Logic Pro User Guide for Mac
- Welcome
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- 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
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- 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
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- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
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- Play a project
- Set the playhead position
- Control playback with the transport buttons
- Use transport shortcut menus
- Use transport key commands
- Customize the control bar
- Change the LCD display mode in Logic Pro for Mac
- Monitor and reset MIDI events
- Use the cycle area
- Use the Chase Events function
- Use Apple Remote to control Logic Pro
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
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- Tracks overview
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- Create tracks
- Create tracks using drag and drop
- Create tracks using existing channel strips
- Assign tracks to different channel strips
- Choose the default region type for software instrument tracks
- Select tracks
- Duplicate tracks
- Rename tracks
- Change track icons
- Change track colors
- Reorder tracks
- Zoom tracks
- Replace or double drum sounds
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
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- Overview
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- Before recording software instruments
- Play software instruments
- Record software instruments
- Record additional software instrument takes
- Overdub software instrument recordings
- Spot erase software instrument recordings
- Use Note Repeat
- Replace software instrument recordings
- Record to multiple software instrument tracks
- Record multiple MIDI devices to multiple tracks
- Record software instruments and audio simultaneously
- Use step input recording techniques
- Record MIDI messages from another music app
- Use the metronome
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- Arranging overview
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- Regions overview
- Select regions
- Select parts of regions
- Cut, copy, and paste regions
- Move regions
- Add or remove gaps
- Delay region playback
- Loop regions
- Repeat regions
- Resize regions
- Mute and solo regions
- Time stretch regions
- Reverse audio regions
- Split regions
- Demix MIDI regions
- Join regions
- Create regions in the Tracks area
- Change the gain of audio regions in the Tracks area in Logic Pro for Mac
- Normalize audio regions in the Tracks area
- Create aliases of MIDI regions
- Convert repeated MIDI regions to loops
- Change the color of regions
- Convert audio regions to samples for a sampler instrument
- Rename regions
- Delete regions
- Create groove templates
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- Overview
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- Add notes
- Select notes
- Snap items to the grid
- Move notes
- Copy notes
- Change the pitch of notes
- Resize notes
- Edit note velocity
- Quantize the timing of notes
- Quantize the pitch of notes
- Change note articulations
- Lock the position of events
- Mute notes
- Change note color
- View note labels
- Delete notes
- Time stretch notes
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
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- Logic Pro for Mac advanced editors overview
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- Audio File Editor overview
- Play audio files in the Audio File Editor
- Navigate audio files in the Audio File Editor
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- Audio File Editor edit commands
- Edit audio files with transient markers
- Use the Audio File Editor Pencil tool
- Trim or silence audio files
- Remove DC offset
- Set audio file levels
- Normalize audio files
- Fade audio files
- Reverse audio and invert phase
- Audio File Editor Loop commands
- Undo Audio File Editor edits
- Backup audio files
- Use an external sample editor
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- Mixing overview
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
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- Plug-ins overview
- Add, remove, move, and copy plug-ins
- Insert a plug-in on a track using drag and drop
- Activate plug-ins on inactive channels
- Use the Channel EQ
- Work in the plug-in window
- Work with plug-in settings
- Work with plug-in latencies
- Work with Audio Units in Logic Pro for Mac
- Support for ARA 2 compatible plug-ins
- Use MPE with software instruments
- Use the Plug-in Manager
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
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- 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
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- Live Loops overview
- Start and stop cells
- Work with Live Loops 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
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- Global changes overview
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- Tempo overview
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- Smart Tempo overview
- Use free tempo recording
- Choose the Project Tempo mode
- Choose the Flex & Follow setting
- Use Smart Tempo with multitrack audio
- Work in the Smart Tempo Editor
- Improve the tempo analysis using hints
- Correct tempo analysis results using beat markers
- Protect Smart Tempo edits by locking a range
- Match audio recordings to the project tempo
- Match the tempo to an audio region
- Use audio file tempo information
- Record tempo changes
- Use the Tempo Interpreter
- Use the tempo fader
- Control project volume
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- Overview
- Add notes
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- Part box overview
- View score symbols
- Select score symbols
- Add notes and rests
- Add notes and symbols to multiple regions
- Add key and time signature changes
- Change the clef sign
- Add dynamic marks, slurs, and crescendi
- Change note heads
- Add symbols to notes
- Add trills, ornaments, and tremolo symbols
- Add sustain pedal markings
- Add chord symbols
- Add chord grids and tablature symbols
- Add bar lines, repeats, and coda signs
- Add page and line break symbols
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- Select notes
- Move and copy notes
- Change note pitch, duration, and velocity
- Change note articulations
- Quantize the timing of notes
- Restrict note input to the current key
- Control how ties are displayed
- Add and edit tuplets
- Override display quantization using tuplets
- Add grace notes and independent notes
- Delete notes
- Use automation in the Score Editor
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- Staff styles overview
- Assign staff styles to tracks
- Staff Style window
- Create and duplicate staff styles
- Edit staff styles
- Edit staff, voice, and assign parameters
- Add and delete staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staffs or voices in the Staff Style window in Logic Pro for Mac
- Copy staff styles between projects
- Delete staff styles
- Assign notes to voices and staffs
- Display polyphonic parts on separate staffs
- Change the staff assignment of score symbols
- Beam notes across staffs
- Use mapped staff styles for drum notation
- Predefined staff styles
- Share a score
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- Key commands overview
- Browse, import, and save key commands
- Assign key commands
- Copy and print key commands
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- Global Commands
- Global Control Surfaces Commands
- Various Windows
- Windows Showing Audio Files
- Main Window Tracks and Various Editors
- Various Editors
- Views Showing Time Ruler
- Views Showing Automation
- Main Window Tracks
- Live Loops Grid
- Mixer
- MIDI Environment
- Piano Roll
- Score Editor
- Event Editor
- Step Editor
- Step Sequencer
- Project Audio
- Audio File Editor
- Smart Tempo Editor
- Library
- Sampler
- Drum Machine Designer
- Step Input Keyboard
- Smart Controls
- Tool Menu
- Control Surface Install Window
- Touch Bar shortcuts
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- Working with your control surface
- Connect control surfaces
- Add a control surface to Logic Pro for Mac
- Automatic assignment for USB MIDI controllers
- Grouping control surfaces
- Control Surfaces settings overview
- Modal dialog display
- Tips for using your control surface
- Supported control surfaces
- Software and firmware for Logic Pro for Mac
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- Environment overview
- Common object parameters
- Customize the Environment
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- Fader objects overview
- Use fader objects
- Play back fader movements
- Work with object groups
- Fader styles
- Fader functions: MIDI events
- Fader functions: range, value as
- Fader functions: filter
- Vector fader
- Special faders overview
- Cable switchers
- Meta event faders
- SysEx faders
- Work with SysEx messages
- Special functions
- Ornament objects
- MMC record buttons
- Keyboard objects
- Monitor objects
- Channel splitter object
- Physical input objects
- Physical input objects
- MIDI click objects
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- Use MIDI plug-ins
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- Arpeggiator overview
- Arpeggiator control parameters
- Note order parameters overview
- Note order variations
- Note order inversions
- Arpeggiator pattern parameters overview
- Use Live mode
- Use Grid mode
- Arpeggiator options parameters
- Arpeggiator keyboard parameters
- Use keyboard parameters
- Assign controllers
- Modifier controls
- Note Repeater controls
- Randomizer controls
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- Use Scripter
- Use the Script Editor
- Scripter API overview
- MIDI processing functions overview
- HandleMIDI function
- ProcessMIDI function
- GetParameter function
- SetParameter function
- ParameterChanged function
- Reset function
- JavaScript objects overview
- Use the JavaScript Event object
- Use the JavaScript TimingInfo object
- Use the Trace object
- Use the MIDI event beatPos property
- Use the JavaScript MIDI object
- Create Scripter controls
- Transposer controls
- Record MIDI to Track
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- Alchemy overview
- Alchemy interface overview
- Alchemy Name bar
- Alchemy file locations
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- Alchemy source overview
- Source master controls
- Import browser
- Source subpage controls
- Source filter controls
- Source filter use tips
- Source elements overview
- Additive element controls
- Additive element effects
- Spectral element controls
- Spectral element effects
- Pitch correction controls
- Formant filter controls
- Granular element controls
- Sampler element controls
- VA element controls
- Source modulations
- Morph controls
- Alchemy master voice section
- Alchemy Extended parameters
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- ES2 overview
- ES2 interface overview
- ES2 integrated effects processor controls
- Use ES2 in Surround mode
- Extended parameters
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- 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
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- Sculpture overview
- Sculpture interface
- Global parameters
- Amplitude envelope parameters
- Use the Waveshaper
- Filter parameters
- Output parameters
- Use surround range and diversity
- Define MIDI controllers
- Extended parameters
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- Ultrabeat overview
- Ultrabeat interface
- Synthesizer section overview
- Filter section controls
- Distortion circuit controls
- Glossary
- Copyright
Morph melodic sounds in Logic Pro for Mac Alchemy
Sounds that contain melodic or harmonic material, such as those that are not purely drums or percussion, present more challenges when morphing. In these cases, it’s especially important to understand some of the limitations and to know which synthesis options will deliver the best results. This group of tutorial tasks covers morphing between sounds that contain melodic material produced by monophonic instruments such as a solo voice, a synth lead, or an orchestral instrument like a flute or oboe. The example files have the same basic length, which makes results more predictable than if file lengths are quite different.
Note: Images shown in tutorials are not specific to presets used in tasks. They are included as a guide to help you find areas and parameters in the Alchemy interface.
Play a source melody with another source in Alchemy
In Alchemy in Logic Pro, click the File button in the Name bar and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings.
Click the source select field for source A, and choose Import Audio from the pop-up menu.
The Import window opens.
Type “Amanda Aa Ee Ay Oh C3” in the search field, and drag the file to the Dropzone area of the Import window.
Click the Additive and Formant analysis mode buttons at the lower left, then click the Import button.
This determines the synthesis engine used for resynthesis of the audio sample. This combination is generally best when you are working with melodic, monophonic audio files. When analysis is complete, you can trigger the audio at its native pitch by playing C3 on your keyboard. It’s important to understand that you are hearing a resynthesized version of the original sound that is being generated by the additive synthesis engine and further shaped by the formant engine.
Tip: It’s best to select the same analysis mode for all audio you plan to morph between. If you don’t do this, the primary synthesis element morphing control will be non functional when morphing between sources analyzed with different engines. For example, you can’t perform additive morphing between a source generated by the additive engine and another source generated by the spectral engine.
Click the source B select field, and choose Import Audio from the pop-up menu.
Type “Velvet Rope Synth Lead” in the search field, and click to select the file or drag it to the Dropzone area of the Import window, then click the Import button.
Note: The previously selected import mode is retained, so there’s no need to change anything.
To set both files to loop continuously while you hold down the note, click the A button (under Global), then choose Continuous from the Loop Mode pop-up menu. Repeat this step for source B.
Click the Morph button at the left to show the morphing section at the upper right, then click the Morph Lin button and the A-B button. The All button should be active.
Drag the handle between the two sources while holding a note to hear the sound morph from the vocal (source A on the left) to the synth lead (source B on the right).
Click the Elements button to show the elemental morphing controls, then move the Pitch handle (green dot) to the far right while holding down C3 on your keyboard. You can also rotate the Pitch knob.
When the note cycle restarts, you will hear the vocal sample “singing” the melody provided by the synth lead phrase in source B. The pitch morph is particularly effective because the source A material contains no chordal content and does not change pitch, and the Source B material has a very clear melodic phrase that the pitch analysis can easily track. In general, files that work well for Flex Pitch in Logic work well for pitch morphing applications in Alchemy. Keep this example loaded for the next task.
Explore additive morphs in Alchemy
Elemental morphing can sometimes lead to sudden and dramatic level changes. Before adjusting the Additive control, click the Global button, then double-click the Volume knobs for sources A and B. This sets them both to -18dB.
In Alchemy in Logic Pro, click the Morph button at the left to show the morphing section at the upper right, then click the Morph Lin button, the A-B button, and the Elements button (if required).
Drag the Additive handle (blue dot) to the right while holding C3 on your keyboard. You can also rotate the Additive knob to set this value.
As you move the control, the harmonic partials of the vocal sample transition to the partials of the synth lead. This doesn’t always produce pleasing results because partials in one sound may emphasize noise or artifacts in the other sound. The workflow is often one of sonic exploration in search of happy accidents rather than a predictable process. Play notes and chords above and below C3 as you experiment.
Set the Additive control to approximately 30%, Pitch to 100%, and Formant and Envelope to zero percent.
Click the A button at the left to view source A parameters, click the Additive button at the top right, then rotate the Fundamental knob toward the left.
This attenuates the fundamental partial which brightens the sound by making the higher frequency partials more pronounced.
Turn down the Odd/Even knob to create a more hollowed out sound, emphasizing the partials of the synth lead. Experiment with other controls to get a feel for their effect on the sound. Play octaves and fifths as you experiment.
Create envelope morphs in Alchemy
The Envelope control in the morph section primarily morphs between the timing of sources. This has little effect when files are close in length, but this behavior changes when the playback length of files is altered.
In Alchemy in Logic Pro, click the Morph button at the left to show the morphing section at the upper right, then move the Envelope handle (yellow dot) to the far left. You can also use the Envelope knob to move the Envelope handle.
Click the A button at the left to view source A parameters, and click the Edit button at the right of the source filename.
The source A edit window opens.
In the waveform editor at the bottom of the main edit window, drag the E handle to the very end of the audible part of the waveform.
This effectively removes the silence at the end of the vocal phrase by reducing the playback length of the overall file.
Play C3 on your keyboard, and note that the phrase plays faster because the timing for the sound is currently based on the timing of the vocal sample.
Also note that you can hear the entire synth lead phrase, which no longer fades away at the end. If you move the end marker further left, you can hear the entire phrase of the synth part played faster.
Click the X at the upper right to close the source A edit window.
Return to the morph controls, and adjust the Envelope knob to hear how it affects the behavior of samples with different lengths.
Use linked morph parameters in Alchemy
A green arc around a parameter indicates that it is morphed when you move dedicated morph controls. Setting general (non-morph area) parameters to different values for each source provides another technique that can influence morphing results.
In Alchemy in Logic Pro, click the source A button at the left, then click the Formant button at the upper right to view the Formant controls. Rotate the Smooth knob to the left until the Amanda vocal starts to break up and sound “fluttery.”
Click the source B button at the left, then click the Formant button at the upper right. Rotate the Smooth knob to the far left.
Click the Morph button at the left to show the morphing section at the upper right, then move the Formant handle (purple dot) horizontally while playing. You can also use the Formant knob to set this value.
You can hear the “fluttery” effect as you move the Formant control to the left, but this disappears as you move it to the right.