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
Overdrive ES2 filters in Logic Pro for iPad
The filters are equipped with discrete overdrive modules. You can set the overdrive intensity by rotating the Drive parameter in the Dual Filter Global section.
Drive affects each voice independently. When every voice is overdriven individually—like having six fuzz boxes for a guitar, one for each string—you can play extremely complex harmonies over the entire keyboard range. Each voice sounds clean, without unwanted intermodulation effects spoiling the overall sound.
Certain Drive settings can lead to a different tonal character. This is because analog filters can behave uniquely when overdriven, forming an essential part of the sonic character of a synthesizer. ES2 is very flexible in this area, allowing tonal colors that range from the most subtle fuzz to the hardest of distortions.
If the filters are connected in parallel, the overdrive circuit is placed before the filters.
If the filters are connected in series, the position of the overdrive circuits is dependent on the Filter Blend parameter. See Crossfade between ES2 filters.
Tip: Because Filter 2 can cut away the overtones introduced by the distortion, Drive can be used as another tool for deforming oscillator waveforms.
Polyphonic distortions in the real world
ES2 provides a dedicated distortion effect in the ES2 integrated effects processor. Given this inclusion, you may wonder what benefit the filter Drive function offers.
The Distortion circuit in the Effects section affects the entire polyphonic output of ES2. Every rock guitarist knows that more complex chords—other than major chords, parallel fifths, and octaves—sound “rough” when using distortion. Therefore, distorted guitar playing generally involves few voices or parallel fifths and octaves. Because the filter Drive parameter affects each voice individually, you can play complex chords without introducing the unpleasant intermodulations that the Distortion effect can add to your sound.
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