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
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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