Logic Pro User Guide for iPad
-
- What is Logic Pro?
- Working areas
- Work with function buttons
- Work with numeric values
-
- 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
-
- Intro to recording
-
- 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
-
- Intro to arranging
-
- 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
-
- 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
-
- 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
-
- Effect plug-ins overview
-
- Instrument plug-ins overview
-
- ES2 overview
- Interface overview
-
- Modulation overview
- Use the Mod Pad
-
- 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
-
- 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
Stereo miking techniques in Logic Pro for iPad
There are three common stereo miking variations used in recording: AB, XY, and MS. A stereo recording contains two channel signals.
AB and XY recordings both record left and right channel signals, but the middle signal is the result of combining both channels.
MS recordings record a middle signal, but the left and right channels are decoded from the side signal, which is the sum of both left and right channel signals.
AB miking
In an AB recording, two microphones—commonly omnidirectional, but any polarity can be used—are equally spaced from the center and pointed directly at the sound source. Spacing between microphones is extremely important for the overall stereo width and perceived positioning of instruments within the stereo field.
The AB technique is commonly used for recording one section of an orchestra, such as the string section, or perhaps a small group of vocalists. It is also useful for recording piano or acoustic guitar.
AB is not well suited to recording a full orchestra or group as it tends to smear the stereo imaging/positioning of off-center instruments. It is also unsuitable for mixing down to mono because phase cancelations can occur between channels.
XY miking
In an XY recording, two directional microphones are symmetrically angled from the center of the stereo field. The right-hand microphone is aimed at a point between the left side and the center of the sound source. The left-hand microphone is aimed at a point between the right side and the center of the sound source. This results in a 45° to 60° off-axis recording on each channel (or 90° to 120° between channels).
XY recordings tend to be balanced in both channels, with good positional information being encoded. XY recording is commonly used for drum recording and is also suitable for larger ensembles and many individual instruments.
Typically, XY recordings have a narrower sound field than AB recordings, so they can lack a sense of perceived width when played back. XY recordings can be mixed down to mono.
MS miking
To make a Middle and Side (MS) recording, two microphones are positioned as closely together as possible—usually placed on a stand or hung from the studio ceiling. One is a cardioid (or omnidirectional) microphone that directly faces the sound source you want to record—in a straight alignment. The other is a bidirectional microphone, with its axes pointing to the left and right of the sound source at 90° angles. The cardioid microphone records the middle signal to one side of a stereo recording. The bidirectional microphone records the side signal to the other side of a stereo recording. MS recordings made in this way can be decoded by the Direction Mixer.
When MS recordings are played back, the side signal is used twice:
As recorded
Panned hard left and phase reversed, panned hard right
MS is ideal for all situations where you need to retain absolute mono compatibility. The advantage of MS recordings over XY recordings is that the stereo middle is positioned on the main recording direction (on-axis) of the cardioid microphone. This means that slight fluctuations in frequency response that occur off the on-axis—as is the case with every microphone—are less troublesome, because the recording always retains mono compatibility.
Download this guide: PDF