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
Enhance speech intelligibility in EVOC 20 PS in Logic Pro for iPad
The tips in this section can help you achieve the best possible vocoder results with EVOC 20 PS. Also see tips on setting level and frequency and avoiding sonic artifacts.
Keep these points in mind to achieve the best possible speech intelligibility:
The spectra of the analysis and synthesis signals should almost completely overlap. Coupling low male voices with synthesis signals in the treble range doesn’t work well.
The synthesis signal must be constantly sustained, without breaks. The incoming side chain signal should be played or sung legato, because breaks in the synthesis signal stop the vocoder output. Alternatively, the ENV Release parameter in the Synthesizer section—not the Release time in the Sidechain Analyser section—can be set to a longer time. You can also achieve nice effects by using a reverberation signal as a synthesis signal. Note that the two latter methods can lead to harmonic overlaps.
Do not overdrive the vocoder. This can happen easily, and distortion can occur.
Enunciate your speech clearly if the recording is to be used as an analysis signal. Spoken words with a relatively low pitch work better than sung vocals—even if the creation of vocoder choirs is your goal. Pronounce consonants well, as exemplified in the rolled “R” of “We are the Robots,” by Kraftwerk, a classic vocoder track. This exaggerated pronunciation was specifically made to cater to the vocoder.
You can freely set formant parameters. Shifting, stretching, or compressing the formants has a minimal effect on the intelligibility of speech, as does the number of frequency bands. The reason for this is due to the human ability to differentiate the voices of children, women, and men, whose skulls and throats vary. Such physical differences cause variations in the formants that make up their voices. Human perception, or recognition, of speech is based on an analysis of the relationships between these formants. In the EVOC 20 plug-ins, these relationships are maintained even when extreme formant settings are used.
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