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
The Leslie cabinet
Don Leslie developed his rotor cabinets in 1937 and began marketing them in 1940. Laurens Hammond wasn’t keen on the concept of rotating speakers at all.
Leslie’s approach was to simulate a variety of locations in the pipes (as in pipe organs), resulting in a new spatial perception for every note. The rotor speaker cabinets could simulate this effect, and the sense of space that they impart is incomparable, when placed side-by-side with any fixed speaker. The periodic undulations in sound and volume and the vibrato caused by the Doppler effect (see below) aren’t all there is to the Leslie sound—it’s the spatial effect, too.
The “classic” Leslie speaker design features two drivers—a treble driver with horns (only one works; the other simply acts as a counter-weight) and a bass driver. The horns of the treble driver and the sound baffle of the bass driver are physically rotated by electric motors.
Because the speakers rotate toward the front of the cabinet (the listening position), then toward the back of the cabinet, you hear a “Doppler effect”—where sounds become louder and brighter as their position changes. To give you an idea of this effect, it is much like the sound of a train going past if you were standing on the platform. On approach, the sound is muffled, but then it becomes both louder and brighter as the train passes, and finally it becomes more muffled as it moves away from you.
The rotating driver/sound baffle can be switched between two speeds—fast/Tremolo or slow/Chorale (or stopped completely with a mechanical brake). The transition between the two speeds, or the use of a fixed speed, produces the characteristic “Leslie” vibrato, tremolo, and chorus effects.
The first Leslie, the model 30, had no Chorale—just tremolo and stop. The Chorale idea (which came much later) was born of a desire to add a vibrato to the organ. Chorale, which offers far more than a simple vibrato, was first introduced to the market with the 122/147 models. At this time, Leslie also added the “Voice of the pipe organ” label to his cabinets.
It wasn’t until 1980 that the two companies and brand names came together, six years after the last tonewheel organ was built. Mechanical Leslie rotor cabinets are still being built today, by the Hammond-Suzuki company.
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