Welcome
- What’s new in Logic Pro for Mac 11.1
- What’s new in Logic Pro for Mac 11
- 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
- Get started overview
- Workflow overview
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Session Players
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- 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
- Hardware connection overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
- Tracks overview
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
- Overview
- Use the metronome
- Using loops and other media in Logic Pro
- Bookmark folders in the All Files Browser
- Import compressed audio files
- Arranging overview
- Extract vocal and instrumental stems with Stem Splitter
- - Remove silent passages
  - Uses for Remove Silence
- Create groove templates
- Overview
- Select audio regions
- Cut, copy, and paste audio regions
- Move audio regions
- Trim audio regions
- Split and join audio regions
- Snap edits to zero crossings
- Delete audio regions
- Use Flex Time and Pitch in the Logic Pro for Mac Audio Track Editor
- Use automation in the Audio Track Editor
- Overview
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
- Session Players overview
- The Session Player Editor
- Choose a Session Player type and style
- Chords and Session Players
- Choose Session Player presets
- Regenerate a Session Player performance
- Follow rhythm of chords and other tracks
- Work with Drummer multi-channel kits
- Convert Session Player regions into MIDI or pattern regions
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro for Mac advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input format
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Reorder channel strips in the Mixer
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Automation overview
- Track automation vs. region automation
- Show automation curves
- Choose automation modes
- - Select, copy, and move automation
  - Delete automation
- Snap automation to grid positions
- Edit automation in the Automation Event List
- Write automation with external controllers
- 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
- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- - Record to cells
  - Record and edit takes in 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
- Step Sequencer overview
- 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
- Step Sequencer inspector
- Customize Step Sequencer
- Global changes overview
- Control transposition with the Pitch Source parameter
- Control project volume
- Overview
- Add notes
- Use automation in the Score Editor
- Share a score
- Sharing overview
- Share songs to the Music app
- Share songs to Voice Memos
- Share songs using AirDrop
- Share songs using MailDrop
- Share a project to GarageBand for iOS
- Share a project to Logic Pro for iPad
- Overview of surround and spatial audio
- - Overview of spatial audio with Dolby Atmos
  - - Bed tracks and object tracks
    - Rendering a Dolby Atmos mix in Logic Pro for Mac
- - Surround Panner overview
  - Surround Panner parameters
- - 3D Object Panner overview
  - 3D Object Panner parameters
- - Bounce surround audio files
  - Export ADM BWF files
- Video and synchronization overview
Touch Bar shortcuts
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- - Effects overview
  - Add, remove, move, and copy plug-ins
- - Instruments introduction
  - Add, remove, move, and copy plug-ins
  - Use multi-output instruments
- - Alchemy overview
  - Alchemy interface overview
  - Alchemy Name bar
  - Alchemy file locations
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - Alchemy master voice section
  - Alchemy Extended parameters
- - Drum Kit Designer overview
  - Edit pane
  - Use Drum Kit Designer
  - Extended parameters
  - Drum Kit Designer mappings
- - Drum Machine Designer overview
  - Drum Machine Designer interface
  - Kit controls
  - - Pad controls bar
    - Use pad controls
  - Kit Tone and Effect Smart Controls
  - Kit Piece Tone and Effect Smart Controls
- - Drum Synth overview
  - Drum Synth Kicks
  - Drum Synth Snares and Claps
  - Drum Synth Percussion
  - Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters
    - Overdrive the filter
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface overview
  - - Use the dynamic stage
    - Enhance sounds with the Sine Level control
  - ES2 integrated effects processor controls
  - Use ES2 in Surround mode
  - Extended parameters
  - - Use randomization parameters
    - Restrict randomization
- - EFM1 overview
  - Modulation parameters
  - Global parameters
  - Output parameters
  - Create random sounds
  - Extended parameters
  - Assign MIDI controllers
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope parameters
  - Output parameters
  - Extended parameters
- - ES M overview
  - Oscillator parameters
  - Filter and filter envelope controls
  - Level envelope and output controls
  - Extended parameters
- - ES P overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PS overview
    - Vocoder basics
  - EVOC 20 PS interface
  - Analysis controls
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - Quick Sampler overview
  - Add audio to Quick Sampler
  - Quick Sampler waveform display
  - Use Flex in Quick Sampler
  - - Mod Matrix pane
    - LFO controls
  - Quick Sampler Pitch controls
  - Quick Sampler Filter controls
  - Quick Sampler filter types
  - Quick Sampler Amp controls
  - Quick Sampler extended parameters
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use the Wavetable menu
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - 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
  - Lowpass, bandpass, and highpass filters
  - Comb PM filter
  - Downsampler filter
  - FM filter
  - Envelope generators
  - Mod Matrix
  - Modulation routing
  - Motion mode
  - Trim mode
  - More menu
- - Sampler overview
  - Load and save instruments in Sampler
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Define MIDI controllers
  - Extended parameters
- - Studio Bass overview
  - Main view parameters
  - Details view parameters
  - Keyswitch mapping
  - String and position MIDI Out channel assignments
- - Studio Horns overview
  - Extended parameters
  - Keyswitch mapping
  - Section MIDI channel assignments
- Studio Piano
- - Studio Strings overview
  - Extended parameters
  - Keyswitch mapping
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Utility instruments
  - External Instrument
  - Klopfgeist
- - Vintage B3 overview
- - Vintage Clav overview
  - Vintage Clav interface
  - Extended parameters
  - - D6 Clavinet history
    - D6 mechanical details
- - Vintage Electric Piano overview
  - Vintage Electric Piano interface
  - - Model controls
    - Pitch controls
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kits
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary
Copyright

Create Ultrabeat snare drums in Logic Pro for Mac

The sound of an acoustic snare drum consists primarily of two sound components: the sound of the drum itself and the buzzing of the snare springs. Try to approximate this combination in Ultrabeat with a single oscillator and the noise generator. Follow the tutorials sequentially to get the most from these examples.

Create a basic snare drum

In Logic Pro, load the Standard Tutorial setting.Turn off oscillator 1, and turn on oscillator 2 (in phase oscillator mode).
Choose LFO 1 from the mod pop-up menu of Osc 2 Pitch.
Set the pitch value for Osc 2 to around G#2 and set the Mod amount (the blue Mod control) to about 3 to 4 octaves higher.
You have modulated Osc 2 Pitch with a rapidly vibrating LFO with a medium Ramp Decay value. This eliminates the sine wave—which is not especially desirable for a snare sound, in contrast to the bass drum.
Set LFO 1 to a high Rate. Choose a value of 20 for Cycles and −20 for Ramp. Set the LFO Waveform parameter to a value of about 0.58, which is a square wave.
Use Env 1 to control the volume of oscillator 2 by setting Vol to the lowest possible value (−60 dB), choosing Env 1 from the mod pop-up menu, and adjusting the modulation intensity to a point just below its maximum value.
The figure shows the settings of oscillator 2 and Env 1.
Experiment with different Slope and Asym values to impart a more or less electronic character to the sound.
Turn on the noise generator and control its volume with the same quick envelope used in Osc 2 Volume.
Use the filter parameters of the noise generator to roughen up, refine, or add bright frequencies to the noise component of the snare drum sound. Select an LP filter type, and try a filter frequency between 0.60 and 0.90. Modulate it with LFO 1, which you’re already using to control the pitch of oscillator 2.

Note: The snare drum sound is listed as “snare 1” in the Tutorial Kit, at a pitch of E1.

Refine the snare drum sound using FM synthesis

In Logic Pro, turn on oscillator 1 in FM mode. Use Env 1 to control the volume of Osc 1 as well.
Choose a pitch for oscillator 1 that’s about an octave lower than oscillator 2. Consciously avoid even intervals between the oscillators and detune them slightly from each other. For example, try a pitch setting of F#2 in Osc 2 and E1 in Osc 1, then fine-tune Osc 1 a few cents higher by holding down Shift while adjusting the Osc 1 Pitch slider.
Experiment with FM Amount, and add more tone (low FM Amount) or noise (more FM Amount) as desired. Also try modulating the FM Amount with a fast LFO.
Higher FM Amount values lead to considerably more overtones and a very electronic sound character. If you want to make the sound more acoustic, feed oscillator 1 (and possibly oscillator 2 as well) into the main filter. Use these settings to start: LP 24 mode and a Cutoff value of about 0.60.

Note: An exemplary snare drum sound that uses FM can be found in the Tutorial Kit at a pitch of F1. It is listed as “snare 2.”

Recreate the 808 snare sound

The famous 808 snare is based on two resonating filters and a noise generator, fed through a highpass filter. The mix ratio of the two filters and the volume of the noise generator can be adjusted. This structure cannot be 100% replicated in Ultrabeat.

In Logic Pro, load the Standard Tutorial setting.
You are now ready to replicate the resonating filters of the 808 snare using two cleverly programmed phase oscillators.
Assign slightly different Slope values to two phase oscillators, and detune them by almost an octave.
Adjust the tonal relationship between the oscillators so that it is uneven—from E3 to F2, for example.
Control the volume of each oscillator with a different envelope. Adjust the decay times so that the envelope for the lower-tuned oscillator has a longer decay time than the very snappy envelope setting for the higher oscillator.
Feed the output of both oscillators into the main filter, and hollow out the sound with a highpass filter. Activate the filter bypass button in both oscillators. Choose the HP 12 setting in the filter, a Cutoff value around 0.40, and a Resonance value of about 0.70.

You have just cleverly emulated both of the TR-808 resonating filters. Shifting the pitch of both oscillators simulates the behavior of the TR-808 Tone control.

Complete the 808 emulation by adding some noise

In Logic Pro, switch the noise generator on, and activate the highpass mode in its filter (HP).
Set the Cutoff value to about 0.65, Resonance to 0.35, and add a little Dirt (around 0.06).
The noise generator provides the sustained snare sound. It should be shaped by its own envelope—independent of the decay phases of both oscillators—to get 808-like results. Changing the volume of the noise generator simulates the snap parameter of the 808.

Note: The 808 snare drum described is listed as “snare 3-808” in the Tutorial Kit, at a pitch of F#1. It also features an interesting EQ setting.

Use velocity modulation on your 808 snare

Use the 808 snare drum sounds in the Tutorial Kit to explore the possibilities Ultrabeat offers for implementing velocity.

In Logic Pro, select the “snare 3-808” sound.
Choose Vel from the via pop-up menu below the oscillator 1 Volume knob.
A slider appears on the ring around the knob.
Drag the slider clockwise. When you drag the slider, a help tag displays the value. Set it to 0 dB.
Repeat steps 2 and 3 in both oscillator 2 and the noise generator.

You can now dynamically play the sound using velocity.

Increase the performance dynamics of your 808 snare

In Logic Pro Ultrabeat, reduce the values of the individual volumes by turning down the Volume knobs in both oscillators and the noise generator. Note how the mod ring and its via sliders also move back. Change the via slider positions until all three Volume knobs look like this:
If you use differing intensities for each Volume knob when completing this step, you’ll have the potential of individual velocity reactions for each sound component.
Increase the dynamics of the sound as a whole by assigning the following setting to the Voice Volume knob:
You now have an 808 snare that is exceptionally responsive to velocity. As you may know, this wasn’t possible with the original—not even an 808 sample could offer the dynamic volume control of individual sound components demonstrated here. A sample offers you only the whole sound, not its constituent parts.
In the next step, you use velocity to control the character of the sound—individually for each component—plus volume, of course.
Choose Max from the saturation mod pop-up menu of oscillator 2, and then choose Vel(ocity) from the corresponding via pop-up menu.
Set the additional control that appears as shown in the figure below, to control the character of the sound with velocity:
Repeat this with the other parameters of oscillator 2, as well as pitch:
Modulate the noise generator as follows:
- Cut parameter: Choose Max as modulation source, then set the modulation control as shown below.
- Dirt parameter: Choose LFO 2 as modulation source, then set the modulation control as shown below.

The sound is now nothing like an 808 snare, which was your goal. Keep experimenting with velocity and figure out when it makes sense to use it as a direct or indirect modulation source, in either its positive or negative form.

Recreate the Kraftwerk snare sound

Another classic electronic snare drum sound is the highly resonant lowpass filter of an analog synthesizer that quickly closes with a snap. This sound was used extensively by Kraftwerk.

In Logic Pro, select the Snare 1 sound.
Direct the signals of both oscillators and the noise generator to the main filter.
Modulate Cutoff with Env 1 (which is already modulating the volume of the noise generator).
Modulate the filter resonance with Env 2.
Experiment with the parameters mentioned in steps 2 to 4 (especially the envelopes), introduce EQ into the sound, and discover how much “playing room” these basic settings allow you.

Note: An exemplary sound is listed as “snare 5-KW” in the Tutorial Kit, at a pitch of G#1. Analyze this sound, and compare it to your own creation.

Download the guides:

Logic Pro User Guide: PDF

Logic Pro Instruments: PDF

Logic Pro Effects: PDF

Control Surfaces Support Guide: PDF

Var detta till hjälp?

Logic Pro User Guide for Mac