Logic Pro User Guide for iPad
- What’s new in Logic Pro 1.1
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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
- 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 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
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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
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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 release phase behavior
- Vector Envelope point transition shapes
- Use Vector Envelope time scaling
- Use the Mod Pad
- 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 and highpass filter
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
- Sampler
- Copyright
Component modeling synthesis
Also known as physical modeling, this synthesis method uses mathematical models to simulate instruments. Parameters are used to describe the physical characteristics of an instrument, such as the materials the instrument is made of, the dimensions of the instrument, and the environment it is played in—under water, or in the air, for example. Equally important are descriptions of how the player would interact with the instrument—whether it is played by blowing; by plucking, bowing, or strumming strings; by hitting it with sticks; by placing fingers on sound holes, and so on.
To model a drum sound, for example, the following aspects need to be taken into account. Of primary importance is the actual drum strike—how hard it is and whether the drumhead is struck with a wooden stick, a mallet, a beater, and so on. The properties of the drumhead (the skin or membrane) include the kind of material, its degree of stiffness, its density, its diameter, and the way it is attached to the shell of the drum. The volume of the drum cylinder itself, its material, and the resonance characteristics of all of the above need to be mathematically described.
To model a violin, you need to take into account the bow against the string, the bow width and material, the bow tension, the string material, the string density, the string tension, the resonance and damping behavior of the strings, the transfer of string vibrations through the bridge (materials, size, and shape of the bridge), and the materials, size, and resonance characteristics of the violin body. Further considerations include the environment that your modeled violin is played in and the playing style—“hammering” or tapping with the bow as opposed to drawing it across the strings.
The Sculpture component modeling synthesizer can produce convincing recreations of acoustic (and electronic) instruments. It is also exceptionally good at creating atmospheric, constantly evolving pad sounds. Other instruments that include physical modeling components and techniques are: Vintage B3, Vintage Clav, and Vintage Electric Piano.
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