Logic Pro X User Guide
- Welcome
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- What is Logic Pro?
- Workflow overview
- Logic Pro project basics
- Advanced tools and additional options
- 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 keyboard shortcuts
- Customize the control bar
- Change the LCD display mode
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Control Logic Pro using Apple Remote
- Control Logic Pro projects using Logic Remote
- 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
- Record to multiple software instrument tracks
- Replace software instrument recordings
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Use the metronome
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- 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
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Clone audio regions
- Change the color of regions
- Convert audio regions to Sampler sample zones
- Rename regions
- Delete regions
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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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- Flex Time and Pitch overview
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- Flex Pitch algorithm and parameters
- Edit the pitch of audio in the Audio Track Editor or a zoomed in track
- Edit the pitch of audio in the Tracks area when the track is not zoomed in
- Correct the timing of audio regions with Flex Pitch
- Quantize the pitch of audio regions
- Create MIDI from audio recordings
- Change the gain of audio regions
- Use Varispeed to alter the speed and pitch of audio
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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
- Support for ARA 2 compatible plug-ins
- 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 in Logic Pro
- 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
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops in Logic Pro with other devices
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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 Logic Pro 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 Logic Pro Staff Style window
- Copy staffs or voices in the Logic Pro Staff Style window
- 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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- 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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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands key commands
- Global Control Surfaces Commands
- Various windows
- Windows Showing Audio files
- Main Window Tracks and Various Editors
- Live Loops Grid
- Various Editors
- Views showing Time Ruler
- Main Window Tracks
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Sampler
- Step Input Keyboard
- Tool key commands in Logic Pro
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces preferences overview
- Modal dialog display
- Tips for using your control surface
- Control surfaces supported by Logic Pro
- Software and firmware
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- Learn about Effects
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- Learn about Amps and Pedals
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- Bass Amp Designer overview
- Bass amplifier models
- Bass cabinet models
- Build a custom combo
- Amplifier signal flow
- Pre-amp signal flow
- Use the D.I. box
- Amplifier controls
- Bass Amp Designer effects overview
- Bass Amp Designer EQ
- Bass Amp Designer compressor
- Bass Amp Designer Graphic EQ
- Bass Amp Designer Parametric EQ
- Bass Amp Designer microphone controls
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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 controller parameters
- Modifier MIDI plug-in controls
- Note Repeater MIDI plug-in controls
- Randomizer MIDI plug-in controls
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- Use the Scripter MIDI plug-in
- 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 MIDI plug-in controls
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- Learn about included Instruments
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- Alchemy overview
- Name bar
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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
- Master voice section
- Alchemy extended parameters
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- Logic Pro Quick Sampler overview
- Add content to Logic Pro Quick Sampler
- Logic Pro Quick Sampler waveform display
- Use Flex in Logic Pro Quick Sampler
- Logic Pro Quick Sampler Pitch controls
- Logic Pro Quick Sampler Filter controls
- Quick Sampler filter types
- Logic Pro Quick Sampler Amp controls
- Logic Pro Quick Sampler 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
- Assign MIDI controllers
- Extended parameters
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
Additive synthesis with draw bars
The Hammond B3 is the classic draw bar organ. As with an air-driven pipe organ, the registers (draw bars, or “stops” on a pipe organ) can be pulled out to engage them. In contrast to a pipe organ, however, the B3 allows seamless mixing of any draw bar registers. The closer toward you that the draw bars are dragged, the louder the corresponding tones.
Despite characteristics such as key clicks, variable intonation, distortions, and crosstalk (all of which Vintage B3 emulates), playing a single note, with a single register, results in a pure sine tone. Mixing sine tones results in more complex harmonic spectra; this is known as additive synthesis. Organs—even pipe organs—can be regarded as additive synthesizers. Several limitations should be considered before viewing the instrument in this way. These limitations, on the other hand, constitute the charm and character of any real musical instrument.
The naming of the draw bars is derived from the length of organ pipes, measured in feet ('). This naming convention is still used with electronic musical instruments.
Halving the length of a pipe doubles its frequency.
Doubling the frequency results in an upward transposition of one octave.
The lowest register—16’ (far left, brown draw bar)—and the higher octave registers—8’, 4’, 2’, and 1’ (white draw bars)—can be freely mixed, in any combination. 16’ is commonly described as the sub-octave. With the sub-octave regarded as the fundamental tone, or first harmonic, the octave above 8’ is the second harmonic, 4’ the fourth harmonic, 2’ the eighth harmonic, and 1’ the sixteenth harmonic.
With the 5 1/3’ register—the second brown draw bar—you can add the third harmonic. This is the fifth above the 8’. Basically, the draw bars are arranged by pitch, with one exception. The second draw bar (5 1/3’) sounds a fifth higher than the third draw bar. See The residual effect for an explanation.
The 2 2/3’ register generates the sixth harmonic, 1 3/5’ the tenth harmonic, and 1 1/3’ the twelfth harmonic.
An electromechanical tonewheel organ offers the choice of the following registers/harmonics: 1 (16’), 2 (8’), 3 (5 1/3’), 4 (4’), 6 (2 2/3’), 8 (2’), 10 (1 3/5’), 12 (1 1/3’), and 16 (1’). As you can see, the harmonic spectrum is nowhere near complete. This is one of the main reasons for the common practice of using overdrive and distortion effects with electromechanical tonewheel organs—they enrich the harmonic spectra by generating more harmonics.
Note: 2 2/3’ is the fifth over 4’. 1 3/5’ is the major third over 2’. 1 1/3’ is the fifth over 2’. In the bass range, this can lead to inharmonic tones, especially when playing bass lines in a minor key. This is because mixing 2’, 1 3/5’, and 1 1/3’ results in a major chord.