Select version:

Modifying this control will update this page automatically

Welcome
- What’s new in Logic Pro for Mac 10.8
- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
- Get started overview
- Workflow overview
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Drummer
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
- Hardware connection overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
- Tracks overview
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
- Overview
- Use the metronome
- Using loops and other media in Logic Pro
- Bookmark folders in the All Files Browser
- Import compressed audio files
- Arranging overview
- - Remove silent passages
  - Uses for Remove Silence
- Create groove templates
- Overview
- Select audio regions
- Cut, copy, and paste audio regions
- Move audio regions
- Trim audio regions
- Split and join audio regions
- Snap edits to zero crossings
- Delete audio regions
- Use Flex Time and Pitch in the Logic Pro for Mac Audio Track Editor
- Use automation in the Audio Track Editor
- Overview
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
- Drummer Overview
- Work with Producer Kits
- Convert Drummer regions to MIDI or pattern regions
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro for Mac advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Automation overview
- Track automation vs. region automation
- Show automation curves
- Choose automation modes
- - Select, copy, and move automation
  - Delete automation
- Snap automation to grid positions
- Edit automation in the Automation Event List
- Write automation with external controllers
- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- - Record to cells
  - Record and edit takes in cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
- Step Sequencer overview
- 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
- Step Sequencer inspectors
- Customize Step Sequencer
- Global changes overview
- - Add arrangement markers
  - Edit arrangement markers
- - Transposition overview
  - Add and edit transposition points
- Control project volume
- Overview
- Add notes
- Use automation in the Score Editor
- Share a score
- Sharing overview
- Share songs to the Music app
- Share songs using AirDrop
- Share songs using MailDrop
- Share a project to GarageBand for iOS
- Share a project to Logic Pro for iPad
- Overview of surround and spatial audio
- - Overview of spatial audio with Dolby Atmos
  - - Bed tracks and object tracks
    - Rendering a Dolby Atmos mix in Logic Pro for Mac
- - Surround Panner overview
  - Surround Panner parameters
- - 3D Object Panner overview
  - 3D Object Panner parameters
- - Bounce surround audio files
  - Export ADM BWF files
- Video and synchronization overview
Touch Bar shortcuts
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- - Effects overview
  - Add, remove, move, and copy plug-ins
- - Instruments introduction
  - Add, remove, move, and copy plug-ins
  - Use multi-output instruments
- - Alchemy overview
  - Alchemy interface overview
  - Alchemy Name bar
  - Alchemy file locations
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - Alchemy master voice section
  - Alchemy Extended parameters
- - Drum Kit Designer overview
  - Edit pane
  - Use Drum Kit Designer
  - Extended parameters
  - Drum Kit Designer mappings
- - Drum Machine Designer overview
  - Drum Machine Designer interface
  - Kit controls
  - - Pad controls bar
    - Use pad controls
  - Kit Tone and Effect Smart Controls
  - Kit Piece Tone and Effect Smart Controls
- - Drum Synth overview
  - Drum Synth Kicks
  - Drum Synth Snares and Claps
  - Drum Synth Percussion
  - Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters
    - Overdrive the filter
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface overview
  - - Use the dynamic stage
    - Enhance sounds with the Sine Level control
  - ES2 integrated effects processor controls
  - Use ES2 in Surround mode
  - Extended parameters
  - - Use randomization parameters
    - Restrict randomization
- - EFM1 overview
  - Modulation parameters
  - Global parameters
  - Output parameters
  - Create random sounds
  - Extended parameters
  - Assign MIDI controllers
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope parameters
  - Output parameters
  - Extended parameters
- - ES M overview
  - Oscillator parameters
  - Filter and filter envelope controls
  - Level envelope and output controls
  - Extended parameters
- - ES P overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PS overview
    - Vocoder basics
  - EVOC 20 PS interface
  - Analysis controls
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - Quick Sampler overview
  - Add audio to Quick Sampler
  - Quick Sampler waveform display
  - Use Flex in Quick Sampler
  - - Mod Matrix pane
    - LFO controls
  - Quick Sampler Pitch controls
  - Quick Sampler Filter controls
  - Quick Sampler filter types
  - Quick Sampler Amp controls
  - Quick Sampler extended parameters
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use the Wavetable menu
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - Sample Alchemy overview
  - Interface overview
  - Add source material
  - Edit mode
  - Play modes
  - Source overview
  - Synthesis modes
  - Granular controls
  - Additive effects
  - Additive effect controls
  - Spectral effect
  - Spectral effect controls
  - Filter module
  - Low and highpass filter
  - Comb PM filter
  - Downsampler filter
  - FM filter
  - Envelope generators
  - Mod Matrix
  - Modulation routing
  - Motion mode
  - Trim mode
  - More menu
- - Sampler overview
  - Load and save instruments in Sampler
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Define MIDI controllers
  - Extended parameters
- - Studio instruments overview
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Utility instruments
  - External Instrument
  - Klopfgeist
- - Vintage B3 overview
- - Vintage Clav overview
  - Vintage Clav interface
  - Extended parameters
  - - D6 Clavinet history
    - D6 mechanical details
- - Vintage Electric Piano overview
  - Vintage Electric Piano interface
  - - Model controls
    - Pitch controls
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kits
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary
Copyright

Alchemy spectral element effects in Logic Pro for Mac

Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit.

Alchemy spectral element effects provide a number of creative options in the spectral synthesis engine. Two effects units are available in the lower half of the spectral parameters shown in the source subpage. See Alchemy spectral element controls in Logic Pro for Mac for information on other spectral element parameters.

Note: You must first perform a sample import with a spectral analysis or draw in the Spectral edit window before you can use any of the spectral engine parameters. See Alchemy Import browser in Logic Pro for Mac and Alchemy spectral edit window in Logic Pro for Mac.

Figure. Spectral element parameters, showing spectral element effects units.

Spectral effect parameters

Spectral effect on/off buttons: Enable or disable the spectral effect unit.
Spectral effect pop-up menus and fields: Choose a spectral effect type. See spectral effect descriptions below.
Mix knob: Set the balance between the original signal and the processed sound. This parameter is common to all spectral effect types.
Parameter knob 1: Set the value for the parameter assigned to the chosen spectral effect. The parameter name and function vary with each effect type.
Parameter knob 2: Set the value for the parameter assigned to the chosen spectral effect. The parameter name and function vary with each effect type.
Parameter knob 3: Set the value for the parameter assigned to the chosen spectral effect. The parameter name and function vary with each effect type.

Bloom

Bloom produces a burst of frequencies based on the source sound. Note that this effect requires a small amount of calculation time to collect and release a group of frequencies. As a result, there may be a gap between playing a note and hearing the effect.

Tip: Try single note samples with a strong initial attack, such as a piano, and set Mix to a value that introduces the effect as part of the tail of the sound.

Mix knob: Set the balance between the original signal and the processed sound.
Threshold knob: Set the amount of lower amplitude frequencies heard in the effect.
Attack knob: Set the time it takes for effect-generated frequencies to fade in.
Shift knob: Move the emphasis of the effect from lower harmonics (negative values) to higher harmonics (positive values). When centered (0), the original frequency balance is used.

Blur

Blur produces a frequency blurring effect.

Tip: Try a melodic loop with pitch variations to best hear the impact of this effect.

Mix knob: Set the balance between the original signal and the processed sound.
Length knob: Set the time period that frequencies are sustained (blurred over time).
Variance knob: Set the degree of variation for frequency selection (frequencies that are blurred).
Gate knob: Determine the impact of the source sound envelope on the effect and the number of audible frequencies. For example, when used on a loop, higher settings produce a simplified sound with more frequent gaps in the effect output.

Cloud

Cloud produces what might best be described as a cloud of frequency grains, resulting in a textured chorus effect.

Tip: Try this effect on vocal samples.

Mix knob: Set the balance between the original signal and the processed sound.
Threshold knob: Set a sustained emphasis on the highest amplitude harmonics.
Attack knob: Set the time it takes for frequencies emphasized by the Threshold setting to fade in.
Simplify knob: Reduce lower amplitude frequencies to enhance prominent frequencies, lessening detail in favor of an increasingly pure tone.

Gate

Gate is best described as a combination of a square wave LFO and envelope follower modulation for frequencies in the spectrum. Depending on your settings and source material, this can either produce a choppy sound or a smoother one.

Tip: Drum loops are an ideal starting point when learning uses for this effect.

Mix knob: Set the balance between the original signal and the processed sound.
Threshold knob: Set the amount of lower amplitude frequencies that are allowed to pass through the gate. This reduces detail and enhances prominent frequencies in the source.
Attack knob: Set the time it takes for effect-controlled frequencies to fade in.
Decay knob: Set the time it takes for effect-controlled frequencies to fade out.

Glide

Glide creates adjustable, repeating upward filter sweeps that are based on the source content. Note that this effect requires a small amount of calculation time before the results of your adjustments are heard.

Tip: Sources with wide frequency ranges produce a more pronounced filter sweep sound, whereas sources with limited frequencies can result in unique melodic drones as narrow filters sweep across their ranges.

Mix knob: Set the balance between the original signal and the processed sound.
Freq knob: Set the starting frequency for the sweep.
Width knob: Set the width of the filter (the frequency range, or band, affected by the filter).
Shift knob: Set the height of the sweep.

Freq Shift

Freq(uency) Shift moves the spectral bins higher or lower in the spectrum, reducing the level of (or entirely dropping) some frequencies while emphasizing others. This is a powerful sound design tool that can dramatically alter the sound and can introduce inharmonic overtones.

Tip: Try single note samples with a strong initial attack, such as a piano, and blend the mix level so that the effect comes in as part of the tail of the sound.

Mix knob: Set the balance between the original signal and the processed sound.
Shift knob: Move bins up (positive) or down (negative) the frequency spectrum. Start with small adjustments because this parameter has a wide range.
Feedback knob: Set the intensity of selected frequencies.
LP Cutoff knob: Set the cutoff frequency. Higher frequencies are attenuated.

Freq Stretch

Freq(uency) Stretch is an unusual and powerful effect in that spectral peaks are shifted based on a combination of the Alpha and Beta knobs, resulting in a series of inharmonic stretches and randomizations.

Tip: This effect is highly dependent on the available frequency range in the imported sample. For example, the Alpha and Beta knobs are useful across the entire range with drum loops, whereas the most useful Alpha and Beta ranges are small positive or negative deviations from the center position when used with spoken vocals.

Mix knob: Set the balance between the original signal and the processed sound.
Alpha knob: Shift harmonics to produce an effect reminiscent of a formant filter. A setting of 1 (centered) is closest to the source sound.
Beta knob: Set the frequency range of the effect. A setting of 1 (centered) is closest to the source sound.
Variance knob: Introduce randomization to frequency shifts. Depending on source material and Alpha/Beta settings, these can range from “underwater” sounds to powerful noise clouds.

Metallize

Metallize produces classic comb filter style effects.

Tip: Experiment with drum loops to clearly hear the impact of the controls.

Mix knob: Set the balance between the original signal and the processed sound.
Interval knob: Set the effect frequency.
Simplify knob: Reduce the number of effect-generated frequencies, resulting in a simplified sound.
Feedback knob: Set the intensity of the effect. Higher settings emphasize harmonics, creating metallic resonances.

Shimmer

Shimmer sweeps the frequencies to varying degrees and speeds, imparting either slow frequency shifts or fast shimmering sounds.

Tip: Try pure organ samples to clearly see the results of the effect in the realtime spectrogram display, particularly at moderate rate settings.

Mix knob: Set the balance between the original signal and the processed sound.
Rate knob: Set the sweep speed.
Shimmer knob: Set the intensity of the frequency sweep.
Feedback knob: Adjust to introduce resonant, metallic harmonics that are reminiscent of sounds that can be attained with comb filters.

Shuffle

Shuffle randomly rearranges blocks of bins, resulting in an increasingly abstract and scattered sound.

Tip: Import a bell sample, and start with very low settings to see and hear the impact of controls on the sound.

Mix knob: Set the balance between the original signal and the processed sound.
Factor knob: Set the number of blocks (of bins) that you want to shuffle.
Range knob: Set the distance (number of bins) that you want to move each block.
Bins knob: Set the number of bins contained in each block. Note that bins are numbered (and selected) sequentially.

Smear

Smear averages between blocks of frequencies to create a smoother, more consistent sound. It delivers different results to the Blur effect.

Tip: Try melodic loops that have pitch variations to showcase this effect.

Mix knob: Set the balance between the original signal and the processed sound.
Smooth knob: Set the number of frequency blocks to smooth between. Higher settings have less sonic variation, so make small changes.
Bright knob: Emphasize higher frequencies.
Phase On: Enable to preserve the original phases of the source sound. This natural variation in the sound provides a more organic cloud-like effect. Disable to lock the phases of the source, resulting in a tight, metallic sound.

Download the guides:

Logic Pro User Guide: PDF

Logic Pro Instruments: PDF

Logic Pro Effects: PDF

Helpful?

Logic Pro User Guide for Mac