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
Early voltage-controlled synthesizers
With the exception of the Telharmonium, which was conceived prior to the advent of the thermionic valve, the precursors to the modern-day synthesizer were all based on tube circuitry. This made these instruments unwieldy and volatile. After the transistor became available in 1947/48, more rugged, smaller, and thus portable, instruments were soon to come.
At the end of 1963, American innovator R. A. (Bob) Moog met the composer Herbert Deutsch. Deutsch inspired Moog to combine a voltage-controlled oscillator and amplifier module with a keyboard, and in 1964 the first prototype of a voltage-controlled synthesizer was constructed. This collaboration with the German musician prompted Moog to extend his range of modules and to combine them into entire systems. It wasn’t until 1967, however, that Moog actually called his diverse mix-and-match systems synthesizers.
Moog’s achievements spread by word of mouth, and Moog, always keen to elicit the feedback of his customers, continued to add further modules to his line. Wendy Carlos’s LP release Switched-On Bach (1968) was responsible for the breakthrough of Moog’s instruments. The record featured Moog’s modular synthesizers and was one of the earliest commercial multitrack recordings. The album’s success introduced the synthesizer to a wider audience and made the name “Moog” synonymous with the instrument. Hoping to capitalize on the new sounds that synthesizers made available, and match Carlos’s commercial success, numerous studios, producers, and musicians acquired Moog modular synthesizers. In 1969, as many as 42 employees produced two to three complete modular systems every week at Moog’s production facility.
Working independently, an engineer named Donald Buchla had conceived and implemented the concept for a modular, voltage-controlled synthesizer. This coincided with Moog’s version. Buchla also developed his first instruments in close cooperation with users. The inspiration for his first synthesizer originated with composers Morton Subotnik and Ramon Sender, of the San Francisco Tape Music Center. Although he began working on this instrument in 1963, it didn’t make its public debut until 1966. By design, Buchla’s instruments catered primarily to academia and avant-garde musicians, so they never garnered the public attention and acclaim of Moog’s synthesizers.
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