Logic Pro User Guide for iPad
- What’s new in Logic Pro 1.1
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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
- 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 Drummer region or a pattern region
- Rename regions
- Change the color of regions
- Delete regions
- Create fades on audio regions
- 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
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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 release phase behavior
- Vector Envelope point transition shapes
- Use Vector Envelope time scaling
- Use the Mod Pad
- 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 and highpass filter
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
- Sampler
- Copyright
EVOC 20 PS level and frequency tips in Logic Pro for iPad
The tips in this section can help you achieve the best possible vocoder results with EVOC 20 PS. Also see tips on avoiding sonic artifacts and enhancing speech intelligibility.
A vocoder always generates the intersection point of the analysis and synthesis signals. If there’s no treble portion in the analysis signal, the resulting vocoder output also lacks treble. This is also the case when the synthesis signal has a lot of high-frequency content. Because this is true of each frequency band, the vocoder demands a stable level in all frequency bands from both input signals to obtain the best results.
Achieving a great “classic” vocoder effect requires both the analysis and synthesis signals to be of excellent quality, and it also requires care to be taken with the vocoder parameters. These tips can help you achieve the best possible results.
The less the level changes, the better the intelligibility of the vocoder. You should therefore compress the analysis signal in most cases.
Due to the way human hearing works, the intelligibility of speech is highly dependent on the presence of high-frequency content. To aid in keeping speech clear, consider using equalization to boost or cut particular frequencies in analysis signals before you process them.
If the analysis signal consists of vocals or speech, a simple shelving filter should be sufficient to boost the high-mid and treble range, which is important for speech intelligibility.
If the synthesis signal lacks treble energy, it can be generated with a distortion effect.
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