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
Hohner and Wurlitzer models
The extremely rare Hohner Electra Piano (not the similarly named all-electronic Electrapiano from RMI) offers striking hammers like those of the Rhodes, but a stiffer keyboard action. It was designed to resemble the look of a conventional acoustic upright piano. Led Zeppelin’s John Paul Jones played it on “Stairway to Heaven,” “Misty Mountain Hop,” and “No Quarter.”
Wurlitzer, best-known for manufacturing music boxes and organs, also built electric pianos that helped write pop and rock music history. The 200 series, notably the 200A and 240V, Wurlitzer pianos are smaller and lighter than the Rhodes pianos, with a keyboard range of 64 keys (A to C) and an integrated amplifier and speakers.
The velocity sensitive hammer action resembles that of a conventional acoustic piano. The Wurlitzer sound generation system is based on spring steel reeds that can be tuned with a solder weight. The Wurlitzer has electrostatic pickups The reeds are supplied with a zero volt current and move between the teeth of a comb, connected to a 150-volt current. The tone of the Wurlitzer, which was first manufactured in the early 1960s, features a number of odd harmonics.
The Wurlitzer is best known as the signature piano sound of the band Supertramp, as heard on their “Crime of the Century” album. You might also recognize the Wurlitzer sound when listening to Pink Floyd’s “The Dark Side of the Moon” or “I Am the Walrus” by The Beatles.
Note: The Vintage Electric Piano Funk Piano model offers a special synthetic piano engine sound, with an exaggerated bass. This is not based on any real-world Wurlitzer instruments, but it can be a useful sound nonetheless.
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