Logic Pro User Guide for iPad
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- What is Logic Pro?
- Working areas
- Work with function buttons
- Work with numeric values
- Undo and redo edits in Logic Pro for iPad
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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
- Replace a MIDI region with a Session Player region in Logic Pro for iPad
- 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
- Color 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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- Intro to mixing
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- Channel strip types
- Channel strip controls
- Peak level display and clipping
- Set channel strip volume
- Set channel strip input format
- Set the output for a channel strip
- Set channel strip pan position
- Mute and solo channel strips
- Reorder channel strips in the Mixer in Logic Pro for iPad
- Replace a patch on a channel strip using drag and drop
- Work with plug-ins in the Mixer
- Search for plug-ins in the Mixer in Logic Pro for iPad
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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
Storage and polyphony
Customers weren’t entirely satisfied with the Minimoog and contemporary synthesizers, however. Although musicians no longer had to contend with countless cords in order to play a synthesizer, they still had to deal with numerous knobs and switches before they could do something as simple as switch from one sound to another. Moreover, keyboardists were bored with playing monophonic melody lines on synthesizers—they wanted to play chords. Although dual-voice keyboards that connected two monophonic synthesizers were available as early as 1970, customers wanted more.
Attempting to satisfy these demands, two schools of thought emerged in synthesizer design. One approach called for an independent, monophonic synthesizer to be assigned to every key on the keyboard. To this end, designers married the design principles of electronic organs to synthesizer technology. Although this breed of instrument was fully polyphonic—all notes of the keyboard could be heard simultaneously—it wasn’t as versatile in its control options as a true synthesizer. The first fully polyphonic synthesizer to feature this type of design was the Moog Polymoog, released in 1975. Developed primarily by David Luce, it featured 71 weighted, velocity-sensitive keys.
In the second approach to polyphonic sound generation, a synthesizer was assigned to a key only when the key was pressed—in effect, semi-polyphony. As early as 1973, American company E-MU Systems introduced the Modular Keyboard System Series 4050, a digital keyboard that could be connected to up to ten monophonic synthesizers, and thus had ten-voice polyphony. The problem with this approach was that very few people owned ten synthesizers, and the amount of time and effort involved in programming a new sound was an overwhelming deterrent. Digital memory was still waiting to be developed, and, once again, the evolution of semi-polyphonic synthesizers required the qualities that only digital keyboards could provide.
The same prerequisite—digital engineering—eventually led to synthesizers that allowed sounds to be stored. Without the benefit of digital technology, early attempts at storing sounds included some unusual solutions. For example, a synthesizer with analog programmability required a dedicated row featuring all of the instrument’s control elements for every “memory” slot. In this case, a selector switch accessed one of the many identical control panels and connected it to the sound generator.
The first synthesizer featuring storage slots implemented in this manner was the 1975 Yamaha GX1. The control elements for the system’s storage slots were so small that they could be adjusted only by using jeweler’s screwdrivers and complicated tools—called programmers and comparators.
It was not until 1978 that the problem was resolved. The five-voice polyphonic Prophet-5, released by the American company Sequential Circuits, was the world’s first synthesizer with a global storage feature. All settings for each of its five onboard monophonic synthesizers were stored in memory slots—40 in the debut model. Moreover, all five synthesizers shared a single user interface, which simplified matters considerably. In spite of its initially high price, this instrument proved extremely popular and approximately 8,000 were built up until 1985. In addition to its digitally implemented polyphony and memory, the success of the Prophet-5 is due to the quality of its analog sound generation system.
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