Logic Pro User Guide for iPad
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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
- 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
- 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
- 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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- 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
ES2 oscillator modulation targets in Logic Pro for iPad
The table outlines all oscillator-related modulation targets.
Target | Comments | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
Pitch123 | Modulates the frequencies (pitch) of all three oscillators. If you select an LFO as the source, this target leads to siren or vibrato sounds. Select one of the envelope generators with zero attack, short decay, zero sustain, and short release as the source for tom and kick drum sounds. | ||||||||||
Pitch 1 | Modulates the frequency (pitch) of oscillator 1. Slight envelope modulations can make the amount of detuning change over time, when oscillator 1 is sounding in unison with another (unmodulated) oscillator. This also applies to the other Pitch targets and is particularly useful for synthesizer brass sounds. | ||||||||||
Pitch 2 | Modulates the frequency (pitch) of oscillator 2. | ||||||||||
Pitch 3 | Modulates the frequency (pitch) of oscillator 3. | ||||||||||
Detune | Controls the amount of detuning between all three oscillators. The sensitivity of all pitch modulation targets is determined by the modulation intensity. This is scaled as per the lists below, allowing you to create very delicate vibrati in the cent range (1/100 semitone), and huge pitch jumps by octaves.
This leads to the following rules of thumb for modulation intensity values.
| ||||||||||
OscWaves | Depending on the waveforms set in the three oscillators, this target can be used to modulate:
OscWaves affects all oscillators simultaneously. For further information about the effects of these modulations, see Use ES2 pulse width modulation, Use ES2 frequency modulation, and Use the ES2 noise generator. | ||||||||||
Osc1Wave | Depending on the waveform selected for oscillator 1, you can control the pulse width of rectangular and pulse waves, the amount of frequency modulation, or the position of the Digiwave. In classic FM synthesizers the amount of FM is controlled in real time by velocity-sensitive envelope generators. Select one of the ENVs as the source for such sounds. | ||||||||||
Osc2Wave | The same as Osc1Wave, except that oscillator 2 does not feature FM. Note that pulse width modulation also works with both the synchronized rectangular and ring-modulated rectangular waves. | ||||||||||
Osc3Wave | Oscillator 3 is the same as Osc1Wave and Osc2Wave except that it does not feature FM or ring modulation. Oscillator 3 features noise, the color of which can be modulated with this parameter. | ||||||||||
OscWaveB | The transitions between Digiwaves during a wavetable modulation (where you switch between different Digiwaves) are always smooth. You can use the OscWaveB target to continuously modulate the shape of the transitions from smooth to hard. This target applies to all oscillators. | ||||||||||
Osc1WaveB | If wavetable modulation is active for a Digiwave (using the Osc1Wav target), you can use this target to modulate the shape of the transition. When you’re frequency-modulating oscillator 1, the Osc1WaveB target offers much higher FM intensities than either the Osc1 FM or the Osc1Wave targets. | ||||||||||
Osc2WaveB | The same as above for a Digiwave using the Osc2Wav target. | ||||||||||
Osc3WaveB | The same as above for a Digiwave using the Osc3Wav target. | ||||||||||
SineLev1 | SineLevl (Sine Level) allows the sine wave level of oscillator 1 to be modulated. The parameter defines the level of the first partial tone of oscillator 1. See Enhance ES2 sounds with Sine Level. | ||||||||||
OscLScle | OscLScle (Osc Level Scale) modulates the levels of all three oscillators simultaneously. A modulation value of 0 mutes all oscillators, whereas a value of 1 raises the gain of the entire mix by 12 dB. The modulation is applied before the overdrive stage, allowing for dynamic distortions. | ||||||||||
Osc1Levl | (Osc 1 Level) allows modulation of oscillator 1 level. | ||||||||||
Osc2Levl | (Osc 2 Level) allows modulation of oscillator 2 level. | ||||||||||
Osc3Levl | (Osc 3 Level) allows modulation of oscillator 3 level. | ||||||||||
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