled synthesizer
was constructed. This collaboration with the German musician prompted Moog to extend
his range of modules and to combine them into entire systems. It wasn’t until 1967,
however, that Moog actually called his diverse mix-and-match systems synthesizers.
Moog’s achievements spread by word of mouth, and Moog, always keen to elicit the
feedback of his customers, continued to add further modules to his line. Wendy Carlos’s
LP release Switched-On Bach (1968) was responsible for the breakthrough of Moog’s
instruments. The record featured Moog’s modular synthesizers and was one of the earliest
commercial multitrack recordings. The album’s success introduced the synthesizer to
a wider audience and made the name “Moog” synonymous with the instrument. Hoping
to capitalize on the new sounds that synthesizers made available, and match Carlos’s
commercial success, numerous studios, producers, and musicians acquired Moog modular
synthesizers. In 1969, as many as 42 employees produced two to three complete modular
systems every week at Moog’s production facility.
Logic Pro User Guide for iPad 940
Working independently, an engineer named Donald Buchla had conceived and implemented
the concept for a modular, voltage-controlled synthesizer. This coincided with Moog’s
version. Buchla also developed his first instruments in close cooperation with users.
The inspiration for his first synthesizer originated with composers Morton Subotnik and
Ramon Sender, of the San Francisco Tape Music Center. Although he began working on
this instrument in 1963, it didn’t make its public debut until 1966. By design, Buchla’s
instruments catered primarily to academia and avant-garde musicians, so they never
garnered the public attention and acclaim of Moog’s synthesizers.
The Minimoog
Moog and Buchla’s voltage-controlled synthesizers were modular. One chassis, or several,
housed the power supply and the actual modules. The inputs and outputs of the modules
had to be interconnected via a confusing tangle of patch cords before the synthesizer
would make a sound. Establishing these connections properly was an art unto itself, and
obtaining useful settings on the modules required significant expertise.
Moog realized that these modular synthesizers were too complex and expensive for the
average musician and were likely to fail if sold through traditional music retailers. In 1969,
Moog collaborated with engineers Jim Scott, Bill Hemsath, and Chad Hunt to design a
compact, portable, affordable, and easy-to-use synthesizer. After three prototypes were
built, the Minimoog Model D was released in the summer of 1970.
In contrast to previous modular synthesizers, it was neither necessary nor possible for
players to connect the modules of the Minimoog as they saw fit. All of the modules’
connecting circuitry was hard-wired at the factory. The type and number of modules was
also fixed. This simplified manufacturing considerably, and cut costs dramatically. A major
marketing campaign saw the Minimoog become a huge success. Without alteration to its
basic design, 13,000 Minimoogs were sold worldwide, right up to 1981.
Storage and polyphony
Customers weren’t entirely satisfied with the Minimoog and contemporary synthesizers,
however. Although musicians no longer had to contend with countless cords in order to
play a synthesizer, they still had to deal with numerous knobs and switches before they
could do something as simple as switch from one sound to another. Moreover, keyboardists
were bored with playing monophonic melody lines on synthesizers—they wanted to play
chords. Although dual-voice keyboards that connected two monophonic synthesizers were
available as early as 1970, customers wanted more.
Attempting to satisfy these demands, two schools of thought emerged in synthesizer
design. One approach called for an independent, monophonic synthesizer to be assigned
to every key on the keyboard. To this end, designers married the design principles of
electronic organs to synthesizer technology. Although this breed of instrument was fully
polyphonic—all notes of the keyboard could be heard simultaneously—it wasn’t as versatile
in its control options as a true synthesizer. The first fully polyphonic synthesizer to feature
this type of design was the Moog Polymoog, released in 1975. Developed primarily by
David Luce, it featured 71 weighted, velocity-sensitive keys.
Logic Pro User Guide for iPad 941
In the second approach to polyphonic sound generation, a synthesizer was assigned to a
key only when the key was pressed—in effect, semi-polyphony. As early as 1973, American
company E-MU Systems introduced the Modular Keyboard System Series 4050, a digital
keyboard that could be connected to up to ten monophonic synthesizers, and thus had
ten-voice polyphony. The problem with this approach was that very few people owned ten
synthesizers, and the amount of time and effort involved in programming a new sound was
an overwhelming deterrent. Digital memory was still waiting to be developed, and, once
again, the evolution of semi-polyphonic synthesizers required the qualities that only digital
keyboards could provide.
The same prerequisite—digital engineering—eventually led to synthesizers that allowed
sounds to be stored. Without the benefit of digital technology, early attempts at storing
sounds included some unusual solutions. For example, a synthesizer with analog
programmability required a dedicated row featuring all of the instrument’s control elements
for every “memory” slot. In this case, a selector switch accessed one of the many identical
control panels and connected it to the sound generator.
The first synthesizer featuring storage slots implemented in this manner was the 1975
Yamaha GX1. The control elements for the system’s storage slots were so small that they
could be adjusted only by using jeweler’s screwdrivers and complicated tools—called
programmers and comparators.
It was not until 1978 that the problem was resolved. The five-voice polyphonic Prophet-5,
released by the American company Sequential Circuits, was the world’s first synthesizer
with a global storage feature. All settings for each of its five onboard monophonic
synthesizers were stored in memory slots—40 in the debut model. Moreover, all five
synthesizers shared a single user interface, which simplified matters considerably. In spite
of its initially high price, this instrument proved extremely popular and approximately 8,000
were built up until 1985. In addition to its digitally implemented polyphony and memory, the
success of the Prophet-5 is due to the quality of its analog sound generation system.
Digital synthesizers
Modern digital synthesizers featuring variable polyphony, memory, and completely digital
sound generation systems follow a semi-polyphonic approach. The number of voices that
these instruments are able to generate, however, no longer depends on the number of
built-in monophonic synthesizers. Rather, polyphony depends entirely on the performance
capability of the computers that power them.
The rapid developments in the digital world are best illustrated by the following example.
The first program that emulated sound generation entirely by means of a computer was
Music I, authored by the American programmer Max Mathew. Invented in 1957, it ran on a
university mainframe, an exorbitantly expensive IBM 704. Its sole claim to fame was that it
could compute a triangle wave, although doing it in real time was beyond its capabilities.
This lack of capacity for real-time performance is the reason why early digital technology
was used solely for control and storage purposes in commercial synthesizers. Digital
control circuitry debuted in 1971 in the form of the digital sequencer found in the Synthi
100 modular synthesizer—in all other respects an analog synthesizer—from the English
company EMS. Priced out of reach of all but the wealthiest musicians, the Synthi 100
sequencer featured a total of 256 events.
Logic Pro User Guide for iPad 942
Ever-increasing processor performance made it possible to integrate digital technology
into parts of the sound generation engine itself. The monophonic Harmonic Synthesizer,
manufactured by Rocky Mountain Instruments (RMI), was the first instrument to do so. This
synthesizer had two digital oscillators, combined with analog filters and amplifier circuits.
The Synclavier, introduced in 1976 by New England Digital Corporation (NED), was the
first synthesizer with completely digital sound generation. Instruments like the Synclavier
were based on specialized processors that had to be developed by the manufacturers
themselves. This development cost made the Synclavier an investment that few could
afford.
An alternative solution was the use of general-purpose processors made by third-
party computer processor manufacturers. These processors, especially designed for
multiplication and accumulation operations—common in audio processing tasks—are
called digital signal processors (DSPs). Peavey’s DPM-3, released in 1990, was the first
commercially available synthesizer completely based on standard DSPs. The instrument
was 16-note polyphonic and based mainly on three Motorola 56001 DSPs. It featured an
integrated sequencer and sample-based subtractive synthesis, with factory presets and
user-definable samples.
Another solution was to design synthesizers as a computer peripheral, rather than as a
standalone unit. The growing popularity of personal computers from the early 1980s made
this option commercially viable. Passport Soundchaser and the Syntauri alphaSyntauri
were the first examples of this concept. Both systems consisted of a processor card with a
standard musical keyboard attached to it. The processor card was inserted into an Apple II
computer. The synthesizers were programmed via the Apple keyboard and monitor. They
were polyphonic and had programmable waveforms, envelopes, and sequencers. Today’s
sound cards, introduced in countless numbers since 1989, follow this concept.
Exploiting the ever-increasing processing power of today’s computers, the next
evolutionary step for the synthesizer was the software synthesizer, which runs as an
application on a host computer.
The sound card (or built-in audio hardware) is needed these days only for audio input
and output. The actual process of sound generation, effects processing, recording, and
sequencing is performed by your computer’s CPU—using the Logic Pro software and
instrument collection.
Logic Pro User Guide for iPad 943
Apple Inc.
© 2023 Apple Inc. All rights reserved.
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.
Apple, the Apple logo, Final Cut Pro, Finder, FireWire, GarageBand, iMovie, iPad, iPhone, iPhoto, iPod, iTunes,
iTunes Store, Jam Pack, LaunchPad, Logic, Logic Pro, Mac, Macintosh, macOS, MainStage, QuickTime, and
Ultrabeat are trademarks of Apple Inc., registered in the U.S. and other countries.
Apple
One Apple Park Way
Cupertino, CA 95014
USA
apple.com
IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license.
Other company and product names mentioned herein may be trademarks of their respective companies.
Your rights to the software are governed by the accompanying software license agreement. The owner or
authorized user of a valid copy of Logic Pro 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.
Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for
printing or clerical errors.
Some apps are not available in all areas. App availability is subject to change.
028-00622
Logic Pro User Guide for iPad 944
Logic Pro User Guide for iPad 945
Logic Pro User Guide for iPad 946
Logic Pro User Guide for iPad 947
Logic Pro User Guide for iPad 948
Logic Pro User Guide for iPad 949
Logic Pro User Guide for iPad 950
Logic Pro User Guide for iPad 951
Logic Pro User Guide for iPad 952
Logic Pro User Guide for iPad 953
Logic Pro User Guide for iPad 954
Logic Pro User Guide for iPad 955
Logic Pro User Guide for iPad 956
Logic Pro User Guide for iPad 957
Logic Pro User Guide for iPad 958
Logic Pro User Guide for iPad 959
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