Logic Pro User Guide
- Welcome
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- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
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- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
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- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
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- Play a project
- Set the playhead position
- Control playback with the transport buttons
- Use transport shortcut menus
- Use transport key commands
- Customize the control bar
- Change the LCD display mode in Logic Pro for Mac
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Use Apple Remote to control Logic Pro
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
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- Overview
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- Before recording software instruments
- Play software instruments
- Record software instruments
- Record additional software instrument takes
- Overdub software instrument recordings
- Spot erase software instrument recordings
- Use Note Repeat
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Use the metronome
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- Arranging overview
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- Regions overview
- Select regions
- Select parts of regions
- Cut, copy, and paste regions
- Move regions
- Add or remove gaps
- Delay region playback
- Loop regions
- Repeat regions
- Resize regions
- Mute and solo regions
- Time stretch regions
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area in Logic Pro for Mac
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channels
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units plug-ins in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
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- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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- Overview
- Add notes
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- Part box overview
- View score symbols
- Select score symbols
- Add notes and rests
- Add notes and symbols to multiple regions
- Add key and time signature changes
- Change the clef sign
- Add dynamic marks, slurs, and crescendi
- Change note heads
- Add symbols to notes
- Add trills, ornaments, and tremolo symbols
- Add sustain pedal markings
- Add chord symbols
- Add chord grids and tablature symbols
- Add bar lines, repeats, and coda signs
- Add page and line break symbols
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- Select notes
- Move and copy notes
- Change note pitch, duration, and velocity
- Change note articulations
- Quantize the timing of notes
- Restrict note input to the current key
- Control how ties are displayed
- Add and edit tuplets
- Override display quantization using tuplets
- Add grace notes and independent notes
- Delete notes
- Use automation in the Score Editor
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- Staff styles overview
- Assign staff styles to tracks
- Staff Style window
- Create and duplicate staff styles
- Edit staff styles
- Edit staff, voice, and assign parameters
- Add and delete staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staff styles between projects
- Delete staff styles
- Assign notes to voices and staffs
- Display polyphonic parts on separate staffs
- Change the staff assignment of score symbols
- Beam notes across staffs
- Use mapped staff styles for drum notation
- Predefined staff styles
- Share a score
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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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- Environment overview
- Common object parameters
- Customize the Environment
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- Fader objects overview
- Use fader objects
- Play back fader movements
- Work with object groups
- Fader styles
- Fader functions: MIDI events
- Fader functions: range, value as
- Fader functions: filter
- Vector fader
- Special faders overview
- Cable switchers
- Meta event faders
- SysEx faders
- Work with SysEx messages
- Special functions
- Ornament objects
- MMC record buttons
- Keyboard objects
- Monitor objects
- Channel splitter object
- Physical input objects
- Physical input objects
- MIDI click objects
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Use surround range and diversity
- Define MIDI controllers
- Extended parameters
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
Refine the basic bass sound in Sculpture in Logic Pro for Mac
This section covers modifications to the basic bass sound. See Program a picked bass sound in Sculpture, Program a slap bass sound in Sculpture, and Program a fretless bass sound in Sculpture.
Sequentially follow the tasks in this section after reading Program a basic bass sound in Sculpture to learn how different components can be modeled and to gain a fuller understanding of how Sculpture parameters interact.
Use the Resolution parameter to control the timbre, independent of pitch in Sculpture
The Resolution parameter is normally used to set the balance between DSP load and sound quality. It can, however, also be used to shape the sound.
In Logic Pro, play some notes at the higher end of the bass range (around C2), then drag the Resolution slider all the way to the right and then gradually back toward the left.
You can hear how the sound loses overtones yet simultaneously becomes louder. At low Resolution values, an inharmonic metallic rattling is heard in the sound.
Increase the Resolution value until the metallic rattling disappears. Set the slider to the following position:
Play some notes in the bottom range (around E 0). You’ll note that the sound is quite muffled and vintage-like. Move the green Low Keyscale slider (found below the main Resolution slider) all the way to the right; the low range should now sound a little more wiry.
With most stringed instruments, the overtone content decreases as the pitch becomes higher. Strictly speaking, this is true only of open strings, and even then in a limited sense. If the strings are fingered, the length of the string is shortened, especially in the high register, and the effect becomes more significant.
Use the Inner Loss parameter to scale the overtone content, dependent on pitch in Sculpture
In Logic Pro, move the Material Pad ball above the words Inner Loss. Try to move the ball solely in a vertical direction to maintain a constant Stiffness value.
Drag the green line next to the ball toward the bottom until the small green diamond is located directly above the word Steel.
When playing, you’ll recognize the smooth transition that takes place between the wiry, overtone-rich sound at the bottom end and the extremely dampened sound in the upper register. This exaggerated setting was chosen to clearly demonstrate the scaling principle in stringed instruments. To achieve an authentic sound and timbre, try the following setting:
Set sustain levels for the basic bass sound, dependent on pitch in Sculpture
In basses in particular, low notes sustain far longer than high notes. Sculpture allows you to authentically and convincingly simulate this behavior with the Media Loss parameter.
In Logic Pro, play a few held notes in the range around C2 and above. You’ll hear that these notes die out much too slowly. Drag the Media Loss slider up until this range begins to fade out quickly enough. The downside is that the lower notes now die out too quickly.
Drag the green Media Loss Key Scale slider down until the fade-out phase of the lower range is sufficiently long.
Compare your results with these recommended values:
You’ve now created a basic bass that’s articulated with your fingers. Save this as E-Bass Fingered Basic. You’ll be using this basic bass as a foundation for the construction of further bass sounds.
The scope for sound design, by altering the frequency spectrum of electromagnetic instruments, is far more flexible than that offered by acoustic instruments. In addition to the number of pickups, a major role is also played by the choice of amplifier, the equalization setting within the amplifier, and—last but not least—the physical properties of the speakers and their enclosing cabinet.
The central features of your electric bass sound are complete, but the sound can be improved by paying close attention to some details. Here are a few general suggestions:
Vary the position of the pickups. Try placing each of them in different positions. This cancels out certain frequencies, and others are summed together.
Try turning on the Invert switch, even though this effect is not typical for electric basses.
What is typical for bass sounds is the placement of the pickups in the outer-left third of the string model. The farther you move them to the left, the thinner and more nasal the sound becomes.
Shifting Object 1 has a similar effect. Try different combinations here as well.
Alter the frequency spectrum of your basic bass with the Body EQ in Sculpture
The Body EQ is ideal for giving the bass sound that final, finishing touch. Your electric bass sound could be a little less smooth, and a bit more precise in its attack phase. Bassists like to use the terms drier and more bite to describe this phenomenon.
In Logic Pro, load the E-Bass Fingered Basic setting.
Choose the standard Lo Mid Hi model from the Model pop-up menu in the Body EQ section.
Reduce the low bass frequencies by setting the Low knob to a value of −0.30.
Boost the mid-range frequencies substantially by setting the Mid knob to a value of 0.50. Drag the Mid Frequency slider to a value of 0.26.
You’ll probably find that the boosting of the low mid frequencies is a little too strong at this point, so return the Mid value to 0.30.
The sound could stand to be a little more wiry, so set the High knob to a value of 0.30.
To finish off, set the Level knob (to the right of the amplitude envelope) to a value of −3 dB.
The sound is now as loud as possible, without the low notes distorting.
Save this sound setting as E-Bass Fingered Basic EQ1.
Download the guides:
Logic Pro User Guide: Apple Books | PDF
Logic Pro Instruments: Apple Books | PDF
Logic Pro Effects: Apple Books | PDF