Logic Pro User Guide for Mac
- Welcome
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- 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
- 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 in Logic Pro for Mac
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channels
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
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- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
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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
- 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
- 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
- Low and highpass filter
- 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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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
Alchemy main filter controls in Logic Pro for Mac
Main filter components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the Global button.
There are two main filter modules, labeled Filter 1 and Filter 2. The filters can operate in parallel or in series.
The output from all four sources is sent to the main filters at levels determined by independent controls in each source. Both main filter modules provide multi-mode filters with identical controls.
Note: It is possible for each source to completely bypass the main filters, or to send a portion of the source signal to the main filters and another portion directly to the Effects section. Though you can use filters at multiple locations in the signal path, you can often attain the same or similar results by careful use of fewer filters, which helps to reduce CPU load.
Main filter parameters
On/Off buttons: Enable or disable each filter.
Filter type pop-up menus and fields: Choose the filter type. Use the descriptive names: Clean, Edgy, Gritty, Rich, Sharp, and Smooth to make a choice that is right for your sound. You can step through the available filter types with the Previous and Next buttons (the arrows). See Alchemy filter types in Logic Pro for Mac.
Note: The chosen filter type can alter the names and functions of the default Cutoff, Resonance, and Drive knobs.
Cutoff knobs and fields: Set the cutoff frequency for the chosen filter type.
Resonance knobs and fields: Boost or cut frequencies above, below, or surrounding the value set with the Cutoff knob. Resonance behavior changes when different filter types are chosen.
Drive knobs and fields: Overdrive the filter. This can lead to intense distortions and aliasing, depending on filter type.
VU meters: Indicate the current audio level received from all four sources. If the filter input level exceeds 0dB, the VU meters indicate clipping by momentarily turning red. Clipping produces an undesirable digital audio artifact in the output stage. If clipping occurs, reduce the Vol knob of the loudest source or adjust the balance between sources.
Par/Ser knob and field: Set the filter routing configuration. Note that this is pre-effects.
At 0% position, the total output of Filter 1 is sent to the main outputs of the filter module. This is parallel mode.
At 100% position, the total output of Filter 1 is sent to the Filter 2 input. This is series mode.
At 50% position, equal amounts of the Filter 1 output signal are sent to the Filter 2 input and the main outputs of the filter module.
Note: When the Par/Ser knob is set to 100%, a portion of the Filter 1 signal bypasses Filter 2 whenever the Filter 1 FX Master knob is set above 0%.
FX master knobs: Determine the balance between the filter module output sent to the Effects section and the filter module output sent directly to the Alchemy main output.
At 0% position, the total filter output is sent to the Alchemy main outputs, and none of it to the Effects section.
At 100% position, the total filter output is sent to the Effects section, and none of it to the Alchemy main outputs.
At 50% position, equal amounts of filter output signal are sent to the Effects section and the Alchemy main outputs.
Send destination pop-up menus: Independently send the output of main filter 1 or 2 to the Main effects rack, or to the A/B/C/D effects rack. Choose FX Main, FX A, FX B, FX C, or FX D.
Note: When the FX master knob for filter 1 or 2 is at the full-left position, the total filter 1 or 2 output is sent to the Alchemy main outputs, and none of it to the Effects section.
Create vowel sounds with parallel source filters
Vowel sounds in human speech are the result of formants produced by changing the shape of the vocal cavity. By mimicking these formants, Alchemy can produce speech- or song-like effects, even in VA mode without samples of actual speech.
In Alchemy in Logic Pro, click the File button in the Name bar and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings.
Click the source A button, then make the following parameter changes:
Set Vol to 0 dB.
Set Coarse Tune to –12 semis.
Click the source A Fine Tune knob.
In the top slot of the modulation rack, choose LFO > LFO 1 from the pop-up menu, then set the Mod Depth knob to a value near 50%.
In the LFO 1 control panel, set Attack to approximately 0.50 sec, turn off Sync, and set Rate to approximately 5 Hz.
Enable filter 1 by clicking the On button next to the filter type pop-up menu. Do the same for filters 2 and 3. Click the Par(allel) button to enable parallel configuration of the source A filters.
Click the Global button to view all sources, then click the source A content field and choose Copy Source from the pop-up menu.
Click the source B content field, and choose Paste Source from the pop-up menu. Repeat for the source C and D content fields.
Click the A button to view source A, then make the following (approximate) parameter changes to create an “ahhh” sound:
Cutoff 1 = 800 Hz, Res 1 = 87%
Cutoff 2 = 1200 Hz, Res 2 = 87%
Cutoff 3 = 2800 Hz, Res 3 = 87%
Click the B button to view source B, then make the following (approximate) parameter changes to create an “eeeh” sound:
Cutoff 1 = 230 Hz, Res 1 = 87%
Cutoff 2 = 2600 Hz, Res 2 = 75%
Cutoff 3 = 3200 Hz, Res 3 = 75%
Click the C button to view source C, then make the following (approximate) parameter changes to create an “oooh” sound:
Cutoff 1 = 200 Hz, Res 1 = 87%
Cutoff 2 = 880 Hz, Res 2 = 65%
Cutoff 3 = 2400 Hz, Res 3 = 50%
Click the D button to view source D, then make the following (approximate) parameter changes to create an “ehh” sound:
Cutoff 1 = 530 Hz, Res 1 = 65%
Cutoff 2 = 1850 Hz, Res 2 = 75%
Cutoff 3 = 2500 Hz, Res 3 = 50%
Control parallel source filters with morphing
The previous task set up a number of vowel sounds with source filters. Follow these steps to morph between these sounds with your keyboard modulation wheel.
In Alchemy in Logic Pro, click Morph to view morph parameters, then click the Morph Lin button.
Set the X knob to 0%.
In the modulation rack, Morph All X is shown at the top.
Choose Perform > Control7 in the first modulation rack slot. Leave the modulation depth value at 100%.
The modulation wheel is linked by default to performance control 7.
Play your keyboard, and move your modulation wheel to morph between the source filtered sounds.
If the output level seems low, you can boost it by increasing the value of the Vol knob in the Master section or the Volume knob on the Name bar.