Logic Pro User Guide for iPad
- What’s new in Logic Pro 1.1
-
- 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
- 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 Drummer region or a pattern region
- Rename regions
- Change the color of regions
- Delete regions
- Create fades on audio regions
- 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
-
- 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 release phase behavior
- Vector Envelope point transition shapes
- Use Vector Envelope time scaling
- Use the Mod Pad
- 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 and highpass filter
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
- Sampler
- Copyright
Tonewheel sound generation
Tonewheel sound generation resembles that of an air horn, or a siren. Of course, there’s no air being blown through the holes of a revolving wheel. Rather, an electromagnetic pickup, much like a guitar pickup, is used to capture the sound.
A notched metal wheel, called a tonewheel, revolves at the end of a magnetized rod. The teeth of the wheel cause variations in the magnetic field, inducing an electrical voltage. This voltage/tone is then filtered, has vibrato and expression applied to it, and is then amplified.
An AC synchronous motor drives a long drive shaft. Twenty-four driving gears with 12 different gear sizes are attached to the shaft. These gears drive the tonewheels. The frequency depends on the gear ratios and the number of notches in the wheels. The Hammond is tuned to an (almost exact) equal-tempered scale.
As with pipe organs that feature multiplexed registers, the Hammond organ uses certain generators for more than one purpose. Some high frequency wheels serve as the fundamental for high notes and provide harmonics for lower notes. This has a positive impact on the overall organ sound, avoids detuning, and stabilizes levels between octaves.
Download this guide: PDF