Welcome
- 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 10.3
- What’s new in Logic Pro 10.0
- Introduction to Logic Pro
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Drummer
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- What is Logic Pro?
- Workflow overview
- Logic Pro project basics
- Advanced tools and additional options
- Undo and redo edits
- Manage Logic Pro content
- How to get help
- Overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Control Logic Pro projects using Logic Remote
- Preview projects in the Finder
- Close projects
- View project information
- 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
- Overview
- - Remove silent passages
  - Uses for Remove Silence
- - Create groove templates
  - Import 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 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
- Overview
- Work with Producer Kits
- Convert Drummer regions to MIDI regions
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Overview
- Track-based vs. region-based automation in Logic Pro
- 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 in Logic Pro
- 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 in Logic Pro with other devices
- Overview
- Load and save patterns
- Modify pattern playback
- Edit steps
- Edit rows
- Step Sequencer inspectors
- Customize Step Sequencer
- Global Changes overview
- - Add arrangement markers
  - Edit arrangement markers
- - Transposition overview
  - Add and edit transposition points
- 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 using AirDrop
- Share songs using MailDrop
- Share songs to SoundCloud
- Share a project to GarageBand for iOS
- Logic Pro surround overview
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- Video and synchronization overview
Touch Bar shortcuts
- Learn about Effects
- Learn about included Instruments
- - Alchemy overview
  - Name bar
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - 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
  - Logic Pro Drum Machine Designer interface
  - Grid Kit Controls
  - - Pad controls bar
    - Use Logic Pro Drum Machine Designer pad controls
  - Kit Tone and Effect Smart Controls pane
  - Kit Piece Tone and Effect Smart Controls pane
- - Logic Pro Drum Synth overview
  - Logic Pro Drum Synth Kicks
  - Logic Pro Drum Synth Snares and Claps
  - Logic Pro Drum Synth Percussion
  - Logic Pro Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters overview
    - Drive the filter to self-oscillate
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface
  - - 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
  - MIDI controller assignments
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter controls
  - Envelope controls
  - 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 controls
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PolySynth overview
    - Vocoder basics
  - EVOC 20 PolySynth interface
  - Analysis parameters
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - Logic Pro Quick Sampler overview
  - Add content to Logic Pro Quick Sampler
  - Logic Pro Quick Sampler waveform display
  - Use Flex in Logic Pro Quick Sampler
  - - Logic Pro Quick Sampler Mod Matrix pane
    - Logic Pro Quick Sampler LFO controls
  - Logic Pro Quick Sampler Pitch controls
  - Logic Pro Quick Sampler Filter controls
  - Quick Sampler filter types
  - Logic Pro Quick Sampler Amp controls
  - Logic Pro Quick Sampler extended parameters
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use Waveset menu functions
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - Sampler overview
  - Load and Save sampler instruments
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Use pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Assign MIDI controllers
  - Extended parameters
- - Learn about the Studio instruments
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Learn about the Utility instruments
  - External Instrument controls
  - Klopfgeist controls
- - 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 parameters
    - Pitch parameters
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kit
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary

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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Logic Pro User Guide

Storage and polyphony