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
Sculpture LFO waveforms in Logic Pro for iPad
The LFO Waveform pop-up menus set different waveforms for the LFOs. The table outlines how these can affect your modulations.
Waveform | Comments |
|---|---|
Sine | Ideal for constant, even, modulations. |
Triangle | Well-suited for vibrato effects. |
Sawtooth | Well-suited for helicopter and space gun sounds. Intense modulations of the oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds. Intense sawtooth modulations of lowpass filter cutoff and resonance create rhythmic effects. The waveform can also be inverted, resulting in a different start point for the modulation cycle. |
Rectangle | Use of the rectangular waves periodically switches the LFO between two values. The Rectangle Unipolar wave switches between a positive value and 0. The Rectangle Bipolar wave switches between a positive and a negative value set to the same amount above and below 0. An interesting effect can be achieved by modulating pitch with a suitable modulation intensity that leads to an interval of a fifth. Choose the upper rectangular wave to do this. |
Sample & Hold | The three Sample & Hold (S & H) waveform settings of the LFOs output random values. A random value is selected at regular intervals, as defined by the LFO rate. The S & H waveform steps between randomized values (rapid switches between values). The S & H Lag setting smooths the random waveform, resulting in fluid changes to values. The S & H from CtrlA setting is controlled by the CtrlA modulation source. For example, you could assign aftertouch as the CtrlA source to trigger S & H modulation of pitch. The term Sample & Hold refers to the procedure of taking samples from a noise signal at regular intervals. The values of these samples are then held until the next sample is taken. Tip: A random modulation of pitch leads to an effect commonly referred to as a random pitch pattern generator or sample and hold. Try using very high notes, at very high rates and high intensities—you’ll recognize this well-known effect from hundreds of science fiction movies. |
Filtered Noise | Can be used for chaotic modulations, but it is principally of use in conjunction with the LFO envelope function, where you would introduce a brief modulation at some point in the note phase—for example, to introduce breath in a brass emulation, or to control an organ key click or piano hammer noise. The random nature of the noise waveform means that such modulations would vary slightly each time. |
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