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Welcome
- 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
- Get started overview
- Workflow overview
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Session Players
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- 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
- Hardware connection overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
- Tracks overview
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
- Overview
- Use the metronome
- Using loops and other media in Logic Pro
- Bookmark folders in the All Files Browser
- Import compressed audio files
- Arranging overview
- Extract vocal and instrumental stems with Stem Splitter
- - Remove silent passages
  - Uses for Remove Silence
- Create groove templates
- Overview
- Select audio regions
- Cut, copy, and paste audio regions
- Move audio regions
- Trim audio regions
- Split and join audio regions
- Snap edits to zero crossings
- Delete audio regions
- Use Flex Time and Pitch in the Logic Pro for Mac Audio Track Editor
- Use automation in the Audio Track Editor
- Overview
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
- 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
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro for Mac advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input format
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Reorder channel strips in the Mixer
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Automation overview
- Track automation vs. region automation
- Show automation curves
- Choose automation modes
- - Select, copy, and move automation
  - Delete automation
- Snap automation to grid positions
- Edit automation in the Automation Event List
- Write automation with external controllers
- 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
- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- - Record to cells
  - Record and edit takes in 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
- Step Sequencer overview
- Use Step Sequencer with Drum Machine Designer
- Record Step Sequencer patterns live
- Step record Step Sequencer patterns
- Load and save patterns
- Modify pattern playback
- Edit steps
- Edit rows
- Step Sequencer inspector
- Customize Step Sequencer
- Global changes overview
- Control transposition with the Pitch Source parameter
- Control project volume
- Overview
- Add notes
- Use automation in the Score Editor
- Share a score
- Sharing overview
- Share songs to the Music app
- Share songs to Voice Memos
- Share songs using AirDrop
- Share songs using MailDrop
- Share a project to GarageBand for iOS
- Share a project to Logic Pro for iPad
- Overview of surround and spatial audio
- - Overview of spatial audio with Dolby Atmos
  - - Bed tracks and object tracks
    - Rendering a Dolby Atmos mix in Logic Pro for Mac
- - Surround Panner overview
  - Surround Panner parameters
- - 3D Object Panner overview
  - 3D Object Panner parameters
- - Bounce surround audio files
  - Export ADM BWF files
- Video and synchronization overview
Touch Bar shortcuts
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- - Effects overview
  - Add, remove, move, and copy plug-ins
- - Instruments introduction
  - Add, remove, move, and copy plug-ins
  - Use multi-output instruments
- - Alchemy overview
  - Alchemy interface overview
  - Alchemy Name bar
  - Alchemy file locations
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - Alchemy master voice section
  - Alchemy Extended parameters
- - Drum Kit Designer overview
  - Edit pane
  - Use Drum Kit Designer
  - Extended parameters
  - Drum Kit Designer mappings
- - Drum Machine Designer overview
  - Drum Machine Designer interface
  - Kit controls
  - - Pad controls bar
    - Use pad controls
  - Kit Tone and Effect Smart Controls
  - Kit Piece Tone and Effect Smart Controls
- - Drum Synth overview
  - Drum Synth Kicks
  - Drum Synth Snares and Claps
  - Drum Synth Percussion
  - Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters
    - Overdrive the filter
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface overview
  - - Use the dynamic stage
    - Enhance sounds with the Sine Level control
  - ES2 integrated effects processor controls
  - Use ES2 in Surround mode
  - Extended parameters
  - - Use randomization parameters
    - Restrict randomization
- - EFM1 overview
  - Modulation parameters
  - Global parameters
  - Output parameters
  - Create random sounds
  - Extended parameters
  - Assign MIDI controllers
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope parameters
  - Output parameters
  - Extended parameters
- - ES M overview
  - Oscillator parameters
  - Filter and filter envelope controls
  - Level envelope and output controls
  - Extended parameters
- - ES P overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PS overview
    - Vocoder basics
  - EVOC 20 PS interface
  - Analysis controls
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - Quick Sampler overview
  - Add audio to Quick Sampler
  - Quick Sampler waveform display
  - Use Flex in Quick Sampler
  - - Mod Matrix pane
    - LFO controls
  - Quick Sampler Pitch controls
  - Quick Sampler Filter controls
  - Quick Sampler filter types
  - Quick Sampler Amp controls
  - Quick Sampler extended parameters
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use the Wavetable menu
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - 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
- - Sampler overview
  - Load and save instruments in Sampler
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Define MIDI controllers
  - Extended parameters
- - Studio Bass overview
  - Main view parameters
  - Details view parameters
  - Keyswitch mapping
  - String and position MIDI Out channel assignments
- - Studio Horns overview
  - Extended parameters
  - Keyswitch mapping
  - Section MIDI channel assignments
- Studio Piano
- - Studio Strings overview
  - Extended parameters
  - Keyswitch mapping
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Utility instruments
  - External Instrument
  - Klopfgeist
- - Vintage B3 overview
- - Vintage Clav overview
  - Vintage Clav interface
  - Extended parameters
  - - D6 Clavinet history
    - D6 mechanical details
- - Vintage Electric Piano overview
  - Vintage Electric Piano interface
  - - Model controls
    - Pitch controls
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kits
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary
Copyright

Amp Designer models in Logic Pro for Mac

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.

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 Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition. See Pedalboard 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.

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 Pedalboard Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz stompbox for a heavy rock tone. See Pedalboard 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 Pedalboard Candy Fuzz or Fuzz Machine stompboxes. See Pedalboard distortion pedals.

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 Pedalboard Hi Drive or Candy Fuzz stompboxes to emulate hard rock tones of the late 1960s. See Pedalboard distortion pedals.

Download the guides:

Logic Pro User Guide: PDF

Logic Pro Instruments: PDF

Logic Pro Effects: PDF

Control Surfaces Support Guide: PDF

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Logic Pro User Guide for Mac