Logic Pro User Guide for iPad
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- What is Logic Pro?
- Working areas
- Work with function buttons
- Work with numeric values
- Undo and redo edits in Logic Pro for iPad
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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
- Route MIDI internally to software instrument tracks
- Record with Low Latency Monitoring mode
- 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 Session Player region or a pattern region
- Replace a MIDI region with a Session Player region in Logic Pro for iPad
- Rename regions
- Change the color of regions
- Delete regions
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- Intro to chords
- Add and delete chords
- Select chords
- Cut, copy, and paste chords
- Move and resize chords
- Loop chords on the Chord track
- Color chords on the Chord track
- 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
- Create fades on audio regions
- Extract vocal and instrumental stems with Stem Splitter
- 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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- Intro to mixing
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- Channel strip types
- Channel strip controls
- Peak level display and clipping
- Set channel strip volume
- Set channel strip input format
- Set the output for a channel strip
- Set channel strip pan position
- Mute and solo channel strips
- Reorder channel strips in the Mixer in Logic Pro for iPad
- Replace a patch on a channel strip using drag and drop
- Work with plug-ins in the Mixer
- Search for plug-ins in the Mixer in Logic Pro for iPad
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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
- Use the Mod Pad
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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 point transition shapes
- Vector Envelope release phase behavior
- Use Vector Envelope time scaling
- 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, bandpass, and highpass filters
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
- Sampler
- Studio Piano
- Copyright
Amp Designer cab and mic controls in Logic Pro for iPad
Amp Designer provides seven virtual microphone types and dozens of speaker models. As with other components in the tone chain, different selections can yield very different results. After choosing a cabinet, you can set the type of microphone to emulate and can place the microphone, relative to the cabinet.
Cabinet and Microphone parameters
Speaker pop-up menu: Choose a speaker cabinet. See Amp Designer cabinets and Choose an Amp Designer cabinet.
Mic Type pop-up menu: Choose a microphone model.
Condenser models: Emulates the sound of high-end studio condenser microphones. The sound of condenser microphones is fine, transparent, and well-balanced. Choose from: Condenser 87 and Condenser 414.
Dynamic models: Emulates the sound of popular dynamic cardioid microphones. Dynamic microphones sound brighter and more cutting than Condenser models. The mid-range is boosted, with softer lower-mid frequencies, making dynamic microphones a good choice for rock guitar tones; useful if you want guitars to cut through other tracks in a mix. Choose from: Dynamic 20, Dynamic 57, Dynamic 421, and Dynamic 609.
Ribbon 121: Emulates the sound of a ribbon microphone. A ribbon microphone is a type of dynamic microphone that captures a sound often described as bright or brittle, yet still warm. It is useful for rock, crunch, and clean tones.
Tip: Combining multiple microphone types can produce an interesting sound. Duplicate the guitar track, and insert Amp Designer on both tracks. Select different microphones in each Amp Designer instance while retaining identical settings for all other parameters, then set track signal levels.
X/Y pad: Microphone position is indicated by the gray dot in the XY pad. Drag the dot to change microphone position and distance. Placement is relative to the cabinet and is limited to near-field positioning.
By default, the gray dot is placed in the center of the speaker cone (on-axis). This placement produces a fuller, more powerful sound, suitable for blues or jazz guitar tones. If you place the microphone on the rim of the speaker (off-axis), you obtain a brighter, thinner tone, making it suitable for cutting rock or R & B guitar parts. Moving the gray microphone dot closer to the speaker emphasizes bass response.
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