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 B3 Model parameters in Logic Pro for iPad
The Model parameters change the basic tonal quality.
Model parameters
Max Wheels knob and field: Set the number of tonewheels that are emulated. Reduce the value to minimize processing load. Reducing the value diminishes some overtones, so keep the number high if you’re after an ultra-realistic simulation.
Tonal Balance knob and field: Change the mix relationship of the higher and lower tonewheels. Use positive values for a lighter and brighter sound. Experiment with different tonal balance and equalizer settings. See Vintage B3 EQ controls, for further information.
Lower Volume knob and field: Set the relative level between the upper and lower manuals (and the pedalboard).
Pedal Volume knob and field: Set the relative level between the upper (and lower) manual and the pedalboard.
Shape knob and field: Alter the waveforms of the tonewheel generator to produce sounds that resemble the tones of Farfisa, Solina, or Yamaha organs. The Hammond tone generators produce pure sine waves (albeit with a few artifacts), whereas some other organs deliver distorted waveforms. The Shape parameter is placed after the filters that follow the sine generators.
Move the Shape knob to the right to make the tone brighter (and louder).
Move the Shape knob to the left to make the tone duller (and softer).
Bass Filter knob and field: Adjust to suppress the treble of the pedal draw bars which can sound bright within the context of the combined upper/lower/pedal sound. At the maximum position you hear only a solid bass organ fundamental in the bass register.
Ultra Bass button: Turn on to disable duplication of the 16” drawbar in the lowest octave. Turn off to mirror the original B3 behavior. The on position results in a sound that resembles that of early tone wheel organs like the B, BV, and BCV, which had no dedicated tone wheels with a complex waveform for the pedal. This is also known as “Bass all the way down”. See Use multiple or multichannel controllers with Vintage B3.
Note: Ultra Bass and Extended Bass can be combined, but Ultra Bass has no effect on the added lowest octave. This octave always has a duplication of the 16” drawbar tone.
Extended Bass button: Add another low octave to the playable range of both the upper and lower manuals.These additional low octaves, and the ability to independently transpose both manuals, are not available on the original B3.
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