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
Granular synthesis
The basic premise behind granular synthesis is that a sound can be broken down into tiny particles, or grains. In many respects, granular synthesis is similar to wavetable synthesis, but it works on a much finer scale. This method is ideal for creating constantly evolving sounds and truly unique tones.
Sample Alchemy extracts sampled grains—2- to 230-milliseconds long—which can be manipulated, reorganized, or combined with grains from other sounds to create new timbres. The effects that result from this technique depend on factors such as the duration and amplitude envelope of each grain, the degree of overlap or separation from one grain to the next, and the pitch and pan position of each piece of sound.
If each new grain is extracted from slightly further into the sample than its predecessor, playback of the resulting stream of grains in their original sequence, at the original speed, essentially puts the pieces of sound back together to closely resemble the source audio material. If you play back the stream of grains at a slower speed, separation (a small gap) occurs between grains. If you play back the stream of grains at a faster rate, each grain overlaps with the next one.
A number of interesting manipulations are possible using this synthesis method.
Time-stretching. Grains can be sent out at a faster or slower rate than their counterparts in the original sample, allowing faster or slower playback—without the changes to pitch that occur with traditional sample playback. You can even “freeze” a sample at a certain position by extracting multiple grains from a single point. On this latter point, you could repeat a drum hit “grain” multiple times in a time-stretched loop to create a different drum pattern, for example.
Pitch-shifting. Modifications to the pitch of each grain allow you to vary the pitch of a sample without affecting its timing. By modulating the pitch or pan position of each grain, you can also create spatial and “blurring” effects.
You can also scramble the order in which grains are played back to produce effects ranging from mild fuzziness to extreme mangling.
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