Logic Pro User Guide for iPad
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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
- 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
- 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
- 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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- 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
Spectral synthesis
Spectral (modeling) synthesis lets you build a sound by combining multiple (sine wave) harmonics and filtered noise signals. This synthesis method shares many underlying principles with vocoders, but tracks peaks in the overall spectrum, rather than individual amplitudes and frequencies in the signal.
Logic Pro for Mac Alchemy and Sample Alchemy provide a flexible spectral synthesis implementation, known technically as multiresolution sinusoidal modeling. In other words, a custom filter bank is used to analyze peaks (and other elements) in the frequency spectrum of the signal. Harmonic components, based on the spectral analysis, are modeled as a combination of sine waves and white noise passed through a filter that changes over time. The noise components are typically used to model “percussive” elements such as a piano strike or a speech fricative in a vocal sample, for example. The (sine wave) harmonic components are used to model the piano note or remainder of the vocal sound. The output of the modeled sound is a combination of the frequencies and levels of the detected harmonic components and the noise signal passed through a time-variable filter.
The spectral synthesis engine in Alchemy can be used to create sounds from scratch, by drawing or painting in the spectral edit window. You can also import and convert an image file into a spectrogram (an image of the frequency spectrum) in the spectral edit window. You can then edit this converted image with the drawing and painting tools. Alchemy analyzes the spectrogram and replaces peaks and percussive components with sine harmonics and filtered noise elements to create a sound.
Alchemy can also break imported samples down into “spectral bins,” with each bin storing the amplitude and phase values in the given frequency band. These bins are used to resynthesize (or reconstruct an approximation of) the original sound. See Resynthesis. In noise mode, the amplitude values are used to generate filtered noise for each bin. In pitch mode, the amplitude and phase values are used to synthesize a sine wave for each bin. The signals associated with each bin are then summed and sent to other parts of the Alchemy synthesis engine.
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