Logic Pro User Guide for Mac
- Welcome
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- What’s new in Logic Pro 12
- What’s new in Logic Pro 11.2
- What’s new in Logic Pro 11.1
- What’s new in Logic Pro 11
- What’s new in Logic Pro 10.8
- What’s new in Logic Pro 10.7.8
- What’s new in Logic Pro 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- 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 10.2
- What’s new in Logic Pro 10.0
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- What is Logic Pro for Mac?
- Logic Pro project basics
- Undo and redo edits
- Download additional sound packs
- How to get help
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- Tracks overview
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- Create tracks
- Create tracks using drag and drop
- Create tracks using existing channel strips
- Assign tracks to different channel strips
- Choose the default region type for software instrument tracks
- Select tracks
- Duplicate tracks
- Rename tracks
- Change track icons
- Change track colors
- Reorder tracks
- Zoom tracks
- Replace or double drum sounds
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
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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
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Route MIDI internally to software instrument tracks
- Use the metronome
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- Arranging 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
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert a MIDI region into a pattern region in Logic Pro for Mac
- Replace a MIDI region with a Session Player region in Logic Pro for Mac
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
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- Chords overview
- Add and delete chords
- Select chords
- Cut, copy, and paste chords
- Move and resize chords
- Loop chords on the Chord track
- Transpose chords
- 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
- Analyze the chords in audio or MIDI regions in Logic Pro for Mac
- Extract vocal and instrumental stems with Stem Splitter
- Create groove templates
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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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- Session Players overview
- The Session Player Editor
- Choose a Session Player type and style
- Chords and Session Players
- Choose Session Player presets
- Regenerate a Session Player performance
- Follow rhythm of chords and other tracks
- Work with Drummer multi-channel kits
- Convert Session Player regions into MIDI or pattern regions
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input format
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Reorder channel strips in the Mixer
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Search for plug-ins in the Mixer
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channel strips
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Use MPE with software instruments
- 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
- 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
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
- Control transposition with the Pitch Source parameter
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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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 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 Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- 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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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
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- Logic Pro projects
- Various windows
- Controller Assignments window
- Control bar
- Tracks area
- Global tracks
- Automation
- Live Loops grid
- Mixer
- MIDI Environment
- Piano Roll Editor
- Score Editor
- Event List
- Step Editor
- Step Sequencer
- Flex Time
- Audio File Editor
- Smart Tempo Editor
- Surround Panner
- Channel EQ
- Space Designer
- Sampler
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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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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- 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 controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- 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 controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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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
- Wide unison mode
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- Sample Alchemy overview
- Interface overview
- Add source material
- Edit mode
- Play modes
- Source overview
- Synthesis modes
- Granular controls
- Additive effects
- Additive effect controls
- Spectral effect
- Spectral effect controls
- Filter module
- Lowpass, bandpass, and highpass filters
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
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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
- Define MIDI controllers
- Extended parameters
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- Studio Piano
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright and trademarks
Using Quantec Room Simulator for Surround Sound in Logic Pro for Mac
The Quantec Room Simulator can apply reverberation effects to multichannel surround audio signals. It offers multi-surround processing capabilities for both the YardStick and QRS reverberation models, utilizing the original algorithms from the Quantec hardware units. The Quantec Room Simulator plug-in works with all multichannel formats supported by Logic Pro, resulting in a true immersive room simulation when used in a surround project. Numerous parameters allow for precise control of reverberation within a two- or three-dimensional sound field.
When the QRS plug-in is inserted on a surround channel, the surround implementation of the plug-in automatically adapts to the active surround format as follows:
The plug-in configures itself based on the surround format you set in your project settings, for example, 5.1 or 7.1. This ensures the controls and internal processing are optimized for your audio setup.
Note: QRS surround sound presets are surround format-specific. Loading a preset created for a different surround format may result in missing or unavailable channels.
Its core functionality remains consistent with the stereo version, preserving the familiar Primary and Secondary parameter pages and their associated controls.
To improve workflow and consolidate features, the Subsonic button from the Extended page in the YardStick model is moved to the Secondary page.
The Dry Source, 1st Reflection Source, and Correlation Pattern pop-up menus are accessible in the surround details section.
The meters scale according to the active surround format, following the clockwise channel sequence for consistent level monitoring.
A set of macro controls is provided for quick and easy access to adjust the balance between front and rear channels and bottom (ear-level) and top (overhead) channels. See Quantec Room Simulator surround macro controls for more information.
The Details button opens the surround details view, where you can precisely control and adjust the reverb settings for each channel in your current surround setup. In addition to standard reverb controls, this view also includes parameters for pre-processing the input signals before they enter the reverberation algorithm. See Quantec Room Simulator surround details view for more information.
To add Quantec Room Simulator to your surround project, choose Reverb > QRS in a channel strip Audio Effect plug-in menu. The surround version of the Quantec Room Simulator plug-in can be loaded if the channel mode of that channel strip is set to surround. The available channels correspond to the surround format selection in your General Audio project settings.
Quantec Room Simulator surround macro controls
The Quantec Room Simulator plug-in features a set of macro controls to help you quickly adjust the balance of various parameters between their front and rear channels or bottom (ear-level) and top (overhead) channels. These macro controls provide a fast way to rebalance the spatial characteristics of the reverb field without manually editing individual parameters in the surround details view. They are particularly useful for quickly auditioning different mix perspectives and for adapting settings when switching between playback formats.
1st Reflection Delay knob: Adjust the delay of the first reflection between front and rear channels.
Reverb Delay knob: Adjust the onset of the reverb between front and rear channels.
Reverb High Cut knob: Adjust the cutoff frequency of a lowpass filter (applied to the output of the reverb effect) between front and rear channels.
Dry Level knob: Adjust the output level of the dry signal on the plug-in output between its front and rear channels.
1st Reflection Level knob: Adjust the output level of the first reflection signal on the plug-in output between its front and rear channels.
Reverb Level R/F knob: Adjust the output level of the reverb effect signal on the plug-in output between its front and rear channels.
Reverb Level B/T knob: Adjust the output level of the reverb effect signal on the plug-in output between its bottom and top channels.
Quantec Room Simulator surround details view
Use the surround details view to adjust settings for each channel or channel pair in your surround setup. Alongside standard reverb controls, the surround details view includes the Room Input Processing column, which lets you adjust individual channels before they are processed by the room simulation.
Tip: You can access the Room Input Processing column by setting the Quantec Room Simulator plug-in as both a surround input and output.
With this level of control, you can create subtle or dramatic spatial effects, tailoring the reverberation to achieve a more realistic and immersive sound field.
Note: Altering the surround format in the project settings will reset any adjustments made in the details view. To avoid losing your settings, save them as a preset before making changes to the surround format.
Details button: Open or close the surround details view to display reverb parameters for each channel.
I/O parameters: Shows the I/O channels that match your project’s surround configuration.
Room Input Processing parameters: Adjust the input signal’s level, delay, and lowpass filtering before room simulation, with the option to select up to eight virtual speakers. These parameters are only available when the Quantec Room Simulator is inserted as a surround input and surround output plug-in.
Pre Level value fields: Attenuate the input level up to -30 dB or set it to Mute to balance input levels or remove a channel/channel pair from entering the room simulation.
Pre Delay value fields: Set a delay of up to 250 ms to specific channels, creating additional spatial separation or simulating source‑to‑wall distance.
Pre High Cut value fields: Apply a lowpass filter to specific channels at a given cutoff frequency to control brightness, sibilance, or high-end build-up. Set to None to bypass the filter.
Room Input pop-up menus: The numbers represent the virtual speakers, positioned in the virtual room where the algorithm simulates the room response.
Source parameters: Control the input routing of the Dry and 1st Reflection signal paths.
Dry Source pop-up menus: Choose the input source that you want to use as the dry signal.
1st Refl. Source pop-up menus: Choose the input source that you want to use as the first reflection signal.
Offset parameters: This section provides seven parameters to apply an offset to the corresponding main values configured in the Primary or Secondary page. You can adjust offsets independently for each channel or channel pair and can change automatically when using the Macro controls.
1st Refl. Delay value fields: Adjust the first reflection delay by either adding to or subtracting from the main delay setting.
1st Refl. Spread value fields: Adjust the first reflection right channel’s delay relative to the left, increasing or decreasing its delay from the main setting. This parameter is available only for channel pairs, not single channels (C, LFE).
Reverb Delay value fields: Adjust the delay to the onset of the reverb effect.
Reverb High Cut value fields: Adjust the frequency offset of the Reverb High Cut parameter in the Secondary page of the Quantec YardStick model.
Dry Level value fields: Adjust the offset for the output level of the dry signal path. Setting the value to Mute removes the Dry signal from the output of the respective surround channel.
1st Refl. Level value fields: Adjust the offset for the output level of the dry signal path. Setting the value to Mute removes the first reflection signal from the output of the respective surround channel.
Reverb Level value fields: Adjust the offset for the output level of the reverb signal path. Setting the value to Mute removes the reverb signal from the respective surround channel.
Correlation parameters: These settings determine how the virtual microphones in the reverb chamber are correlated to each other.
Pattern correlation pop-up menus: Choose predefined correlation patterns for the corresponding channels. All virtual microphones in the reverberation chamber maintain 50% correlation with each other, while following individual discorrelation patterns. Assigning the same number to different channels produces a mono output. Choose Off to mute a Reverb output channel independently of the dry and first reflection outputs.
Reverb correlation value fields: Adjust the correlation of a channel pair by setting this value to a positive number for a more correlated, narrower image or to a negative number for a less correlated, wider image.