Logic Pro User Guide for Mac
- Welcome
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- What’s new in Logic Pro for Mac 11.1
- What’s new in Logic Pro for Mac 11
- What’s new in Logic Pro for Mac 10.8
- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
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- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
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- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
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- Play a project
- Set the playhead position
- Control playback with the transport buttons
- Use transport shortcut menus
- Use transport key commands
- Customize the control bar
- Change the LCD display mode in Logic Pro for Mac
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Use Apple Remote to control Logic Pro
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
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- Tracks overview
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- Create tracks
- Create tracks using drag and drop
- Create tracks using existing channel strips
- Assign tracks to different channel strips
- Choose the default region type for software instrument tracks
- Select tracks
- Duplicate tracks
- Rename tracks
- Change track icons
- Change track colors
- Reorder tracks
- Zoom tracks
- Replace or double drum sounds
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
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- Overview
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- Before recording software instruments
- Play software instruments
- Record software instruments
- Record additional software instrument takes
- Overdub software instrument recordings
- Spot erase software instrument recordings
- Use Note Repeat
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Route MIDI internally to software instrument tracks
- Use the metronome
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- Arranging overview
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- Regions overview
- Select regions
- Select parts of regions
- Cut, copy, and paste regions
- Move regions
- Add or remove gaps
- Delay region playback
- Loop regions
- Repeat regions
- Resize regions
- Mute and solo regions
- Time stretch regions
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert a MIDI region into a pattern region in Logic Pro for Mac
- Replace a MIDI region with a Session Player region in Logic Pro for Mac
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
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- Chords overview
- Add and delete chords
- Select chords
- Cut, copy, and paste chords
- Move and resize chords
- Loop chords on the Chord track
- Transpose chords
- Edit chords
- Work with chord groups
- Use chord progressions
- Change the chord rhythm
- Choose which chords a Session Player region follows
- Analyze the key signature of a range of chords
- Extract vocal and instrumental stems with Stem Splitter
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Session Players overview
- The Session Player Editor
- Choose a Session Player type and style
- Chords and Session Players
- Choose Session Player presets
- Regenerate a Session Player performance
- Follow rhythm of chords and other tracks
- Work with Drummer multi-channel kits
- Convert Session Player regions into MIDI or pattern regions
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input format
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Reorder channel strips in the Mixer
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Search for plug-ins in the Mixer
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channel strips
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
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- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
- Control transposition with the Pitch Source parameter
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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- Overview
- Add notes
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- Part box overview
- View score symbols
- Select score symbols
- Add notes and rests
- Add notes and symbols to multiple regions
- Add key and time signature changes
- Change the clef sign
- Add dynamic marks, slurs, and crescendi
- Change note heads
- Add symbols to notes
- Add trills, ornaments, and tremolo symbols
- Add sustain pedal markings
- Add chord symbols
- Add chord grids and tablature symbols
- Add bar lines, repeats, and coda signs
- Add page and line break symbols
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- Select notes
- Move and copy notes
- Change note pitch, duration, and velocity
- Change note articulations
- Quantize the timing of notes
- Restrict note input to the current key
- Control how ties are displayed
- Add and edit tuplets
- Override display quantization using tuplets
- Add grace notes and independent notes
- Delete notes
- Use automation in the Score Editor
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- Staff styles overview
- Assign staff styles to tracks
- Staff Style window
- Create and duplicate staff styles
- Edit staff styles
- Edit staff, voice, and assign parameters
- Add and delete staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staff styles between projects
- Delete staff styles
- Assign notes to voices and staffs
- Display polyphonic parts on separate staffs
- Change the staff assignment of score symbols
- Beam notes across staffs
- Use mapped staff styles for drum notation
- Predefined staff styles
- Share a score
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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
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- Logic Pro projects
- Various windows
- Controller Assignments window
- Control bar
- Tracks area
- Global tracks
- Automation
- Live Loops grid
- Mixer
- MIDI Environment
- Piano Roll Editor
- Score Editor
- Event List
- Step Editor
- Step Sequencer
- Flex Time
- Audio File Editor
- Smart Tempo Editor
- Surround Panner
- Channel EQ
- Space Designer
- Sampler
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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- Environment overview
- Common object parameters
- Customize the Environment
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- Fader objects overview
- Use fader objects
- Play back fader movements
- Work with object groups
- Fader styles
- Fader functions: MIDI events
- Fader functions: range, value as
- Fader functions: filter
- Vector fader
- Special faders overview
- Cable switchers
- Meta event faders
- SysEx faders
- Work with SysEx messages
- Special functions
- Ornament objects
- MMC record buttons
- Keyboard objects
- Monitor objects
- Channel splitter object
- Physical input objects
- Physical input objects
- MIDI click objects
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Wide unison mode
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- Sample Alchemy overview
- Interface overview
- Add source material
- Edit mode
- Play modes
- Source overview
- Synthesis modes
- Granular controls
- Additive effects
- Additive effect controls
- Spectral effect
- Spectral effect controls
- Filter module
- Lowpass, bandpass, and highpass filters
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Use surround range and diversity
- Define MIDI controllers
- Extended parameters
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- Studio Piano
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
Dolby Atmos monitoring formats in Logic Pro for Mac
The key element of the Dolby Atmos mix is the object-based format. That means that during the mix (and later during export and delivery), the pan information of the signals on all the object tracks is kept separate from the audio signal and stored as metadata. That metadata tells the playback system where to place the individual signals during playback in the three-dimensional space regardless of any specific speaker configuration. That’s the concept of the renderer: converting the object-based mix format to a channel-based playback format (speakers or headphones). However, the renderer needs information about what channel-based format the object-based mix should be rendered to—the speaker setup that is available with the current playback system.
With the Monitoring Format pop-up menu in the Dolby Atmos plug-in, you provide that information to the renderer to simulate various playback systems. To check how your Dolby Atmos mix translates to those playback formats, you can choose from three groups of channel-based output formats: binaural, speaker virtualization, and dedicated speakers.
Note: The monitoring formats available in Logic Pro for Mac are determined by the hardware you have connected when you’re working on a Logic Pro project.
Binaural
For the following options, you need to listen over headphones:
Dolby Renderer: This is the standard Dolby Atmos binaural format that is always available. When you use this format, you can edit the binaural render modes.
Apple Renderer (Standard Spatial Audio Profile): This is the headphone virtualization used by Apple Music to render a binaural spatial audio mix for playback on headphones.
Apple Renderer (Personalized Spatial Audio Profile): This headphone virtualization uses Personalized Spatial Audio to optimize the immersive sound experience on headphones.
To use this option, you must first create a Personalized Spatial Audio profile on your iPhone (iOS 16 or later with a TrueDepth camera). After that, when you sign in to your Apple Account on any Mac (macOS Ventura or later), Personalized Spatial Audio is automatically turned on. In Logic Pro, the Personalized Spatial Audio Profile option is available in the Monitoring Format pop-up menu.
Apple Renderer (Head Tracking, Standard Spatial Audio Profile): Used by Apple Music to render a binaural spatial audio mix for playback on Apple headphones that support head tracking. This format is only available when head tracking–capable headphones or earbuds are selected as the output device in the Audio Devices settings. Head tracking is turned off when bouncing with this format.
The Bluetooth enabled headphones or earbuds transmit any movement of your head to the renderer, which updates the three-dimensional sound field in real time, so any signal, regardless of the wearer’s head movement, remains in its virtual location when listened to over headphones.
Apple Renderer (Head Tracking, Personalized Spatial Audio Profile): This option uses the Apple Renderer algorithm with head tracking enabled and is optimized with Personalized Spatial Audio.
Speaker virtualization
These options use the spatial audio speaker virtualization available on supported Apple devices to create an immersive sound experience using their built-in speakers.
Renderer for Built-in Speakers: This format is only available if you use Logic Pro on a computer that supports spatial audio playback on internal speakers, and the speakers are selected as the output device in the Logic Pro Audio settings.
Renderer for Display Speakers: This option is only visible when an Apple Studio Display is connected and its display speakers are selected as the output device in the Logic Pro Audio settings.
Dedicated speakers
A 7.1.4 speaker setup is the recommended format for mixing in Dolby Atmos. It guarantees a high level of accuracy regarding the spatial resolution and the proper position of the signals in the immersive sound field. The renderer can fold the mix into any of the following speaker configurations:
2.0: This format approximates how your Dolby Atmos mix sounds when played back on stereo speakers or stereo headphones.
5.1, 7.1, 5.1.2, 5.1.4, 7.1.4: You need a matching speaker setup when selecting any of those formats, and you also need to configure the output routing in the Output settings.
Note: You can listen to your Dolby Atmos mix in 5.1.2, using an HDMI-connected 7.1 surround receiver.
Bounce vs. Export
Bounce: When you use the Bounce feature in Logic Pro, it uses the currently selected option in the Monitoring Format menu of the Dolby Atmos plug-in to create an audio file with that channel-based output format. Bounced files are not suitable for playback on Dolby Atmos systems. See Bounce surround audio files.
Export: The monitoring format selection doesn’t affect the export of your Dolby Atmos mix to an ADM BWF file because this Dolby Atmos master file remains object based. See Export ADM BWF files.
Set the monitoring format for the Dolby Atmos mix
In Logic Pro, in the Dolby Atmos plug-in, choose one of the monitoring formats from the Monitoring Format pop-up menu.
Create and select your Personalized Spatial Audio profile
You create your Personalized Spatial Audio profile by taking your head and ear measurements with your iPhone (iOS 16 or later with a TrueDepth camera). This data set, also referred to as a personalized HRTF (head-related transfer function), is used by the Spatial Audio renderer to optimize the binaural listening experience on headphones.
On your iPhone, connect your AirPods or Beats, and then go to Settings > [your Spatial Audio enabled device] > Personalized Spatial Audio > Personalize Spatial Audio.
Follow the onscreen instructions to capture the front and sides of your head with your camera.
When you finish the setup, your Personalized Spatial Audio profile is created and turned on.
The Personalized Spatial Audio profile is linked to the Apple Account used on your iPhone.
Sign in to the same Apple Account on your Mac (macOS Ventura or later).
Connect your AirPods or Beats to your Mac; your Personalized Spatial Audio profile is automatically turned on and used when you listen to spatial audio over headphones.
In Logic Pro, select your AirPods or Beats as the output device in the Audio Device settings.
In the Dolby Atmos plug-in, choose Personalized Spatial Audio Profile from the Monitoring Format pop-up menu.
WARNING: Turning off Personalized Spatial Audio on your iPhone or on your Mac (System Settings > [your AirPods] > Stop Using Personalized Spatial Audio) deletes the profile, and you have to create it again to turn Personalized Spatial Audio back on.
Monitor your Dolby Atmos mix in 5.1.2 using a 7.1 surround receiver
In Logic Pro for Mac, you can use the 5.1.2 monitoring format to play back your Dolby Atmos mix through a surround receiver, capable of receiving a 7.1 PCM stream via an HDMI connection.
Connect your computer to your surround receiver using an HDMI cable.
In Logic Pro, in the Audio Devices settings, choose the surround receiver from the Output Devices pop-up menu, then click Apply.
The surround receiver is listed in the pop-up menu if macOS recognizes it as an audio device.
In the Logic Pro Settings > Audio > I/O Assignments > Output, choose 5.1.2 from the Show as pop-up menu and configure the speaker channels to output channels assignment the following way:
Left: Output 1
Right: Output 2
LFE: Output 3
Center: Output 4
L. surround: Output 5
R.surround: Output 6
L. top mid: Output 7
R. top mid: Output 8
Verify that the output channels on your AV receiver are connected to the corresponding speakers in your 5.1.2 setup.
In the Monitoring Format pop-up menu of the Dolby Atmos plug-in, choose 5.1.2.
Note: The monitoring formats Apple Renderer, Apple Renderer (Head Tracking), Renderer for Built-in Speakers, and Renderer for Display Speakers require macOS Monterey 12.3 or later. In addition, Apple Renderer (Head Tracking) also requires a Mac with Apple silicon.