Logic Pro User Guide for iPad
- What’s new in Logic Pro 1.1
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- What is Logic Pro?
- Working areas
- Work with function buttons
- Work with numeric values
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- Intro to tracks
- Create tracks
- Create tracks using drag and drop
- Choose the default region type for a software instrument track
- Select tracks
- Duplicate tracks
- Reorder tracks
- Rename tracks
- Change track icons
- Change track colors
- Use the tuner on an audio track
- Show the output track in the Tracks area
- Delete tracks
- Edit track parameters
- Start a Logic Pro subscription
- How to get help
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- Intro to recording
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- Before recording software instruments
- Record software instruments
- Record additional software instrument takes
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Merge software instrument recordings
- Spot erase software instrument recordings
- Replace software instrument recordings
- Capture your most recent MIDI performance
- Use the metronome
- Use the count-in
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- Intro to arranging
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- Intro to regions
- Select regions
- Cut, copy, and paste regions
- Move regions
- Remove gaps between regions
- Delay region playback
- Trim regions
- Loop regions
- Repeat regions
- Mute regions
- Split and join regions
- Stretch regions
- Separate a MIDI region by note pitch
- Bounce regions in place
- Change the gain of audio regions
- Create regions in the Tracks area
- Convert a MIDI region to a Drummer region or a pattern region
- Rename regions
- Change the color of regions
- Delete regions
- Create fades on audio regions
- Access mixing functions using the Fader
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- Intro to Step Sequencer
- 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
- Edit Step Sequencer pattern, row, and step settings in the inspector
- Customize Step Sequencer
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- Effect plug-ins overview
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- Instrument plug-ins overview
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- ES2 overview
- Interface overview
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- Modulation overview
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- Vector Envelope overview
- Use Vector Envelope points
- Use Vector Envelope solo and sustain points
- Set Vector Envelope segment times
- Vector Envelope XY pad controls
- Vector Envelope Actions menu
- Vector Envelope loop controls
- Vector Envelope release phase behavior
- Vector Envelope point transition shapes
- Use Vector Envelope time scaling
- Use the Mod Pad
- Modulation source reference
- Via modulation source reference
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- Sample Alchemy overview
- Interface overview
- Add source material
- Save a preset
- 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
- Sampler
- Copyright
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.
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!
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