Welcome
- 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 10.3
- What’s new in Logic Pro 10.0
- Introduction to Logic Pro
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Drummer
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- 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
- Overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Control Logic Pro projects using Logic Remote
- Preview projects in the Finder
- Close projects
- View project information
- Overview
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
- Overview
- Use the metronome
- Using loops and other media in Logic Pro
- Bookmark folders in the All Files Browser
- Import compressed audio files
- Overview
- - Remove silent passages
  - Uses for Remove Silence
- - Create groove templates
  - Import groove templates
- Overview
- Select audio regions
- Cut, copy, and paste audio regions
- Move audio regions
- Trim audio regions
- Split and join audio regions
- Snap edits to zero crossings
- Delete audio regions
- Use Flex Time and Pitch in the Audio Track Editor
- Use automation in the Audio Track Editor
- Overview
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
- Overview
- Work with Producer Kits
- Convert Drummer regions to MIDI regions
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Overview
- Track-based vs. region-based automation in Logic Pro
- Show automation curves
- Choose automation modes
- - Select, copy, and move automation
  - Delete automation
- Snap automation to grid positions
- Edit automation in the Automation Event List
- Write automation with external controllers
- 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
- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- - Record to cells
  - Record and edit takes in 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 in Logic Pro with other devices
- Overview
- Load and save patterns
- Modify pattern playback
- Edit steps
- Edit rows
- Step Sequencer inspectors
- Customize Step Sequencer
- Global Changes overview
- - Add arrangement markers
  - Edit arrangement markers
- - Transposition overview
  - Add and edit transposition points
- Control project volume
- Overview
- Add notes
- Use automation in the Score Editor
- Share a score
- Sharing overview
- Share songs to the Music app
- Share songs using AirDrop
- Share songs using MailDrop
- Share songs to SoundCloud
- Share a project to GarageBand for iOS
- Logic Pro surround overview
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- Video and synchronization overview
Touch Bar shortcuts
- Learn about Effects
- Learn about included Instruments
- - Alchemy overview
  - Name bar
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - Master voice section
  - Alchemy extended parameters
- - Drum Kit Designer overview
  - Edit pane
  - Use Drum Kit Designer
  - Extended parameters
  - Drum Kit Designer mappings
- - Drum Machine Designer overview
  - Logic Pro Drum Machine Designer interface
  - Grid Kit Controls
  - - Pad controls bar
    - Use Logic Pro Drum Machine Designer pad controls
  - Kit Tone and Effect Smart Controls pane
  - Kit Piece Tone and Effect Smart Controls pane
- - Logic Pro Drum Synth overview
  - Logic Pro Drum Synth Kicks
  - Logic Pro Drum Synth Snares and Claps
  - Logic Pro Drum Synth Percussion
  - Logic Pro Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters overview
    - Drive the filter to self-oscillate
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface
  - - Use the dynamic stage
    - Enhance sounds with the Sine Level control
  - ES2 integrated effects processor controls
  - Use ES2 in Surround mode
  - Extended parameters
  - - Use randomization parameters
    - Restrict randomization
- - EFM1 overview
  - Modulation parameters
  - Global parameters
  - Output parameters
  - Create random sounds
  - Extended parameters
  - MIDI controller assignments
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter controls
  - Envelope controls
  - Output parameters
  - Extended parameters
- - ES M overview
  - Oscillator parameters
  - Filter and filter envelope controls
  - Level envelope and output controls
  - Extended parameters
- - ES P overview
  - Oscillator parameters
  - LFO parameters
  - Filter controls
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PolySynth overview
    - Vocoder basics
  - EVOC 20 PolySynth interface
  - Analysis parameters
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - 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 Mod Matrix pane
    - Logic Pro Quick Sampler LFO controls
  - 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
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use Waveset menu functions
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - Sampler overview
  - Load and Save sampler instruments
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Use pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Assign MIDI controllers
  - Extended parameters
- - Learn about the Studio instruments
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Learn about the Utility instruments
  - External Instrument controls
  - Klopfgeist controls
- - Vintage B3 overview
- - Vintage Clav overview
  - Vintage Clav interface
  - Extended parameters
  - - D6 Clavinet history
    - D6 mechanical details
- - Vintage Electric Piano overview
  - Vintage Electric Piano interface
  - - Model parameters
    - Pitch parameters
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kit
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary

Logic Pro Sculpture overview

This section contains key information and concepts that you need to understand before looking at Sculpture features and parameters. If you’re new to synthesizers, it might be best to start off with Synthesizer basics overview, which will introduce you to the terminology and give you an overview of different synthesis methods and how they work.

Sculpture is a synthesizer that generates sounds by simulating the physical properties of a vibrating string. This approach to tone generation is called component modeling. It enables you to create a virtual model of an acoustic instrument, such as a violin or cello. Components such as the length of the neck, the material the instrument is made of—wood or metal, for example—the diameter, tension, and material of the strings—nylon or steel, for example—and the size of the instrument body can be modeled.

In addition to the physical properties of the instrument, you can determine how and where it is played—softly bowed, or plucked, on top of a mountain, or under the sea. Other aspects such as finger noise and vibrato can also be emulated. You can even hit your virtual instrument strings with a stick, or emulate dropping a coin onto the bridge.

Sculpture is not limited to recreating real-world instruments. You are free to combine components in any way, leading to bizarre hybrids such as a six-foot-long guitar with a bronze bell for a body—played with a felt hammer.

You can also create more traditional synthesizer tones in Sculpture. These benefit from the modeling process itself, which tends to add a level of richness and an organic quality to sounds. The end results are lush, warm pads, deep and round synthesizer basses, and powerful lead sounds. If you need to create an endlessly evolving texture for a film soundtrack, or a spaceship takeoff sound, Sculpture is the perfect instrument for the job.

Like a real instrument, Sculpture generates sounds by using an object, such as a fingertip, wind, drumstick, or violin bow, to stimulate another object, such as a guitar string or reed.

Note: For clarity, the stimulated object is always referred to as the string.

As with a real instrument, the sound consists of multiple elements. It’s not only the string that is responsible for the tonal color, but also the objects that stimulate or otherwise affect the string, and therefore the sound.

For example, imagine a steel-stringed guitar that is alternately strummed with your thumb and then picked strongly with your fingers. Changing to nylon strings, or 12 strings, would significantly change the tone. Now imagine the impact of pressing the strings down onto the fretboard, which not only changes the chord but also momentarily bends the strings, and therefore their pitch. Other aspects to consider are the size and material of the guitar body and how they influence the resonant characteristics of your sound. Further elements, such as the size or type of sound hole—round or F-shaped—the finger noise on the strings, and the medium that the guitar is played in, also have roles to play in the overall sound that you produce.

Sculpture enables you to virtually model the physical consistency and behavior of all components involved—hence component modeling synthesis.

Figure. Diagram showing the signal flow of the core synthesis engine.

This figure shows the signal flow of the core Sculpture synthesis engine.

Following the stimulation of the string by various objects, the vibration of the string is captured by two movable pickups—you can view these as being similar, in concept and operation, to the electromagnetic pickups found on guitars, electric pianos, or clavinets.

The pickups send the signal to the ADSR-equipped amplitude stage, a Waveshaper module, and a multimode filter. These all serve to sculpt your sound.

Note: All elements described above exist on a per voice basis.

The sum of all voice signals can then be sent to an EQ-like module (the Body EQ), which simulates the spectral shape/body response of your instrument, and then processed by an integrated delay effect. The resulting signal is then fed to a level limiter section.

A vast number of modulation sources are also available, from tempo-synced LFOs to jitter generators and recordable envelopes. These can control the string and object properties, the filter, and other parameters. You can even modulate other modulation sources.

A recordable morph function also allows for smooth or abrupt transitions between up to five morph points. A morph point is essentially a collection of parameter settings at a given moment in time.

Important: The interaction between various sections of the component modeling synthesis engine is more dynamic and more tightly intertwined than that of other synthesis methods. This can lead to some truly unique sounds, but sometimes even a small parameter change can deliver dramatically different, and unexpected, results. Sculpture requires a more measured approach to sound creation than a traditional synthesizer design. Refer to the flowchart while learning the interface and programming.

Sculpture is a performance-oriented synthesizer that benefits from the use of controllers, modulations, and different playing techniques. Take time to experiment with all available controls and parameters when you initially audition some of the supplied sounds, and when you create new ones of your own.

Several tutorial sections will help you learn about creating sounds with Sculpture.

Sculpture is an instrument that requires some investment of your time, but it can reward you with beautifully warm and organic sounds, evolving soundscapes—or a harsh and metallic “Hell’s Bells” patch, if required. Don’t be afraid to experiment; that’s what Sculpture was created to do.

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Logic Pro User Guide

Logic Pro Sculpture overview