Logic Pro Effects
Contents Logic Pro Effects Logic Pro Effects 6 Logic Pro Effects introduction 6 Amps and pedals 8 Logic Pro Amps and Pedals overview 8 Amp Designer 8 Bass Amp Designer 23 Pedalboard 34 Delay effects 50 Logic Pro Delay effects overview 50 Delay Designer 50 Logic Pro Echo 67 Logic Pro Sample Delay 67 Logic Pro Stereo Delay 68 Logic Pro Tape Delay 70 Distortion effects 72 Logic Pro Distortion effects overview 72 Logic Pro Bitcrusher 72 Logic Pro Clip Distortion 74 Logic Pr
Logic Pro Effects Logic Pro Enveloper 88 Logic Pro Expander 89 Logic Pro Limiter 90 Multipressor 91 Noise Gate 95 Surround Compressor 98 Equalizers 102 Logic Pro Equalizers overview 102 Channel EQ 102 Linear Phase EQ 109 Match EQ 116 Logic Pro Single-Band EQ 121 Vintage EQ Collection 122 Filter effects 127 Logic Pro Filter effects overview 127 AutoFilter 127 EVOC 20 Filterbank 133 EVOC 20 TrackOscillator 137 Fuzz-Wah 148 Spectral Gate 151 Imaging processors 153 Log
Logic Pro Effects MIDI plug-ins 176 Use MIDI plug-ins in Logic Pro 176 Arpeggiator MIDI plug-in 177 Chord Trigger MIDI plug-in 192 Logic Pro Modifier MIDI plug-in 196 Modulator MIDI plug-in 197 Logic Pro Note Repeater MIDI plug-in 201 Logic Pro Randomizer MIDI plug-in 202 Scripter MIDI plug-in 203 Logic Pro Transposer MIDI plug-in 218 Velocity Processor MIDI plug-in 219 Modulation effects 222 Logic Pro Modulation effects overview 222 Logic Pro Chorus effect 223 Logic Pro Ensembl
Logic Pro Effects ChromaVerb 273 Logic Pro EnVerb 280 Logic Pro SilverVerb 281 Space Designer convolution reverb 283 Logic Pro Space Designer overview 283 Logic Pro Space Designer interface 284 Use impulse responses in Logic Pro 285 Space Designer envelopes and EQ 289 Space Designer global parameters 295 Specialized effects 301 Logic Pro Specialized effects overview 301 Logic Pro Exciter 301 SubBass 302 Utilities and tools 305 Logic Pro Utility processors and tools 305 Auto Sa
Logic Pro Effects Logic Pro Effects introduction Logic Pro provides an extensive suite of software effect plug-ins that can be used in your productions. Effects categories include both insert effects and processors that are principally designed for mastering use. Because you’re free to use almost all plug-ins as you see fit, there are few restrictions on the use of effects anywhere in the signal path. Most effects can be used in mono, stereo, dual mono, or surround channels.
Adding a further string to your bow are the flexible, powerful, and fun multi effects units that combine a collection of processors and modulators in one place. See Multi effects. These are ideal for use with urban and dance floor-oriented tracks, but can truly transform any sound you want to run through them. You can manipulate pitch with the Pitch Correction, Pitch Shifter and Vocal Transformer effects. These can be used for subtle corrections or for heavy Cher-like processing of vocals and instruments.
Amps and pedals Logic Pro Amps and Pedals overview Logic Pro features an extensive collection of guitar and bass amplifiers and classic pedal effects. You can play live—or process recorded audio and software instrument parts—through these amps and effects. The amplifier models recreate vintage and modern tube and solid-state amps. Builtin effect units, such as reverb, tremolo, or vibrato, are also reproduced. The modeled amplifiers can be paired with a number of emulated speaker cabinets.
The Amp Designer interface is divided into four main parameter sections. • Model parameters: The Model pop-up menu at the bottom of the window is used to choose a preconfigured model, consisting of an amplifier, a cabinet, an EQ type, and a microphone type. The other pop-up menus enable you to independently choose the type of amplifier, cabinet, and microphone. See Build a custom Logic Pro Amp Designer combo.
Switch between the full and small versions of the interface • Window size: In Logic Pro, click the disclosure triangle to switch between the full and small versions of the interface. In the small interface, you can access all parameters except microphone selection and positioning. Choose an Amp Designer model You can use the Model pop-up menu to choose a preconfigured model, or you can build a customized model using the Amp, Cabinet, and Mic pop-up menus. See Build a custom Logic Pro Amp Designer combo.
Model Description Mini Tweed Combo A small amp with a single 10” speaker, used by countless blues and rock artists. It is quite punchy-sounding and can deliver the clean and crunch tones that Tweed combos are known for. Tip: Tweed combos are responsive to playing dynamics. Adjust the knobs to create a distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone. Turn up your guitar volume knob when soloing.
British Stacks The British Stack models are based on the 50- and 100-watt amplifier heads that have largely defined the sound of heavy rock, especially when paired with 4 x 12” cabinets. At medium gain settings, these amps are suitable for thick chords and riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex peaks and dips across the tonal spectrum keep the tones clear and appealing, even when heavy distortion is used.
British Alternatives The late 1960s amplifier heads and combos that inspired the Sunshine models are loud and aggressive, with full mid frequencies. These amps are useful for single note solos, power chords, and big, open chords—making them popular with the “Brit-pop” bands of the 1990s. The Stadium amps are famed for their ability to play at extremely high levels without dissolving into an indistinct distortion. They retain crisp treble and superb note definition, even at maximum gain settings.
Additional Combos The combos and utility models in this category are versatile amps that you can use for a wide variety of musical styles. Model Description Studio Combo A 1 x 12” combo based on boutique combos of the 1980s and 1990s. These models use multiple gain stages to generate smooth, sustain-heavy distortion and bold, bright, clean sounds. Can deliver a heavier sound when paired with a 4 x 12” cabinet.
Cabinet Description Vintage British 4 x 12 This late 1960s closed-back cabinet is synonymous with classic rock. The tone is big and thick yet also bright and lively, due to the complex phase cancelations between the four 30-watt speakers. Modern British 4 x 12 A closed-back 4 x 12” cabinet that is brighter and has a better low end than the Vintage British 4 x 12, with less midrange emphasis. Brown 4 x 12 A closed-back 4 x 12” cabinet with a good low end and complex midrange.
Build a custom Logic Pro Amp Designer combo You can use one of the default models or you can create your own hybrid of different amplifiers, cabinets, and so on. You create your own by using the Amp, Cabinet, and Mic pop-up menus, located at the bottom of the window, as well as the EQ pop-up menu. Note: If you create your own hybrid amp combo, you can use the Settings pop-up menu to save it as a setting file, which also includes any parameter changes you have made.
• Old or New Speakers: Amp Designer models based on vintage cabinets capture the character of aged speakers. These may be a bit looser and duller sounding than new speakers, but many players prefer them for their smoothness and musicality. Sounds based on new cabinets tend to have more snap and bite. • Large Speakers or Small Speakers: A larger speaker doesn’t guarantee a larger sound. In fact, the most popular bass guitar cabinet in history uses 8” speakers.
Logic Pro Amp Designer amplifier controls The amp parameters include controls for the input gain, presence, and master output. The Gain knob is located to the left in the knobs section, the Presence and Master knobs are to the right, and the Output parameter is at the lower-right edge of the interface. Amplifier parameters • Gain knob: Set the amount of preamplification applied to the input signal. This control affects specific amp models in different ways.
Despite these less pleasant-sounding possibilities, it is worth experimenting with various amplifier and EQ combinations, because many can sound good together. EQ parameters • EQ pop-up menu: Click the word EQ or CUSTOM EQ to choose an EQ type. Each EQ model has unique tonal qualities. • Bass, Mids, and Treble knobs: Adjust the EQ frequency ranges as you would with tone knobs on a hardware guitar amplifier. The behavior and response of these knobs changes when different EQ models are chosen.
Logic Pro Amp Designer effects overview The effects parameters include reverb, tremolo, and vibrato, which emulate the processors found on many amplifiers. These controls are found in the center of the knobs section. Reverb, which is controlled by an On/Off switch in the middle, can be added to either tremolo or vibrato, or it can be used independently. See Logic Pro Amp Designer reverb effect.
Reverb types Learn about the properties and sonic character of each Amp Designer reverb type. Reverb type Description Vintage Spring This bright, splashy sound has largely defined combo amp reverb since the early 1960s. Simple Spring A darker, subtler spring sound. Mellow Spring An even darker, low-fidelity spring sound. Bright Spring Has some of the brilliance of Vintage Spring, but with less surf-style splash. Dark Spring A moody-sounding spring. More restrained than Mellow Spring.
Logic Pro Amp Designer microphone parameters Amp Designer provides seven virtual microphone types. As with other components in the tone chain, different selections can yield very different results. After choosing a cabinet, you can set the type of microphone to emulate and can place the microphone, relative to the cabinet. The Mic pop-up menu is near the lower right. The speaker-adjustment graphic appears when you move your pointer in the area above the Mic pop-up menu.
Tip: Combining multiple microphone types can produce an interesting sound. Duplicate the guitar track, and insert Amp Designer on both tracks. Select different microphones in each Amp Designer instance while retaining identical settings for all other parameters, then set track signal levels. Bass Amp Designer Logic Pro Bass Amp Designer overview Bass Amp Designer emulates the sound of three famous bass guitar amplifiers and the speaker cabinets used with them.
• Amp parameters: Located at each end of the knobs section, these parameters are used to set the input gain, presence, and output level of the amp. See Logic Pro Bass Amp Designer amplifier controls. • Effects parameters: Located in the center of the knobs section, these parameters control the integrated EQ and compressor effects. A further graphic or parametric EQ is shown above the compressor controls when the EQ button is turned on. See Logic Pro Bass Amp Designer effects overview.
Logic Pro Bass Amp Designer cabinet models The table outlines the properties of each cabinet model available in Bass Amp Designer. Cabinet Description Modern Cabinet 15” 1 x 15 inch speaker, closed-back design. Very deep and full tone. Modern Cabinet 10” 1 x 10 inch speaker, closed-back design. A punchy tone. Modern Cabinet 6” 1 x 6 inch speaker, closed-back design. Classic Cabinet 8 X 10” 8 x 10 inch speakers, closed-back design. Flip Top Cabinet 1 X 15” 1 x 15 inch speaker, closed-back design.
• In Logic Pro, choose a cabinet from the Cabinet pop-up menu. • Old or new speakers: Some Bass Amp Designer models capture the character of aged speakers. These may be a bit looser and duller sounding than new speakers, but many players prefer them for their smoothness and musicality. Sounds based on new cabinets tend to have more snap and bite. • Large speakers or small speakers: Try several sizes and choose the one that works best for your music.
Cabinet Blend slider position Channel 1 routing Channel 2 routing Direct (PreAmp Out) Middle Pre-amp D.I. box Any speaker cabinet model Far left Pre-amp, power amp, cabinet, mic Direct (PowerAmp Out) Far left Pre-amp, power amp Direct (PreAmp Out) Far left Pre-amp Direct (PreAmp Out) Far right D.I. box Logic Pro Bass Amp Designer Pre-amp flow The pre-amp section is very flexible, and can be used in several ways when you use different combinations of On/Off and Pre/Post switches.
Use the Logic Pro Bass Amp Designer D.I. box The D.I. box is modeled on a highly regarded American D.I. unit. D.I. box parameters Logic Pro Effects • Boost knob: Set the input gain of the D.I. box. • HF Cut button: Turn on a highpass filter. This is used to reduce noise. • Tone knob: Set the tonal color of the D.I. box. Each number represents a preset EQ curve. • 1: An EQ curve with a -6 dB scoop from 100 Hz to 10 kHz, most pronounced around 800 Hz.
Use the D.I. box only • In Logic Pro, drag the Blend slider to the far right. Use the D.I. box and the amplifier in parallel • In Logic Pro, drag the Blend slider to any central position—not to the far right or the far left. Logic Pro Bass Amp Designer amplifier controls The amp parameters include controls for channel selection, input filter and gain, and master output. The Gain knob is located to the left in the knobs section and the Master knob and Output slider are located at the far right.
Logic Pro Bass Amp Designer effects overview Bass Amp Designer provides multiple EQ types to sculpt your instrument tones. It provides a basic EQ that mirrors the tonal qualities of the integrated EQ of the amplifier model you choose, if applicable. All amplifier model EQs have identical controls: Bass, Mids, and Treble. See Logic Pro Bass Amp Designer EQ. Bass Amp Designer also offers an additional Graphic or Parametric EQ that you turn on with the EQ switch above the Master knob at the far right.
Logic Pro Bass Amp Designer compressor The internal compression circuit is custom-built for use with Bass Amp Designer. It features an AutoGain function that compensates for volume reductions caused by compression. Compressor parameters • Compressor on/off switch: Turn the Compressor on or off. • Hard/Soft switch: Switch between two compression algorithms. • Hard: Stronger compression, with good control over levels, which makes it easier to fit the bass into an arrangement.
• Pre/Post switch: Choose whether the additional EQ is inserted before or after—pre or post—the compressor module in the signal path. Note: This parameter is relevant only if the Compressor is turned on. • Frequency sliders: Set the amount of boost or cut for each frequency band. Logic Pro Bass Amp Designer Parametric EQ Bass Amp Designer offers an additional Graphic or Parametric EQ that you turn on with the EQ switch above the Master knob at the far right.
Logic Pro Bass Amp Designer mic parameters Bass Amp Designer offers three virtual microphone types. As with other components in the tone chain, different selections can yield different results. After choosing a cabinet, you can choose the type of microphone to emulate and you can adjust the position of the microphone, relative to the cabinet. The Mic pop-up menu is near the lower right. The speaker-adjustment graphic appears when you move your pointer in the area above the Mic pop-up menu.
Tip: Combining multiple microphone types can produce an interesting sound. Duplicate the bass guitar track, and insert Bass Amp Designer on both tracks. Select different microphones in each Bass Amp Designer instance while retaining identical settings for all other parameters, then set track signal levels. Pedalboard Logic Pro Pedalboard overview Pedalboard simulates the sound of a number of famous “stompbox” pedal effects. You can process any audio signal with a combination of stompboxes.
Use the Logic Pro Pedalboard Browser Pedalboard offers dozens of pedal effects and utilities in the Pedal Browser on the right side of the interface. Each effect and utility is grouped into a category, such as distortion, modulation, and so on.
Add a stompbox to the Pedal area In Logic Pro, do one of the following: • Drag the effect that you want to insert from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals. • Double-click an effect in the Pedal Browser to add it to the right of all existing stompboxes in the Pedal area. Note: Double-clicking a stompbox in the Pedal Browser when a stompbox is selected in the Pedal area replaces the selected pedal.
Add an imported pedal to the Pedal area In Logic Pro, do one of the following: • Pedal area: Drag the stompbox that you want to add from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals. • Make sure that no pedal is selected in the Pedal area, then double-click a stompbox in the Pedal Browser to add it to the right of all existing effects in the Pedal area.
Add a pedal to the Pedal area In Logic Pro, do one of the following: • Drag the stompbox that you want to insert from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals. • Make sure that no pedal is selected in the Pedal area, then double-click a stompbox in the Pedal Browser to add it to the right of all existing effects in the Pedal area. Note: You insert Mixer and Splitter utility pedals in a different way.
Notes on Splitter utility and Mixer utility use Dragging a Splitter utility into the Pedal area automatically inserts a Mixer utility to the far right of all inserted pedals. You cannot drag a Splitter utility to the far right of all inserted pedals, to directly after an inserted Splitter utility, to directly in front of an inserted Mixer utility, or to an empty space in the Pedal area.
Switch between a Splitter utility and a bus split point • To replace a bus split point with a Splitter utility in Logic Pro: Double-click the bus split point dot in the Router. The Splitter utility appears in the Pedal area. • To replace a Splitter utility with a bus split point: Double-click the Splitter label in the Router. The Splitter utility is removed from the Pedal area.
• Macro A–H Target pop-up menus: Choose the parameter that you want to control with a MIDI controller. • Macro A–H Value sliders and fields: Set and display the current value for the parameter chosen from the corresponding Macro Target pop-up menu. Assign a Macro A–H Target 1. In Logic Pro, click the disclosure triangle at the bottom left to hide or show the Macro Controls area. 2. Do one of the following: • Choose the parameter that you want to control from any of the Macro A–H Target pop-up menus.
Stompbox Description Grinder Grinder is a lo-fi dirty “metal” distortion. • On/Off switch: Enable/disable the pedal. • Grind knob: Set the amount of drive applied to the input signal. • Filter knob: Make the sound harsher and more crunchy at higher values. • Full/Scoop switch: Choose between two fixed Gain/Q filter settings. At the Full position, filtering is less pronounced than at the Scoop position. • Level knob: Set the effect output level.
Stompbox Description Tube Burner A vacuum tube-based distortion that provides a wide palette of sounds, ranging from warm grain to crispy overdrive. • On/Off switch: Enable/disable the pedal. • Low knob: Set the low frequency cutoff. • Mid knob: Set the mid frequency cutoff. • Mid Gain knob: Set the mid frequency level. This affects all frequencies in the range between the Low and High knob values. • High knob: Set the high frequency cutoff.
Logic Pro Pedalboard modulation pedals This table describes the modulation effects pedals. Stompbox Description Flange Factory A deluxe flanging effect with precise sound control. • On/Off switch: Enable/disable the pedal. • Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Depth knob: Set the strength of the effect. • Reso knob: Determine the amount of cutoff frequency resonance.
Stompbox Description Retro Chorus A subtle vintage chorus effect. • On/Off switch: Enable/disable the pedal. • Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Depth knob: Set the strength of the effect. Robo Flanger A flexible flanging effect. • On/Off switch: Enable/disable the pedal.
Stompbox Description Total Tremolo A flexible tremolo effect—modulation of the signal level. • On/Off switch: Enable/disable the pedal. • Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Wave knob: Switch between modulation waveforms. • Smooth knob: Change the waveform shape. • Level knob: Set the post-tremolo gain. • 1/2 Speed button: Halve the current Rate value.
Stompbox Description Spring Box A spring reverb effect. • On/Off switch: Enable/disable the pedal. • Time knob: Set the length of the reverberation to short, medium, or long values. • Tone knob: Set the cutoff frequency, making the effect brighter or darker. • Style knob: Switches between algorithms, each with different characteristics. You can choose Boutique, Simple, Vintage, Bright, or Resonant. • Mix knob: Set the level ratio between source and effect signals.
Logic Pro Pedalboard filter pedals This table describes the filter effects pedals. Stompbox Description Auto-Funk An auto-wah (filter) effect. • On/Off switch: Enable/disable the pedal. • Sensitivity knob: Set a threshold that determines how the filter responds to incoming signal levels. • Cutoff knob: Set the center frequency for the filter. • BP/LP switch: BP (Bandpass): Signal frequencies just above and below the cutoff are filtered.
Logic Pro Pedalboard utility pedals This table describes the parameters of the Mixer and Splitter pedals. Stompbox Description Mixer Controls the level relationship between Bus A and Bus B signals. It can be inserted anywhere in the signal chain but is typically used at the end of the chain, shown at the extreme right of the Pedal area. See Use the Logic Pro Pedalboard Router for more information. • Mix fader: Set the level or level balance, depending on the A/Mix/B switch position.
Delay effects Logic Pro Delay effects overview Delay effects store the input signal—and hold it for a short time—before sending it to the effect input or output. The delayed signal creates a repeating echo effect after a given time period. Each subsequent repeat is a little quieter than the previous one. Most delays also let you feed a percentage of the delayed signal back to the input. This can result in a subtle, chorus-like effect or cascading, chaotic audio output.
As the name implies, Delay Designer offers significant sound design potential. You can use it for everything from a basic echo effect to an audio pattern sequencer. You can create complex, evolving, moving rhythms by synchronizing the placement of taps. This leads to further musical possibilities when coupled with judicious use of transposition and filtering.
Logic Pro Delay Designer main display The main display is used to view and edit tap parameters. You can choose the parameter to show and can quickly zoom or navigate through all taps. Main display parameters Logic Pro Effects • View buttons: Click to choose the parameter or parameters shown in the Tap display. See Use the Logic Pro Delay Designer Tap display. • Autozoom button: Zoom the Tap display out to make all taps visible.
Use the Logic Pro Delay Designer Tap display The view buttons determine the parameter shown in the Tap display. The Toggle bar is shown below the view buttons. You can use it to turn parameters on or off for each tap. You can use the Overview display to zoom and to navigate the Tap display area. Tip: If the Overview display is hidden behind a tap, you can move it to the foreground by holding down Shift.
Use Delay Designer tap toggle buttons Each tap has its own toggle button in the Toggle bar. These buttons provide a quick way to graphically turn parameters on and off. The parameter being toggled is determined by the current view button selection. 1. In Logic Pro, click the view button for the parameter you want to toggle. 2. Click the toggle button of each tap that you want to change: • Cutoff view: Turn the filter on or off. • Reso view: Switch the filter slope between 6 dB and 12 dB.
Note: The Autozoom button needs to be turned off when you manually zoom in the Overview display. When you zoom in on a small group of taps, the Overview display continues to show all taps. The area shown in the Tap display is indicated by the bright rectangle in the Overview display. Move to different sections of the Tap display • In Logic Pro, horizontally drag the middle of the bright rectangle in the Overview display. The zoomed view in the Tap display updates as you drag.
3. To create new taps, click the Tap button. These are created at the exact moments in time of each click, adopting the rhythm of your click pattern. 4. To finish creating taps, click the Last Tap button. The final tap is added, ending tap recording, and assigning the last tap as the feedback tap (for more information about the feedback tap, see Logic Pro Delay Designer master parameters).
You can move a tap backward or forward in time or completely remove it. Note: When you move a tap, you are actually editing its delay time. Select a tap In Logic Pro, do one of the following: • Click a tap in the Tap display. • Click the tap letter in the Identification bar. • Click one of the arrows to the left of the Tap name to select the next or previous tap. • Choose the tap letter from the pop-up menu to the right of the Tap name.
Delete a tap In Logic Pro, do one of the following: • Select a tap, then press the Delete key. • In the Identification bar, drag a tap letter downward, out of the Tap display. This method also works when more than one tap is selected. Delete all selected taps • In Logic Pro, Control-click (or right-click) a tap, then choose “Delete tap(s)” from the shortcut menu.
Set the values of multiple taps • In Logic Pro, Command-drag over multiple taps to change their value. Parameter values change to match the pointer position as you drag across the taps. Command-dragging across several taps lets you draw value curves, much like using a pencil to create a curved line on a piece of paper. Align the values of several taps 1. In Logic Pro, Command-click in the Tap display, and drag while holding down the Command key. A line trails behind the pointer as you drag. 2.
Reset the value of a tap In Logic Pro, you can use the Tap display or Tap parameter bar to reset tap parameters to their default values. • To reset a parameter to its default setting in the Tap display: Option-click a tap to reset the selected parameter to its default setting. If multiple taps are selected, Option-clicking any tap resets the chosen parameter to its default value for all selected taps.
Note: Pan is not available in mono configurations. • To edit the pan position in mono input/stereo output configurations: Drag vertically from the center of the tap in the direction you want to pan the tap or taps. A white line extends outward from the center in the direction you have dragged, reflecting the pan position of the tap or taps. Lines above the center position indicate pans to the left, and lines below the center position denote pans to the right.
Edit taps with shortcut menu commands • In Logic Pro, Control-click (or right-click) a tap in the Tap display, then choose one of the following commands from the shortcut menu: • Copy sound parameters: Copies all parameters (except the delay time) of the selected tap or taps to the Clipboard. • Paste sound parameters: Pastes the tap parameters from the Clipboard into the selected tap or taps.
Tap parameter bar controls • Filter On/Off button: Turn the highpass and lowpass filters on or off (for the selected tap). • Cutoff HP/LP fields: Set the cutoff frequencies (in Hz) for the highpass and lowpass filters. • Slope buttons: Determine the steepness of the highpass and lowpass filter slope. Click the 6 dB button for a gentler filter slope, or click the 12 dB button for a steeper, more pronounced filtering effect.
Note: Delay Designer has a maximum delay time of 10 seconds. This means that if you load a setting into a project with a slower tempo (than the tempo saved with the setting), some taps may fall outside the 10 second limit. In such cases, these taps do not play but are retained as part of the setting. Sync parameters • Sync button: Turn synchronized mode on or off. • Grid pop-up menu: Choose a grid resolution from several musical note durations.
Logic Pro Delay Designer master parameters The Master section incorporates two global functions: delay feedback and dry/wet mix. In simple delays, the only way for the delay to repeat is to use feedback. Because Delay Designer offers 26 taps, you can use these taps to create repeats, rather than requiring discrete feedback controls for each tap.
Use Logic Pro Delay Designer in surround Delay Designer is optimized for use in surround configurations. With 26 taps that can be positioned in the surround field, you can create interesting rhythmic and spatial effects. Note: Delay Designer generates separate automation data for stereo pan and surround pan operations. This means that when you use it in surround channels, it does not react to existing stereo pan automation data, and vice versa.
Logic Pro Echo This simple echo effect always synchronizes the delay time to the project tempo, enabling you to quickly create echo effects that run in time with your composition. Echo parameters • Note pop-up menu and knob: Choose the grid resolution of the delay time in musical note durations, based on the project tempo. Notes (and dots) are displayed around the Note knob when synchronized with the project tempo. Click these buttons or dots (or rotate the knob) to choose an exact synchronization value.
Sample Delay parameters • Delay knob (L/R) and field: Set the number of samples or milliseconds the incoming signal is delayed by. • Link L & R button: Turn on to make sure the number of samples is identical for both channels. Adjusting one channel value adjusts the other. • Unit buttons: Choose Samples or ms to change the appearance and behavior of Delay knob and field values.
Channel parameters • Input pop-up menu: Choose the input signal for the two stereo sides. Options include Off, Left, Right, L + R, and L − R. • Delay Time knob and field: Set the delay time in milliseconds or in note values when synchronized with the project tempo. Notes (and dots) are displayed around the Delay Time knob when synchronized with the project tempo. Click these buttons or dots (or rotate the knob) to choose an exact synchronization value.
Logic Pro Tape Delay Tape Delay simulates the sound of vintage tape echo machines. It can run at a free rate or can be synchronized with the project tempo. The effect is equipped with a highpass and lowpass filter in the feedback loop, making it easy to create authentic dub echo effects. Tape Delay also includes an LFO for delay time modulation. This can be used to produce chorus effects, even on long delays.
Logic Pro Effects • Tape Head Mode buttons: Choose Clean or Diffuse mode to emulate a different tape head position. This affects the behavior of other parameters, such as Flutter and Feedback. • Low/High Cut sliders and fields: Cut frequencies below the Low Cut value and above the High Cut value to shape the sound of taps (delay repeats) with the highpass and lowpass filters.
Distortion effects Logic Pro Distortion effects overview Distortion effects simulate the distortion created by vacuum tubes, transistors, or digital circuits. Vacuum tubes were used in audio amplifiers before the development of digital audio technology. They are still used in musical instrument amplifiers today. When overdriven, tubes produce a musically pleasing distortion that has become a familiar part of the sound of rock and pop music.
Bitcrusher parameters • Mode buttons: Set the distortion mode to Fold, Clip, or Wrap. Signal peaks that exceed the clip level are processed. Note: The Clip Level parameter has a significant impact on the behavior of all three modes. This is reflected in the waveform display, so try each mode button and adjust the Clip Level slider to get a feel for how this works. • • Fold button: Set a softer distortion by halving the level of the center portion of the signal above the threshold.
Logic Pro Clip Distortion Clip Distortion is a nonlinear distortion effect that produces unpredictable harmonic spectra. It can simulate warm, overdriven tube sounds and can also generate heavy distortions. Clip Distortion has an unusual combination of serially connected filters. The incoming signal is amplified by the Drive value, passes through a highpass filter, then is subjected to nonlinear distortion. Following the distortion, the signal passes through a lowpass filter.
Logic Pro Distortion effect The Distortion effect simulates the low fidelity distortion generated by a bipolar transistor. You can use it to simulate playing a musical instrument through a highly overdriven amplifier or to create unique distorted sounds. Distortion parameters • Drive knob and field: Set the amount of saturation applied to the signal. • Tone knob and field: Set the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone.
• Type pop-up menu: Choose the type of distortion. • Growl: Emulates a two-stage tube amplifier similar to the type found in a Leslie 122 speaker cabinet, which is often used with the Hammond B3 organ. • Bity: Emulates the sound of a bluesy (overdriven) guitar amp. • Nasty: Produces hard distortion, suitable for creating very aggressive sounds. • Class AB soft: Emulates a softer crossover distortion encountered in transistorized amplifiers when driving a higher load.
Logic Pro Phase Distortion The Phase Distortion effect is based on a modulated delay line, similar to a chorus or flanger effect (see Logic Pro Modulation effects overview). Unlike these effects, however, the delay time is not modulated by a low frequency oscillator (LFO) but rather by a lowpass-filtered version of the input signal itself, using an internal sidechain. This means that the incoming signal modulates its own phase position.
Dynamics processors Logic Pro Dynamics processors overview Dynamics processors control the perceived loudness of your audio, add focus and punch to tracks and projects, and optimize the sound for playback in different situations. The dynamic range of an audio signal is the range between the softest and loudest parts of the signal—technically, between the lowest and highest amplitudes. Dynamics processors enable you to adjust the dynamic range of individual audio files, tracks, or an overall project.
• Expanders: Expanders are similar to compressors, except that they raise, rather than lower, the signal when it exceeds the threshold. Expanders are used to add life to audio signals. See Logic Pro Expander. • Limiters: Limiters (also called peak limiters) work in a similar way to compressors in that they reduce the audio signal when it exceeds a set threshold.
• Gain knob and field: Set the amount of gain after input scaling. • Out Ceiling knob and field: Set the maximum output level, or ceiling. The signal does not rise above this. • Lookahead knob and field: Set the playback buffer size (how far in the future the file is analyzed for peaks). Also see the Optimal Lookahead parameter. Values lower than the optimal buffer size are indicated in red.
Logic Pro Compressor main parameters The main part of the interface contains the core compression parameters. You can choose the type of compressor circuit and can adjust the settings. Note: Not all parameters listed are available in each Compressor model. Compressor parameters • Logic Pro Effects Circuit Type buttons: Choose the type of circuit emulated by Compressor. The interface updates when you choose a model.
• Make Up knob and field: Set the amount of gain applied to the compressed signal. • Auto Gain buttons: The Off button disables autogain. The 0 dB and -12 dB buttons compensate for volume reductions caused by compression. • Knee knob and field: Set the strength of compression at levels close to the threshold. Lower values result in more severe or immediate compression (hard knee). Higher values result in gentler compression (soft knee).
• • Soft: Rounds off the signal as it approaches the 0 dB level, reducing the overall signal, rather than abruptly cutting it off. • Hard Emulates a transistor effect that abruptly cuts off signals above 0 dB. • Clip: Cuts off the signal at the 0 dB mark, but can be more punchy than the Hard setting, depending on the input material. Mix knob and field: Set the balance between dry (source) and wet (effect) signals.
• Filter mode knob: Choose the type of filter used to process the incoming side chain signal. Filtering the sidechain input signal can enhance the precision of trigger signals, resulting in more surgical compression. The choices are LP (lowpass), BP (bandpass), HP (highpass), ParEQ (parametric), and HS (high shelving). • Frequency knob and field: Set the center frequency for the side chain filter. • Q knob and field: Set the width of the frequency band affected by the side chain filter.
Compressor Knee The Knee parameter determines whether the signal is slightly, or severely, compressed as it approaches the threshold level. Setting a Knee value close to 0 (zero) results in no compression of signal levels that fall just below the threshold, while levels at the threshold are compressed by the full Ratio amount. This is known as hard knee compression, which can cause abrupt and often unwanted transitions as the signal reaches the threshold.
Logic Pro DeEsser 2 DeEsser 2 is a frequency-specific compressor, designed to compress a particular frequency band within a complex audio signal. It is used to eliminate sibilance (overly emphasized “s” sounds, especially in vocals, and plosives such as “t” sounds that can be emphasized by compressor and saturation effects) from the signal. DeEsser 2 compresses the signal dynamically, preventing the sound from becoming darker when no sibilance is present.
• Mode pop-up menu: Choose Relative or Absolute mode. Relative is the default and works with low and high level signals. • Relative: In this mode the level of the filtered signal (determined by the Range, Frequency and Filter settings) is compared with the full bandwidth level of the incoming signal. The Threshold parameter value determines the amplification level of the filtered signal (because the level of the filtered signal will always be lower than the full bandwidth signal).
Logic Pro Enveloper Enveloper is an unusual processor that lets you shape the attack and release phases of a signal—the signal transients, in other words. This makes it a unique tool that can be used to achieve results that differ from other dynamics processors. In contrast to a compressor or expander, Enveloper operates independently of the absolute level of the input signal, but this works only if the Threshold slider is set to the lowest possible value.
• (Attack) Time knob and field: Set the time it takes for the signal to increase from the threshold level to the maximum Gain level. Attack Time values of around 20 ms and Release Time values of 1500 ms are a good starting point. • (Release) Time knob and field: Set the time it takes for the signal to fall from the maximum gain level to the threshold level. • (Release) Gain slider and field: Boost or attenuate the release phase of the signal.
• Attack knob and field: Set the time it takes for Expander to respond to signals that exceed the threshold level. • Release knob and field: Set the time it takes for Expander to stop processing the signal after it falls below the threshold level. • Output Clip pop-up menu: Choose whether to apply clipping above 0 dB, and the type of clipping. Soft and Hard change the signal around 0 dB in different ways, resulting in a smoothed or squared off distortion of signal peaks.
• Lookahead knob and field: Adjust how far ahead (in milliseconds) Limiter analyzes the audio signal. This enables it to react earlier to peak volumes by adjusting the amount of reduction. Note: Lookahead causes latency, but this has no perceptible effect when you use Limiter as a mastering effect on prerecorded material. Set it to higher values if you want the limiting effect to occur before the maximum level is reached, thus creating a smoother transition.
Logic Pro Multipressor display parameters Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters at the right. Display parameters • Logic Pro Effects Graphic display: View and adjust the frequency and gain for each frequency band. The amount of gain change from 0 dB is indicated by blue bars. The band number appears in the center of active bands.
Logic Pro Multipressor frequency band controls Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters on the right. Frequency band parameters Logic Pro Effects • Compression Threshold fields: Set the compression threshold for the selected band. Setting the parameter to 0 dB results in no compression of the band.
• Bypass buttons: Bypass the selected frequency band. • Solo buttons: Turn on to hear compression on only the selected frequency band. • Level meters: The bar on the left shows the input level, and the bar on the right shows the output level. Logic Pro Multipressor output parameters Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters on the right.
Use Logic Pro Multipressor In the graphic display, the blue bars show the gain change—not merely the gain reduction— as with a standard compressor. The gain change display is a composite value consisting of the compression reduction, plus the expander reduction, plus the auto gain compensation, plus the gain make-up. Compression parameters The Compression Threshold and Compression Ratio parameters are the key parameters for controlling compression.
In Ducker mode, the source signal is reduced in level. Ducking is a common technique used in radio and television broadcasting. When the DJ or announcer speaks while music is playing, the music level is automatically reduced. When the announcement has finished, the music is automatically raised to its original volume level. Noise Gate parameters • Gate/Ducker buttons: Set the operating mode. See Use Logic Pro Noise Gate. • Threshold knob and field: Set the threshold level.
Use Logic Pro Noise Gate Set the Reduction knob to the lowest possible value to make sure that sounds below the Threshold value are completely suppressed. Set Reduction to a higher value to reduce lowlevel sounds but still allow them to pass. You can also use Reduction/Ducking to boost the signal by up to 20 dB, which is useful for ducking effects. The Attack, Hold, and Release knobs modify the dynamic response of Noise Gate.
Use Noise Gate in Ducking mode 1. In Logic Pro, insert Noise Gate into an aux channel strip and click the Ducker button. 2. Assign all channel strip outputs that you want to “duck” (dynamically lower the volume of the mix) to a bus—the aux channel strip chosen in step 1. 3. In the Noise Gate plug-in window header, choose the bus that carries the ducking (vocal) signal from the Side Chain pop-up menu. Note: The ducked side chain is mixed with the output signal after passing through the plug-in.
The interface is divided into three sections: • The Link section at the top contains menus used to assign each channel to a group. See Logic Pro Surround Compressor Link parameters. • The Main section includes controls common to all the main channels and the threshold and output controls for each channel. See Logic Pro Surround Compressor main parameters. • The LFE section on the lower right includes separate controls for the LFE channel. See Logic Pro Surround Compressor LFE parameters.
Logic Pro Surround Compressor main parameters The Surround Compressor Main parameters set compression and output values. Main parameters Logic Pro Effects • Ratio knob and field: Set the ratio of signal reduction when the threshold is exceeded. • Knee knob and field: Set the ratio of compression at levels close to the threshold. • Attack knob and field: Set the time it takes to reach full compression, after the signal exceeds the threshold.
Logic Pro Surround Compressor LFE parameters Surround Compressor LFE parameters control the low frequency effects (LFE) channel settings. LFE parameters Logic Pro Effects • Ratio knob and field: Set the compression ratio for the LFE channel. • Knee knob and field: Set the knee for the LFE channel. • Attack knob and field: Set the attack time for the LFE channel. • Release knob and field: Set the release time for the LFE channel.
Equalizers Logic Pro Equalizers overview An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by changing the level of specific frequency bands. Equalization is one of the most-used audio processes, both for music projects and in post-production work for video. You can use EQ to subtly or significantly shape the sound of an audio file, an instrument, a vocal performance, or a project by adjusting specific frequencies or frequency ranges.
You can use Channel EQ to shape the sound of individual tracks or audio files or for toneshaping on an overall project mix. The Analyzer and graphic controls make it easy to view and change the audio signal in real time. Tip: The parameters of Channel EQ and Linear Phase EQ are identical, enabling you to freely copy settings between them. If you replace a Channel EQ with a Linear Phase EQ (or vice versa) in the same effect slot, the current settings are automatically transferred to the new EQ.
Logic Pro Channel EQ parameters The central area of the Channel EQ window includes the graphic display and parameters for shaping each EQ band. The master Gain slider is shown at the right. The Analyzer and Q-Couple controls are shown at the lower left. Channel EQ parameters • Band 1 On/Off button: Switch on a low cut filter that allows high frequencies to pass and reduces the level of low frequencies near the cutoff (set) frequency.
• • • • • • Logic Pro Effects Band 4 On/Off button: Switch on a parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. • Band 4 background or control point: Drag the green shaded area, curve, or control point to change the frequency and gain values. Click the control point to select the band. • Band 4 horizontal line: Drag vertically to change the gain value.
• Gain/Slope control: Drag to set the amount of gain for the selected band. For bands 1 and 8, this changes the slope of the filter. • Q control: Drag to set the Q factor or resonance of the effected range around the center frequency in the selected band. Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to 6 dB per octave.
Use Logic Pro Channel EQ shortcut menus The Analyzer and Q-Couple buttons provide additional parameters that you can use to enhance the behavior of Channel EQ. Control-click the Analyzer or Q-Couple button to open a context menu that contains the following parameters. Analyzer • Analyzer Mode: Choose Peak or RMS. • Analyzer Resolution: Choose a sample resolution for the Analyzer: Resolution low (2048 points), Resolution medium (4096 points), or Resolution high (8192 points).
You can reduce or eliminate unwanted frequencies, and you can raise quieter frequencies to make them more pronounced. You can adjust the center frequencies of bands 2 through 7 to affect a specific frequency—either one you want to emphasize, such as the root note of the music, or one you want to eliminate, such as hum or other noise. While doing so, change the Q parameter or parameters so that only a narrow range of frequencies is affected, or widen it to alter a broader frequency area.
Logic Pro Channel EQ Analyzer The Analyzer uses a mathematical process called a Fast Fourier Transform (FFT) to provide a real-time curve of all frequency components in the incoming signal. This is superimposed over any EQ curves you have set. The Analyzer curve uses the same scale as the EQ curves, making it easy to recognize important frequencies in the incoming audio. This also simplifies the task of setting EQ curves to raise or lower the levels of frequencies and frequency ranges.
Note: Use the Linear Phase EQ where phase coherence between tracks is needed, such as multi microphone recordings. The Linear Phase does not introduce any phase shift to the signal which can also be beneficial in mastering, but it does impact on the onset of the transient. This is most evident when using steep cut filters, or high boosts/cuts of narrow filter bands. Use the Linear Phase EQ graphic display The graphic display shows the current curve of each EQ band. The scale is shown in decibels.
Logic Pro Linear Phase EQ parameters The central area of the Linear Phase EQ window includes the graphic display and parameters for shaping each EQ band. The master Gain slider is shown at the right. The Analyzer and Q Couple controls are shown at the lower left. Linear Phase EQ parameters • Band 1 On/Off button: Switch on a low cut filter that allows high frequencies to pass and reduces the level of low frequencies near the cutoff (set) frequency.
• • • • • • Logic Pro Effects Band 4 On/Off button: Switch on a parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. • Band 4 background or control point: Drag the green shaded area, curve, or control point to change the frequency and gain values. Click the control point to select the band. • Band 4 horizontal line: Drag vertically to change the gain value.
• Gain/Slope control: Drag to set the amount of gain for the selected band. For bands 1 and 8, this changes the slope of the filter. • Q control: Drag to set the Q factor or resonance of the effected range around the center frequency in the selected band. Note: The Q parameter of band 1 and band 8 has no effect when the slope is set to 6 decibels per octave.
Gain-Q Couple Strength Choose the amount of Gain-Q coupling. • Proportional: Scales the bandwidth proportionally as you change the gain. A proportional Q design widens the filter bandwidth at lower cut/boost levels and narrows it at higher settings. • Light or medium: Allows some change as you raise or lower the gain. • Strong: Preserves most of the perceived bandwidth.
Process Mid-Side recordings with Linear Phase EQ Mid-Side routing effectively splits a stereo signal into separate stereo and mono signals. This allows discrete processing of each signal. See Stereo miking techniques for a description of Mid-Side (MS) recordings. 1. In Logic Pro, insert a Linear Phase EQ instance for each mode in the channel strip: one for Mid, one for Side. You can also choose to insert a third instance for a stereo signal, if an overall EQ is useful. 2.
Match EQ Logic Pro Match EQ overview Match EQ allows you to analyze and store the average frequency spectrum of an audio file as a template. You can apply this template to another audio signal so that it matches the spectrum of the original file. This is also known as a fingerprint EQ, where one sonic fingerprint is applied to another signal.
• Scale display: Drag the scale to set the 0 dB reference line and scaling in the main display. • Mode buttons: Set the information shown in the graphic display. Choices are: • • Current: Displays the frequency curve for the audio learned as current material. This is shown in green. • Reference: Displays the learned frequency curve template for the source file. This is shown in purple. • EQ Curve: Displays the filter curve created by matching the template and the current material.
• Hide Others checkbox: Hide or show other channels when an individual channel is chosen in the Channel pop-up menu. The visible impact of this parameter is directly tied to the Channel Link slider value. Note: The Hide Others parameter is disabled when you use the effect on a mono channel. • Channel Link slider and field: Refine settings made with the Channel pop-up menu. • When set to 100%, all channels are represented by a common EQ curve.
The filter curve is updated automatically each time a new Reference or Current material spectrum is learned or loaded when the EQ Curve Match button is turned on. You can alternate between the matched (and possibly scaled or manually modified) filter curve and a flat response by turning the Match button on or off. Match the EQ of a project mix to the EQ of a source audio file 1. In Logic Pro, in the project you want to match to the source audio file, insert Match EQ (typically on Output 1-2). 2.
Use the matched EQ on a channel strip Match EQ creates a filter curve based on the differences between the spectrum of the template and the current material. This curve automatically compensates for differences in gain between the template and the current material, with the resulting EQ curve referenced to 0 dB. A yellow filter response curve, showing the average spectrum of your mix, is visible in the main display when the EQ Curve button is active.
Logic Pro Single-Band EQ Single-Band EQ can operate in several modes. When you choose an EQ type with the EQ Mode buttons, the controls shown below the buttons update to provide functions appropriate to the EQ type. Single-Band EQ parameters • Logic Pro Effects Mode buttons: Choose an EQ type. • Low Cut: Low Cut EQ attenuates the frequency range that falls below the selected frequency. • Low Shelf: Low Shelving EQ affects only the frequency range that falls below the selected frequency.
Vintage EQ Collection Logic Pro Vintage EQ collection overview The Logic Pro Vintage Console EQ, Logic Pro Vintage Graphic EQ, and Logic Pro Vintage Tube EQ plug-ins are modeled on the original EQ circuits of three classic units from the 1950s, 1960s, and 1970s. The unique output stage of each unit is also modeled, allowing you to pair the output stage of any unit with the original or other EQ models.
• Phase pop-up menu: Set the processing mode of the EQ and the chosen output stage. Natural mirrors the cut/boost phase shifts of the original EQ. Linear allows EQ changes without phase shifts of the source signal. Each analog EQ introduces phase shifts of the signal which can have an audible (and often desirable) effect on the sound. In some situations, however, phase shifts can affect transients. This is especially the case when using steep cut filters, or high boost of narrow filters.
Logic Pro Vintage Graphic EQ Vintage Graphic EQ is based on a classic mixing console module. The 10 EQ bands provide 12 dB of cut/boost. It emulates the Proportional Q design of the original device, which widens filter bandwidth at lower cut/boost levels and narrows filter bandwidth at higher cut/boost levels. Frequencies aren’t fixed at the default values, and you can proportionally scale all bands to provide more focus on a portion of the overall frequency spectrum.
The second emulated EQ model (lower) is often paired with the original unit. It’s the perfect partner for the upper unit, adding mid-range flexibility that lets you fine-tune signals in this frequency spectrum, with a beautifully matched tonal signature. Vintage Tube EQ upper unit parameters Logic Pro Effects • In/Out switch: Turn the EQ circuit on or off. • Low Boost knob: Set the amount of low frequency boost, up to 13.5 dB.
Vintage Tube EQ lower unit parameters Logic Pro Effects • In/Out switch: Turn the EQ circuit on or off. • Low Freq knob: Set the low range center frequency to 0.2, 0.3, 0.5, 0.7, or 1.0 kHz, or values between these increments. • Low Peak knob: Set the amount of low frequency boost, up to 10 dB. • Dip Freq knob: Set the Dip (attenuation) center frequency to 0.2, 0.3, 0.5, 0.7, or 1.0, 1.5, 2, 3, 4, or 5 kHz, or values between these increments.
Filter effects Logic Pro Filter effects overview Filters are used to emphasize or suppress frequencies in an audio signal, resulting in a change in the tonal color of the audio. Logic Pro contains a variety of advanced filter-based effects that you can use to creatively modify your audio. These effects are most often used to radically alter the frequency spectrum of a sound or mix. Several filter effects provide a Side Chain input.
AutoFilter lets you choose between different filter types and slopes, control the amount of resonance, add distortion for more aggressive sounds, and mix the original, dry signal with the processed signal. The AutoFilter window is divided into Filter, Envelope, Distortion, LFO, and Output parameter sections. Logic Pro Effects • Filter parameters: Control the tonal color of the filtered sound. See Logic Pro AutoFilter filter controls.
Logic Pro AutoFilter filter controls The Filter parameters precisely tailor the tonal color. Filter parameters • On/off switch: Turn the filter section on or off. • Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are attenuated, whereas lower frequencies are allowed to pass through in a lowpass filter. The reverse is true in a highpass filter.
Logic Pro AutoFilter envelope controls The envelope is used to shape the filter cutoff over time. When the input signal exceeds the set threshold level, the envelope is triggered. Envelope parameters • On/off switch: Turn the envelope section on or off. • Threshold knob and field: Set an input level that—if exceeded—triggers the envelope or LFO that dynamically modulates filter cutoff frequency. See Logic Pro AutoFilter LFO controls and Logic Pro AutoFilter filter controls.
Logic Pro AutoFilter distortion controls The distortion parameters can be used to overdrive the filter input or filter output. The distortion input and output modules are identical, but their positions in the signal chain— before and after the filter, respectively—result in remarkably different sounds. Distortion parameters • On/off switch: Turn the distortion section on or off. • Pre Filter knob and field: Set the amount of distortion applied before the filter section processes the signal.
LFO parameters • On/off switch: Turn the LFO section on or off. • Sync button: Synchronize the LFO with the project tempo. You can set bar values, triplet values, and more with the Rate knob and field. • Rate knob and field: Set the speed of LFO modulation. • Sync Phase knob and field: When Sync is active, rotate to set the phase relationship between the LFO rate and the project tempo. This parameter is dimmed when Beat Sync is disabled.
EVOC 20 Filterbank Logic Pro EVOC 20 Filterbank overview EVOC 20 Filterbank consists of two formant filter banks. The input signal passes through the two filter banks in parallel. Each bank features level faders for up to 20 frequency bands, allowing independent level control of each band. Setting a level fader to its minimum value completely suppresses the formants in that band. You can control the position of the filter bands with the Formant Shift parameter.
Logic Pro EVOC 20 Filterbank Formant Filter The parameters in this section provide precise level and frequency control of the filters. Formant Filter parameters • High and Low Frequency parameters: Determine the lowest and highest frequencies allowed to pass by the filter banks. Frequencies that fall outside these boundaries are cut. • The length of the horizontal blue bar at the top represents the frequency range.
• Boost A and Boost B knobs: Set the amount of boost or cut applied to the frequency bands in filter bank A or B. You can use these knobs to compensate for the reduction in volume caused by lowering the level of one or more bands. If you use Boost A and Boost B to set the mix relationship between filter bank levels, you can use Fade AB (see “Fade AB slider” below) to alter the tonal color, but not the levels.
Tip: LFO modulations are the key to interesting effects. Set up either completely different or complementary filter curves in both filter banks. You can use rhythmic material—such as a drum loop—as an input signal, and set up tempo-synchronized modulations, with different rates for each LFO. Also try inserting a tempo-synchronized delay effect—such as Tape Delay—after the EVOC 20 Filterbank to produce unique polyrhythms.
EVOC 20 TrackOscillator Logic Pro EVOC 20 TrackOscillator overview EVOC 20 TrackOscillator is a vocoder with a monophonic pitch tracking oscillator. The tracking oscillator tracks, or follows, the pitch of a monophonic input signal. If the input signal is a sung vocal melody, the individual note pitches are tracked and mirrored, or played, by the synthesis engine. EVOC 20 TrackOscillator features two formant filter banks, an analysis bank, and a synthesis filter bank. Each offers multiple input options.
The audio signal arriving at the analysis input passes through the analysis filter bank, where it is divided into bands. An envelope follower is coupled to each filter band. The envelope follower of each band tracks, or follows, volume changes in the audio source—or, more specifically, the portion of the audio that has been allowed to pass by the associated bandpass filter. In this way, the envelope follower of each band generates dynamic control signals.
Logic Pro EVOC 20 TrackOscillator analysis in controls The parameters in the Analysis In section determine how the input signal is analyzed and used by EVOC 20 TrackOscillator. Analysis In parameters • Attack knob: Determine how quickly each envelope follower—coupled to each analysis filter band—reacts to rising signals. • Release knob: Determine how quickly each envelope follower—coupled to each analysis filter band—reacts to falling signals.
Freeze the input signal in EVOC 20 TrackOscillator • In Logic Pro, click the Freeze button to hold, or sustain, the sound spectrum of the analysis input signal. By freezing the input signal you can capture a particular characteristic of the signal, which is then imposed as a complex sustained filter shape on the Synthesis section.
A short introduction to formants A formant is a peak in the frequency spectrum of a sound. In the context of human voices, formants are the key component that enables humans to distinguish between different vowel sounds—based purely on the frequency of the sounds. Formants in human speech and singing are produced by the vocal tract, with most vowel sounds containing four or more formants. U/V detection parameters • Sensitivity knob: Determine how responsive U/V detection is.
Logic Pro EVOC 20 TrackOscillator Synthesis in controls The Synthesis in section controls various aspects of the tracking signal for the synthesizer. The tracking signal is used to trigger the internal synthesizer. Synthesis in parameters • Synthesis In pop-up menu: Choose the tracking signal source. • Track: Use the input audio signal of the channel strip that EVOC 20 TrackOscillator is inserted into as the synthesis signal, which drives the internal synthesizer.
• FM Int knob: Determine the intensity of modulation. Higher values result in a more complex waveform with more overtones. • At a value of 0, the FM tone generator is disabled and a sawtooth wave is generated. • At values above 0, the FM tone generator is activated. Higher values result in a more complex and brighter sound. • Coarse Tune field: Set the pitch offset of the oscillator in semitones. • Fine Tune field: Adjust the tuning in hertz.
Add notes to, or remove notes from, the chosen scale or chord in EVOC 20 TrackOscillator In Logic Pro: • To add notes to the scale or chord: Click unused keys on the small keyboard to highlight them in green. • To remove notes from the scale or chord: Click selected notes, which then are no longer highlighted. Tip: Your last edit is remembered. If you choose a new scale or chord but do not make any changes, you can revert to the previously set scale by choosing “user” from the Root/Scale pop-up menu.
• Highest button: Switch the highest filter band between bandpass or lowpass mode. In bandpass mode, the frequencies above and below the highest band are ignored. In lowpass mode, all frequencies above the highest band are filtered. • Formant Stretch knob: Change the width and distribution of all bands in the synthesis filter bank. This can be a broader or narrower frequency range than that defined by the High and Low Frequency parameters.
Logic Pro EVOC 20 TrackOscillator modulation The parameters in this section control the LFO, which can be used to modulate either the pitch of the tracking oscillator, thus creating a vibrato, or the Formant Shift parameter of the synthesis filter bank. Modulation parameters • Shift Intensity slider: Set the amount of formant shift modulation by the LFO. • Pitch Intensity slider: Set the amount of pitch modulation—vibrato—by the LFO. • Waveform buttons: Set the waveform type used by the LFO.
Logic Pro EVOC 20 TrackOscillator output controls The output section provides control over the type, stereo width, and level of signal that is sent from EVOC 20 TrackOscillator. Output parameters • Signal pop-up menu: Choose the signal that is sent to the plug-in main outputs. • Voc(oder): Hear the vocoder effect. • Syn(thesis): Hear only the synthesizer signal. • Ana(lysis): Hear only the analysis signal. Note: The last two settings are mainly useful for monitoring purposes.
Fuzz-Wah Logic Pro Fuzz-Wah effect overview The Fuzz-Wah plug-in emulates classic wah effects, combined with compression and fuzz distortion effects. The name wah wah comes from the sound it produces. It has been a popular effect—usually a pedal effect—with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, a lowpass, or less commonly a highpass filter.
Auto Wah parameters Logic Pro Effects • On/off button: Turn the Auto Wah effect on or off. • Wah Type pop-up menu: Choose a Wah effect type. • Classic Wah: This setting mimics the sound of a popular wah pedal with a slight peak characteristic. • Retro Wah: This setting mimics the sound of a popular vintage wah pedal. • Modern Wah: This setting mimics the sound of a distortion wah pedal with a constant Q(uality) Factor setting. The Q determines the resonant characteristics.
Logic Pro Fuzz-Wah effect Compressor The Compressor effect is normally used just before the Fuzz (distortion) effect. This allows you to increase or decrease the perceived gain, thus providing a suitable input level to the distortion circuit. You can, however, place the Compressor at any position in the effects chain or can disable it completely. Compressor effect parameters • On/off button: Turn the Compressor effect on or off. • Ratio knob and field: Adjust the compression slope.
Spectral Gate Logic Pro Spectral Gate overview Spectral Gate is an unusual filter effect that can be used as a tool for creative sound design. It works by dividing the incoming signal into two frequency ranges—above and below a central frequency band that you specify with the Center Freq and Bandwidth parameters. The signal ranges above and below the defined band can be individually processed with the Low Level and High Level parameters and the Super Energy and Sub Energy parameters.
Use Logic Pro Spectral Gate One way you can familiarize yourself with the operation of Spectral Gate is to start with a drum loop. Set Center Freq to its minimum value (20 Hz) and Bandwidth to its maximum value (20,000 Hz) to process the entire frequency range. Turn up the Super Energy and Sub Energy knobs, one at a time, and then try different Threshold settings to get a sense of how different Threshold levels affect the sound of Super Energy and Sub Energy.
Imaging processors Logic Pro Imaging processors overview The imaging processors are tools for manipulating the stereo image. You can use them to make certain sounds, or the overall mix, seem wider and more spacious. You can also alter the phase of individual sounds within a mix to enhance or suppress particular transients. See these topics: • Binaural Post-Processing. • Direction Mixer. • Stereo Spread.
Binaural Post-Processing parameters • • Compensation Mode pop-up menu: Choose the type of processing applied for different playback systems. • Headphone FF—optimized for front direction: For headphone playback, utilizing free-field compensation. In this mode, sound sources placed in front of the listening position have neutral sound characteristics.
Direction Mixer Logic Pro Direction Mixer overview You can use Direction Mixer to decode middle and side audio recordings or to spread the stereo base of a left/right recording and determine its pan position. Direction Mixer works with any type of stereo recording, regardless of the miking technique used. For information about the most common stereo miking techniques—AB, XY, and MS— see Stereo miking techniques. Direction Mixer parameters • Input buttons: Set the input signal type.
• Spread slider and field: Determine the spread of the stereo base in LR input signals or set the side signal level in MS input signals. Spread parameter behavior changes when fed LR or MS signals. These differences are outlined below: When you are working with LR signals: • At a neutral value of 1, the left side of the signal is positioned precisely to the left and the right side precisely to the right. As you decrease the Spread value, the two sides move toward the center of the stereo image.
AB miking In an AB recording, two microphones—commonly omnidirectional, but any polarity can be used—are equally spaced from the center and pointed directly at the sound source. Spacing between microphones is extremely important for the overall stereo width and perceived positioning of instruments within the stereo field. The AB technique is commonly used for recording one section of an orchestra, such as the string section, or perhaps a small group of vocalists.
Logic Pro Stereo Spread Stereo Spread is generally used when mastering. There are several ways to extend the stereo base (or the perception of space), including using reverbs or other effects and altering the signal phase. These options can sound good, but they can also weaken the overall sound of your mix by ruining transient responses, for example. Stereo Spread extends the stereo base by distributing a selectable number of frequency bands from the middle frequency range to the left and right channels.
Metering tools Logic Pro Metering tools overview You can use the Metering tools to analyze audio in a variety of ways. These plug-ins provide different views of your audio data that extend the information shown in channel strip meters. The Metering plug-ins have no effect on the audio signal and are intended for use as diagnostic aids. Each meter is specifically designed to view different characteristics of an audio signal, making each suitable for particular studio situations.
BPM Counter parameters • BPM Counter: Analyzes the tempo of incoming audio in beats per minute (bpm). Click the numerical display to reset. The numerical display the current analysis status. If the LED is flashing, a tempo measurement is taking place. When the LED is continuously lit, analysis is complete, and the tempo is displayed. The measurement ranges from 80 to 160 beats per minute. The measured value is displayed with an accuracy of one decimal place.
Logic Pro Level Meter Level Meter: Displays the current signal level on a decibel scale. The signal level for each channel is represented by a blue bar. Signals (above the target level) approaching the 0 dB level are represented by a yellow bar. When the level exceeds 0 dB, the portion of the bar above the 0 dB point turns red. Stereo Level Meter instances show independent left and right bars, whereas mono instances display a single bar. Surround Level Meter instances display a bar for each channel.
Logic Pro Loudness Meter Loudness Meter shows the momentary, short-term, and integrated loudness levels. Loudness indicates the perceived level of a signal that is indicative of human hearing, making it a useful reference tool when mixing or mastering. Loudness Meter conforms to the AES 128 specification. Loudness is measured in Loudness Units, relative to Full Scale (LUFS). Each LU is equivalent to one decibel.
MultiMeter Logic Pro MultiMeter overview MultiMeter provides a collection of professional gauge and analysis tools in a single window. It includes: • An Analyzer to view the level of each 1/3-octave or major second frequency band. • A Goniometer for judging phase coherency in a stereo sound field. • Level and Loudness Meters to view the signal level and perceived loudness (conforming to the AES 128 specification) for each channel. • A Correlation Meter to spot mono phase compatibility.
Logic Pro MultiMeter Analyzer parameters In Analyzer mode, the main display shows the frequency spectrum of the input signal as 31 or 63 independent frequency bands. Each frequency band represents one-third of an octave or a major second. The Analyzer parameters are used to activate Analyzer mode and to customize the appearance of the incoming signal in the main display. MultiMeter Analyzer parameters • Analyzer button: Switch the main display to Analyzer mode.
Logic Pro MultiMeter Goniometer parameters A goniometer helps you to judge the coherence of the stereo image and determine phase differences between the left and right channels. Phase problems are easily spotted as trace cancelations along the center line (M—mid/mono). The idea of the goniometer was born with the advent of early two-channel oscilloscopes.
Logic Pro MultiMeter Level and Loudness Meters Level Meter displays the current signal level on a logarithmic decibel scale. The signal level for each channel is represented by a blue bar. Signals (above the target level) approaching the 0 dB level are represented by a yellow bar. When the level exceeds 0 dB, the portion of the bar above the 0 dB point turns red. RMS and peak levels are shown simultaneously, with RMS levels appearing as dark blue bars and Peak levels appearing as light blue bars.
• • Hold button: Turn on to show a small indicator for the most recent peak level. This is displayed as follows: • Level Meter: A small yellow segment above each stereo level bar indicates the most recent peak level. • Correlation Meter: The horizontal area around the correlation indicator denotes phase correlation deviations in real time, in both directions. A vertical line to the left of the correlation indicator shows the maximum negative phase deviation value.
• Hold button: Turn on peak hold for all metering modes in MultiMeter. This is displayed in the following ways: • Analyzer: A small segment above each 1/3-octave level bar indicates the most recent peak level. • Goniometer: All illuminated pixels are held during a peak hold. • Reset button: Reset the peak hold segments of all metering tools. • Return Rate pop-up menu: Shown only in mono instances. Choose how quickly analyzed signals return from peak/maximum levels to zero or incoming signal levels.
Logic Pro Surround MultiMeter Analyzer mode In Analyzer mode, the main display shows the frequency spectrum of the input signal as 31 or 63 independent frequency bands. Each frequency band represents one-third of an octave or a major second. The Analyzer parameters are used to activate Analyzer mode and to customize the appearance of the incoming signal in the main display. Analyzer parameters Logic Pro Effects • Analyzer button: Switch the main display to Analyzer mode.
Logic Pro Surround MultiMeter Goniometer mode A goniometer helps you to judge the coherence of the stereo image and to determine phase differences between the left and right channels. Phase problems are easily spotted as trace cancelations along the center line (M—mid/mono). The idea of the goniometer was born with the advent of early two-channel oscilloscopes.
Logic Pro Surround MultiMeter Balance mode The Balance/Correlation Meter gauges the balance or sound placement between all incoming signals. Strongly correlated signals are shown as sharp markers and less strongly correlated signals are shown as a blurred area. Balance button: View the Correlation Meter in the main display. Depending on the chosen surround format, a number of points that indicate speaker positions are shown (L, R, C, Ls, and Rs in a 5.1 configuration are displayed in the figure).
Logic Pro Surround MultiMeter Peak parameters Surround MultiMeter offers common Peak parameters for the Analyzer, Goniometer, and Correlation/Balance metering tools. The Level Meter has discrete Peak parameters. See Logic Pro Surround MultiMeter Loudness and Level Meters. Peak parameters • Hold Time pop-up menu: Choose the hold time for all metering tools. Choose 2, 4, or 6 seconds—or infinite. Note: The (peak) Hold button must be turned on for the selected time value to have an effect.
Peak values are displayed numerically (in dB increments) above the Level Meter. Click in the display to reset peak values. Level Meter parameters • Level pop-up menu: Choose how levels are displayed from Peak, RMS, Peak & RMS, True Peak, or True Peak & RMS characteristics. • The two RMS modes show the effective signal average and provide a representative overview of perceived volume levels. • The True Peak options display interpolated sample values. • The Peak mode shows level peaks accurately.
Logic Pro Tuner utility and plug-in You can tune instruments connected to your system with the Tuner utility or plug-in. This ensures that external instrument recordings are in tune with any software instruments, samples, or existing recordings in your projects. Tuner parameters • Graphic Tuning display: Indicates the pitch of the note in cents. At the centered (12 o’clock) position, the note is correctly tuned. If the indicator moves to the left of center, the note is flat.
Use the Tuner plug-in 1. In Logic Pro, insert the Tuner plug-in into an audio channel strip. The Tuner plug-in window opens. 2. Play a single note on the instrument and watch the Graphic Tuning and Keynote displays. If the note is flat or sharp of the keynote, orange segments are shown in the Graphic Tuning display, the Keynote is shown in orange, and the Tune Deviation display indicates how far (in cents) the note is off pitch. 3.
MIDI plug-ins Use MIDI plug-ins in Logic Pro MIDI plug-ins are inserted in software instrument channel strips and process or generate MIDI data—played from a MIDI region or a MIDI keyboard—in real time. Included are the Arpeggiator, Chord Trigger, and Modulator, along with plug-ins for transposition, randomization and other processing. Scripter enables you to create your own MIDI processing and generation scripts.
Remove a MIDI plug-in • In Logic Pro, click the arrows near the right edge of the MIDI plug-in label that you want to remove, then choose No Plug-in from the pop-up menu. Bypass a MIDI plug-in 1. In Logic Pro, click the Bypass button near the left edge of the MIDI plug-in label. The plug-in label is dimmed. All parameter settings of the plug-in are retained when bypassed. 2. Click the Bypass button to restore the MIDI plug-in.
The Arpeggiator MIDI plug-in is divided into three areas. • Control parameters: This area contains the Play and Latch controls. See Logic Pro Arpeggiator MIDI plug-in control parameters. • Note order parameters: The note order parameters determine the arpeggio type and include four variations or inversions, the arpeggio octave range, and the arpeggio speed. See Logic Pro Arpeggiator MIDI plug-in note order parameters.
• Latch mode pop-up menu: Choose a Latch mode. • Reset: The first key played clears the currently latched notes. • Transpose: Play a single key to transpose the arpeggio relative to the note value of the pressed key and the lowest arpeggiated note. Note: Pressing more than one key simultaneously clears currently latched notes and starts a new arpeggio. • • Gated Transpose: This option is the same as Transpose Latch mode with the difference that the arpeggio only plays while a key is pressed.
Logic Pro Arpeggiator MIDI plug-in note order parameters The note order parameters provide control of a pre-programmed order of notes that are played at a preset playback rate. Once all notes are played, the arpeggio cycles from the start. When you play a single key, it is repeated. When you play multiple keys, the held notes are played one after the other. As you play additional notes, these are seamlessly added to the arpeggio. When you release notes, they are removed from the arpeggio.
• Oct Range/Inversions button: Switch between two modes: Octave Range or Inversions. The four-position Oct Range/Inversion switch below the buttons is used to determine the octave range or the chord inversion pattern. • Oct Range/Inversion switch: Determine the octave range or the chord inversion pattern. See Logic Pro Arpeggiator MIDI plug-in note order inversions for details on the four switch position behaviors in Inversions mode.
Logic Pro Effects Note order Variation 1 Variation 2 Variation 3 Variation 4 Down Plays from the highest to lowest note in consecutive order and restarts when all keys are played. Plays the second step first. This variation consists of four steps; all pressed keys are divided into groups of four with the note order applied to all groups. If there are fewer than four notes, the steps without an assigned key are skipped. Once all keys are played, the arpeggio restarts with the highest note.
Logic Pro Arpeggiator MIDI plug-in note order inversions The table outlines the Arpeggiator behavior in each note order preset when the Oct Range/ Inversion switch is set to the four positions in Inversions mode (set with the Oct Range/ Inversions button). Inversions change the root note of the chord, resulting in a different start note to arpeggiated patterns.
Logic Pro Arpeggiator MIDI plug-in pattern parameters Click the Pattern button to open the Arpeggiator pattern parameters. The Pattern parameters are divided into two distinct functional modes: Live and Grid. The modes are mutually exclusive, so turning on one turns off the other. It also provides a unique Live Capture to Grid facility. When Grid mode is active, it controls the arpeggio velocity, cycle length, step length, rests, ties, and chords.
Logic Pro Arpeggiator MIDI plug-in Live mode In Live mode, you can add rests, ties, and chords in real time by clicking the onscreen buttons or by using equivalent MIDI keyboard remote keys. See Logic Pro Arpeggiator MIDI plug-in keyboard parameters. The grid acts as a display only. Incoming MIDI velocities, rests, ties, and chords are displayed in real time but cannot be edited in the grid. To edit individual arpeggiator steps, click the Grid button to turn on Logic Pro Arpeggiator MIDI plug-in Grid mode.
Logic Pro Arpeggiator MIDI plug-in Grid mode The grid consists of 16 steps. Each step controls the step velocity as well as its length, rest, tie, and chord status. In addition, a cycle length can be set. The current grid pattern is automatically saved with the project or concert. You can also save and load your own or factory grid patterns.
• Chord on/off buttons: Turn on Chord mode for the respective step. When the Arpeggiator encounters a chord step, it simultaneously plays all notes currently in (latched or held) memory on that step. If a chord step is tied to a non-chord step, Chord mode is automatically activated for that step. If a non-chord step is tied to a chord step, Chord mode is automatically turned off for that step.
Logic Pro Arpeggiator MIDI plug-in options parameters Click the Options button to set global Arpeggiator playback parameters, such as note length and velocity. Options parameters • Options button: Set global Arpeggiator playback parameters, such as note length and velocity. • Note Length knob: Define the length of arpeggiated notes. This ranges from 1 to 150%.
Logic Pro Arpeggiator MIDI plug-in keyboard parameters Click the Keyboard button to open the Arpeggiator keyboard parameters. The dots shown on the keyboard represent the output of currently playing notes, including any key and scale adjustments. You can also open the Remote Key editor window from the Keyboard pane. For further details, see Use Logic Pro Arpeggiator MIDI plug-in keyboard parameters. Keyboard parameters • Keyboard button: Set Arpeggiator keyboard parameters, such as scale and splits.
Set up a keyboard split in the Arpeggiator MIDI plug-in By default, the complete MIDI key range (0–127) is used solely for arpeggiating. You can split your MIDI keyboard into several zones to control Arpeggiator plug-in functions with MIDI keys. The onscreen keyboard reflects the split layout. • In Logic Pro, click the Keyboard Split button to divide your MIDI keyboard range into three zones. • Remote zone : Notes played in this zone trigger an Arpeggiator function. Drag handles to resize.
Remote control the Arpeggiator MIDI plug-in with a MIDI keyboard Most Arpeggiator parameters can be remote controlled using a MIDI keyboard. By default, only a few Remote commands are available. You can resize the Remote zone to make more commands available. 1. In Logic Pro, you must first click the Keyboard Split button to display the Remote (Key editor) button. The type and number of available remote keys is determined by the Remote zone range.
Learn a MIDI controller in the Arpeggiator MIDI plug-in 1. In Logic Pro, choose a parameter from any of the Destination pop-up menus. 2. Choose Learn from any of the MIDI Controller pop-up menus. 3. Move a controller on your MIDI keyboard to assign it to the Destination parameter. The Learn feature has a 20-second time out facility. If you do not move a controller on your MIDI device within 20 seconds, Learn mode is automatically disabled.
Use the Logic Pro Chord Trigger MIDI plug-in Chord Trigger is straightforward to use: choose a mode (single or multi), set a chord trigger range, select a trigger key, then set up a chord. You can also transpose chords and quickly assign multiple chords—onscreen or with your MIDI keyboard. Define the chord trigger range The shaded chord trigger range is shown on the upper keyboard.
Transpose chords in the chord trigger range (Multi Chord mode only) You may want to transpose triggered chords in some circumstances. For example, in Multi Chord mode you can move the entire chord trigger range upward by two semitones to change a chord progression in C-Major (starting with the C trigger key) into a progression that plays in D-Major, starting with the D trigger key. • In Logic Pro, drag the center of the chord trigger range left or right.
Assign a chord to a key using a MIDI keyboard It can be faster to use your MIDI keyboard when assigning chords to trigger keys. The Learn process can be started and stopped by playing an assigned note on your MIDI keyboard. 1. In Logic Pro, click the disclosure triangle at the lower left to open the extended parameters. 2. Choose the MIDI note number you want to use as a remote control for the Learn button from the Learn Remote pop-up menu.
Logic Pro Modifier MIDI plug-in The Modifier MIDI plug-in lets you quickly reassign or filter a single continuous controller (CC) or fader event. You can also scale or add to event values. Modifier parameters • Input Thru button: Define whether or not the input event is sent to the output in addition to the reassignment. • Input Event pop-up menu: Choose or learn the type of MIDI input event that you want to reassign or filter.
Modulator MIDI plug-in Logic Pro Modulator MIDI plug-in overview The Modulator MIDI plug-in can generate continuous controller, aftertouch, and pitch bend messages. It consists of one syncable LFO and one Delay/Attack/Hold/Release envelope. See Logic Pro Modulator MIDI plug-in LFO and Logic Pro Modulator MIDI plug-in envelope. Both the LFO and envelope can be assigned to output any continuous controller, aftertouch, plug-in parameter (in the same channel strip), or pitch bend message.
Modulator LFO parameters • LFO on/off button: Turn the LFO on or off. • Waveform Shape buttons: Select a waveform shape. Choose from: triangle, sine, square, and random. Each is suited for different types of modulations. • Waveform display: Shows the LFO waveform shape. • Symmetry slider: Adjust the symmetry of the waveform. This deforms the waveform in the following ways: • • Triangle: Shapes the triangle waveform into either an upward-sawtooth or downwardsawtooth waveform.
• Offset slider: Set a positive or negative offset in order to tailor the output for the intended target. • Oscilloscope: Displays the shape of the LFO control signal before it is scaled. • MIDI Channel pop-up menu (extended parameter): Click the disclosure triangle at the lower left. Choose a MIDI output channel. Assign a MIDI event to a plug-in parameter You can assign and send MIDI events to plug-ins in the same channel strip, allowing you to control parameters without using MIDI CC messages. 1.
• Trigger switch: Determine if the envelope is triggered by the LFO or by incoming MIDI note on messages. • LFO: The envelope is retriggered when the LFO reaches its (positive) peak value. See Logic Pro Modulator MIDI plug-in LFO. Note: The envelope ignores incoming LFO triggers if it is currently completing an envelope pass. • Single: After all notes have been released, the envelope is re-triggered by the first MIDI note on message it receives.
Logic Pro Note Repeater MIDI plug-in This plug-in mimics an audio delay by generating repeating MIDI notes. Note Repeater parameters • Input Thru button: Turn on to pass incoming MIDI note events to the output in addition to the delayed note events. Turn off to send only the delayed notes to the output. • Delay Sync button: Synchronize the plug-in with the project tempo. Set the delay time with the Delay slider.
Logic Pro Randomizer MIDI plug-in The Randomizer plug-in randomizes incoming MIDI events in real time. Randomizer parameters • Event Type pop-up menu: Choose the MIDI event type that you want to randomize. • Input Range sliders: Set the upper and lower limit for the range of values that are affected. Only parameter values that fall within the range are processed. All values outside the range pass through the plug-in.
• Output Offset slider: Offset the (random) MIDI output of the plug-in. Offsets can be negative or positive. • Seed slider (extended parameter): Specify a starting point (or seed) for randomization. An example is when using the Randomizer plug-in to randomize a piano melody. If you bounce the piano part, your randomized melody is saved as an audio file. If you bounce the song again, with Seed set to Random, the two bounces sound different.
• Load a channel strip setting from the channel strip Settings pop-up menu or Library. • Load a project or concert that contains a Scripter plug-in with a running script. You do not need to explicitly save an active script as a setting, patch, and so on. Saving the project or concert retains the script and status of all Scripter plug-ins. Use the Logic Pro Scripter MIDI plug-in Script Editor The Script Editor is used to edit JavaScript code, enabling you to write your own MIDI plugins.
• • Line numbers, which are useful for error checking because they are reported by line number in the Interactive Console. Interactive Console: Displays debugging information and allows you to execute code on the command prompt by typing after the prompt and pressing Return. Type clear and press Return to clear the console. Create and store a Scripter plug-in 1. In Logic Pro, open the Scripter plug-in. 2. Click the Open Script In Editor button. 3.
Logic Pro Scripter MIDI plug-in HandleMIDI function The HandleMIDI() function lets you process MIDI events that the plug-in receives. HandleMIDI is called each time a MIDI event is received by the plug-in and is required in order to process incoming MIDI events. If you don’t implement the HandleMIDI function, events pass through the plug-in unaffected. HandleMIDI is called with one argument, which is a JavaScript object that represents the incoming MIDI event.
Logic Pro Scripter MIDI plug-in ProcessMIDI function The ProcessMIDI() function lets you perform periodic (generally timing-related) tasks. The function can be used when scripting a sequencer, an arpeggiator, or another tempo-driven MIDI effect. ProcessMIDI is generally not required for applications that don’t make use of musical timing information from the host. ProcessMIDI is called once per “process block,” which is determined by the host audio settings (sample rate and buffer size).
Tutorial script 5: Velocity Slider Text following /* shows comments that explain the JavaScript code. function HandleMIDI(event) { event.velocity = GetParameter("Note Velocity"); /* retrieves "Note Velocity" information from the defined "Note Velocity" parameter */ event.
Logic Pro Scripter MIDI plug-in ParameterChanged function The ParameterChanged() function lets you perform tasks triggered by changes to plug-in parameters. ParameterChanged is called each time one of the plug-in parameters is set to a new value. ParameterChanged is also called once for each parameter when you load a plug-in setting. ParameterChanged is called with two arguments, first the parameter index (an integer number starting from 0), then the parameter value (a number).
Use the JavaScript Event object When the Logic Pro Scripter MIDI plug-in HandleMIDI function is called, an Event object represents one MIDI event and implements several methods you can call in your script. The Event object is not instantiated directly, but is a prototype for the following eventspecific methods, properties, and types. Tip: You can use the JavaScript “new” keyword to generate a new instance of an Event object of any type. Event methods • Event.send(): Send the event. • Event.
• PitchBend.value(integer number): 14-bit pitch bend value from -8192–8191. A value of 0 is center. • TargetEvent.target(string): Create user definable MIDI CC messages or control plug-in parameters. • TargetEvent.value(float): Sets the target value. Load the corresponding Tutorial setting to view the script in the Script Editor. This will help you to understand the syntax structure and layout of code and comments. See Use the Logic Pro Scripter MIDI plug-in Script Editor.
Tutorial script 15: Control Plug-ins In Logic Pro, you can create user-definable MIDI CC messages, or you can control plug-in parameters. TargetEvent reads the parameter to be modified from a menu where the user can select a destination MIDI CC. Alternately, you can use the Learn Plug-In Parameter feature to assign any plug-in parameter inserted after (below) Scripter in the same channel strip. The chosen destination is saved with the plug-in setting.
incomingEvent.send(); }; }; Use the JavaScript TimingInfo object The TimingInfo object contains timing information that describes the state of the host transport and the current musical tempo and meter. A TimingInfo object can be retrieved by calling GetTimingInfo(). TimingInfo properties • TimingInfo.playing: Uses Boolean logic where “true” means the host transport is running. • TimingInfo.blockStartBeat: A floating point number indicates the beat position at the start of the process block.
Use the Trace object Trace is a Scripter specific function, rather than a JavaScript function. You can also use Scripter’s Event.trace function to log events to the plug-in console. For more information, see Use the JavaScript Event object. Trace(value) outputs the given value of any type to the Scripter console, which can be useful for generating debug outputs. It’s possible to mix different variable types in a single Trace() command, much like you would do with strings.
Usage example for the beatPos property You can use the beatPos property to send a MIDI event at a specific beat position. In the following example, a note off event is sent a beat later than the beat position of the corresponding note on event. Note: You can also use the event.sendAtBeat(pos) method to send an event at a specific beat position.
• normalizeChannel(number channel): Normalizes a value to the safe range of MIDI channels (1–16). • normalizeData(number data): Normalizes a value to the safe range of MIDI data bytes (0–127). Load the corresponding Tutorial setting to view the script in the Script Editor. This will help you to understand the syntax structure and layout of code and comments. See Use the Logic Pro Scripter MIDI plug-in Script Editor.
Load the corresponding Tutorial setting to view the script in the Script Editor. This will help you to understand the syntax structure and layout of code and comments. See Use the Logic Pro Scripter MIDI plug-in Script Editor. Tutorial script 11: Slider Creation In Logic Pro, type the following in the Script Editor window to create a slider named “Parameter x” with a default range of 0 to 1. It is set to the mid-point value of 0.5. var PluginParameters = [{name:"Parameter x", defaultValue:0.
/* because modwheel range is 0-127 and pitch range is 1-127, convert a modwheel value of 0 to 1 */ event.value = 1; note.pitch = event.value; /* use cc value as note pitch */ note.velocity = 100; note.send(); /* use velocity 100 */ /* send note on */ var off = new NoteOff(note); /* create a NoteOff object that inherits the NoteOn pitch and velocity values */ var delayInBeats = GetParameter("Note Length")/100 + 0.1; /* retrieve the parameter value of the slider you created (add 0.
Velocity Processor MIDI plug-in Logic Pro Velocity Processor MIDI plug-in overview The Velocity Processor MIDI plug-in processes incoming MIDI velocity events—note on and note off—in real time. Among other applications, it allows velocity compression and expansion. Velocity Processor global parameters • Process buttons: Click either button to process MIDI note on velocity or MIDI note off velocity. Both buttons can be active simultaneously. • Mode pop-up menu: Choose a velocity processing mode.
Logic Pro Velocity Processor MIDI plug-in Compress/Expand In Compress/Expand mode, the Velocity Processor MIDI plug-in behaves like an audio compressor. Compress/Expand mode parameters • Threshold knob: Set a velocity value. Incoming velocities above the threshold are processed. MIDI notes with velocity values below the threshold pass through unaffected. • Ratio knob: Determine the slope of compression/expansion above the threshold. Processing is done using a “soft knee” characteristic.
Logic Pro Velocity Processor MIDI plug-in Value/Range In Value/Range mode, the Velocity Processor MIDI plug-in can behave like an audio limiter. Value/Range mode parameters • Value/Range switch: Value limits all incoming MIDI velocities to the value set with the Value slider. Range limits only notes within the range set with the Note Range Min/Max sliders. • Value slider: Set a fixed velocity for all processed notes. • Range sliders: Set a note range to be processed.
Modulation effects Logic Pro Modulation effects overview Modulation effects—such as chorus, flanging, tremolo, and phasing—are used to add motion and depth to your sound. Perceived width can be altered with the Logic Pro Spreader effect. Both motion and space can be introduced with the Rotor Cabinet effect. Modulation effects typically delay the incoming signal by a few milliseconds and use an LFO to modulate the delayed signal. The LFO may also be used to modulate the delay time in some effects.
Logic Pro Chorus effect The Chorus effect delays the original signal, and the delay time is modulated with an LFO. The delayed, modulated signal is then mixed with the original, dry signal. You can use the Chorus effect to enrich the incoming signal and create the impression that multiple instruments or voices are being played in unison. The slight delay time variations generated by the LFO simulate the subtle pitch and timing differences heard when several musicians or vocalists perform together.
Ensemble parameters • LFO1/LFO2/Random on/off buttons: Enable or disable LFO 1, LFO 2, or the random LFO independently. • Rate fields: Set the frequency of LFO 1, LFO 2, and random modulation. • Intensity fields: Set the amount of LFO 1, LFO 2, and random modulation. • Graphic display: Shows and lets you edit the shape and intensity of LFO 1, LFO 2, and random modulations.
Logic Pro Flanger effect The Flanger effect works in much the same way as the Chorus effect but uses a significantly shorter delay time. In addition, the effect signal can be fed back into the input of the delay line. Flanging is typically used to add a spacey or underwater quality to input signals. Flanger parameters • Sync button: Synchronize the modulation speed with the project tempo. Choose musical note values with the Rate knob. • Rate knob and field: Set the frequency, or speed, of the LFO.
Logic Pro Modulation Delay Modulation Delay is based on the same principles as Flanger and Chorus effects, but you can set the delay time, allowing both chorus and flanging effects to be generated. It can also be used without modulation to create resonator or doubling effects. The modulation section consists of two LFOs with variable frequencies. Although rich, combined flanging and chorus effects are possible, the Modulation Delay is capable of producing some extreme modulation effects.
• LFO 1/2 Rate knobs and fields: Set the modulation rate for the left and right stereo channels. In surround instances, the center channel is assigned the middle value of the left and right LFO Rate knobs. The other channels are assigned values between the left and right LFO rates. Note: The right LFO Rate knob is available only in stereo and surround instances, and it can be set separately only if the Link L & R button is not enabled.
Logic Pro Phaser effect The Phaser effect combines the original signal with a copy that is slightly out of phase with the original. This means that the amplitudes of the two signals reach their highest and lowest points at slightly different times. The timing differences between the two signals are modulated by two independent LFOs. In addition, Phaser includes a filter circuit and a built-in envelope follower that tracks volume changes in the input signal, generating a dynamic control signal.
Note: When you load a setting that uses the “random” option, the saved phase offset value is recalled. If you want to randomize the phase setting again, choose “new random” from the Distribution pop-up menu. • Level knob and field: Determine the amount of effect signal routed back to the input. • Warmth button: Enable or disable a distortion circuit, suitable for warm overdrive effects. • Low/High Cut sliders and fields: Set the cutoff frequency of the lowpass (LP) and highpass (HP) filters.
Logic Pro Ringshifter interface The Ringshifter interface consists of six main sections. Logic Pro Effects • Mode buttons: Determine whether Ringshifter operates as a frequency shifter or a ring modulator. See Set the Logic Pro Ringshifter mode. • Oscillator parameters: Configure the internal sine wave oscillator, which modulates the amplitude of the input signal in both of the frequency shifter modes as well as in the ring modulator OSC mode. See Logic Pro Ringshifter oscillator parameters.
Set the Logic Pro Ringshifter mode The four mode buttons determine whether the Ringshifter operates as a frequency shifter or as a ring modulator. Ringshifter mode parameters • Single Freq Shift button: Turn on to generate a single, shifted effect signal. The oscillator Frequency control determines whether the signal is shifted to a positive value on the right side of the Frequency knob or to a negative value on the left side.
Oscillator parameters • Frequency control: Set the frequency of the sine oscillator. • Linear/Exponential buttons: Switch the scaling of the Frequency control. • Lin: Linear scaling is even across the entire control range. • Exp: Exponential scaling offers extremely small increments around the 0 point, which is useful for programming slow-moving phasing and tremolo effects. • Env Follow slider and field: Determine the impact of incoming signal levels on the oscillator modulation depth.
Use the Logic Pro Ringshifter envelope follower The oscillator Frequency and Dry/Wet parameters can be modulated with the internal envelope follower—and the LFO (see Use the Logic Pro Ringshifter LFO). The oscillator frequency even allows modulation through the 0 Hz point, thus changing the oscillation direction. The envelope follower analyzes the amplitude (volume) of the input signal to create a continuously changing control signal—a dynamic volume envelope of the input signal.
Logic Pro Ringshifter output parameters Ringshifter output parameters set the balance between the effect and input signals and also set the width and feedback level. Ringshifter Output parameters Logic Pro Effects • Dry/Wet knob and field: Set the mix ratio of the dry input signal and the wet effect signal. • Feedback knob and field: Set the amount of signal routed back to the effect input. Feedback adds an edge to the Ringshifter sound and is used for a variety of special effects.
Rotor Cabinet effect Logic Pro Rotor Cabinet effect overview The Rotor Cabinet effect emulates the rotating loudspeaker cabinet of a Hammond organ. Also known as the Leslie effect, it simulates both the rotating speaker cabinet, with and without deflectors, and the microphones that pick up the sound. You have full control of the Logic Pro Rotor Cabinet effect motor controls and can choose from a range of microphone types.
Logic Pro Rotor Cabinet effect motor controls The Rotor Cabinet effect provides the following motor control parameters. Motor parameters • Acceleration knob: Set the time it takes to get the rotors up to speed (set with the Max Rate knob) and the length of time it takes for them to slow down. The Leslie motors need to physically accelerate and decelerate the speaker horns in the cabinets, and their power to do so is limited.
Logic Pro Rotor Cabinet effect microphone types The Rotor Cabinet effect provides modeled microphones that pick up the sound of the Leslie cabinet. You can specify the microphone type with these parameters. Also see Logic Pro Rotor Cabinet effect mic processing controls. • Logic Pro Effects Upper/Lower Microphones: Choose a microphone type for the horn and drum speakers when Real Cabinet is chosen in the Type pop-up menu. See Logic Pro Rotor Cabinet effect overview.
Logic Pro Rotor Cabinet effect mic processing controls The Rotor Cabinet effect provides the following microphone processing parameters. Mic processing parameters • Mic Position switch: Choose either the front or rear position for the virtual microphone. See Logic Pro Rotor Cabinet effect microphone types. • When Real Cabinet is chosen in the Type pop-up menu: • • • Horn knob: Set the stereo width of the Horn deflector microphone. • Drum knob: Set the stereo width of the Drum deflector microphone.
Scanner Vibrato parameters • Type knob: Choose from three Vibrato positions (V1, V2, and V3) or three Chorus positions (C1, C2, and C3). • In each of the Vibrato positions, only the delay line signal is heard. Each vibrato type has a different intensity. • In the three Chorus positions (C1, C2, and C3), the signal of the delay line is mixed with the original signal. Mixing a vibrato signal with an original, statically pitched signal results in a chorus effect.
Logic Pro Tremolo effect Tremolo modulates the amplitude of the incoming signal, resulting in periodic volume changes. Tremolo is commonly used in vintage guitar combo amps, where it is sometimes incorrectly referred to as vibrato. The graphic waveform display shows all parameters except Rate. Tremolo parameters • Sync button: Synchronize the modulation speed with the project tempo. Choose musical note values with the Rate knob. • Rate knob and field: Set the frequency of the LFO.
Multi Effects Logic Pro Multi Effects overview The Multi effects units provide a one-stop shop solution for a number of musical situations where you need to highlight or enhance a musical part or song section. While the included multi effects processors can be used subtly or traditionally, they are truly creative tools that excel at transformative changes to your music. • Phat FX is a “coloring” multi-effect unit designed primarily for use with drum, bass, and guitar parts.
Phat FX Logic Pro Phat FX overview Phat FX is a powerful “coloring” multi-effect designed primarily for use with drum, bass, and guitar parts, adding warmth, punch and presence where required. It can, of course, be used with any type of signal. Phat FX combines several effect processors, filters, and modulators in a flexible tool that can be used to quickly enhance your projects. Three distortion units are included, which can be used separately or blended together to create an endless variety of tones.
Logic Pro Phat FX processors The parameters of all Phat FX processors are described in the respective sections below. Bandpass parameters The Bandpass unit passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band. The Reject Mix knob lets you restore (mix in) the signal that was not band passed at the Bandpass unit position within the overall signal chain.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are attenuated and lower frequencies are allowed to pass in a lowpass (LP) filter. The reverse is true in a highpass (HP) filter. When in a bandpass (BP) mode, cutoff determines the center frequency of the band that is allowed to pass. The comb and other filter types change the names and behaviors of the filter controls. • Res knob and field: Boost or cut signals in the frequency band that surrounds the cutoff frequency.
Compressor parameters The compression unit tightens up your audio by smoothing out dynamics and increasing the overall volume. • On/off button: Enable/disable the compressor effect. • Amount knob and field: Set the level of compression. • Release knob and field: Set the time it takes for the compression circuit to stop reducing the signal. • Type pop-up menu: Choose an emulated compressor circuit. The choices are Classic, Clip, Platinum, Studio VCA and FET, Classic VCA, or Vintage VCA, FET, and Opto.
Envelope follower parameters The envelope follower tracks incoming signal levels and generates a control signal that is used to modulate other Phat FX parameters. A common use of the envelope follower is to track a sidechain input signal that is used to control filter parameters. • On/Off button: Enable/disable the envelope follower. • Target pop-up menu: Choose a modulation target from any active effect processor or master control.
Logic Pro Phat FX global controls The XY pad provides real-time control of up to four target parameters. Drag the blue control point to simultaneously modulate your targets. The parameters of the XY pad and the Master controls are described in the respective sections below. XY pad parameters Changes to XY pad Target pop-up menus are reflected by blue rings and dots around target parameter knobs, which make it easy to identify a target parameter.
Logic Pro Phat FX filter types Phat FX provides dozens of filter types. Phat FX filter types: lowpass, bandpass, highpass A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band.
Phat FX filter types: comb filters A comb filter mixes the original signal with one or more copies of the signal, which are delayed by a very short time interval. At some frequencies this mixture causes phase cancelations, while at other frequencies it causes reinforcements. The result is a spiky frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the teeth of a comb, which gives this filter type its name. Phat FX offers three comb filter designs, each with its own character.
Phat FX filter types: distortion Phat FX filters offer several distortion effects. • Bitcrusher is a harsher-sounding digital effect. • Downsampler is a lo-fi digital effect (similar to Bitcrusher but is frequency dependent). • Mech is a metallic-sounding distortion. • Tube is a classic tube distortion effect. The filter controls work as follows when the filter type is set to a distortion effect: • Amount: Controls the intensity of the distortion effect.
Horizontally drag the name of the effect in the Effects order strip at the bottom of the window to determine the order of the effects chain. Logic Pro Step FX processors The parameters of all Step FX processors are described in the respective sections below. Mod FX parameters The modulation FX unit provides chorus-like effects, ranging from soft through to heavy tone warping. Logic Pro Effects • On/off button: Enable/disable the Mod FX unit. • Delay knob and field: Set the initial delay time.
Delay parameters A syncable stereo delay unit with integrated filter. See Logic Pro Step FX filter types. • On/off button: Enable/disable the delay effect. • Filter Type pop-up menu: Choose a lowpass (LP), bandpass (BP), highpass (HP), or lowpass/low cut hybrid (LP+LoCut) filter type. • Feedback knob and field: Set the amount of feedback for the left and right delay signals. Higher values result in more delay repeats. • Cutoff knob and field: Set the cutoff frequency for the chosen filter type.
Reverb parameters A simple reverb unit that can add space to your parts. • On/off button: Enable/disable the reverb effect. • Type pop-up menu: Choose a reverb characteristic. Each option provides a different tonal color and response. • Time knob and field: Set the length of the reverb tail. • Mix knob and field: Set the level of the original versus reverb signal. Logic Pro Step FX step modulator global controls The Step Modulator is the heart of Step FX.
• • Gate Add: In Gate Add mode, a single Gate Add step modulator with a Depth value of 0% results in silence, and a Depth value of 100% sounds identical to Gate Mix. As you increase the Depth value, the amplitude of existing steps increases. Negative Depth values invert step values. When multiple Gate modulators are used, the Gate Add value is added to existing Gate values. For example, a Gate Add Depth value of +10 changes a step value of 50 to 60.
Logic Pro Step FX step modulator playback controls These parameters are independently available for each of the three step modulators. Click the name in the Modulator Target pop-up menu to choose the modulator you want to edit. The selected modulator name is shaded. Also see the sections on Step FX modulator global controls and display controls. Step modulator playback controls • Depth knob and field: Set the intensity of modulation for step modulator 1, 2, or 3.
Step modulator pattern display controls • Pattern display: Use to change the modulation pattern length, edit the level and length of individual steps, tie steps, and enable or disable steps. • Level/length bars: Drag vertically to set the level/amount for each active step. Drag left to reduce step length. Drag right to increase step length or to create a tie to the next step. The currently playing step is brightly illuminated.
Logic Pro Step FX global controls The XY pad provides real-time control of up to four target parameters. Drag the blue control point to simultaneously modulate your targets. The parameters of the XY pad and the Master controls are described in the respective sections below. XY pad parameters Changes to XY pad Target pop-up menus are reflected by blue rings and dots around target parameter knobs, which make it easy to identify a target parameter.
Logic Pro Step FX filter types Step FX provides dozens of filter types. Step FX filter types: lowpass, bandpass, highpass A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band.
Step FX filter types: comb filters A comb filter mixes the original signal with one or more copies of the signal, which are delayed by a very short time interval. At some frequencies this mixture causes phase cancelations, while at other frequencies it causes reinforcements. The result is a spiky frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the teeth of a comb, which gives this filter type its name. Step FX offers three comb filter designs, each with its own character.
Step FX filter types: distortion Phat FX filters offer several distortion effects. • Bitcrusher is a harsher-sounding digital effect. • Downsample is a lo-fi digital effect (similar to Bitcrusher but is frequency dependent). • Mech is a metallic-sounding distortion. • Tube is a classic tube distortion effect. The filter controls work as follows when the filter type is set to a distortion effect: • Amount: Controls the intensity of the distortion effect.
• Wobble: Modulates the audio signal through a vintage-style filter effect. X sets the modulation rate and Y sets the modulation depth. Click the Settings button to access the following additional parameter: Time: Select from options for note division, note division with an added triplet, or a triplet of the note division. • Orbit: Modulates the audio signal through a flanger effect, phaser effect, or a mix of both. X sets the modulation rate and Y sets the modulation depth.
Time: Select a note division for the reverse effect. • Scratch button: Simulates a record scratch on the incoming audio. Touch-sensitive effect variations are available on the left and right sides. Click the Settings button to access the following additional parameter: Time: Select a note division for the scratch effect. • Tape Stop button: Simulates the slow down and stop of the incoming audio. Touchsensitive effect variations are available on the left and right sides of the button.
Pitch effects Logic Pro Pitch effects overview You can use the pitch effects to transpose or correct the pitch of audio signals. These effects can also be used for creating unison or slightly thickened parts, or even for creating harmony voices. You can also define a scale to automatically correct some, but not all, sung notes in a vocal performance, for example. This enables you to effectively perfect an imperfect vocal take.
The Pitch Correction effect can be fully automated. This means that you can automate the Scale and Root parameters to follow harmonies in the project. Depending on the accuracy of the original intonation, setting the appropriate key with the Scale parameter may suffice. Less precise intonations may need more significant changes to the Scale and Root parameters. Note: Polyphonic recordings, such as choirs, and highly percussive signals with prominent noisy portions cannot be corrected to a specific pitch.
• Response slider and field: Determine how quickly the voice reaches the corrected destination pitch. Singers use portamenti and other gliding techniques. If you choose a Response value that’s too high, seamless portamenti turn into semitone-stepped glissandi, but the intonation is perfect. If the Response value is too low, the pitch of the output signal won’t change quickly enough.
Bypass individual notes in a scale in the Pitch Correction effect • In Logic Pro, to exclude notes from correction, click the small bypass buttons (“byp”) above the green (black) and below the blue (white) keys. This is particularly useful for “blue” notes. Blue notes are notes that slide between pitches, making the major and minor status of the keys difficult to identify. As you may know, one of the major differences between C minor and C major is the Eb (E flat) and Bb (B flat), instead of the E and B.
Pitch Shifter Logic Pro Pitch Shifter overview Pitch Shifter provides a simple way to combine a pitch-shifted version of the signal with the original signal. See Use Logic Pro Pitch Shifter. Pitch Shifter parameters • Semi Tones knob and field: Set the pitch shift value in semitones. • Cents knob and field: Control detuning of the pitch shift value in cents (1/100th of a semitone). • Mix knob and field: Set the balance between the effect and original signals.
Use Logic Pro Pitch Shifter Pitch Shifter is used most effectively when you take a structured approach. Use pitch shifting 1. In Logic Pro, you can set the amount of transposition, or pitch shift, by dragging the Semi Tones slider. 2. To set the amount of detuning, drag the Cents slider. 3. Choose the algorithm that best matches the material you are working with from the Timing pop-up menu.
Logic Pro Vocal Transformer parameters Vocal Transformer includes the following parameters. Vocal Transformer parameters • Pitch knob and field: Determine the amount of transposition applied to the input signal. See Use Logic Pro Vocal Transformer. • Robotize button: Turn Robotize mode on or off. This mode is used to augment, diminish, or mirror the melody. See Use Logic Pro Vocal Transformer. • Pitch Base slider and field: Available only in Robotize mode.
Use Logic Pro Vocal Transformer You can change the pitch of performances, inclusive of, or independent from, formants. Robotize mode can augment or diminish the melody. Use the Vocal Transformer Pitch and Formant parameters • In Logic Pro, rotate the Pitch knob to transpose the pitch of the signal upward or downward. Adjustments are made in semitone steps. Incoming pitches are indicated by a vertical line below the Pitch Base field.
2. Click one of the following buttons to immediately set the Tracking slider to one of these most useful values: • −1 button: Set the slider to −100%. All intervals are mirrored. • 0 button: Set the slider to 0%. Delivers interesting results, with every syllable of the vocal track being sung at the same pitch. Low values turn sung lines into spoken language. • 1 button: Set the slider to 100%. The range of the melody is maintained. Higher values augment, and lower values diminish, the melody.
Reverb effects Logic Pro Reverb effects overview You can use reverb effects to simulate the sound of acoustic environments such as rooms, concert halls, caverns, or an open space. Sound waves repeatedly bounce off the surfaces—walls, ceilings, windows, and so on— of any space, or off objects within a space, gradually dying out until they are inaudible. These bouncing sound waves result in a reflection pattern, more commonly known as a reverberation (or reverb).
Plates, digital reverb effects, and convolution reverb The first form of reverb used in music production was actually a purpose-built room with hard surfaces, called an echo chamber. It was used to add echoes to the signal. Mechanical devices, including metal plates and springs, were also used to add reverberation to the output of musical instruments and microphones. Digital recording introduced digital reverb effects, which consist of thousands of delays of varying lengths and intensities.
The ChromaVerb interface is divided into two windows: • Main window: Shows common reverb parameters such as Attack, Size, Density, Distance, and Decay. A visualization of the reverb output is shown in a graphic display which allows you to directly edit damping factors, thus changing decay frequencies and dependencies. • Details window: Provides access to advanced parameters such as Width, Quality, and Modulation.
ChromaVerb main window display and Damping EQ parameters • Room Type pop-up menu: Choose the type of reverb space you want to recreate. See Logic Pro ChromaVerb room types. • Main/Details button: Switch between the main window and the details window. • Graphic display: Shows a real time visualization of changes to parameter values and the incoming signal. A Damping EQ curve is overlaid on the display. You can change the Damping EQ curve in the display or with the fields below it.
Logic Pro ChromaVerb main window controls The main window contains the most commonly used parameters and shows a Damping EQ overlay in the graphic display. The details window contains advanced parameters and shows the built-in six band Output EQ. Click the Main or Details buttons at the upper right to switch between windows. ChromaVerb main window control parameters • Attack knob and field: Set the attack phase of the reverb.
Logic Pro ChromaVerb Output EQ The details window contains advanced parameters and shows the built-in six band Output equalizer. The main window contains the main window controls and shows a Damping EQ overlay in the graphic display. Click the Main or Details buttons at the upper right to switch between windows. ChromaVerb Output EQ parameters • Output EQ on/off button: Turn on to enable the Output EQ, which adjusts frequencies of the overall combined reverb and source signal.
• Band 4 On/Off button: Switch on a high parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. When active, you can change band parameters directly in the graphic display. • • Band 5 On/Off button: Switch on a high shelving filter that adjusts the level of high frequencies and has a minimal impact on frequencies below the cutoff (set) frequency.
• Mod Source buttons: Choose a sine, random, or noise waveform for the LFO. • Smoothing slider and field: Change the shape of the LFO waveform. The random waveform is smoothed and the sine and noise waveforms are saturated. • Early/Late Mix slider and field: Set the level of early and late reflections. These vary depending on the Distance parameter value. See main window controls. • Width slider and field: Set the stereo width of the reverb.
Logic Pro EnVerb EnVerb is a versatile reverb effect with a unique feature: it allows you to adjust the envelope—the shape—of the diffuse reverb tail. EnVerb is divided into two areas: • Time parameters: The graphic display shows and lets you adjust levels over time (the envelope) of the reverb. You can control the delay time of the original signal and can change the reverb tail over time. • Sound parameters: The controls below the envelope display shape the sound of the reverb signal.
EnVerb sound parameters • Density knob and field: Set the reverb density. • Spread knob and field: Control the width of the reverb stereo image. At 0% the effect generates a monaural reverb. At 200% the stereo base is artificially expanded. • High Cut knob and field: Filter frequencies above the set value out of the reverb tail. • Crossover knob and field: Set the frequency used to split the input signal into two frequency bands for independent processing.
• Logic Pro Effects Phase knob and field: Define the phase of the modulation between the left and right channels of the reverb signal. • At 0°, the extreme values (minimum or maximum) of the modulation are achieved simultaneously on both the left and right channels. • At a value of 180°, the extreme values opposite each other (left channel minimum, right channel maximum, or vice versa) are reached simultaneously. • Intensity slider and field: Set the modulation amount.
Space Designer convolution reverb Logic Pro Space Designer overview Space Designer is a convolution reverb effect that you can use to place your audio signals in exceptionally realistic recreations of real-world acoustic environments. Space Designer generates reverb by convolving, or combining, an audio signal with an impulse response reverb sample.
Logic Pro Space Designer interface The Space Designer interface consists of the following main sections: Logic Pro Effects • Impulse response parameters: Use to load, save, or manipulate recorded or synthesized impulse response files. The chosen impulse response file determines what Space Designer uses to convolve with your audio signal. See Use impulse responses in Logic Pro.
Use impulse responses in Logic Pro Space Designer can use either recorded impulse response files or synthesized impulse responses. The Sampled IR and Synthesized IR buttons above the main display switch the impulse response mode. Important: To convolve audio in real time, Space Designer must first calculate any parameter adjustments to the impulse response. This requires a moment or two following parameter edits and is indicated by waveform changes in the main display.
Several related parameters are shown below the main display. • Quality pop-up menu: Choose the sample rate. Lo-Fi produces a grainy reverb. Low halves the host application sample rate. Medium matches the host application sample rate. High is smooth and clean sounding. • Reverse button: Reverse the impulse response and envelopes. When the impulse response is reversed, you are effectively using the tail rather than the front end of the sample.
Use Synthesized IR mode In Synthesized IR mode, Space Designer generates a synthesized impulse response based on the values of the Length, Envelope, Filter, EQ, and Spread parameters. Note: You can switch between a loaded impulse response sample and a synthesized impulse response without losing the settings of the other. • In Logic Pro, click the Synthesized IR button above the main display.
When you select a half sample rate, the impulse response becomes twice as long. The highest frequency that can be reverberated is halved. This results in a behavior that is much like doubling every dimension of a virtual room—multiplying the volume of a room by eight. The Low (and Lo-Fi) setting can also be used for interesting tempo, pitch, and retro digital effects.
Note: When you’re using a sampled impulse response file, the combined Length (and Size) parameter values cannot exceed the length of the underlying impulse response sample. Space Designer envelopes and EQ Logic Pro Space Designer envelopes and EQ The main display is used to show and edit envelope, filter, and Output EQ parameters. It consists of the display mode bar at the top, the main display itself, and the parameter bar.
Display mode bar parameters • Volume Env on/off button: Enable or disable the volume envelope. • Volume Env button: Show the volume envelope in the foreground of the main display. Other active envelope curves are shown as transparencies in the background. See Logic Pro Space Designer volume envelope. • Filter Env On/Off button: Enable or disable the filter envelope. This also automatically turns the filter on or off. • Filter Env button: Show the filter envelope in the foreground of the main display.
Change Space Designer envelope curve shapes Make sure that Show Bezier Handles is active in the Action menu at the top right of the global parameters. 1. In Logic Pro, drag the envelope curve (the line itself) in the main display. 2. Drag the small nodes (hollow circles) attached to a line for fine adjustments to envelope curves. These nodes are tied to the envelope curve itself, so you can view them as handles that you use to change the Bezier curve.
• Lin button: The decay curve of the volume envelope is shaped by a linear algorithm, and results in a less natural-sounding reverb tail. • End Level field: Set the end volume level. It is expressed as a percentage of the overall volume envelope. • If set to 0%, you can fade out the reverb tail. • If set to 100%, you can’t fade out the tail, and the reverb stops abruptly if the end point falls within the tail. If the end time falls outside the reverb tail, End Level has no effect.
Filter envelope parameters • Init Freq field: Set the initial cutoff frequency of the filter envelope. • Attack field: Determine the time required to reach the Break Level. • Break Level field: Set the maximum filter cutoff frequency reached by the envelope. This setting also acts as the separation point between the attack and decay phases of the overall filter envelope. In other words, when the set level is reached after the attack phase, the decay phase begins.
Logic Pro Space Designer Output EQ Space Designer has a six-band Output EQ consisting of high and low cut bands, two parametric mid-bands, plus a low shelving filter and a high shelving filter. You can edit EQ parameters numerically in the parameter bar or graphically in the main display. • EQ On/Off button: Turn on to enable the Output EQ, which adjusts frequencies of the overall combined reverb and source signal.
• Band 6 On/Off button: Switch on a lowpass filter that allows low frequencies to pass and reduces the level of high frequencies near the cutoff (set) frequency. When active, you can change band parameters directly in the graphic display. • Band 6 background: Drag the pink shaded area to change the frequency and gain values. • Band 6 dot: Drag the pink dot to change the frequency and Q value. • Frequency field: Set the frequency for the selected EQ band.
• Action menu: Choose a menu command. • Reset Selected Envelope: Reset the currently displayed envelope to default values. • Reset All Envelopes: Reset all envelopes to default values. • Reset EQ: Reset the Output EQ to default values. • Latency Compensation: Enable or disable the internal latency compensation feature. When active, the direct signal in the output section is delayed to match the processing delay of the effect signal.
Global output parameters • X-Over slider and field: The X-Over slider sets the crossover frequency. Any impulse response frequency that falls below this value is affected by the Lo Spread knob. Frequencies above are affected by the Hi Spread knob. See Use Space Designer output controls in Logic Pro. • Lo/Hi Spread knobs and fields: The Spread knobs set the perceived width of the stereo field.
Use the Space Designer Definition parameter The Definition parameter emulates the diffusion of natural reverb patterns when in Synthesized IR mode. Natural reverbs contain most of their spatial information in the first few milliseconds. Toward the end of the reverb, the pattern of reflections—signals bouncing off walls, and so on—becomes more diffuse. In other words, the reflected signals become quieter and increasingly nondirectional, containing far less spatial information.
Use Space Designer output controls in Logic Pro Space Designer global parameters affect the overall input, output, or behavior of the effect. See Logic Pro Space Designer global parameters and Use Space Designer global controls in Logic Pro. The tasks below cover the use of Space Designer output parameters. Set Space Designer mono/stereo output parameters In Logic Pro, use the output parameters to adjust the balance between the direct (dry) signals and the processed (wet) signals.
• Set the level of the Bal(ance) slider: Move to set the level balance between the front (L-C-R) and rear (Ls-Rs) channels. • In 7.1 ITU surround, the balance pivots around the Lm-Rm speakers, taking the surround angles into account. • In 7.1 SDDS surround, the Lc-Rc speakers are considered front speakers. • Set the level of the Dry slider: Move to set the overall level of the non-effect signal for all channels.
Specialized effects Logic Pro Specialized effects overview Logic Pro includes specialized effects designed to address tasks encountered during production or performance. • Logic Pro Exciter adds life to your recordings by generating artificial high frequency components. • SubBass generates an artificial bass signal that is derived from the incoming signal. Logic Pro Exciter Exciter generates high frequency components that are not part of the original signal.
Exciter parameters • Frequency field: Drag vertically to set the cutoff frequency of the highpass filter. The input signal passes through the filter before (harmonic) distortion is introduced. • Frequency display: Shows the frequency range used as the source signal for the excite process. You can drag the green line or handle to set the cutoff frequency. • Dry Signal button: Turn on to mix the original (pre-effect) signal with the effect signal. Turn off to hear only the effect signal.
Logic Pro SubBass parameters SubBass provides the following parameters. SubBass parameters Logic Pro Effects • High Ratio knob and field: Adjust the ratio between the generated signal and the upper frequency band of the original signal. • High Center knob and field: Set the center frequency of the upper frequency band. • High Bandwidth knob and field: Set the width of the upper frequency band. • Graphic display: Shows the selected upper and lower frequency bands. • Freq.
Logic Pro SubBass use tips Unlike a pitch shifter, SubBass generates a waveform that is not based on the waveform of the input signal; instead it uses a sine wave. Given that pure sine waves rarely work well in complex arrangements, make sure to use the Wet and Dry sliders to control the amount of—and balance between—the generated and original signals. Use the High parameters and the Low parameters to define the two frequency bands that SubBass uses to generate tones.
Utilities and tools Logic Pro Utility processors and tools The tools found in the Utility category can help with routine tasks and situations you may encounter during production. Examples include the Gain plug-in, which you can use to adjust the level or phase of input signals, and Logic Pro I/O utility, which you can use to integrate external audio effects into Logic Pro channel strips. Also included is Auto Sampler which simplifies the creation of sampler instruments.
Logic Pro Auto Sampler interface After inserting Auto Sampler in an Audio FX slot in a channel strip, you open the Auto Sampler window. The Auto Sampler window includes the following controls: • Preset pop-up menu: Choose presets for various Auto Sampler uses. • Keyboard: Shows the key range as well as the actual notes to be sampled (in blue). You can adjust the key range by dragging the edges of the Sample Note Range rectangle overlaid on the keyboard.
Logic Pro Auto Sampler controls and parameters The following lists the Auto Sampler controls, with brief descriptions of their functions. • Range Start field and slider: Drag vertically to set the lowest note of the key range. You can also drag the left Sample Note Range handle in the keyboard display. • Range End field and slider: Drag vertically to set the highest note of the key range. You can also drag the right Sample Note Range handle in the keyboard display.
• Auto Loop pop-up menu: Choose if loop points are automatically determined by Auto Sampler, and if so, which method or algorithm to use. • None: No auto-looping is performed. • Search: The audio content is analyzed and the optimal loop in each sample is set, without adding a loop crossfade. This is useful if the sampled sound contains clearly looping sections.
Create a sampler instrument with Logic Pro Auto Sampler After you have added Auto Sampler to a channel strip and configured the Auto Sampler controls, you are ready to create a sampler instrument. Create a sampler instrument using Auto Sampler 1. In an Audio FX slot on the selected channel strip, choose Utility > Auto Sampler. The Auto Sampler plug-in window opens. 2.
Work with AutoSampled instruments When you create a sampler instrument using Auto Sampler, the default location to which the sampler instrument is saved is Audio Music Apps > Sampler Instruments > AutoSampled Instruments. Sampler instruments saved to this location are available in the AutoSampled Instruments submenu of the Sampler Setting pop-up menu. You can choose a different location to save the new sampler instrument, but it might not appear in the Sampler Setting pop-up menu.
Logic Pro Gain plug-in Gain amplifies (or reduces) the signal by a specific decibel amount. It is very useful for quick level adjustments when you work with automated tracks during post-processing— for example, when you have inserted an effect that doesn’t have its own gain control, or when you want to change the level of a track for a remix version. Gain plug-in parameters • Gain knob and field: Set the amount of gain.
Logic Pro I/O utility I/O utility lets you use external audio effects units in a similar way to the use of internal effects. Note: I/O utility is not practical unless you are using an audio interface that provides discrete inputs and outputs, either analog or digital, that are used to send signals to and from the external audio effects unit. I/O utility parameters • Output Volume slider and field: Adjust the level of the output signal.
Use an external effects unit with I/O utility 1. In Logic Pro, connect an output of your audio interface with the input on your effects unit, and connect the output of your effects unit with an input on your audio interface. Note: These can be either analog or digital connections, depending on the features of your audio interface and effects unit, and each connection can be either an output or an output pair. 2.
Logic Pro Test Oscillator Test Oscillator is useful for tuning studio equipment and instruments. It can be inserted as an instrument or effect plug-in. It operates in two modes, generating either a static frequency or a sine sweep. Click the Test Tone or Sine Sweep tab to access each mode. • In Test Tone mode, a test signal is generated immediately when the plug-in is inserted. You can switch off the test tone by bypassing the plug-in.
Legacy effects Logic Pro Legacy effects overview Legacy effects are included for project compatibility. These plug-ins are inserted when you load a project (that contains these plug-ins) created with an older Logic Pro version. You can use these plug-ins or you can replace them with other effect plug-ins available in Logic Pro. You cannot directly insert these plug-ins in Logic Pro unless you override the effects plug-in menu. Display and insert legacy plug-ins in Logic Pro 1.
AVerb parameters • Predelay slider and field: Determine the time between the source signal and the early reflections of the reverb signal. • Reflectivity knob and field: Define how reflective the imaginary walls, ceiling, and floor are. In other words, emulate how hard the walls are and what they are made of. Glass, stone, timber, carpet, and other materials have a dramatic impact on the tone of the reverb. • Room Size knob and field: Define the dimensions of simulated rooms.
• Top Class DI Warm: Famous DI box simulation, suitable for reggae and pop recordings. Mid frequencies, in the range between 500 and 5000 Hz, are de-emphasized. • Top Class DI Deep: Based on the Top Class DI Warm, this model is suitable for funk and fusion. The mid frequency range is strongest around 700 Hz. • Top Class DI Mid: Based on the Top Class DI Warm, this model features an almost linear frequency range, with no frequencies emphasized. It is suitable for blues, rock, and jazz recordings.
DeEsser Detector parameters • Frequency knob and field: Set the frequency range for analysis. • Sensitivity knob and field: Set the degree of responsiveness to the input signal. • Monitor pop-up menu: Choose the signal you want to monitor and adjust. • • Det(ector): Choose to monitor the isolated detector signal and to set the frequency range. • Sup(pressor): Choose to monitor the filtered suppressor signal and to set the frequency range.
Denoiser main parameters • Threshold slider and field: Set the threshold level to a point below which the noise signals are reduced. Locate a section of the audio where only noise is audible, then set the Threshold slider to a dB value that filters only signals at or below this level. • Reduce slider and field: Set the amount of noise reduction applied to signals that fall below the threshold.
Logic Pro Legacy Ducker Ducking is a common technique used in radio and television broadcasting. When the DJ or announcer speaks while music is playing, the music level is automatically reduced. When the announcement has finished, the music is automatically raised to its original volume level. Ducker provides a simple means of achieving this result with existing recordings. It does not work in real time. Note: For technical reasons, Ducker can be inserted only in output and aux channel strips.
Use the Ducker plug-in 1. In Logic Pro, insert Ducker into an aux channel strip. 2. Assign all channel strip outputs that are supposed to “duck” (dynamically lower the volume of the mix) to a bus—the aux channel strip chosen in step 1. 3. In the Ducker plug-in window header, choose the bus that carries the ducking (vocal) signal from the Side Chain pop-up menu. Note: Unlike all other side chain-capable plug-ins, the Ducker side chain is mixed with the output signal after passing through the plug-in.
Logic Pro Legacy Fat EQ Fat EQ is a versatile multiband EQ that can be used on individual sources or overall mixes. Fat EQ provides up to five individual frequency bands, graphically displays EQ curves, and includes a set of parameters for each band. Fat EQ parameters • Band Type buttons: For bands 1, 2, 4, and 5, click one of the paired buttons to select the EQ type. Band 3 is parametric. • Band 1: Click the highpass or low shelving button. • Band 2: Click the low shelving or parametric button.
Logic Pro Legacy Single-Band EQs The single-band EQs are used for different types of equalization tasks. • High Cut or Low Cut: High Cut attenuates the frequency range above the selected frequency. Low Cut attenuates the frequency range that falls below the selected frequency. • High Pass or Low Pass Filter: High Pass Filter affects the frequency range below the set frequency. Higher frequencies pass through the filter. You can use High Pass Filter to eliminate the bass below a selectable frequency.
Logic Pro Legacy Silver EQ Silver EQ includes three bands—a high shelving EQ, a parametric EQ, and a low shelving EQ. You can adjust the cutoff frequencies for the high shelving and low shelving EQs. You can adjust the center frequency, gain, and Q factor of the parametric EQ. Silver EQ parameters Logic Pro Effects • High Shelf slider and field: Drag to set the level of the high shelving EQ. • High Frequency slider and field: Drag to set the cutoff frequency for the high shelving EQ.
GoldVerb Logic Pro Legacy GoldVerb overview GoldVerb allows you to edit both the early reflections and diffuse reverb tail separately, making it easy to precisely emulate real rooms. GoldVerb is divided into four parameter areas: • Early reflections parameters: Used to emulate the original signal first reflections as they bounce off the walls, ceiling, and floor of a natural room. See Logic Pro Legacy GoldVerb early reflections controls. • Reverb parameters: Control the diffuse reverberations.
GoldVerb early reflections parameters • Predelay slider and field: Set the time between the start of the original signal and the arrival of the early reflections. • Extremely short: Predelay settings can color the sound and make it difficult to pinpoint the position of the signal source. • Very long: Predelay settings can be perceived as an unnatural echo and can divorce the original signal from its early reflections, leaving an audible gap between them.
• High Cut knob and field: Filter frequencies above the set value from the reverb signal. Uneven or absorbent surfaces—wallpaper, wood paneling, carpets, and so on, tend to reflect lower frequencies better than higher frequencies. The High Cut filter mimics this effect. If you set the High Cut filter to its maximum value, the reverb sounds like it is reflecting off stone or glass. • Density knob and field: Control the density of the diffuse reverb tail.
Grooveshifter source material parameters • • Beat and Tonal buttons: Select the type of source, or input, material you are using. • Beat button: The beat algorithm is optimized for percussive input material. The Grain Size slider is disabled when you select Beat. • Tonal button: The tonal algorithm is optimized for tonal input material. Because this algorithm is based on granular synthesis, the Grain Size slider is available when you select Tonal.
The Guitar Amp Pro window is organized into several parameter sections. • Amp section: The model parameters at the top are used to choose the type of amp, EQ model, and speaker. The knobs in the V-shaped section are used to set tone, gain, and level. See Logic Pro Legacy Guitar Amp Pro amplifier models, Logic Pro Legacy Guitar Amp Pro cabinet models, and Logic Pro Legacy Guitar Amp Pro EQ. • Effects section: Provides parameters to control the built‑in tremolo, vibrato, and reverb effects.
• Custom 50W: With the Presence parameter set to 0, this amp model is suitable for smooth fusion lead sounds. • British Clean (GarageBand): Simulates the classic British Class A combos used continuously since the 1960s for rock music, without any significant modification. This model is ideally suited for clean or crunchy rhythm parts. • British Gain (GarageBand): Emulates the sound of a British tube head and is synonymous with rocking, powerful rhythm parts and lead guitars with a rich sustain.
• • US 1 x 12 open back (GarageBand): Open enclosure of an American lead combo with a single 12” speaker. • US 1 x 12 bass reflex (GarageBand): Closed bass reflex cabinet with a single 12” speaker. • DI Box: Bypasses the speaker simulation section. Amp-Speaker Link button: Links the Amp and Speaker pop-up menus, so that changes to amp model selection result in the speaker associated with that amp also being loaded.
Logic Pro Legacy Guitar Amp Pro effects The effects parameters include Tremolo, Vibrato, and Reverb, which emulate the processors found on many amplifiers. You can use the pop-up menu to choose either Tremolo, which modulates the amplitude or volume of the sound, or Vibrato, which modulates the pitch. Reverb can be added to either of these effects, or used independently. To use or adjust an effect, you must first enable it by clicking the corresponding On button to the left.
Logic Pro Legacy Guitar Amp Pro mic parameters After choosing a speaker cabinet from the Speaker menu, you can set the type of microphone you want to be emulated, and where the microphone is placed in relation to the speaker. The Microphone Position parameters are available in the yellow area to the left, and the Microphone Type parameters in the yellow area to the right. Microphone position parameters • Centered button: Places the microphone in the center of the speaker cone, also called on-axis.
PlatinumVerb Logic Pro Legacy PlatinumVerb overview PlatinumVerb allows you to edit both the early reflections and diffuse reverb tail separately, making it easy to precisely emulate real rooms. PlatinumVerb splits the incoming signal into two bands: each is processed and can be edited separately.
Set Logic Pro Legacy PlatinumVerb early reflections PlatinumVerb provides the following early reflections parameters. PlatinumVerb early reflections parameters • Predelay slider and field: Set the time between the start of the original signal and the arrival of the early reflections. • Extremely short: Predelay setting can color the sound and make it difficult to pinpoint the position of the signal source.
Logic Pro Legacy PlatinumVerb reverb parameters PlatinumVerb provides the following reverb parameters. PlatinumVerb reverb parameters Logic Pro Effects • Initial Delay slider and field: Set the time between the original signal and the diffuse reverb tail. • Spread slider and field: Control the width of the reverb stereo image. At 0%, the effect generates a monaural reverb. At 200%, the stereo base is artificially expanded.
Logic Pro Legacy PlatinumVerb output parameters PlatinumVerb provides the following output parameters. PlatinumVerb output parameters • Dry slider and field: Control the amount of the original signal. • Wet slider and field: Control the amount of the effect signal. Logic Pro Legacy Silver Compressor Silver Compressor is a simplified version of the Compressor plug-in. See Use Logic Pro Compressor.
Logic Pro Legacy Silver Gate Silver Gate is a simplified version of the Noise Gate plug-in. See Use Logic Pro Noise Gate. Silver Gate parameters • Lookahead slider and field: Set how far ahead Silver Gate analyzes the incoming signal, allowing it to respond more quickly to peak levels. • Threshold slider and field: Set the threshold level. Signals that fall below the threshold are reduced in level.
• Mic Model pop-up menu: Choose a microphone model to compensate for tonal characteristics of specific built-in Mac microphones. Note: You can use Speech Enhancer with other microphones as well, but microphone correction models are provided only for built-in Mac and iSight microphones. If you are using a non-Apple microphone, choose Generic from the Mic Correction pop-up menu. Logic Pro Effects • Voice Enhance checkbox: Turn on the Voice Enhance multiband compression circuit.
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