Logic Pro User Guide for iPad
- What’s new in Logic Pro 1.1
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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
- 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 Drummer region or a pattern region
- Rename regions
- Change the color of regions
- Delete regions
- Create fades on audio regions
- 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
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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 release phase behavior
- Vector Envelope point transition shapes
- Use Vector Envelope time scaling
- Use the Mod Pad
- 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 and highpass filter
- Comb PM filter
- Downsampler filter
- FM filter
- Envelope generators
- Mod Matrix
- Modulation routing
- Motion mode
- Trim mode
- More menu
- Sampler
- Copyright
Resynthesis
You can analyze the frequency components of a recorded sound and then resynthesize—reconstruct—a representation of the sound using additive or spectral techniques. See Additive synthesis and Spectral synthesis.
At a basic conceptual level, additive synthesis and spectral (modeling) synthesis are similar in that both techniques can recreate complex sounds by adding together many simpler signals. In practice, however, the two methods are very different. Additive resynthesis attempts to understand the harmonic structure of an audio file and then recreates each harmonic partial with a separate sine wave. Spectral resynthesis instead analyzes the changing frequency spectrum of the signal and attempts to recreate these spectral characteristics in the resynthesized signal.
An additive resynthesis system generates a series of sine waves, with appropriate pitches and levels over time, for each harmonic. It does this by calculating the frequency and amplitude of each harmonic in the overall frequency spectrum of the analyzed sound. After the sound has been resynthesized in this fashion, you can adjust the frequency and amplitude of any harmonic (sine wave). Theoretically, you could even restructure a harmonic sound to make it inharmonic, for example.
In a spectral resynthesis system, the audible spectrum is split into a large number of “spectral bins,” and the distribution of energy across these bins is analyzed. The sound is recreated by filling each spectral bin with the required amount of signal, either using sine waves or filtered noise, and the results are then summed.
The difference in approach means the two techniques are suited to different types of sounds. Additive resynthesis excels at recreating single notes with a clear harmonic structure. Spectral resynthesis is better suited for complex inharmonic sounds such as drums, or polyphonic material containing chords rather than individual notes.
Logic Pro for Mac Alchemy and Sample Alchemy can resynthesize sounds using additive or spectral methods. It can also perform resynthesis using a combination of the two techniques, which is useful for sounds that feature both a clear pitch component and a noisy component. Examples of such sounds are the hammer strike of a piano and the string tone, or the breath noise of a flute and the flute tone.
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