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
Quick Sampler filter types in Logic Pro for iPad
Quick Sampler provides multiple filter types you can choose in the Filter controls. Each filter type has unique sonic characteristics and responds differently to incoming signals. This flexible collection of filters enables you to subtly or dramatically sculpt the tone of your instruments.
Quick Sampler filter types
Lowpass (LP): This filter type passes the portion of a signal below a specified cutoff frequency and rolls off the portion above that frequency.
Bandpass (BP): This filter type passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band.
Highpass (HP): This filter type passes the portion of a signal above a specified cutoff frequency and rolls off the portion below that frequency.
Band reject (BR): This filter type cuts a narrow band around a resonant frequency. The remainder of the signal is affected minimally.
Peaking: This filter type boosts a narrow band around a resonant frequency. The remainder of the signal is affected minimally.
There are multiple two-pole, four-pole, multi-pole state-variable and analog-modeled LP, BP, and HP filter designs in Sampler, each with distinctive characteristics that you may prefer for a given purpose. The available LP, BP, and HP filter designs include Creamy, Edgy, Gritty, Lush, Lush (Fat), and Sharp variants.
Creamy: Multi-pole state-variable filter.
Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper roll-off of frequencies beyond the cutoff.
Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive settings.
Lush: Four-pole lowpass analog-modeled filters.
Lush (Fat): Four-pole analog-modeled filters.
Sharp: Two-pole analog-modeled filters.
The three principal filter controls have standard functions for all filter types.
Cutoff: Controls the filter cutoff frequency.
Resonance: Controls the filter resonance or emphasis. Higher settings boost frequencies in the immediate vicinity of the cutoff frequency.
Drive: Allows the filter to be overdriven; the precise effect varies with each filter design.
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