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
Vintage Clav model characteristics in Logic Pro for iPad
The table outlines the characteristics of each clavinet model.
Model name | Comments | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
Belltone | A bell-like model with strong inharmonic overtones (inharmonicities). | ||||||||||
Classic I and II | Classic I is a near exact emulation of the original D6. It includes string noises on long decays and accurate behavior following the release of keys. Each D6 was unique in its way, so you can adjust the sound to match the tone of D6 clavinets you have heard. Classic II is brighter and more punchy. | ||||||||||
Dulcitone | A dulcimer-like model. | ||||||||||
Funktone | This model invites heavy, funk-style bass playing in the lower octaves, coupled with sustained chords in the mid-to-upper octaves. It works well with phaser and delay effects. In the lower bass-octave ranges, the string oscillations become increasingly resonant over time, until they finally collapse (after 20 to 30 seconds). Higher notes have a much shorter decay, which has a corresponding impact on the resonating behavior. | ||||||||||
Harpsitone I and II | Harpsichord-like models. | ||||||||||
Mellotone | This model is smooth and mellow sounding across the entire keyboard range. | ||||||||||
Plectratone I and II | These models emulate a picked string. Change the pickup positions to make the sound more guitar-like. For a harp-like sound, position the lower pickup near the mid point and increase String Release and (Excite) Shape knob values, while decreasing (Excite) Brilliance. | ||||||||||
Sitartone | A sitar-like sound, rich in resonance. | ||||||||||
Vintage I and II | These models emulate a D6 with aged and worn hammers and strings. The sound of the sticky hammer heads is modeled as well as the richer bass range. | ||||||||||
Woodtone | This model sounds wooden, thin, and contains inharmonic overtones. It can sound slightly detuned in some contexts. | ||||||||||
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