Logic Pro User Guide for Mac
- Welcome
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- What’s new in Logic Pro for Mac 10.8
- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
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- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
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- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
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- Play a project
- Set the playhead position
- Control playback with the transport buttons
- Use transport shortcut menus
- Use transport key commands
- Customize the control bar
- Change the LCD display mode in Logic Pro for Mac
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Use Apple Remote to control Logic Pro
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
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- Tracks overview
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- Create tracks
- Create tracks using drag and drop
- Create tracks using existing channel strips
- Assign tracks to different channel strips
- Choose the default region type for software instrument tracks
- Select tracks
- Duplicate tracks
- Rename tracks
- Change track icons
- Change track colors
- Reorder tracks
- Zoom tracks
- Replace or double drum sounds
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
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- Overview
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- Before recording software instruments
- Play software instruments
- Record software instruments
- Record additional software instrument takes
- Overdub software instrument recordings
- Spot erase software instrument recordings
- Use Note Repeat
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Use the metronome
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- Arranging overview
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- Regions overview
- Select regions
- Select parts of regions
- Cut, copy, and paste regions
- Move regions
- Add or remove gaps
- Delay region playback
- Loop regions
- Repeat regions
- Resize regions
- Mute and solo regions
- Time stretch regions
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area in Logic Pro for Mac
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channels
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
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- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
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- Global changes overview
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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- Overview
- Add notes
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- Part box overview
- View score symbols
- Select score symbols
- Add notes and rests
- Add notes and symbols to multiple regions
- Add key and time signature changes
- Change the clef sign
- Add dynamic marks, slurs, and crescendi
- Change note heads
- Add symbols to notes
- Add trills, ornaments, and tremolo symbols
- Add sustain pedal markings
- Add chord symbols
- Add chord grids and tablature symbols
- Add bar lines, repeats, and coda signs
- Add page and line break symbols
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- Select notes
- Move and copy notes
- Change note pitch, duration, and velocity
- Change note articulations
- Quantize the timing of notes
- Restrict note input to the current key
- Control how ties are displayed
- Add and edit tuplets
- Override display quantization using tuplets
- Add grace notes and independent notes
- Delete notes
- Use automation in the Score Editor
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- Staff styles overview
- Assign staff styles to tracks
- Staff Style window
- Create and duplicate staff styles
- Edit staff styles
- Edit staff, voice, and assign parameters
- Add and delete staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staff styles between projects
- Delete staff styles
- Assign notes to voices and staffs
- Display polyphonic parts on separate staffs
- Change the staff assignment of score symbols
- Beam notes across staffs
- Use mapped staff styles for drum notation
- Predefined staff styles
- Share a score
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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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- Environment overview
- Common object parameters
- Customize the Environment
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- Fader objects overview
- Use fader objects
- Play back fader movements
- Work with object groups
- Fader styles
- Fader functions: MIDI events
- Fader functions: range, value as
- Fader functions: filter
- Vector fader
- Special faders overview
- Cable switchers
- Meta event faders
- SysEx faders
- Work with SysEx messages
- Special functions
- Ornament objects
- MMC record buttons
- Keyboard objects
- Monitor objects
- Channel splitter object
- Physical input objects
- Physical input objects
- MIDI click objects
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- Sample Alchemy overview
- Interface overview
- Add source material
- 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
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Use surround range and diversity
- Define MIDI controllers
- Extended parameters
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
Mastering Assistant parameters in Logic Pro for Mac
Mastering Assistant provides the following controls:
Character menu: Mastering Assistant allows you to choose the character of the processing applied to your project. The character presets change the sonic qualities of Mastering Assistant, inspired by hardware mastering chains used by professional recording engineer:
Clean: An algorithm that offers a transparent yet punchy result. This style is good for EDM, acoustic music, and anything that needs a clean yet punchy sound.
Valve: An algorithm that simulates a processing chain utilizing tubes to deliver a deep low end and refined high end, making it a great option for both acoustic music and the hip-hop genre.
Punch: An algorithm that embodies an aggressive sound with a subtle emphasis on the mid-range frequencies, ideally suited for rock music.
Transparent: An algorithm inspired by a modern and tight-sounding compressor, suitable for most genres of music.
Note: Character presets Transparent, Punch, and Valve are only available on Mac computers with Apple silicon.
Auto EQ slider: Control the amount of the correction EQ estimated by Mastering Assistant. After analyzing your project, Mastering Assistant shows the frequency curve that it applies to improve the sound of your project, with the Auto EQ slider set at 100%. You can adjust the amount of auto EQ by dragging the slider up or down.
Reanalyze button: Trigger a new analysis of your project if it has undergone changes. The button name changes to Reanalyze Section when a cycle range is set or to Analyze after you add content to an empty project.
Bypass button: Switch to the unprocessed audio. This allows you to directly compare the audio with or without processing, providing a clear evaluation of the effects applied. Use in combination with the Loudness Compensation button to avoid any sudden jumps in loudness. Remember to turn off bypass before bouncing your project.
Loudness Compensation button: Match the volume of the processed audio with that of the original, ensuring a balanced and unbiased basis for comparison. By doing so, you can accurately assess any changes or improvements made during the processing stage without being influenced by differences in loudness. Remember to turn off loudness compensation before bouncing your project.
Dynamics section
Loudness knob: Change the loudness of the processed audio. When you adjust the loudness knob to its center position, the output typically registers at around –14 LUFS-I. This typically is the target loudness for many streaming platforms. However, in the mastering process, adhering strictly to this value isn’t always the best approach. Instead, mastering engineers aim for a loudness level that best complements the specific mix. The optimal loudness can vary considerably based on the genre and the unique characteristics of the project.
Excite button: Introduce saturation to frequencies within the upper-mid range of the signal. This produces more overtones and adds richness and crispness to your mix. The enriched signal produces results similar to vintage transformer-based console designs of the ’60s, ’70s, and ’80s.
True Peak meter: Displays the signal level on a dBTP (dB measured as true peak) scale, and the dBTP max level. Double-tap to clear the numeric scale and max level.
True Peak represents the absolute highest level a signal is reaching, which is very important for observing where it is in relation to the ceiling, or the highest level a digital audio signal can reach before distorting or clipping. The signal level is represented by a green bar. Signals (above the target level) approaching the 0 dB level are represented by a yellow bar. When the level exceeds 0 dB, the portion of the bar above the 0 dB point turns red. However, Mastering Assistant restricts the processed signal to -1 dBFS True Peak, meeting the requirement for streaming platforms.
LUFS meter: The M, S, and I fields and meters indicate the current momentary, short-term, and integrated loudness measurement of your processed mix. The loudness for each measurement (M, S, I) is represented by a green bar. A meter turns yellow when the measured loudness exceeds the target loudness.
LU Range field: Indicates the loudness range during measurement (using the Start/Pause button).
Start/Pause button: Activate the loudness meter, initiating the measurement of the audio signal’s loudness. While the meter is running, it actively monitors and displays the loudness of any incoming audio signal. Pause halts the measurement process. The loudness reading ceases to update and typically holds at the last measured value. This is useful if you want to pause the measurement or if you’ve finished analyzing a particular section of audio.
Reset button: Clear any current readings or measurements on the loudness meter. Ideal for when you want to start a fresh measurement, perhaps for a new piece of audio or after making adjustments to the audio.
Spread section
Width knob: Increase or decrease the width of your mix. This knob will be set to a position other than the center if Mastering Assistant’s analysis finds that the stereo width of your project is too narrow or wide. Turn this knob all the way to the left to create a mono mix that you can use to check mono compatibility.
Correlation meter: Displays the phase relationship of a stereo signal. Your project should be above 0; the further it is, the better the mono compatibility.
A correlation of +1 (the far right position) means that the left and right channels correlate 100%—they are completely in phase.
A correlation of 0 (the center position) indicates the widest permissible left/right divergence, often audible as an extremely wide stereo effect.
Correlation values lower than 0 indicate that out-of-phase material is present, which can lead to phase cancellations if the stereo signal is combined into a monaural signal.
Spectrum analyzer and EQ section
The EQ module includes a spectrum analyzer and a composite EQ curve.
Spectrum analyzer: Displays the real-time magnitude (expressed in decibels) of a signal across the frequency spectrum.
Composite curve: The collective filter response curve of the analyzed signal, depicted as a solid line spanning the spectrum. Each individual band contributes to the overall contour of this curve.
Custom EQ button: Turn the custom EQ on or off. When turned on, a dashed line illustrates the custom EQ curve, accompanied by three control points (blue dots) that you can drag to make very broad-stroke EQ adjustments.
Low frequency control point: Adjust the low frequency by dragging the control point left and right. Adjust the low frequency gain by dragging up and down.
Low Freq field: Enter a low shelving filter frequency from 20 Hz to 200 Hz.
Low Gain field: Enter a low shelving filter level. The gain range is ±6 dB.
Mid frequency control point: Adjust the mid frequency by dragging the control point left and right. Adjust the mid frequency gain by dragging up and down.
Mid Freq field: Enter a mid-range filter frequency from 200 Hz to 8.000 kHz.
Mid Gain field: Enter a mid-range filter level. The gain range is ±6 dB.
High frequency control point: Adjust the high frequency by dragging the control point left and right. Adjust the high frequency gain by dragging up and down.
High Freq field: Enter a high-range filter frequency from 8.000 kHz to 20.00 kHz.
High Gain field: Enter a high shelving filter level. The gain range is ±6 dB.