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
Additive synthesis
Additive synthesis could be considered the reverse approach to subtractive synthesis. See Sound basics overview, Tones, overtones, harmonics, and partials, and How subtractive synthesizers work.
To obtain an insight into the additive synthesis method, consider the fact that all sounds are a sum of various sine tones and harmonics.
In additive synthesis, you start out with nothing and build a sound by combining multiple sine waves of differing levels and frequencies. As more sine waves are combined, they begin to generate additional harmonics. In most additive synthesizers, each set of sine waves is viewed and used much like an oscillator.
Depending on the sophistication of the additive synthesizer you’re using, you will either have individual envelope control over the level and pitch of each sine wave, or you will be limited to envelope control over groups of sine waves—one envelope per sound and its harmonics, or all odd or all even harmonics, for example. In practical terms, working with groups of related harmonics is the best approach due to the mathematical relationships between them and the impact this has on the overall tone when adjusting them en masse, rather than individually.
Logic Pro for Mac Alchemy can be used as a true additive synthesizer, where you create sounds from scratch with sine waves, with full control of the level, pitch, and pan position of each harmonic. Logic Pro for Mac Alchemy and Sample Alchemy also allows you to resynthesize imported samples with additive (and spectral) synthesis techniques. See Resynthesis.
Some aspects of the additive synthesis approach are also used in Vintage B3 and other drawbar organs. In Vintage B3 you start with a basic tone and add harmonics to it, to build up a richer sound. The level relationships between the fundamental tone and each harmonic are determined by how far you pull each drawbar out. Because Vintage B3 doesn’t provide envelope control over each harmonic, it is limited to organ emulations.
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