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
Vintage B3 draw bar controls in Logic Pro for iPad
Vintage B3 provides 20 draw bars, nine each for the upper and lower manuals, and two for the pedalboard.
Drag down the draw bars to make the selected sine choirs louder. You should note that MIDI control of the draw bars is also reversed when using a standard MIDI fader unit.
Each sine choir is a sine wave that is mixed in at a particular level, determined by the draw bar position. You add sine choirs in this way to build up the overall organ sound for the upper or lower manual. This is a basic form of additive synthesis; for more information, see Additive synthesis with draw bars. You can intuitively pick up the fundamental principles of additive synthesis by playing a little with the draw bars.
Two draw bars are available for the bass pedals. The waveform used for the bass pedal sound is not a pure sine wave, like the waveforms used for the upper and lower manuals. The pedalboard sound uses a mixed waveform, which accurately emulates B3 bass tones. The two registers differ in pitch, with the left, 16-foot register containing more octave harmonics. The right, 8-foot register has a more prominent fifth portion (fifth harmonics are enhanced). The term foot is derived from pipe organ lengths.
You can simulate the behavior of the Model A, the first Hammond organ ever made. This model had no foldback for the 16’ draw bar in the lowest octave, with the bottom 12 tone generator outputs available on the first draw bar of the manuals’ bottom octave. Without foldback, the sound is more strident and similar to the pedal sound. Tap the Ultra Bass button in the Model Parameters to simulate the Model A.
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