Logic Pro User Guide for iPad
-
- What is Logic Pro?
- Working areas
- Work with function buttons
- Work with numeric values
-
- 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
-
- Intro to recording
-
- 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
-
- Intro to arranging
-
- 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
- Rename regions
- Change the color of regions
- Delete regions
-
- Intro to chords
- Add and delete chords
- Select chords
- Cut, copy, and paste chords
- Move and resize chords
- Loop 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
-
- 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
-
- Effect plug-ins overview
-
- Instrument plug-ins overview
-
- ES2 overview
- Interface overview
-
- Modulation overview
- Use the Mod Pad
-
- 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
-
- 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
A brief Hammond history
Three inventions inspired Laurens Hammond (1895–1973), a manufacturer of electric clocks, to construct and market a compact electromechanical organ with tonewheel sound generation. The Telharmonium by Thaddeus Cahill was the musical inspiration; Henry Ford’s mass production methods and the domestic synchron clock motor were the other factors.
The Telharmonium (built around 1900) was the first musical instrument that made use of electromechanical sound generation techniques. Its immense tonewheel generators filled a two-story building in New York. For a short period around this time, subscribers could order Telharmonium music over the New York telephone network (the streaming audio system of the time). The only amplification tool was the telephone mechanical diaphragm because a proper tube amplifier and acceptable speakers had not yet been invented. The Telharmonium was a commercial flop, but its historical status as the predecessor of modern electronic musical instruments is undeniable. The Telharmonium also introduced the principles of electronic additive synthesis. See Additive synthesis with draw bars.
Laurens Hammond began producing organs in 1935 in Chicago, Illinois, making use of the same sound generation method. However, he used much smaller tone generators and fewer registers. The patent for his model A organ dates from 1934.
Hammond also holds the patent for the electromechanical spring reverb, still found in countless guitar amplifiers today.
The Hammond B3 was manufactured between 1955 and 1974. It is the Hammond model preferred by jazz and rock organ players, such as Fats Waller, Wild Bill Davis, Brother Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve Winwood, Joey DeFrancesco, and Barbara Dennerlein.
In addition to the B3, there are a number of smaller Hammond instruments, known as the spinet series (M3, M100, L100, T100). Bigger console models, many of which were designed to suit the needs of American churches or theaters (H100, X66, X77, E100, R100, G-100), were also manufactured.
The production of electromechanical organs ceased in 1974. Thereafter, Hammond built fully electronic organs.
The Hammond name lives on in the Hammond-Suzuki range of electronic draw bar organs, starting with the 2002 release of a digital B3 model that mimics the design and functions of the classic B3 (without the weight). This model, as well as newer units, can be partnered with real, mechanical, rotor speaker cabinets, also from the company.
Download this guide: PDF