Welcome
- 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
- Region-based vs. track-based automation
- 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
- 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 projects to the Media Browser
- 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
  - Sampler Extended parameters
  - Sampler memory management
- - 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 Amp Designer models

You can learn about different Amp Designer models, their tone and sonic character, and the musical styles they have traditionally been associated with.

Tweed Combos

The Tweed models are based on American combos from the 1950s and early 1960s that helped define the sounds of blues, rock, and country music. They have warm, complex, clean sounds that progress smoothly through gentle distortion to raucous overdrive as you increase the gain. Even after half a century, Tweeds can still sound contemporary. Many modern boutique amplifiers are based on Tweed-style circuitry.

Model				Description
Small Tweed Combo				A 1 x 12” combo that transitions smoothly from clean to crunchy, making it a great choice for blues and rock. For extra definition, set the Treble and Presence controls to a value around 7.
Large Tweed Combo				This 4 x 10” combo was originally intended for bassists, but it was also used by blues and rock guitarists. It is more open and transparent-sounding than the Small Tweed Combo, but it can deliver crunchy sounds.
Mini Tweed Combo				A small amp with a single 10” speaker, used by countless blues and rock artists. It is quite punchy-sounding and can deliver the clean and crunch tones that Tweed combos are known for.

Tip: Tweed combos are responsive to playing dynamics. Adjust the knobs to create a distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone. Turn up your guitar volume knob when soloing.

Classic American Combos

The Blackface, Brownface, and Silverface models are inspired by American combos of the mid 1960s. These tend to be loud and clean with a tight low-end and restrained distortion. They are useful for clean-toned rock, vintage R & B, surf music, twangy country, jazz, or any other style where strong note definition is essential.

Model				Description
Large Blackface Combo				A 4 x 10” combo with a sweet, well-balanced tone favored by rock, surf, and R & B players. Great for lush, reverb-saturated chords or strident solos.
Silverface Combo				A 2 x 12” combo with a loud, clean tone. It has a percussive, articulate attack that is suitable for funk, R & B, and intricate chord work. It can be crunchy when overdriven, but most players favor it for clean tones.
Mini Blackface Combo				A 1 x 10” combo that is bright and open-sounding, with reasonable low end impact. It excels at clean tones with a minimal overdrive.
Small Brownface Combo				A 1 x 12” combo that is smooth and rich-sounding, but retains a level of detail.
Blues Blaster Combo				A 1 x 15” combo that has a clear top end with a tight, defined low end. This model is favored by blues and rock players.

Tip: Although these amps tend toward a clean and tight sound, you can use a Pedalboard distortion stompbox to attain hard-edged crunch sounds with sharp treble and extended low-end definition. See Logic Pro Pedalboard distortion pedals.

British Stacks

The British Stack models are based on the 50- and 100-watt amplifier heads that have largely defined the sound of heavy rock, especially when paired with 4 x 12” cabinets. At medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used.

Model				Description
Vintage British Stack				Captures the sound of a late 1960s 50-watt amp famed for its powerful, smooth distortion. Notes retain clarity, even at maximum gain. After four decades this remains a definitive rock tone.
Modern British Stack				1980s and 1990s descendants of the Vintage British amplifier head, which were optimized for hard rock and metal styles of the time. Tonally, it has a deeper and brighter sound at the low and high end, with a more “scooped” midrange than the Vintage British amp.
Brown Stack				Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended. The resulting “brown” sound—often more distorted and loose than the standard tone—can add interesting thickness to a guitar sound.

Tip: The classic British head and 4 x 12” cabinet combo is ideal for riffs at high gain levels. These heads can also sound good through small cabinets, or at clean, low-gain settings.

British Combos

The British Combos capture the brash, treble-rich sound associated with 1960s British rock and pop. The sonic signature of these amps is characterized by their high-end response, yet they are rarely harsh-sounding due to a mellow distortion and smooth compression.

Model				Description
British Blues Combo				This 2 x 12” combo has a loud, aggressive tone that is cleaner than the British heads, yet delivers rich distorted tones at high gain settings.
British Combo				A 2 x 12” combo based on early 1960s amps. Perfect for chiming chords and crisp solos.
Small British Combo				A 1 x 12” combo with half the power of the British Combo, this amp offers a darker, less open tone.
Boutique British Combo				A 2 x 12” combo that is a modern take on the original 1960s sound. The tone is thicker, with stronger lows and milder highs than the other British Combos.

Tip: You can often use higher Treble and Presence knob settings with the British Combos than with other amp types. If the British Blues Combo is too clean for your needs, combine it with the Pedalboard Hi Drive stompbox for an aggressive blues tone, or the Candy Fuzz stompbox for a heavy rock tone. See Logic Pro Pedalboard distortion pedals.

British Alternatives

The late 1960s amplifier heads and combos that inspired the Sunshine models are loud and aggressive, with full mid frequencies. These amps are useful for single note solos, power chords, and big, open chords—making them popular with the “Brit-pop” bands of the 1990s. The Stadium amps are famed for their ability to play at extremely high levels without dissolving into an indistinct distortion. They retain crisp treble and superb note definition, even at maximum gain settings.

Model				Description
Sunshine Stack				A robust-sounding head paired with a 4 x 12” cabinet. It is a good choice for powerful pop-rock chords. If the tone is too dark, use a high Treble knob setting to open up the sound.
Small Sunshine Combo				A 1 x 12” combo based on a modern amp known for a “big amp” sound. It is brighter than the Sunshine Stack head and has tonal qualities similar to the 1960s British Combo. This amp also sounds good with a 4 x 12” cabinet.
Stadium Stack				A classic head and 4 x 12” cabinet configuration popular with 1970s arena rock bands. Its tones are cleaner than other Amp Designer 4 x 12” stacks, but it retains body and impact. A good choice if you need power and clarity.
Stadium Combo				A 2 x 12” combo based on a modern amp. The tone is smoother than the Stadium Stack.

Tip: The Stadium amps can be slow to distort, so most famous users have paired them with aggressive fuzz pedals. Try combining them with the Pedalboard Candy Fuzz or Fuzz Machine stompboxes. See Logic Pro Pedalboard distortion pedals.

Metal Stacks

The Metal Stack models are inspired by the powerful, high gain amplifier heads favored by modern hard rock and metal musicians. All are paired with 4 x 12” cabinets. Their signature tones range from heavy distortion to extremely heavy distortion. These models are ideal if you want powerful lows, harsh highs, and long sustain in your guitar tones.

Model				Description
Modern American Stack				A powerful high-gain amp that is ideal for heavy rock and metal. Use the Mids knob to set the right amount of scoop or boost.
High Octane Stack				Although a powerful, high-gain amp, this model offers a smooth transition between gain settings and natural compression. It is a good choice for fast soloing and for two- or three-note chords.
Turbo Stack				An aggressive-sounding amp with spiky highs and noisy harmonics, especially at high gain settings. Use the Turbo Stack when you need a guitar tone that cuts through a mix.

Tip: Combining the Turbo Stack with distortion and fuzz pedals can diminish the edgy tone. A dry sound is often the best choice for high-impact riffs.

Additional Combos

The combos and utility models in this category are versatile amps that you can use for a wide variety of musical styles.

Model				Description
Studio Combo				A 1 x 12” combo based on boutique combos of the 1980s and 1990s. These models use multiple gain stages to generate smooth, sustain-heavy distortion and bold, bright, clean sounds. Can deliver a heavier sound when paired with a 4 x 12” cabinet.
Boutique Retro Combo				A 2 x 12” combo inspired by expensive modern amps that combine the sounds of several 1960s combos. It excels at clean and crunch tones, making it a good choice when you want an old-fashioned flavor but with the crisp highs and defined lows of a modern amplifier. This model has very sensitive tone controls that can deliver countless guitar tones.
Pawnshop Combo				A 1 x 8” combo based on the inexpensive amps sold in American department stores in the 1960s. Despite their limited features and budget workmanship, these amps are the secret behind the sound of many rock, blues, and punk players. The clean sounds are warm, and distorted sounds are thick, despite the small speaker.
Transparent Preamp				A preamp stage with no coloration. Note that Transparent Preamp is activated in the Amp pop-up menu, not in the Model pop-up menu.

Tip: Combine the Pawnshop Combo amp with the Pedalboard Hi Drive or Candy Fuzz stompboxes to emulate hard rock tones of the late 1960s. See Logic Pro Pedalboard distortion pedals.

အထောက်အကူဖြစ်ပါသလား။

Logic Pro X User Guide