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
ES2 filters in Logic Pro for iPad
ES2 features two discrete, and different, filters.
Filter 1 is a multimode filter (MMF) that can operate as a lowpass, highpass, bandpass, band reject, or peak filter.
Filter 2 is a lowpass filter (LPF) that offers variable slopes (measured in dB/octave).
Dual Filter Global parameters
On/Off button: Turn the entire filter section on or off. Deactivating the filter section makes it easier to hear adjustments to other sound parameters, because the filters always heavily affect the sound. Disabling the filters also reduces processor load.
Drive knob and field: Rotate to overdrive the filter, which affects each voice independently. See Overdrive ES2 filters.
Filter Blend knob and field: Set the balance between Filter 1 and Filter 2. See Crossfade between ES2 filters.Filter Reset button: Turn on Filter Reset to provide a trigger signal that can be used to drive the filter to self-oscillate. See Filter cutoff and resonance.
Filter Routing buttons: Switch between a parallel or series filter configuration.
Series: This means that the signal of all oscillators (combined at the Oscillator Mix pad) passes through the first filter, then this filtered signal passes through Filter 2, if Filter Blend is set to 0, the middle position. The output signal of Filter 2 is then sent to the input of the dynamic stage (Amplifier section).
Parallel: If Filter Blend is set to 0, you’ll hear a 50/50 mix of the source signal, routed via Filter 1 and Filter 2. The output signals of the two filters are then sent to the input of the dynamic stage. See Crossfade between ES2 filters.
Filter 1 and Filter 2 parameters
- Filter 1 Cutoff knob and field: Set the cutoff frequency of the multimode filter (Filter 1). See Filter cutoff and resonance.
Reso 1 knob and field: Determine the resonance behavior of the multimode filter (Filter 1).
Filter 1 Mode buttons: Switch Filter 1 between lowpass (LP), highpass (HP), bandpass (BP), band reject (Notch), or peak filter types.
LP: Allow frequencies that fall below the cutoff frequency to pass. The slope of Filter 1 is fixed at 12 dB/octave.
HP: Allow frequencies above the cutoff frequency to pass. The slope of Filter 1 is fixed at 12 dB/octave.
Peak: Filter 1 works as a peak filter. This allows the level in a frequency band to be increased. The center of the frequency band is determined by the Cutoff parameter. The width of the band is controlled by the Resonance parameter.
Notch: The frequency band directly surrounding the cutoff frequency is rejected, but frequencies outside this band can pass. The Resonance parameter controls the width of the rejected frequency band.
BP: The frequency band directly surrounding the cutoff frequency is allowed to pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the center frequency.
- Filter 2 Cutoff knob and field: Set the cutoff frequency of the low pass filter (Filter 2). See Filter cutoff and resonance.
Reso 2 knob and field: Determine the resonance behavior of the low pass filter (Filter 2).
Filter 2 FM knob and field: Set the amount of Filter 2 cutoff frequency modulation with the oscillator 1 frequency. See Modulate ES2 Filter 2 frequency.
Filter 2 Fatness button: Adds 24 dB per octave of rejection. Fat mode has a built-in compensation circuit that retains the sound bottom end. By comparison, the standard 24 dB mode tends to make lower end sounds less rich.
Filter 2 Mode buttons: Choose a Filter 2 slope: 12 dB, 18 dB, and 24 dB. The steeper the slope, the more severe the effect on signal levels below the cutoff frequency. Most filters do not completely suppress the portion of the signal that falls outside the frequency range defined by the Cutoff parameter. The slope, or curve, chosen for Filter 2 expresses the amount of rejection below the cutoff frequency in decibels per octave.
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