Logic Pro Instruments
Contents Logic Pro Instruments Instruments overview 9 Logic Pro Instruments introduction 9 Alchemy 10 Logic Pro Alchemy overview 10 Alchemy user interface 11 Logic Pro Alchemy name bar 14 Alchemy Preset browser 15 Alchemy sound sources 19 Alchemy source editors 59 Alchemy main filters 85 Logic Pro Alchemy master voice section 92 Alchemy modulation section 94 Alchemy perform section 115 Alchemy arpeggiator 122 Alchemy effects section 130 Logic Pro Alchemy extended parameters
Logic Pro Instruments Kit Tone and Effect Smart Controls 191 Kit Piece Tone and Effect Smart Controls 192 Drum Synth 194 Logic Pro Drum Synth overview 194 Logic Pro Drum Synth Kicks 195 Logic Pro Drum Synth Snares and Claps 196 Logic Pro Drum Synth Percussion 197 Logic Pro Drum Synth Hats and Cymbals 198 ES1 199 Logic Pro ES1 overview 199 ES1 oscillator parameters 200 Logic Pro ES1 global parameters 202 ES1 filter parameters 203 Logic Pro ES1 amplifier parameters 205 ES1 envelop
Logic Pro Instruments Logic Pro EFM1 output parameters 287 Create random Logic Pro EFM1 sounds 288 Logic Pro EFM1 extended parameters 288 Logic Pro EFM1 MIDI controller assignments 289 ES E 290 Logic Pro ES E overview 290 Logic Pro ES E oscillator parameters 291 Logic Pro ES E LFO parameters 292 Logic Pro ES E filter parameters 292 Logic Pro ES E envelope parameters 293 Logic Pro ES E output parameters 294 Logic Pro ES E extended parameters 294 ES M 295 Logic Pro ES M overview 29
Logic Pro Instruments Vocoder history 321 Logic Pro EVOC 20 block diagram 322 Quick Sampler 323 Logic Pro Quick Sampler overview 323 Add content to Logic Pro Quick Sampler 324 Quick Sampler modes 326 Logic Pro Quick Sampler waveform display 333 Use Flex in Logic Pro Quick Sampler 337 Quick Sampler modulators 339 Logic Pro Quick Sampler Pitch controls 343 Logic Pro Quick Sampler Filter controls 344 Logic Pro Quick Sampler filter types 346 Logic Pro Quick Sampler Amp controls 347 Lo
Logic Pro Instruments Sampler extended parameters 453 Sculpture 454 Logic Pro Sculpture overview 454 Logic Pro Sculpture interface 456 Sculpture string parameters 457 Sculpture objects parameters 464 Sculpture pickups parameters 468 Logic Pro Sculpture global parameters 470 Logic Pro Sculpture amplitude envelope 472 Use the Logic Pro Sculpture Waveshaper 473 Logic Pro Sculpture filter parameters 474 Sculpture Body EQ parameters 475 Sculpture delay effect parameters 478 Logic Pro S
Logic Pro Instruments Utilities 619 Logic Pro Utility instruments 619 Logic Pro External Instrument 619 Logic Pro Klopfgeist 621 Vintage B3 Organ 622 Logic Pro Vintage B3 Organ overview 622 Vintage B3 Main window 623 Vintage B3 Rotor Cabinet window 631 Vintage B3 Options window 638 Vintage B3 Effects window 640 Vintage B3 Expert window 644 Use a MIDI controller with Vintage B3 649 B3 and Leslie information 654 Vintage Clav 658 Logic Pro Vintage Clav overview 658 Logic Pro Vint
Logic Pro Instruments Synthesizers 694 Synthesizer basics 700 Synthesizer basics overview 700 Sound basics 700 Synthesizer fundamentals 704 Subtractive synthesizers 706 Other synthesis methods 718 A brief synthesizer history 724 8
Instruments overview Logic Pro Instruments introduction Logic Pro provides an extensive suite of software instruments that can be used in your productions. Sample-based instruments include Alchemy, Sampler and Quick Sampler. These enable you to create and play back recordings of acoustic instruments. Alchemy provides extensive sample manipulation and resynthesis options that can result in sounds that bear little resemblance to the source.
Alchemy Logic Pro Alchemy overview Alchemy is an easy-to-use, yet powerful sample manipulation synthesizer. It offers numerous real-time performance controls and an extensive preset library. Alchemy features additive, spectral, and granular synthesis and resynthesis, sampling, and virtual analog engines. You can analyze imported samples and can manipulate them using one or more of these synthesis methods.
The diagram shows signal flow from left to right through the different sound generating and processing modules. There are three basic stages: • Each sound can contain up to four sources: A, B, C, and D. Each source consists of additive, spectral, granular, sampler, and virtual analog elements. Multiple elements can be active in each source. Each source has three independent filters that can operate in parallel or in series. These sources are used to create and shape the basic tone of the sound.
• Advanced button: Turn on to show a larger interface with all sections accessible. Advanced view is best suited to sound design or editing of existing presets. See Logic Pro Alchemy advanced view. The Name bar and Performance controls are common to all views. See Logic Pro Alchemy name bar and Logic Pro Alchemy performance controls. Logic Pro Alchemy browse view Browse view is ideal for performance or use of presets when composing.
Logic Pro Alchemy simple view When simple view is turned on, Alchemy provides a compact interface ideal for live performance. • Name bar. See Logic Pro Alchemy name bar. • Performance section. See Logic Pro Alchemy performance controls. Logic Pro Alchemy advanced view Advanced view is used when creating new sounds or manipulating existing presets. This view unlocks all Alchemy synthesis, modulation, and editing capabilities. • Name bar. See Logic Pro Alchemy name bar.
Logic Pro Alchemy name bar The Name bar provides tools for preset management and other functions. It is shown in all views. See Logic Pro Alchemy interface overview. Name bar parameters • Preset field and pop-up menu: Displays a list of presets available to load. By default, all presets are shown. To quickly scroll through and load a preset, use the Previous and Next buttons (the arrows) adjacent to the Preset field. The order of presets is determined by settings in the Preset browser.
File locations The following default locations are used for Alchemy files.
There are two different views for the Preset browser results list. • Browser view: Click the Browse button to open browser view. • Name bar list: Click the preset field in the Name bar to display a list of presets. Both lists are synchronized. If the Preset browser is used to select a particular category or to sort results, the Name bar list reflects your choices, and vice versa. When a new instance of Alchemy is inserted, the browser results list shows all available presets.
• Preset column: Shows preset names. Click the column header to sort the results list. A second click reverses the current sort order. The number of presets returned by the current search criteria is displayed to the right of the Preset column header. • Comments field: Shows preset comments. • User Tags field: Shows existing user tags. • User Tags button: Open a pop-up menu with commands for creating and deleting user tags. A list of existing user tags is shown below the menu commands.
Use preset edit mode Preset edit mode displays all attribute columns in an enlarged Preset browser window. Edits made to multiple selected presets apply attributes, user tags, or comments to all presets in the group. All changes made in edit mode are immediately applied and saved in the preset database. The Sound Designer is determined by the settings in Preferences > My Info > Artist Name. If this is not set, “Unknown Artist” is shown.
The user tag is added to the New Tag pop-up menu, and the Enter New Tag field closes. The new tag is shown below the menu commands in the pop-up menu. 4. Click the User Tags button, then choose the newly created tag name from the pop-up menu. The new tag is assigned to the preset. This is indicated by a tick beside the tag name. 5. To remove an assigned tag, click the User Tags button, then choose the tag name from the pop-up menu. Assigned tags are indicated by a tick beside the tag name.
There are a handful of restrictions on element combinations within a single source. You can circumvent such restrictions when creating your sound by using a different synthesis method (or combination of methods) for each of the four sources. If you are new to synthesizers and different synthesis methods, see Synthesizer basics overview. Logic Pro Alchemy source master controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view.
Note: Sources can also be routed directly to the effects section, bypassing the main filters. The VU meter is shown regardless of the source output destination. Source master controls • A/B/C/D buttons: Turn the source on or off. Option-click to solo a source. • Source select pop-up menu and field: Displays the name of the current source audio data. Click to open a pop-up menu with source content handling commands. Click the Previous and Next buttons (the arrows) to step through available waveform data.
• Tune knob: Tune the source in semitone increments. A further Fine Tune control is available on each source subpage. See Logic Pro Alchemy source subpage controls. • Pan knob: Set the source output position in the stereo field. This parameter works as a pan control if the source Stereo button is off or as a left/right balance control if the source Stereo button is on. • Send knob: Set the source output balance (post source filters, if used) sent to the destinations specified with the Send pop-up menu.
Use the sampler element when you want to play a sound file in its original form, transposed across the keyboard. Import browser parameters • Places column: Shows all top-level folder locations. The Alchemy Samples and EXS Factory Samples folders are shown at the top of the list. Click to view each folder. • Samples column: Shows the samples within the selected folder, preset, or sampler instrument. Only sample data is displayed. See the tasks in this section for information on sample selection.
• • Add+Spec button: Use to import samples that you want to resynthesize using a combination of additive and spectral synthesis. By default, the spectral component is imported and played with the spectral element set to Noise-Resynth mode. Playing the spectral data in Resynth mode produces a markedly different effect, which you may sometimes prefer.
The chosen analysis mode is highlighted. If Additive, Spectral, or Granular mode is chosen, analysis may take a moment or two. No analysis occurs when Sampler mode is used. Note: If you want to perform an Add+Spec analysis, or want to perform a further formant analysis of the audio material, use the Import browser methods discussed in following tasks. Replace the sound for Alchemy on a software instrument track using drag and drop 1.
Import multiple audio files into a source with the Import browser Multiple WAV and AIF files may be imported to a single source. Other file types are not supported for multifile import. If the note name is included in the filename, samples are mapped to corresponding keyboard zones for all analysis types. When importing using additive or spectral analysis, samples without a note name are analyzed to determine pitch information that is then used for keyboard mapping.
Logic Pro Alchemy source subpage controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit. Each of the four sources has an identical set of controls for more in-depth editing. Several source subpage controls are duplicates of those found in the source master controls. See Logic Pro Alchemy source master controls.
When the Loop Mode pop-up menu and field (see entry below) is set to Start/End or Start/Length, the Position (and Speed) knob is replaced with the following two controls: • • Loop Start knob: Determine the playback start position in the audio data. A value of 0% indicates the absolute start point of the audio data. A value of 100% indicates the absolute end point. • Loop End/Length knob: Loop End sets the playback end point.
If the settings of Loop Start and Loop Length controls (see entries above) cause playback to go beyond the end of the underlying sample, silence is automatically inserted at the end of the sound. • All: Ignores the loop start and end points, and loops the entire sound continuously. Note: The loop start and the loop end points, and sample start and end points, can be edited in the Main edit window. See Logic Pro Alchemy source edit window overview and Logic Pro Alchemy zone waveform editor.
• When the source filters are configured in parallel, the signal is split and fed through the three filters simultaneously. Source filter parameters The most common filter controls are listed. Note that the chosen filter type can change both the name and function of available controls, notably the Cutoff, Resonance, and Drive parameters. See Logic Pro Alchemy filter types and Logic Pro Alchemy source filter use tips. Logic Pro Instruments • 1/2/3 buttons: Select each filter.
• F2/FX A/B/C/D: Source output is routed to main filter 2 and effects rack A, B, C, or D. The balance between these targets is set with the Send knob. Note: Signals sent to effects rack A, B, C, or D destinations bypass the main filters when the Send knob is set to the full-right position. See Logic Pro Alchemy effects overview. Logic Pro Alchemy source filter use tips Alchemy provides multiple filter types at different positions in the signal path.
The filter is assigned to track keyboard pitch. By default, the centered knob at 523Hz provides a medium pitched sound that works well. If you want to change the octave, multiply or divide by two, and round to the nearest whole number that sounds best. For example, set the Frequency knob at 262Hz for one octave lower. 6. Adjust the modulation Depth on the filter to increase the impact the source signal has on the sine wave generated by the FM filter, and listen to the results.
The impulse requires its own envelope, separate from the master or any envelope you have controlling the comb. The best settings for the envelope depend on the needs of the sound, but a good rule of thumb is to start with zero attack, zero hold, a very short decay, zero sustain, and zero release. This provides a quick spike that starts comb movement and allows the remainder of sound generation be handled by the comb itself.
Logic Pro Alchemy additive element controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit. The parameters in this section are shown when the Additive button is active in a source subpage. The additive element controls also include a number of additive effects. See Logic Pro Alchemy additive element effects.
Note: The additive engine processes partials in groups of four. Set the Num Partials parameter to a multiple of four to achieve the best compromise between CPU load and sound quality. Always set Num Partials to the lowest number of partials that are required by the sound because this helps to reduce CPU load. • PVar knob: Tune all partials simultaneously. This occurs before processing by the additive effects modules which stretch/shift partial tunings.
Logic Pro Alchemy additive element effects Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit. Three effects units are available in the lower half of the additive parameters shown in the source subpage. See Logic Pro Alchemy additive element controls. These are not audio effects in the traditional sense; rather they provide ways to control entire groups of partials simultaneously.
• • • Odd/Even knob: Set the balance between odd or even harmonics. Low values increase the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more hollow. High values increase the level of even harmonics (retaining the fundamental tone: harmonic/partial 1) to make the sound brighter and sweeter. • Fifths knob: Set the level of the fundamental tone and all partials at fifth intervals (7 semitones) above it.
• Partial knob: Define the pattern of (groups of) partials affected. Set to 2 to limit the detuning affect to only partials 2, 4, 6, 8, and so on; set to 3 to apply detuning to only partials 3, 6, 9, 12, and so on. Higher values affect fewer partials, which in turn changes the impact of the Amount knob, making it more subtle. • Tuned knob: Set the range for the Amount knob. This knob behaves like a switch.
• • Amount knob: Specify the amount of pitch shift as a percentage. At 100%, all partials are set to the pitch determined by the Pitch knob. At 50%, all partials are moved halfway to the target pitch. Subtle use of this parameter can turn harmonic pitched sounds into atonal bell-like timbres, for example. • Pitch knob: Set the target pitch. All partials are shifted toward the target when the Amount knob is rotated. At low positions, partial pitches shift down. Toward 100%, partial pitches shift up.
• • • • Logic Pro Instruments • High Mid knob: Set the amount of upper mid frequency cut or boost. • High knob: Set the amount of high frequency cut or boost. Filter: Applies a continuously variable lowpass/highpass filter to the output of the additive element. • Amount knob: Set the depth of the filter effect. • LP - HP knob: Set the shape of the filter blending between a low pass, band pass, and high pass filter. • Cutoff knob: Set the cutoff frequency. The range is from 16 Hz to 20 kHz.
Logic Pro Alchemy spectral element controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit. The parameters in this section are shown when the Spectral button is active in a source subpage. Two Logic Pro Alchemy spectral element effects units are available in the lower half of the spectral parameters shown in the source subpage.
• Low Cut knob: Set a cutoff frequency. All signals above this frequency are allowed to pass. Signals below the frequency are cut. • High Cut knob: Set a cutoff frequency. All signals below this frequency are allowed to pass. Signals above the frequency are cut. The Low Cut and High Cut parameters work in conjunction with each other to act as a bandpass filter, where signals that fall within the two cutoff ranges are allowed to pass.
Bloom Bloom produces a burst of frequencies based on the source sound. Note that this effect requires a small amount of calculation time to collect and release a group of frequencies. As a result, there may be a gap between playing a note and hearing the effect. Tip: Try single note samples with a strong initial attack, such as a piano, and set Mix to a value that introduces the effect as part of the tail of the sound. • Mix knob: Set the balance between the original signal and the processed sound.
• Threshold knob: Set the amount of lower amplitude frequencies that are allowed to pass through the gate. This reduces detail and enhances prominent frequencies in the source. • Attack knob: Set the time it takes for effect-controlled frequencies to fade in. • Decay knob: Set the time it takes for effect-controlled frequencies to fade out. Glide Glide creates adjustable, repeating upward filter sweeps that are based on the source content.
• Beta knob: Set the frequency range of the effect. A setting of 1 (centered) is closest to the source sound. • Variance knob: Introduce randomization to frequency shifts. Depending on source material and Alpha/Beta settings, these can range from “underwater” sounds to powerful noise clouds. Metallize Metallize produces classic comb filter style effects. Tip: Experiment with drum loops to clearly hear the impact of the controls.
Smear Smear averages between blocks of frequencies to create a smoother, more consistent sound. It delivers different results to the Blur effect. Tip: Try melodic loops that have pitch variations to showcase this effect. • Mix knob: Set the balance between the original signal and the processed sound. • Smooth knob: Set the number of frequency blocks to smooth between. Higher settings have less sonic variation, so make small changes. • Bright knob: Emphasize higher frequencies.
Logic Pro Alchemy formant filter controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to select the source you want to edit. The parameters in this section are shown when the Formant button is active in an additive or spectral source subpage.
Formant filter synthesized parameters The synthesized controls work with any additive or spectral material and do not require the formants to be analyzed on import. Use these parameters to impose new resonant characteristics on the original signal. The default settings provide a range of vowel sounds: use the Select knob to morph through the default “a,” “e,” “i,” “o,” and “u” vowel sounds loaded into the four slots to the right. • On/off button: Enable or disable the synthesized formants section.
• • High Pass: Emulates a two-pole highpass filter that gently reduces the levels of lower frequencies. The Shift knob sets the cutoff frequency. The Size knob changes the filter slope. • Low Pass: Emulates a two-pole lowpass filter that gently reduces the levels of higher frequencies. The Shift knob sets the cutoff frequency. The Size knob changes the filter slope. • Notch: A filter that attenuates a narrow band of frequencies near the set frequency.
Modify formants in a resynthesized additive guitar sound 1. In Logic Pro, from the Name bar, click the File button and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings. 2. Select source A, then click the source select field and choose Import Audio from the pop-up menu. 3. In the Import browser window, click the Additive and Formant Import Mode buttons. 4. Navigate to the Guitars subfolder in the Factory samples folder, and choose a single guitar sample. 5.
5. Click the Formant button, and turn on the lower Synthesized section. Play a few notes to hear the “a” vowel sound that is imposed on the sawtooth wave. 6. Increase the Select knob value, and play a few notes. Note how the vowel sound morphs to an “e,” then an “i,” then finally a “u” at 100%. 7. Reduce the Select knob value, then modulate it with a new AHDSR envelope (AHDSR2), and leave the depth at +100%. 8. Set Sustain to zero for the AHDSR2 envelope.
Granular element parameters In addition to the following controls, granular playback is affected by loop modes and by the settings and modulations of the Position and Speed knobs in each source subpage. See Logic Pro Alchemy source subpage controls. Modulations of the granular element update with each new grain.
• Tap Spacing knob: Set the spacing between the specified number of taps. Values are shown as a percentage of the overall sound duration. Set to 100% to evenly space taps across the entire sound duration. Set to 50% to trigger more closely-spaced taps that start at the halfway point of the sound. Set to zero to trigger taps in quick succession at the sound end point. • Stereo Offset knob: Offset the stereo position to create a wider sound.
Sampler element parameters • Waveform window: Shows real-time changes to the waveform. • On/off button: Enable or disable the sampler element in the source. • Volume knob: Set the output level of the sampler element within the source. When multiple elements are used in a source, use this control to set the relative level of the sampled component. • Reverse button: Turn on to play samples backwards.
• Detune knob: Set the amount of detuning and stereo width variance between unison voices. • Noise on/off button: Enable or disable the noise oscillator. • Noise pop-up menu and field: Choose a noise waveform. These have different spectral characteristics that can be further refined with filters. You can step through the available waveforms with the Previous and Next buttons (the arrows). • (Noise) Vol knob: Set the output level of the noise oscillator.
You can set Position and Speed to 0% and can modulate Position with a unipolar LFO, MSEG, or a performance control linked to the modulation wheel. When Position is modulated and Speed has a value greater than zero, the playback path is determined by a combination of modulation value (whenever this value changes) and the normal path (at a rate determined by Speed whenever the modulation value is static). 1.
Logic Pro Alchemy morph controls Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the Morph button to view and use the morph controls. The morph controls determine how the four Alchemy sources interact. There are two basic types of interaction. • XFade: In a crossfade, all active sources play simultaneously, and the X and Y knobs control the mix between them.
Morph controls • Morph type buttons: Choose one of four crossfade or morph modes. • • • • XFade XY: This mode crossfades levels between all four sources. • Use the X knob to control the mix levels of sources A and C versus sources B and D. • Use the Y knob to control the mix levels of sources A and B versus sources C and D. XFade Linear: This mode is useful for setting up crossfades based on Velocity or KeyFollow.
• • Source group buttons: Choose source group A-B, C-D, or A-B-C-D. Morphs affect only the chosen group of sources. • Additive knob: Set the morph value for active additive sources. • Spec/Gran knob: Set the morph value for active spectral or granular sources. This also controls the sampler morphing position if the sampler element is active. • Pitch knob: Set the pitch morph value between active sources. • Formant knob: Set the formant level morph value between active sources.
By default, the Main edit window is shown. Further Additive and Spectral edit windows can be opened by clicking the buttons at the top of the window. These windows provide additional parameters that let you precisely edit and sculpt your sounds. See Logic Pro Alchemy additive edit window overview and Logic Pro Alchemy spectral edit window. The Main edit window is divided into three areas that interact with each other.
Inspector global parameters • A/B/C/D buttons: Select the corresponding source. • Main/Additive/Spectral buttons: Open the Main, Additive, or Spectral edit window. Click the X icon at the top right of the active window to close it. • On/Off button: Enable or disable the source selected with the A/B/C/D buttons. • Source select pop-up menu and field: Displays the name of the current source audio data. Click to open a pop-up menu with source content handling commands.
Inspector group parameters • • • Group (+) pop-up menu: Open a pop-up menu with two group creation commands. • Empty: Create a new empty group. The new group name is added below existing group names in the Group list shown under the Group pop-up menu. A sequentially assigned number is appended to the new group name. • Import: Open an import window where you can choose one or multiple samples to import as a group. See Logic Pro Alchemy Import browser.
• Random Round Robin: Choose to automatically switch between layers for each note-on, so that striking a given note multiple times triggers random variations of the sample rather than the same sample being played repeatedly. No Order pop-up menu is shown. • Keyswitch: Choose to switch a group on or off in accordance with either the Transform pad position or the KeySw parameter conditions.
• Logic pop-up menus and fields: Define a condition for multiple group rules, using And, Or, and Not boolean statements. For example, set the first group rule to Controller and Control 1 with a range of 50% to 100%. Set a second group rule to Controller and Control 2 with a range of 50% to 100%. The different logic conditions result in different outcomes. • And: Both Control 1 and Control 2 must be set above 50% for the group to trigger. With either control set below 50% the group does not trigger.
Zones in Group 2 will now fade in when the note is released, creating a crossfade between Groups 1 and 2 at note-off. Higher values result in slower fades. Fading in the release group may be unnecessary if your release samples already have a natural fade in at the start, however, or undesirable if a percussive transient is required at note-off. Try to set Fade values for Group 1 and 2 to an identical small value to create a sudden but click-free crossfade at the end of each note.
Alchemy analyzes each sample to determine the root pitch (if not defined in the filename), set the root key, key range, and velocity range for each sample zone such that they span the entire keyboard and the entire dynamic range, and add all zones to a group named Group 1. 6. Click the Rule field, and change it from Always to Keyswitch. 7. Click the first range field, and change it to Keysw1. The second range field also changes to the same value. 8.
8. Switch rule 2 from Always to Keyswitch. 9. Leave the first range field for rule 2 set to Snap1, and change the second range field to Snap7. 10. Click the “+” symbol at the top of the Group section, and choose Import. 11. Select a sample (or multiple samples) representing the second of your round robin variations, and import (the import mode is automatically set to match the existing group). Alchemy again analyzes each sample and adds all zones to a group named Group 2. 12.
Inspector zone parameters • Add Zone (+) button: Open the Import browser where you can select one or multiple samples to import into zones. Newly imported samples are added to the current configuration. Each new sample results in a new zone. See Logic Pro Alchemy Import browser. • Select MIDI button: Turn on to automatically select zones by playing your MIDI keyboard. • Zone name field: Displays the name of the current audio file in the selected zone.
• Hi Key field: Drag vertically or use the arrows to set the highest MIDI note that triggers the zone. Alternatively, drag the right edge of the highlighted zone in the keymap editor. • Lo Vel field: Drag vertically or use the arrows to set the lowest MIDI note velocity that triggers the zone. Alternatively, drag the lower edge of the highlighted zone in the keymap editor. • Hi Vel field: Drag vertically or use the arrows to set the highest MIDI note velocity that triggers the zone.
Logic Pro Alchemy keymap editor Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to view detailed parameters for the selected source. The source edit window is opened by clicking the Edit button on any source subpage. Click the close window icon (X) at the top right to close the window. The keymap editor displays all sample zones in the currently selected group, with each zone represented as a rectangle.
Select and edit the values of one or more zones 1. In Logic Pro, select the zone by doing one of the following: • Click a rectangle in the keymap editor. • Choose the zone name from the pop-up menu in the zone section of the inspector. • Command-click a region containing overlapping zones, then drag horizontally to cycle through each zone. 2. Hold down Shift, then click multiple zones in the keymap editor to select them.
Create a multisample with key splits and crossfades for adjacent zones 1. In Logic Pro, click File, then choose Initialize Preset from the Name bar to initialize Alchemy to default settings. 2. Click the Advanced button, then click the source A button. 3. Click the Edit button to open the Main source editor. 4. Click the source select field, and choose Import Audio from the pop-up menu. 5.
Logic Pro Alchemy zone waveform editor Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the A/B/C/D button to view detailed parameters for the selected source. The source edit window is opened by clicking the Edit button on any source subpage. Click the close window icon (X) at the top right to close the window. The waveform display of the audio associated with the currently selected zone is shown at bottom of the Main edit window.
Waveform display parameters • > button: Turn automatic audio previewing on or off when selecting zones in the keymap editor. • Loop XFade button: Turn on to enable crossfades between loop start and end markers when Continuous or Sustain loop mode is chosen in the inspector. • A crossfade (XF) marker is shown at the loop end point. Drag this marker left to define a crossfade region, during which a portion of the sound from before the loop start marker is faded in, while the loop region is faded out.
You can think of the additive data as a series of snapshots, each of which captures the amplitude, pitch, pan, and phase of every partial at a particular point in time. In between snapshots, each parameter updates smoothly toward the following snapshot value. When played in succession and with the right timing, the series of snapshots describes a potentially complex and continuously evolving sound. Note: Phase is not an independent parameter.
Note: Higher partials that are part of the additive data set may not be heard unless the Num Partials (number of partials) control on the respective source A/B/C/D subpage is set to a suitably high value. For example, raising the amplitude of partial number 72 has no effect when Num Partials is set to a value of 60. Conversely, setting a Num Partials value of 500 has no effect in additive mode unless partial data exists for 500 partials.
• Shape pop-up menu and field: Choose a weighted group of related partials for editing. • Normal: Adjustments affect only the selected partial and grouped partials that precede it. • Flat: Adjustments evenly affect all grouped partials. • Bright: Adjustments are weighted toward higher grouped partials. • Dark: Adjustments are weighted toward lower grouped partials. • Snap Pitch button: Visible only when the Tune button is active.
Create an additive sound from scratch This example introduces the basic principles of additive programming in Alchemy. When you create a new, initialized preset by choosing Initialize Preset from the File button pop-up menu in the Name bar, source A is in VA mode. For additive synthesis, a different default configuration is better suited.
• Each column of pixels represents a snapshot in the additive data. The leftmost column describes snapshot 1, the next column to the right describes snapshot 2, and so on. Snapshots are timed at a steady rate of 20 per second. • Within each column, there is a one-to-one correspondence between pixels and partials: the bottom row represents partial 1, the second row up represents partial 2, and so on. Thus the height of your image determines the number of partials.
Partial envelope parameters • Overall button: Shown above the Partial bar display, sets two Partial envelope modes. • Overall button on: Each point represents a snapshot of summed amplitude, pitch, and pan values of all partials at a certain point in time. Typically, you choose snapshots in the envelope display and adjust individual or grouped partial values in the Partial bar display. You can, however, also adjust all partial values in a given snapshot by dragging vertically in the Partial envelope.
• • Loop and warp markers can be superimposed on the Partial envelope. See Logic Pro Alchemy zone waveform editor. • Warp marker movements automatically snap to existing Partial envelope points. • Positioning the loop start and loop end markers at identical positions creates a sustain point which allows a particular segment of the sound (a snapshot) to be heard continuously. This method is useful for locating, auditioning, and editing a succession of snapshots.
Fix unwanted pitch fluctuations with copied envelope points In cases where a resynthesized sound has unwanted pitch fluctuations, you can resolve these artifacts by reducing the PVar (pitch variation) control on the source A/B/C/D subpage. The downside with this approach is that each partial is aligned with its harmonic tuning which may change the character of the sound significantly. Try this alternative method. 1.
• Frequency, in hertz, is represented along the y-axis from bottom to top. It is also shown at the pointer position. • Amplitude is represented by brightness, using shades of blue. Dark blues represent lower amplitude values, and light blues represent higher amplitude values. Silence is black, and the loudest amplitude is white. • A green play position indicator scrolls across the image for the most recently triggered voice.
• • Transient produces a vertical edge that slopes to the right, typical of a percussive drum hit. • Custom uses the Lasso selection as a brush shape. Size knob: Scale the size of the brush chosen in the Brush pop-up menu. Note: When a custom brush is active, the Size knob is not available. • Color knob: Set the amplitude scaling of the brush. At 100%, brush strokes are white. At 50%, brush strokes are mid-blue. At zero, brush strokes are black.
• Import Image to Brush: Opens a dialog where you can select a file in PNG format to be used as a brush for painting on the spectral canvas. The original dimensions of the image are preserved. You can place the image at any position with a click, or you can drag to paint with it. • Clear button: Deletes all spectral data from the source, leaving only silence (a solid black image).
Main filter parameters • On/Off buttons: Enable or disable each filter. • Filter type pop-up menus and fields: Choose the filter type. Use the descriptive names: Clean, Edgy, Gritty, Rich, Sharp, and Smooth to make a choice that is right for your sound. You can step through the available filter types with the Previous and Next buttons (the arrows). See Logic Pro Alchemy filter types. Note: The chosen filter type can alter the names and functions of the default Cutoff, Resonance, and Drive knobs.
Create vowel sounds with parallel source filters Vowel sounds in human speech are the result of formants produced by changing the shape of the vocal cavity. By mimicking these formants, Alchemy can produce speech- or songlike effects, even in VA mode without samples of actual speech. 1. In Logic Pro, from the Name bar, click the File button and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings. 2.
Control parallel source filters with morphing The previous task set up a number of vowel sounds with source filters. Follow these steps to morph between these sounds with your keyboard modulation wheel. 1. In Logic Pro, click Morph to view morph parameters, then click the Morph Lin button. 2. Set the X knob to 0%. In the modulation rack, Morph All X is shown at the top. 3. Choose Perform > Control7 in the first modulation rack slot. Leave the modulation depth value at 100%.
• Sharp: Two-pole analog-modeled filters. • Smooth: Two- or multi-pole state-variable filters. The three principal filter controls have standard functions for all filter types. • Cutoff: Controls the filter cutoff frequency. • Resonance: Controls the filter resonance or emphasis. Higher settings boost frequencies in the immediate vicinity of the cutoff frequency. • Drive: Allows the filter to be overdriven; the precise effect varies with each filter design.
Comb PM uses bipolar feedback on the delay lines. The resonance control is bipolar, allowing you to freely shift from negative (hollow sound) on the left to positive (bright and peaky) on the right. This comb is useful for classic bright Karplus-Strong style sounds, where the exciter impulse is not easily heard and the comb is more prominent. Take care with your resonance level because it is capable of quickly going to extremes, which can lead to feedback.
Note: Distortion effects created in the source and main filter sections are polyphonic, with each voice distorted independently. This avoids unpleasant intermodulation effects when you play chords. In contrast, the Distortion module in the effects section at the end of the signal path processes a mix of all voices. The filter controls work as follows when the filter type is set to a distortion effect: • Amount: Controls the intensity of the distortion effect.
Logic Pro Alchemy master voice section Master voice section controls are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the Global button. An individual voice generated in the source section is passed through the main filters, then into the master voice section where controls are provided for the amplitude, pan, and coarse and fine-tuning of the voice. The voice is then mixed with other voices at the input of the effects section.
• • Always: If the Num value is 1, a trigger is generated at the start of each legato group, and portamento occurs at the start of every note. For all other Num values, a trigger is generated at the start of every note, and portamento occurs at the start of every note. • Retrigger: A trigger is generated at the start of every note, and portamento occurs at the start of every note.
Alchemy modulation section Logic Pro Alchemy modulation overview Modulation components are shown only in advanced view. Click the Advanced button to switch to advanced view. Alchemy features a modular modulation system that combines ease of use with extensive functionality. The modulation rack is shown at the left. See Logic Pro Alchemy modulation rack controls. The modulator control panel occupies the center portion of the display.
• MSEG. See Logic Pro Alchemy multiple segment envelopes. • Sequencer. See Logic Pro Alchemy sequencer. • Envelope Follower. See Logic Pro Alchemy envelope follower. • ModMap. See Logic Pro Alchemy ModMap. • MIDI control. See Logic Pro Alchemy MIDI control modulators. • Note Property. See Logic Pro Alchemy note property modulators. • Perform. See Logic Pro Alchemy perform control modulators. View or edit modulations assigned to a parameter • In Logic Pro, click the parameter knob.
5. Try adding another modulator to the rack in the slot beneath LFO 1. Note: Up to ten different modulators of any type can be assigned to each control in a preset. Modify the basic modulation In the preceding example, a tremolo effect is achieved by modulating the source A Vol knob with LFO 1. This example expands on the basic modulation by modulating the LFO 1 Rate with KeyFollow, which makes the tremolo effect faster when you play higher notes.
You can still view and edit modulation assignments in these cases. If a knob is located on a modulator control panel or in the modulation rack, Control-click it to open a shortcut menu with several commands. Choose Show Modulation to display the modulation rack associated with the control. Note: Some parameters cannot be modulated. Knobs in the perform section are not modulation targets because they are designed for use as modulation sources.
• Smooth knob: Causes the target to respond more gradually to modulation at values above zero. If you find that rapid filter or amplitude modulation causes unwanted sonic artifacts, one solution is to add a small amount of smoothing. Larger values can also produce interesting effects. Note: The Smooth parameter is not available as a modulation target. • Scroll bar: Drag vertically to view modulation rack routings (slots) that are not currently visible.
Logic Pro Alchemy LFO controls Modulation components are shown only in advanced view. Click the Advanced button to switch to advanced view. The LFO module provides a standard Low Frequency Oscillator, such as you might find in any conventional synthesizer or sampler. There are one or two unusual features, however. Note: The LFO module has no depth control. The modulation depth is adjusted using the Depth knob alongside the slot in the modulation rack.
• Complex: A variety of complex cycles, sweeps, and patterns can be used to create regular (and irregular) patterns for your LFO modulations. • Random Patterns: A variety of complex patterns that can be used to create random LFO modulations. • Serial-Angular: A variety of stepped shapes. • Serial-Smooth: Provides complex rising-and-falling patterns. • Ultra High Frequency: The ultra-high frequency category waveform shapes contain multiple copies of a pattern.
You can adjust the curvature of segments between points. Drag the line between points upward to make a segment progressively more convex; drag it downward to make a segment progressively more concave. Convex, linear, and concave envelope segments produce characteristically different effects. Option-click the line to reset a segment to a linear slope.
• Decay knob: Set the time required for the peak amplitude to fall to the sustain level. Adjustable from 0.00 seconds to 20.00 seconds. • Sustain knob: Set the envelope sustain level as a percentage of peak amplitude. Adjustable from 0% to 100%. • Release knob: Set the time required for the signal amplitude to fall from the sustain level to zero, after the key has been released. Adjustable from 0.00 seconds to 20.00 seconds.
MSEG controls • Current MSEG pop-up menu and field: Access each MSEG control panel by choosing a number from the pop-up menu or with the Previous and Next arrows. Alchemy provides up to 16 envelopes—one by default, but more if you create them when assigning modulators. • File button: Open a pop-up menu with a number of MSEG-related commands. • • Preset submenu: Choose a preset envelope shape. This can be used as is, or as a starting point for your own envelope shapes.
• Edit Mode pop-up menu and field: Choose one of three modes that determine how the MSEG responds to edits. • Normal: Only the selected point or points are moved. Non-selected points remain in their current positions. • Slide: Dragging the selected point or points also moves all subsequent envelope points, retaining the relative distance between points. • Stretch: Dragging the selected point or points to the left compresses earlier points and stretches later points.
Create an MSEG modulation routing for pitch control Though this example is specific to pitch modulation, you can follow these steps to create a modulation routing for other parameters such as Pan or filter Cutoff. 1. In Logic Pro, from the Name bar, click File then choose Initialize Preset to initialize the preset. 2. In the master voice section, click the Coarse Tune knob, and assign MSEG 1 as its modulator. 3. In the modulation rack, set the MSEG 1 Depth control to 24 semitones. 4.
• Value Snap pop-up menu and field: Quantize sequencer step values, limiting them to exact fractions of the available range. For example, a setting of 1/2 aligns bars to the values 0%, 50%, and 100% when dragged vertically. Off disables quantization, which lets you set step values freely. You can also step through available values with the Previous and Next buttons (the arrows).
Use the Alchemy sequencer step editor In Logic Pro, the step editor shows steps numbered from left to right across the top of the display. The appearance and behavior of the step editor is determined by the active Edit Mode menu choice. In the default Value mode, for example, the value of each step is represented by a vertical bar. A blank column is shown when the value is zero. • Drag a bar vertically to adjust its value, or click directly at the required height.
Logic Pro Alchemy envelope follower Modulation components are shown only in advanced view. Click the Advanced button to switch to advanced view. The Env Follower module provides an envelope follower with Attack, Release, and Scale parameters. The Attack and Release times can be set independently. You can set the overall Scale, or amplitude, of the Env Follower output. Adjustments to Attack and Release times cause a slowdown in the reaction time of the envelope follower to the input signal.
Tip: Set the Attack time and Release time values to zero to closely follow the input source. When the envelope follower Source pop-up menu choice is audio, or a very fast modulation, this closely approximates the source envelope shape. Tip: Assign an LFO as the source and modulate the Attack, Release and Scale parameters with other modulation sources to create new and interesting LFO shapes not available from the LFO menu.
ModMap parameters • Current ModMap pop-up menu and field: Access each ModMap control panel by choosing a number from the pop-up menu or with the Previous and Next arrows. ModMaps are created or deleted with the ModMap pop-up menu commands in the modulation rack. The default ModMap does nothing because the output is identical to the input. • • File button: Open a pop-up menu with a number of ModMap-related commands. • Preset submenu: Choose a preset ModMap.
Change the velocity curve with a ModMap 1. In Logic Pro, from the Name bar, click the File button and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings. 2. Click the Master Vol knob to show the modulation rack in the modulation section. Note the two modulators loaded in the modulation rack: AHDSR 1 in the first slot, Velocity in the second. 3. Choose ModMap 1 from the pop-up menu to the right of the Velocity slot in the modulation rack.
6. Play a few notes on your MIDI keyboard to confirm that the KeyFollow response is unchanged by the default ModMap. 7. Edit the ModMap points as follows: • Drag the leftmost point up to a level of 1.00. • Click at a position along the line slightly to the right of the halfway mark to create a new point. Leave the level of this new point at 1.00. • Drag the rightmost point down to a level of 0.00. 8. Play across the keyboard range to hear the source B Vol response.
Logic Pro Alchemy MIDI control modulators Modulation components are shown only in advanced view. Click the Advanced button to switch to advanced view. You can choose one of six different modulation sources from the MIDI submenu in the modulation rack. These are ideal for adding breath and foot controller modulations, for example. Set MIDI continuous controllers as modulators in the modulation rack 1. In Logic Pro, click a slot in the modulation rack, then choose MIDI from the pop-up menu. 2.
• FlipFlop: A modulation signal that is alternately full-scale and zero on successive notes. • FlipFlop2: LikeFlipFlop, but the value reverses every two notes: zero, zero, full, full, in a repeating pattern. Note: The FlipFlop modulators can be used together to create a round robin involving all four sources. To do this, set Morph mode to Morph XY or XFade XY, set the Morph X and Y knobs to 0%, then modulate X with FlipFlop and Y with FlipFlop2 or vice versa. See Logic Pro Alchemy morph controls.
• XYPad1Y: The Y (vertical) axis of the left XY control square. • XYPad2X: The X (horizontal) axis of the right XY control square. • XYPad2Y: The Y (vertical) axis of the right XY control square. • MAttack: The Attack knob. • MDecay: The Decay knob. • MSustain: The Sustain knob. • MRelease: The Release knob. • ModWheel: The modulation wheel. Your choice is immediately mapped to the chosen perform section control.
As you explore the included sound library, you may notice that many presets have a similar performance control layout. Some presets may require special performance controls, but the following guidelines work well for most presets. • Control knobs: Provide quick access to a sound’s main characteristics. You can assign knobs to other parameters in advanced view. • Knobs 1 and 5: Often used for Delay (1) and Reverb (5) level. If other effects are used, other effect parameters can be substituted here.
Transform pad controls In addition to the parameters outlined, you can Control-click directly on snapshots in the Transform pad to open a shortcut menu with a number of snapshot and other commands. See the tasks in this section for details about use of these commands. • Transform pad: Drag the framing box to different positions to morph between performance snapshots in real time. The performance control knobs update, modulating the associated parameters.
Each modwheel target offers an inverted option. This is useful when using a springloaded modulation wheel as it stops the target performance control from closing when the modulation wheel is released. • Snap Vol field: Set the intensity of change from one snapshot to the next. In essence, this sets an initial level between snapshots. All snapshots should be approximately the same volume, with a peak level around -5dB. You should also be mindful of relative volume levels between snapshots.
Swap a Transform pad snapshot 1. In Logic Pro, click the snapshot you want to swap. 2. Control-click anywhere on the Transform pad, then choose Swap Current Snapshot from the shortcut menu. 3. Choose the target snapshot 1-8 from the submenu. The positions of the two snapshots are swapped. Switch between Transform pad snapshots with your MIDI keyboard 1. In Logic Pro, select a MIDI note name, such as C4 from the Octave pop-up menu. The first eight notes of the chosen octave are assigned to snapshots 1–8. 2.
Performance control knob shortcut menu items • Delete Modulation: Shows a list of all targets receiving modulation from the knob. Select an item in this list to delete the corresponding modulation assignment. • Swap With: Exchange all modulation assignments between the selected knob and any other performance control selected from a list.
• Copy X/Y to All Snapshots: Updates all eight snapshots with the current value of the selected x- or y-axis, which replaces the stored value of that axis in each snapshot. • Auto Assign: Set a modulation target for the selected x- or y-axis and update the label. • Lock Control: Enable to prevent the Transform pad from affecting the assigned control. This is useful when you want to automate the assigned parameter independently of the Transform pad.
Alchemy arpeggiator Logic Pro Alchemy arpeggiator overview Alchemy offers a flexible and powerful arpeggiator. The arpeggiator is shown only in browse or advanced view. Click the Browse or Advanced button to switch to either view, then click the Arp button in the Perform/Arp/Effects section. The arpeggiator subpage consists of three main sets of controls. • Basic arpeggiator controls: These buttons and knobs determine the basic behavior of the arpeggiator. See Logic Pro Alchemy basic arpeggiator controls.
Basic arpeggiator controls • All/A/B/C/D buttons: Choose the target source that is used to play the arpeggiator pattern. See the tasks in Use the Logic Pro Alchemy arpeggiator. • When set to All, the arpeggiator pattern is played by all active sources. • You can restrict the arpeggiator pattern to a single target source by setting values for one of the A, B, C, or D arpeggiators. The other three sources, if active, respond to incoming MIDI data with no arpeggiation.
• Rate knob: Set the duration of each arpeggiator step. When Sync is on the arpeggiator is synchronized with the project tempo, and Rate is set in bars/beats. When Sync is off, the Rate knob sets a constant length for each step which is unaffected by project tempo changes. • Octave knob: Determine if the arpeggiator pattern is played only at its original pitch or across higher octaves when the pattern is repeated. • Length knob: Set the length of each arpeggiated note.
Logic Pro Alchemy arpeggiator sequencer The arpeggiator is shown only in browse or advanced view. Click the Browse or Advanced button to switch to either view, then click the Arp button in the Perform/Arp/Effects section. The arpeggiator sequencer section is similar in functionality to the step sequencer in the main modulation section, but with an important difference: the arpeggiator sequencer provides multiple sequences running in parallel, each hardwired to a different arpeggiator parameter.
Alchemy Arpeggiator Step edit mode parameters • Edit Mode buttons: Use the Step or Multi button above the to choose the sequencer view and edit mode. • Target pop-up menu: Choose the parameter to view and edit. • • Velocity: These values set the velocities of notes generated by the arpeggiator, assuming the Note Vel knob is not set to 100%. Set a step value to zero to create a rest. No note is played on that step. • Tune: These values determine tuning offsets for each step in semitones.
• Pan knobs: Set panning offsets for each step. Double-click to reset the offset to zero. • Scroll bar: Drag the middle of the scroll bar to view steps that are not visible in the display area. Logic Pro Alchemy arpeggiator menu commands The arpeggiator is shown only in browse or advanced view. Click the Browse or Advanced button to switch to either view, then click the Arp button in the Perform/Arp/Effects section.
4. Play a chord and hold it: the individual notes of the chord are arpeggiated with regular 1/8th notes. 5. Try one or more of the following: • Set the Rate knob to 1/16 to create 1/16th note arpeggios instead of 1/8th notes. • Set the Octave knob to 2 or 3, so the pattern is transposed up by octaves before repeating at the original pitch. • Adjust the Swing knob to add a swing feel. Note that this knob is capable of extreme settings, so use lower values for a normal swing feel.
Choosing a different mode results in source A and B alternately playing in unison or playing intervals from within the chord you play. Try setting one of the arpeggiators to Random mode to add a level of unpredictability. Choose different Rate settings to change the playback timing of sources. Try combining a straight timing for one source with a triplet or dotted timing for another to create complex polyrhythms. 8. Repeat steps 5-7 for sources C and D if you require additional arpeggiated sources.
9. Switch to advanced view if required, then click the Global button, and set the Num(ber) of voices to 1 to create a monophonic preset. See Logic Pro Alchemy master voice section. 10. Set the voice mode to Legato. 11. Click the Time button to set the Glide mode. 12. Set a small Glide knob value, such as 50ms or lower, to introduce pitch glides for tied and detuned steps. This results in smooth, rather than jarring, pitch transitions. Create synchronized rhythmic pulsing chord patterns in Alchemy 1.
Output from the effects section is mixed with the dry output signal from the main or source filter modules before being sent to the Alchemy main outputs. For each effect loaded in each effects rack, there is a corresponding control panel shown in the area to the right. The top-to-bottom order of the selected rack is shown from left-toright in the control panel area. Drag the gray scroll bar to view effects units or parameters that are not visible in the control panel area.
• • The Load, Save, Copy, and Paste commands apply to the entire contents of the selected effects rack and to the settings of each loaded effect. • The Clear command removes all loaded effects in the selected effects rack. • The Randomize command randomizes the settings of all currently loaded effects in the selected effects rack. Scroll bar: Drag vertically to view effects rack slots that are not currently visible.
• Attack knob: Set the time it takes for the compressor to react when the signal exceeds the threshold level. • Release knob: Determine how quickly the compression effect subsides once the input signal falls below the threshold value. • Threshold knob: Set the threshold level. Signals above this threshold value are reduced in level. • Input Gain knob: Set the level of gain applied to the signal at the compressor input.
• Tube knob: Use to simulate the warm distortion effect of an overdriven tube amp. • XCite knob: Use to create distortions with an enhanced high-frequency range. • Pre Gain knob: Set the amount of input gain applied before the distortion effect. This enables you to produce heavily saturated distortions with some distortion types, especially Tube. • Post Gain knob: Set the output level to compensate for significant signal boosts caused by distortions such as Tube and Mech.
• Bipolar button: Turn on to use a bipolar filter curve. Turn off to use a unipolar filter curve. • File button: Open a pop-up menu with several useful commands. • Presets: Choose a preset from the submenu. • Save: Open a dialog where you can name and save the current settings to a new preset. The saved preset name is shown at the bottom of the Presets submenu list. • Copy/Paste: Copy the current settings to the Clipboard and paste the Clipboard contents.
• Mix knob: Determine the Wet/Dry balance (0% = dry only; 50% = equal mix; 100% = wet only). • File button: Open a pop-up menu with several useful commands. • Presets: Choose a preset from the submenu. • Save: Open a dialog where you can name and save the current settings to a new preset. The saved preset name is shown at the bottom of the Presets submenu list. • Copy/Paste: Copy the current settings to the Clipboard and paste the Clipboard contents.
• Rate knob: Set the modulation speed. Can be synchronized with the project tempo when Sync is enabled. See Sync button. • Depth knob: Set the modulation intensity. • Spread knob: Spread the delayed signal across the stereo field. • Frequency knob: Set the filter cutoff frequency. • Poles knob: Set the intensity of the phasing effect. Higher values result in a more cutting and harsh phasing sound.
• Mix knob: Set the wet/dry balance (0% = dry only; 50% = equal mix; 100% = wet only). • File button: Open a pop-up menu with several useful commands and to access presets. • Presets: Choose a preset from the submenu. • Save: Open a dialog where you can name and save the current settings to a new preset. The saved preset name is shown at the bottom of the Presets submenu list. • Copy/Paste: Copy the current settings to the Clipboard and paste the Clipboard contents.
Tip: Where possible, try to use the shortest possible impulse response length required because this helps to reduce CPU load. If you change the IR length, you will need to adjust the envelope shown in the Impulse response display. • Impulse response display: View the loaded impulse response waveform. An editable level envelope is superimposed over the waveform. • Drag the envelope points to set levels over the duration of the impulse response. • Click on or near the envelope line to create new points.
Logic Pro Alchemy extended parameters Alchemy provides additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface. Extended parameters • MIDI Mono Mode pop-up menu: Choose Off, On (with common base channel 1), or On (with common base channel 16). In either mode, each voice receives on a different MIDI channel. Per voice channels support pitchbend, aftertouch, modwheel, and Performance control assignment messages.
Logic Pro Alchemy basic synthesis tweaks Alchemy provides thousands of ready-made presets for you to explore. These are not only a great resource for musical inspiration but can also provide numerous insights into how sound designers have created them. Even if you’re not inclined to program your own sounds from scratch, some small tweaks to existing presets can provide that “perfect” sound for your projects or performances. Note: Images shown in tutorials are not specific to presets used in tasks.
When you play the keyboard staccato you will hear a less sustained sound with a different harmonic makeup, and the delay effect is more easily heard. Play across a large range of the keyboard, and adjust the Cutoff Env knob to hear how this affects the filter response. 4. Click the Effects button to view the effects section, then choose the Slapback preset from the Delay plug-in File menu. Play a few notes to hear the impact this has, then choose the Bandpass Ping Pong preset. 5.
Tip: Muting sources in this way is also a good working practice when editing or adjusting source settings because it allows you to focus on the sonic characteristics you are trying to achieve for the source. You can unmute the source and adjust the Volume settings of each to set the balance between them once you’ve made your changes. 3. Click the Perform button to view the performance controls, then drag the framing bracket in the Transform pad while playing your keyboard.
4. In the central modulation section, set the Attack, Hold, and Decay knobs to zero, set Sustain to around 75%, and Release to around 0.065. You may also want to adjust the Attack knob in the performance controls section if the attack phase of the sound is too slow or too quiet. Play the keyboard to hear a simple synth bass sound. Adjust filters to tweak a sound in Alchemy 1.
Recycle sources and sound settings from other presets in Alchemy This is less of a tweak and more of a shortcut for sound creation. Alchemy provides thousands of presets that can be partially used for new sounds, sequences, modulation settings, arpeggios, effects settings, and more. 1. In any loaded Logic Pro preset, click the source name field and choose Save Source from the pop-up menu. 2. Give the source a name in the file dialog, and click Save.
3. Click the Additive button, just below the File button in the Name bar, then click the Additive On button to enable the additive engine. Double-click the Additive Vol knob to reset the level, then play a few notes to hear the sound. 4. Click the Edit button to the left of the Realtime Spectrogram (waveform) display. The main edit window opens. 5.
Play your keyboard to hear how this sounds. Depending on what you’ve drawn, you should hear a harsh and edgy digital sound. 7. Click the Mode pop-up menu, and choose Fifth (harmonics). 8. Drag the first harmonic vertically to see how the fifth harmonics only are changed, noting that the change is relative to the first harmonic. This is how you adjust grouped harmonics. Adjusting groups of, rather than individual, harmonics is the best approach to take when creating additive sounds.
11. Close the edit window, and experiment with the Fundamental, Octaves, Odd/Even, and Fifths knobs in the additive effects section. Also adjust the PVar and Sym knobs to hear their impact. 12. Choose Stretch from the second additive effects pop-up menu, and experiment with the Stretch and String knobs. 13. As further steps, you may also want to Control-click different Additive controls to assign modulation routings.
5. Click the Global button at the top left, then click the Master Vol knob. Adjust the Release knob to a value around 1.00 in the central AHDSR envelope section. 6. Click the Effects button at the lower left to view the effects section. 7. Choose Mod FX in the top effects slot, then click the Mod FX File button and choose Preset > Big Chorus. You may want to adjust the Rate to around 2.8 Hz. 8. Choose Phaser in the second effects slot, then click the Phaser File button and choose Preset > Subtle Vibrato.
Alchemy also offers resynthesis which uses the additive or spectral synthesis engines, or a combination of the two, along with optional formant control. Resynthesis, put simply, analyzes a source audio file and reconstructs a facsimile of this sound using sine waves and noise signals. You can then manipulate these reconstructed elements to create new presets. The additive engine is well suited for single notes with a strong harmonic character.
7. Click the source select buttons at the left for sources B, C, and D, then click the Additive, Spectral, Pitch, Formant, Granular, and Sampler buttons at the upper right to view the parameters of each synthesis engine. 8. Listen to each source in isolation, and experiment with these synthesizer engine parameters to get a feel for what each engine provides for imported material.
Note: Images shown in tutorials are not specific to presets used in tasks. They are included as a guide to help you find areas and parameters in the Alchemy interface. Logic Pro Alchemy morph use and tips Source components are shown only in advanced view. Click the Advanced button to switch to advanced view, then click the Morph button to view and use the morph controls. See Logic Pro Alchemy morph controls. It is important to choose the same analysis mode for all morphed sources.
2. In the Import browser, click the Additive, Spectral, or Granular import mode button. 3. Select the files you want to use, then click the Import button. When you import additive, spectral, or granular data, Alchemy automatically sets warp markers at the following positions: • The absolute start point of the sound. • The end of the attack portion. • The loop start point. If a sample does not have loop points, loop points are automatically chosen. • The loop end point.
• To delete an existing warp marker, double-click its handle. If your sounds are single notes, the placement of the five default warp markers usually delivers good results when morphing. You may want to change the position of marker 2, placing it at the point where it sounds like the end of the attack for each sound. This can produce a more convincing morph between sounds with contrasting attack qualities.
4. Click the XFade XY, XFade Lin, and Morph Lin buttons to hear the impact each type of crossfade or morph has on the sound. Experiment with the All, Elements, X and Y, A-B, C-D, and A-B-C-D parameters available in each morph or crossfade mode. 5. In the performance section, drag the Transform pad framing box to the “Bold Pluck,” “Glassy,” and other snapshots, repeating step 3 and playing as you audition each variation. You’ll see movements in the Transform pad update the other performance section controls.
2. Switch to advanced view, and set up each of the four sources with a different, but complementary sound. Feel free to use any of the synthesis engines for each source or to blend multiple engines within one source. 3. Click the Morph button at the left to view morphing parameters, then click the XFade XY button. 4. Make sure the X knob is set to zero, then Control-click the X knob and choose Add Modulation > Perform > XYPad1X from the shortcut menu. 5.
6. Click the Morph button at the left to view morphing parameters, then click the Morph Lin button to view linear morphing parameters. 7. Click the A-B button to change the linear morphing mode. You can now use the X knob to morph between the two speech samples. Each resynthesis method creates different sounding results even before morphing, and the results halfway through the morph are dramatically different. Experiment with each sample import method to determine which delivers the best outcome. 8.
Morph four additive sources using a pair of MSEG envelopes in Alchemy 1. In Logic Pro, from the Name bar, click the File button and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings. 2. Switch to advanced view, then click the Morph button to show morphing parameters. 3. Click the source A select field, and choose Import Audio. 4. Select Additive mode in the Import browser, choose a suitable sample, and import it. Turn on Formant mode. 5.
2. Click the source select field for source A and choose Import Audio. The Import window opens. 3. Open the Apple Loops browser, and type “Lockstep” in the search field. Drag the Lockstep Beat 02 loop to the Dropzone area of the Import window. 4. Click the Spectral and Formant analysis mode buttons at the lower left, then click the Import button. This determines the synthesis engine used for resynthesis of the audio sample. Spectral + Formant is a good general purpose option that works well for drum loops.
9. Click the Morph button at the left to show the morphing section at the upper right, then drag the handle in the middle of the morph control area from left to right to hear the level of each source crossfade. The default view shows XY set to crossfade, not morph, between the sources. 10. Select one of the two morph buttons in the morphing section to access the elemental morphing controls.
Morph pitch and formants in Alchemy 1. In Logic Pro, move the Pitch handle (green dot) from left to right. You can also rotate the Pitch knob. Drum beats don’t generally contain much pitched information, so use of the Pitch control may have little impact when working with loops. In this case, however, setting Pitch to the far right position results in the prominent high tom of the Insider Groove Beat becoming louder near beat 2.
6. Control-click the Position knob for source B, and choose Paste Modulation from the shortcut menu. The playback position of both loops is now controlled by LFO1, and they play back in sync with the project tempo. 7. Click the Morph button to view morphing parameters, then click the Morph Lin button. 8. Click the A-B button to use the X knob to morph between the two time-aligned drum loops. 9. As an optional step, you can click the Elements button to use or assign element controls.
Morph melodic sounds in Logic Pro Alchemy Sounds that contain melodic or harmonic material, such as those that are not purely drums or percussion, present more challenges when morphing. In these cases, it’s especially important to understand some of the limitations and to know which synthesis options will deliver the best results.
9. Drag the handle between the two sources while holding a note to hear the sound morph from the vocal (source A on the left) to the synth lead (source B on the right). 10. Click the Elements button to show the elemental morphing controls, then move the Pitch handle (green dot) to the far right while holding down C3 on your keyboard. You can also rotate the Pitch knob. When the note cycle restarts, you will hear the vocal sample “singing” the melody provided by the synth lead phrase in source B.
Create envelope morphs in Alchemy The Envelope control in the morph section primarily morphs between the timing of sources. This has little effect when files are close in length, but this behavior changes when the playback length of files is altered. 1. In Logic Pro, click the Morph button at the left to show the morphing section at the upper right, then move the Envelope handle (yellow dot) to the far left. You can also use the Envelope knob to move the Envelope handle. 2.
Use linked morph parameters in Alchemy A green arc around a parameter indicates that it is morphed when you move dedicated morph controls. Setting general (non-morph area) parameters to different values for each source provides another technique that can influence morphing results. 1. In Logic Pro, click the source A button at the left, then click the Formant button at the upper right to view the Formant controls.
3. Click the source select field for source A, and choose Import Audio from the pop-up menu. The Import window opens. 4. Open the Apple Loops browser, and type “Basic Vintage Break” in the search field. Drag the Vintage Funk Loop 03 file from the Apple Loops browser to the Dropzone area of the Import window. Note that the original tempo of this file is 100 BPM and that it is 8 beats (2 bars) long. 5. Click the Spectral and Formant analysis mode buttons at the lower left, then click the Import button.
Modulate position with an LFO in Alchemy 1. In Logic Pro, Control-click the Position knob and choose Add Modulation > LFO > LFO1 from the shortcut menu. This assigns LFO 1 to control the Position knob, and the central modulation section automatically updates to display the controls for LFO 1. 2. Switch the LFO shape from Sine to Ramp Up, and set the Rate to 2 (measures) to match the length of the Apple Loop.
• You can play notes of different pitches or can use pitch bend to add a chopped and screwed effect to your loops. The default pitch bend range is 2 semitones, but Alchemy supports bi-directional pitch bends of up to 36 semitones. To set this, click the Global view button and set the up and down pitch bend values independently in the master section.
5. Drag points horizontally to move them, noting that they snap to the tempo grid. Drag vertically to set the following values for each point. • Bar 1: Point value 0% • Bar 5: Point value 50% • Bar 7: Point value 25% • Bar 9: Point value 50% 6. Hold a note to hear the loop play forward, backward, and then forward again at the project tempo. More complex MSEG settings can cause the position to jump to specific points in the loop, thus creating variations of the original loop.
Drum Kit Designer Logic Pro Drum Kit Designer overview Drum Kit Designer lets you build custom drum kits from a wide selection of drum and percussion sounds. It also provides controls that change sound characteristics and the level of each piece in your kit. Further settings allow you to use different microphones and rooms to enhance Producer kits. Producer kits are identified in the Library by a “+” at the end of the patch name.
Logic Pro Drum Kit Designer Edit pane The Edit pane is used to change sound characteristics and the level of each piece in your kit. Edit pane parameters • Tune knob and field: Adjust the pitch of the selected kit piece. • Dampen knob and field: Adjust the sustain of the selected kit piece. • Gain knob and field: Adjust the volume of the selected kit piece. • Leak switch (Producer kits only): Include the sound in the mic of the other kit pieces.
Preview a drum or percussion piece • In Logic Pro, click a drum or percussion piece. The first time you click any drum or percussion piece after opening the plug-in, one or two panes open. You can exchange individual sounds in the Exchange pane to the left and can edit individual drum or percussion piece settings in the Edit pane to the right. Adjust kit piece settings (all kits) 1. In Logic Pro, click a drum or percussion piece. The Edit pane opens to the right.
Exchange a kit piece For all kits, you can exchange kick and snare. When working with Producer kits, you can additionally exchange toms, cymbals, and hi-hat. Note: Producer kits and some drums are only available after you download additional content. 1. In Logic Pro, click a drum or percussion piece. The Exchange pane opens to the left if exchange pieces are available for that kit piece. 2. Click the Info button of a selected piece to view its description. 3.
• To include the kit piece overhead mic in the sound: Turn on the Overheads switch. This turns the overhead mic for the selected kit piece on or off. • To choose a room emulation to use with the sound: Choose between rooms A and B. You can also turn off the room microphones. Rooms A and B determine which room mic setup is used with the kit piece.
Logic Pro Drum Kit Designer mappings Drum Kit Designer is compatible with the GM standard. You can also choose GM + ModWheel, which lets you use your keyboard modulation wheel to adjust the amount the hi-hat opens and closes during a drum performance. Drum Kit Designer is also compatible with the V-Drum standard. The images show how drum sounds are remapped when different modes are chosen with the Input Mapping pop-up menu in the extended parameters, and when using kits that contain brush snares.
Brush snare special features Kits that contain brush snares have preset behaviors that can enhance your performances and compositions. Note: The following features apply only to keys that trigger a brush snare drum sound. • Left and right hand playing is chosen automatically when using MIDI channel 1. This behavior is based on default preferences such as the left hand being used for brush circles (if this hand isn’t already in use), and playing situation.
Drum Machine Designer Logic Pro Drum Machine Designer overview Drum Machine Designer is the ideal way to create, organize and interact with kits and kit pieces. It is used for Drummer tracks but can also be used on instrument channel strips. When combined with Step Sequencer, it provides an incredibly flexible and inspiring platform for groove production. Drum Machine Designer structure Drum Machine Designer is not a plug-in, although it can be inserted into instrument channel strips.
How Drum Machine Designer handles notes MIDI notes received on the master track are distributed to subtracks, in accordance with the input and output notes assigned to the pads. This is true for both notes played by regions on the master track, and for notes played in realtime when the master track is the focused track. For example, if the pad assigned to the first subtrack is set to input note C1 and to output note G2, a C1 played on the master track is converted to a G2.
Logic Pro Drum Machine Designer interface The Drum Machine Designer interface is divided into the following main areas and elements. • Kit controls bar: A collection of kit pieces is known as a kit. Click the kit name pad or the Kit Controls button on the kit controls bar above the grid to interact with global effects and control settings for the entire kit in the Smart Controls pane, if visible. See Manage Drum Machine Designer kits. • Grid: Each pad offers its own kit piece or sound.
Manage Logic Pro Drum Machine Designer kits Drum Machine Designer shows a grid representation of the kit for the currently loaded patch. Each pad represents a kit piece. You can edit a number of settings for the entire kit, discussed in this section. To learn about interacting with kit pieces, see Drum Machine Designer Pad controls bar and Use Drum Machine Designer pad controls. The kit controls bar above the grid shows the active kit name and provides access to kit parameters.
• Select Channel strip by Pad: Choose to turn on or turn off the selection of channel strips when you click a pad in the grid. Note: This not only selects the corresponding subtrack and channel strip of the selected pad, but also sets focus to the master track. This ensures that notes played on the master track continue to be distributed to all subtracks.
Load and exchange kits 1. In Logic Pro, click the kit name pad in the kit controls bar at the top of the Drum Machine Designer window. If the Smart Controls pane is not visible, click the disclosure triangle at the lower left of the grid. Click the Action menu on the kit controls bar, then choose “Open Library” if the Library is not visible. 2. Click a kit patch in the Library to load that kit.
Save an edited kit as a kit patch 1. In Logic Pro, click the Save button at the bottom of the Library pane. If the Library is not visible, click the Action menu on the kit controls bar, then choose “Open Library”. In the Finder window: 2. Browse to the file location you want to use. The default folder location is User Kit Patches. If required, create a new folder. 3. Type the kit patch name, then press the Save button.
Note: These buttons are visible only if the Smart Controls pane is shown. If the Smart Controls pane is not visible, click the disclosure triangle at the lower left of the grid. • Disclosure triangle: Hide or show the Smart Controls or plug-in editing area in the lower part of the Drum Machine Designer window. • Page switcher buttons: Click the arrows or circle icons to choose pages in the grid.
Pad parameters • Pad: Move the pointer over the pad to view Mute, Solo, Input, Output, and Action menu options. Click the speaker icon to play the sound. Drag the pad to reorder it in the grid. Double-click the pad or kit name to rename it (and the subtrack). You can also exchange the kit piece sound assigned to the pad. Note: When you click a pad icon or pad background, the Smart Controls pane updates to show parameters specific to the sound.
• Resample Pad: Choose to initiate a resampling process. This sends the input note of the selected pad to Drum Machine Designer, which plays the assigned instrument, inclusive of all channel strip and master track plug-ins. The resulting Drum Machine Designer output is resampled, and loaded into a new Quick Sampler instance on a new channel strip and subtrack, which is automatically assigned to the first available (lowest numbered) unassigned pad.
Note: The resampling process that takes place when a region is dropped onto a pad inserts a new Quick Sampler instance on a new subtrack, which is mapped to the first available (lowest numbered) unassigned pad. Play a drum or kit piece • In Logic Pro, do one of the following: • Place the pointer over a pad, then click the speaker icon. The sound is played from start to end. • Place the pointer over a pad, then click-hold the speaker icon.
Edit the sound of a kit piece You can use Smart Controls parameters to process and affect the overall kit or selected kit piece. Note: If the Smart Controls pane is not visible, click the disclosure triangle at the lower left of the grid. 1. In Logic Pro, click the icon or a pad background of the kit piece you want to edit. 2. Click the Pad Controls button in the pad controls bar. 3. Adjust the Smart Controls parameters for the kit piece.
• Drag a pad between pages in the grid. An arrow is briefly shown at the left or right edge of the grid, which then moves to the target page. Drop the pad at the location you want to use on the page. • Drag a pad onto another pad in the grid to swap their positions. Note: Dragging behavior is affected by the option you chose in the “Reorder Pads” submenu in the kit controls bar Action menu.
Kit Tone and Effect Smart Controls The Smart Controls pane shows parameters you can apply to either all sounds within the kit, or to an individual kit piece. The parameters discussed in this section affect the entire kit. To view kit tone and effect parameters in the Smart Controls pane, click the Kit Controls button in the kit controls barabove the grid. If the Smart Controls pane is not visible, click the disclosure triangle at the lower left of the grid.
Kit Piece Tone and Effect Smart Controls The Smart Controls pane shows parameters you can apply to either all sounds within the kit, or to an individual kit piece. The parameters discussed in this section are specific to kit pieces. To view kit piece tone and effect parameters in the Smart Controls pane, click the Pad Controls button in the pad controls barbelow the grid. If the Smart Controls pane is not visible, click the disclosure triangle at the lower left of the grid.
Logic Pro Instruments • Pan knob: Set the stereo position of the sound. • Pitch knob: Set the tuning of the sound in semitone steps. • Presence knob: Use to change the attack phase of the sound, making it bright and punchy, or soft and muted. • Reverb knob: Set the amount of reverb effect added to the sound. • Spread knob: Use to change the perceived stereo width of the sound. • Sub knob: Add a sine wave signal to the sound. The sine wave is an octave lower than the original sound.
Drum Synth Logic Pro Drum Synth overview Drum Synth provides you with easy access to a powerful electronic drum synthesis engine. Depending on the sound type you’ve chosen, up to eight specially selected controls for pitch, filtering, effect, and envelopes allow you to quickly create the electronic drum sound you need. You can, of course, add further processing plug-ins in the instrument channel strip or busses.
• Mode pop-up menu: Choose a playback mode. • Mono: One voice can be played. If you play another key, the newly played note cuts off the playing note. • Poly: You can play multiple notes simultaneously. • Gate: Like ‘Mono’, but the sound is heard only while you hold the key. The parameters of individual types of drum sound are covered in other sections.
Logic Pro Drum Synth Snares and Claps You can create synthetic and electronic snares, rimshots, and handclaps with the Drum Synth Snares and Claps group instruments. Drum Synth snare and clap sound parameters You can change the snare or clap sound by adjusting its parameters. Not all parameters are available for each type of snare or clap sound. Parameters interact with each other, changing the behavior and impact of adjustments you make, resulting in a broader range of potential sounds.
Logic Pro Drum Synth Percussion You can create electronic tom sounds, synthetic percussion and wild metallic tones with the Drum Synth Percussion group instruments. Drum Synth percussion sound parameters You can change the percussion sound by adjusting its parameters. Not all parameters are available for each type of percussion sound. Parameters interact with each other, changing the behavior and impact of adjustments you make, resulting in a broader range of potential sounds.
Logic Pro Drum Synth Hats and Cymbals You can create electronic crash and ride cymbal sounds, hi-hat sounds, and shaker sounds with the Drum Synth Hats and Cymbals group instruments. Drum Synth hat and cymbal sound parameters You can change the hat or cymbal sound by adjusting its parameters. Not all parameters are available for each type of hat or cymbal sound. Parameters interact with each other, changing the behavior and impact of adjustments you make, resulting in a broader range of potential sounds.
ES1 Logic Pro ES1 overview ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface. ES1 produces sounds using subtractive synthesis. It provides an oscillator and suboscillator that generate harmonically rich waveforms. You subtract (cut, or filter out) portions of these waveforms and reshape them to create new sounds.
• Filter parameters: Located in the upper-middle section with the circular Filter area as well as the Drive and Key scaling parameters, the filter is used to contour the waveforms sent from the oscillators. See Logic Pro ES1 filter parameters overview. • Amplifier parameters: Located in the upper right, the amplifier parameters allow you to fine-tune sound level behavior. See Logic Pro ES1 amplifier parameters.
Modulate ES1 pulse width • In Logic Pro, rotate the Wave knob to a position between the square wave and pulse wave symbols. The pulse width can also be automatically modulated in the modulation section (see Use the Logic Pro ES1 router). Modulating the pulse width with a slowly cycling LFO, for example, allows periodically mutating, fat bass sounds. Logic Pro ES1 oscillator waveforms The table outlines the basic tones of the oscillator waveforms—how they affect your synthesizer sound.
Logic Pro ES1 global parameters The global parameters affect the overall sound, or behavior, of ES1 and are found primarily in the strip that spans the lower edge of the ES1 interface. The Glide slider is displayed above the left end of the strip. Global parameters • Glide slider: Set the amount of time it takes to slide between the pitches of each triggered note. The Glide trigger behavior depends on the value set in the Voices field (see below). • Tune field: Tune the instrument in cents.
• • Chorus field: Choose a classic stereo chorus effect, an ensemble effect, or disable the effects processor. • Off disables the built-in chorus circuit. • C1 is a typical chorus effect. • C2 is a variation of C1 and is characterized by a stronger modulation. • Ens(emble) uses a more complex modulation routing, creating a fuller and richer sound. Midi Mode pop-up menu (Extended Parameters area): Determine how ES1 responds to MIDI controllers. Choose either Off or Full Remote.
• Drive slider: Change the behavior of the Resonance parameter, which eventually distorts the sound of the waveform. Drive is actually an input level control, which allows you to overdrive the filter. • Key slider: Set the effect that keyboard pitch (the note number) has on filter cutoff frequency modulation. • If Key is set to zero, the cutoff frequency does not change, no matter which key you strike. This makes the lower notes sound comparatively brighter than higher notes.
Logic Pro ES1 amplifier parameters The parameters in the ES1 Amplifier section allow you to fine-tune sound level behavior. These are separate from the global Out Level parameter, which acts as the ES1 master volume control. See Logic Pro ES1 global parameters. Amplifier parameters • • Level via Vel slider: Determine how note velocity affects the synthesizer level. The greater the distance between the arrows (indicated by the blue bar), the more the volume is affected by incoming velocity messages.
• Sustain slider: Set the sustain level, which is held until the key is released. • Release slider: Set the time it takes the envelope to fall from the sustain level to a level of 0. Logic Pro ES1 cutoff envelope modulation The envelope generator modulates the filter cutoff frequency over the course of a note duration. The modulation intensity and response to velocity information is set with the ADSR via Vel slider in the Filter section.
Gate refers to a control signal used in analog synthesizers that is sent to an envelope generator when a key is pressed. As long as an analog synthesizer key is pressed, the gate signal maintains a constant voltage. When Gate is used as a modulation source in the voltage-controlled amplifier (instead of the envelope), it creates an organ-type envelope without any attack, decay, or release phase—in other words, an even, sustained sound.
Modulation parameters • LFO parameters: Used to modulate other ES1 parameters. See Use the Logic Pro ES1 LFO. • Router: Enables you to choose the ES1 parameters that are modulated. See Use the Logic Pro ES1 router. • Modulation Envelope: A dedicated modulation control source that can be used to control various ES1 parameters, or it can be used to control the LFO level. See Use the Logic Pro ES1 modulation envelope.
Use the Logic Pro ES1 LFO The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can use to modulate other ES1 parameters. LFO parameters • • • Wave knob: Set the LFO waveform. Each waveform has its own shape, providing different types of modulation. • You can choose the following waveforms: triangle; ascending and descending sawtooth; square wave; sample & hold (random); and a lagged, smoothly changing random wave.
Use the Logic Pro ES1 modulation envelope The modulation envelope can directly modulate the parameter chosen in the router. It determines the time it takes for the modulation to fade in or fade out. At its center position (click Full), modulation intensity is static—no fade-in or fade-out occurs. When set to its full value, modulation intensity is at a constant level.
Set up a delayed vibrato 1. In Logic Pro, drag the Form slider to the right—toward attack. 2. Select Pitch as the LFO target in the left column of the router. 3. Use the Wave knob to select the triangular wave as the LFO waveform. 4. Drag the Rate field to an LFO rate of about 5 Hz. 5. Drag the upper Int via Wheel arrow to a low value, and the lower arrow to 0. Logic Pro ES1 MIDI controllers The table outlines the way ES1 responds to MIDI continuous controller numbers (CC).
Logic Pro Instruments Controller number Parameter name 106 LFO waveform 107 LFO modulation target 108 LFO: Int via Whl (lower slider) 109 LFO: Int via Whl (upper slider) 110 Glide slider 111 Tune parameter 112 Analog parameter 113 Bender Range parameter 114 Out Level parameter 115 Voices parameter 212
ES2 Logic Pro ES2 overview ES2 combines subtractive synthesis with elements of FM and wavetable synthesis to generate an extraordinary variety of sounds. This makes it the perfect choice for creating powerful pads, evolving textures, rich basses, or synthetic brass. If you’re new to synthesizers, see Synthesizer basics overview, which introduces you to the fundamentals and terminology of different synthesis systems.
Logic Pro ES2 interface overview The ES2 graphical interface is divided into the following main areas. • Oscillator section: The oscillator parameters are shown in the upper-left area of the ES2 interface. The Triangle is used to set the mix relationships between the three oscillators. See Logic Pro ES2 oscillator parameters overview.
• Planar Pad: The square area at the top right is a two-dimensional controller known as the Planar Pad. The Planar Pad facilitates the simultaneous manipulation of two assignable parameters, and can be controlled with the mouse, another controller, or the Vector Envelope. See Use the Logic Pro ES2 Planar Pad. • Effect section: The built-in effect-processing options are found to the right of the output parameters. See Logic Pro ES2 integrated effects processor.
Oscillator parameters • Oscillator on/off buttons: Click the number to the right of each oscillator to independently turn each on or off. A green numeric button indicates an active oscillator. A gray numeric button denotes an inactive oscillator. Deactivating an oscillator saves computer processing power. • Wave knobs: Choose the waveform that an oscillator generates. The waveform is responsible for the basic tonal color. See Logic Pro ES2 basic oscillator waveforms.
• A ring modulator, which is fed by the output of oscillator 1 and a square wave from oscillator 2 • Colored noise for oscillator 3. See Use the Logic Pro ES2 noise generator. Oscillator synchronization and ring modulation allow for the creation of very complex and flexible harmonic spectra. The principles behind oscillator synchronization are described in SynchronizeLogic Pro ES2 oscillators. Ring modulation principles are described in Use ring modulation in Logic Pro ES2.
In pure FM synthesis, the frequency of one signal generator, or oscillator, is altered (modulated) by another signal generator. Positive values from the second generator increase the frequency of the first generator. Negative values decrease the frequency. In a synthesizer, this type of modulation takes place in the audible range. Depending on the design of the instrument, you can hear the signals of either the first oscillator alone (being modulated by the other oscillator), or both oscillators.
A ring modulator has two inputs. At the output you hear both the sum and difference frequencies of the input signals. If you ring modulate a sine oscillation of 200 Hz with a sine oscillation of 500 Hz, the output signal of the ring modulator consists of a 700 Hz (sum) and a 300 Hz (difference) signal. Negative frequencies result in a change to the phase polarity of output signals.
• To select the Digiwave numerically, Shift-click the Sine label, then type a value. Use the Logic Pro ES2 noise generator The sonic palette of oscillator 3 is bolstered by the inclusion of a noise generator, which can be activated by choosing the noise waveform. By default, the oscillator 3 noise generator generates white noise. White noise is defined as a signal that consists of all frequencies (an infinite number) sounding simultaneously, at the same intensity, in a given frequency band.
Rotate to randomly alter the pitch of each note and the filter cutoff frequency. Much like polyphonic analog synthesizers, all three oscillators maintain their specific frequency deviation from each other, but the pitches of all three oscillators are randomly detuned by the same Analog amount. For example, if the Analog detuning is set to around 20%, all three oscillators (if used) randomly drifts by 20%.
Balance Logic Pro ES2 oscillator levels The position of the pointer in the Triangle is described by two parameters—x and y coordinates—which are used when automating the oscillator mix. These parameters, called OscLevelX and OscLevelY, are available as targets in the router. Drag the pointer in the Triangle to crossfade—set the level relationships—between the three oscillators. This is self-evident in use.
Note: Osc Start soft and hard result in a constant output level of the initial oscillator phase every time the sound is played back. This may be of importance when you use the Bounce function of Logic Pro at close to maximum recording levels. SynchronizeLogic Pro ES2 oscillators Typical oscillator sync sounds tend toward the aggressive, screaming leads that synthesizer manufacturers like to talk about. The rectangular and sawtooth waveforms of oscillators 2 and 3 feature a Sync option.
ES2 global parameters Logic Pro ES2 global parameters overview The ES2 global parameters affect the overall instrument sound produced by ES2. You can find global parameters to the left of the oscillators and above the filter and output sections. The Volume knob is at the lower right. Global parameters • Keyboard Mode buttons: Switch ES2 between polyphonic, monophonic, and legato behaviors. See Set the Logic Pro ES2 keyboard mode. • Unison button: Turn unison mode on or off.
Change the keyboard mode • In Logic Pro, click the Poly, Mono, or Legato button. • In Mono mode, staccato playing retriggers the envelope generators every time a new note is played. If you play in a legato style (play a new key while holding another), the envelope generators are triggered only for the first note you play legato, then they continue their curve until you release the last legato played key.
Make portamento active • In Logic Pro, rotate the Glide knob. Glide behavior is dependent on the chosen keyboard mode. See Set the Logic Pro ES2 keyboard mode. • If the keyboard mode is set to Poly or Mono, and Glide is set to a value other than 0, portamento is active. • If Legato is chosen, and Glide is set to a value other than 0, you need to play legato (press a new key while holding the old one) to activate portamento. If you don’t play in a legato style, portamento won’t work.
• Filter 2 is a lowpass filter that offers variable slopes (measured in dB/octave). Filter parameters Logic Pro Instruments • Filter button: Turn the entire filter section on or off. Deactivating the filter section makes it easier to hear adjustments to other sound parameters, because the filters always heavily affect the sound. Disabling the filters also reduces processor load. • Filter Configuration button: Switch between a parallel or series filter configuration.
Change the Logic Pro ES2 filter configuration The Filter Configuration button lets you switch between a parallel and series filter routing. When either is chosen, the entire circular filter element rotates, and the positions and direction of the filter controls clearly indicate the signal flow. The button name also changes in each mode. In the figure to the left, the filters are cabled in series.
• • If Drive is set to 0, no distortion occurs. Filter Blend: Parallel filter configuration information In a parallel configuration, the overdrive/distortion circuit—the Drive parameter—is always wired after the oscillator mix stage—the Triangle—and before the filters. The filters receive a mono input signal from the output of the overdrive circuit. The outputs of both filters are mixed to mono via Filter Blend. The Filter Blend parameter is available as a modulation target in the router.
Modulate Filter Blend with an LFO in ES2 1. In Logic Pro, set up a modulation routing as follows: modulation target FltBlend, source LFO2. 2. Adjust the settings of LFO 2. Logic Pro ES2 Filter 1 modes Filter 1 can operate in several modes, allowing specific frequency bands to be filtered (cut away) or emphasized. Click one of the following filter mode buttons for Filter 1: • Lo (lowpass): Allow frequencies that fall below the cutoff frequency to pass. The slope of Filter 1 is fixed at 12 dB/octave.
ES2 filter cutoff and resonance Logic Pro ES2 filter cutoff and resonance overview In every lowpass filter (ES2: Lo mode for Filter 1; Filter 2 is a lowpass filter), all frequency portions above the cutoff frequency are suppressed, or cut off, hence the name. If you’re new to synthesizers and the concepts behind filters, see Synthesizer basics overview. Cutoff and resonance parameters • • Cutoff Frequency knob: Control the brilliance of the signal.
• In Logic Pro, drag one of the three chain symbols in the ES2 filter section. • The chain between Cut and Res of Filter 1 controls both the resonance (drag horizontally) and cutoff frequency (drag vertically) simultaneously. • The chain between Cut and Res of Filter 2 controls both the resonance (drag horizontally) and cutoff frequency (drag vertically) simultaneously.
Overdrive Logic Pro ES2 filters The filters are equipped with discrete overdrive modules. You can set the overdrive intensity by rotating the Drive parameter. Drive affects each voice independently. When every voice is overdriven individually—like having six fuzz boxes for a guitar, one for each string—you can play extremely complex harmonies over the entire keyboard range. Each voice sounds clean, without unwanted intermodulation effects spoiling the overall sound.
Note: Don’t confuse this filter frequency modulation with the oscillator FM feature (oscillator 1 is modulated by oscillator 2). If oscillator 1 is frequency-modulated by oscillator 2, it does not influence the sine wave signal used to modulate the cutoff frequencies. See Use frequency modulation in Logic Pro ES2. Filter 2 can also be driven to self-oscillation. If you set a very high resonance value, it produces a sine wave. This self-oscillating sine wave distorts at the maximum resonance value.
Enhance Logic Pro ES2 sounds with Sine Level The Sine Level knob mixes a sine wave (at the frequency of oscillator 1) directly into the dynamic stage, independent of the filters. Even if you have filtered away the basic partial tone of oscillator 1 with a highpass filter, you can reconstitute it with this parameter.
• Modulation router: The modulation router—or router, for short—links modulation sources, such as the envelope, to modulation targets, such as the oscillators and filters. The router features ten modulation routings, arranged into columns. See Use the Logic Pro ES2 modulation router. • Modulation sources: The modulation sources include the LFOs and envelopes. See Logic Pro ES2 LFO overview and Logic Pro ES2 envelopes overview.
Create a basic modulation routing in ES2 1. In Logic Pro, Choose the Target parameter you want to modulate. 2. Choose the Source parameter you want to use for modulation of the target. 3. Drag the Intensity slider to set a fixed modulation value. When via is active, this slider sets the minimum modulation intensity. Bypass a modulation routing in ES2 • In Logic Pro, click the Bypass (b/p) button at the top right of each modulation routing.
Clear the entire ES2 modulation matrix • In Logic Pro, Control-click the Router button, then choose Clear Matrix from the pop-up menu. All router channels are initialized and turned off. Control Logic Pro ES2 modulation intensity In a basic modulation routing comprised of a target and source, you can set a fixed modulation intensity by vertically dragging the Intensity slider to the right of the routing. The slider value always defines a constant modulation intensity.
4. Vertically drag the upper arrowhead of the Intensity slider (to the right of the modulation routing) to set the maximum modulation intensity. 5. Vertically drag the lower arrowhead of the Intensity slider to set the minimum modulation intensity. Move the entire via range in ES2 • In Logic Pro, vertically drag the range (the area between the two slider halves). Both arrowheads move simultaneously.
ES2 LFOs Logic Pro ES2 LFO overview ES2 features two multi-waveform LFOs. Both are available as sources in the router. LFO 1 is polyphonic, which means that if used for any modulation of multiple voices, they are not phase-locked. LFO 1 is also key-synced: each time you play a key, LFO 1 modulation of this voice is started from zero. To understand the non phase-locked characteristic more fully, imagine a scenario where a chord is played on the keyboard.
Logic Pro ES2 LFO waveforms Choose a waveform for LFO 1 or LFO 2 with the LFO Wave buttons. The table outlines how these waveforms can affect your sounds. Tip: Try using the waveforms while a modulation routing of Pitch123 (the pitch of all three oscillators) is engaged and running Waveform Comments Triangle Suitable for vibrato effects. Sawtooth Suitable for helicopter and space gun sounds. Intense modulations of oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds.
3. Set an LFO 1 Rate of about 5 Hz. 4. Choose the triangular wave as the LFO 1 waveform. Set a free rate for LFO 2 in ES2 • In Logic Pro, choose a value in the upper half of the LFO 2 Rate slider range to run LFO 2 freely. The rate is displayed in hertz. Synchronize the ES2 LFO 2 rate with the song tempo • In Logic Pro, choose a value in the lower half of the LFO 2 Rate slider range to synchronize LFO 2 with the application tempo.
Logic Pro ES2 Envelope 1 controls Although Envelope 1 (ENV 1) appears to be simplistic, it is useful for a range of synthesizer functions. ES2 Envelope 1 parameters • Trigger Modes pop-up menu: Choose a mode to define the trigger behavior of ENV 1. • Poly: The envelope generator behaves as you would expect on any polyphonic synthesizer: every voice has its own envelope. • Mono: A single envelope generator modulates all voices in the same way.
Both ENV 2 and ENV 3 can also be used simultaneously as sources in the router. The envelope time parameters can be used as modulation targets in the router. ES2 Envelope 2 and 3 parameters • Attack slider: Define the time required for the level of a note to rise from an amplitude of zero to the set amplitude. The Attack time sliders of ENV 2 and ENV 3 are divided into two halves. • The lower half defines the attack time when the keys are struck hard, at maximum velocity.
• Settings in the lower half of the Sustain Time slider range (fall) determine the time required for the level to decay from the sustain level to zero. The lower the slider position, the faster the sound level decays. • Settings in the upper half of its range (rise) determine the time required for the level to rise from the sustain level to its maximum value. The higher the slider position, the faster the sound level rises. Emulate instrument behaviors with envelope decay modulation in ES2 1.
Turn the Vector Envelope on or off • In Logic Pro, turn off the Solo Point button to make the Vector Envelope active. • Turn on the Solo Point button to deactivate the Vector Envelope. When Solo Point is turned on, only the currently selected Triangle and Planar Pad positions of the currently selected point are active. Control the Planar Pad and Triangle with the Vector Envelope In Logic Pro, the Vector Mode pop-up menu is used to set a Vector Envelope target.
Any point can be declared the Loop point. The looped area spans the time between the Sustain point and Loop point. In between these points you can create additional points that describe the movements of the pointers in the Planar Pad and Triangle. The more points you set, the more complex the movements that can be performed. Select a Vector Envelope point • In Logic Pro, click the point to select it. Once selected, you can edit the point.
Define a Vector Envelope point as the Sustain point • In Logic Pro, click in the turquoise strip above the chosen point. The Sustain point is indicated by an S between the point and its number shown on the turquoise strip. Set up Logic Pro ES2 Vector Envelope loops The Vector Envelope can run in one-shot mode, as long as the note is sustained; it can be set to repeat a specific number of times or it can repeat indefinitely, much like an LFO modulation. You achieve repetitions with the loop functions.
• Alternate: When Loop mode is set to Alternate, the Vector Envelope runs from the beginning to the Sustain point and then periodically switches to the Loop point, then back to the Sustain point, alternating between backward and forward directions. Set the Vector Envelope Loop Rate In Logic Pro, do one of the following: • Drag the green indicator in the center of the Loop Rate bar to the left or right. • Drag vertically in the value field “as set” (shown in the figure below).
Specify a Vector Envelope loop count • In Logic Pro, set the Vector Envelope loop cycle to repeat a specified number of times. Following the defined repetitions, the Vector Envelope runs from the Sustain point onward. Possible values are 1 to 10 and “infinite.” Logic Pro ES2 Vector Envelope release phase Set one of two release phase options in the Env Mode menu: Normal or Finish. In Normal mode, the release phase—the phase after the Sustain point—begins as soon as you release the key (note off).
Set Logic Pro ES2 Vector Envelope times With the exception of the first point, which is tied to the beginning of each played note, every point has a Time parameter. This parameter defines the period of time required for the position indicator to travel from the point that preceded it. The times are normally displayed in milliseconds (ms). Set a Vector Envelope time value • In Logic Pro, drag the numerical value vertically.
Use the Logic Pro ES2 Planar Pad The Planar Pad has two axes—X (horizontal) and Y (vertical). Two user-defined parameters can be modulated with the X and Y values, allowing you to use the mouse like a joystick. The X and Y axes have positive and negative value ranges. When you drag the pointer (the square icon), the values of both axes are continuously transmitted. The Vector X and Vector Y Target menus determine which parameter is modulated by pointer movements in the Planar Pad.
Target Comments Pitch 1 Modulates the frequency (pitch) of oscillator 1. Slight envelope modulations can make the amount of detuning change over time, when oscillator 1 is sounding in unison with another (unmodulated) oscillator. This also applies to the other Pitch targets and is particularly useful for synthesizer brass sounds. Pitch 2 Modulates the frequency (pitch) of oscillator 2. Pitch 3 Modulates the frequency (pitch) of oscillator 3.
Target Comments Osc1WaveB If wavetable modulation is active for a Digiwave (using the Osc1Wav target), you can use this target to modulate the shape of the transition. When you are frequency-modulating oscillator 1, the Osc1WaveB target offers much higher FM intensities than either the Osc1 FM or the Osc1Wave targets. Osc2WaveB The same as above for a Digiwave using the Osc2Wav target. Osc3WaveB The same as above for a Digiwave using the Osc3Wav target.
Other Logic Pro ES2 modulation targets The table outlines all other modulation targets. Target Comments Amp This target modulates the dynamic stage, or level of voices. If you select Amp as the target and modulate it with an LFO as the source, the level changes periodically, and you hear a tremolo. Pan This target modulates the panorama position of the sound in the stereo or surround spectrum. Modulating Pan with an LFO results in a stereo or surround tremolo (auto panning).
Target Comments Env3Atck Env3Atck (Envelope 3 Attack) modulates the Attack time of ENV3. Env3Dec Env3Dec (Envelope 3 Decay) modulates the Decay time of ENV3. Env3Rel Env3Rel (Envelope 3 Release) modulates the Release time of ENV3. Env3Time Env3Time (Envelope 3 All Times) modulates all ENV3 time parameters: Attack, Decay, Sustain, and Release times. Glide This target modulates the duration of the Glide (portamento) effect.
Source Comment Whl+To Both the modulation wheel and aftertouch serve as modulation sources. MIDI Controllers A-F MIDI controllers available in the router are named Ctrl A–F and can be assigned to arbitrary controller numbers. See Logic Pro ES2 macros and controllers overview. RndN01 RndNO1 (Note On Random1) outputs a random modulation value between −1.0 and 1.0, that changes when a note is triggered or retriggered.
Via source Comment Touch If you select Touch (Aftertouch) as the via value, the modulation intensity is touch sensitive—modulation is more or less intense depending on how firmly you press the key of your touch-sensitive MIDI keyboard after the initial keystrike (aftertouch is also known as pressure sensitivity). Whl+To Both the modulation wheel and aftertouch control the modulation intensity.
A chorus effect is based on a delay line, the output of which is mixed with the original, dry signal. The short delay time is modulated periodically, resulting in pitch deviations. The modulated deviations, in conjunction with the original signal pitch, produce the chorus effect. A flanger works in a similar fashion to a chorus, but with even shorter delay times. The output signal is fed back into the input of the delay line.
ES2 macro controls and controller assignments Logic Pro ES2 macros and controllers overview The section at the bottom of the ES2 interface provides three views: • Macro button: Show a number of macro controls that affect groups of other parameters. • MIDI button: Assign MIDI controllers to particular modulation routings. See Logic Pro ES2 via modulation source reference. • Macro only button: Replace the ES2 interface with a smaller view that is limited to the macro controls.
Controllers 0 and 32 are reserved for Bank Select messages, controller 1 is used as modulation source in the router, controllers 33 to 63 work as LSB for controllers 1 to 31, controllers 64 to 69 are reserved for pedal messages, controllers 120 to 127 are reserved for channel mode messages. In the MIDI specification, all controllers from 0 to 31 are known as Most Significant Byte (MSB) controller definitions.
Use Logic Pro ES2 in Surround mode In surround ES2 instances, two additional parameters are shown in the slide out Extended Parameters section at the bottom of the plug-in window: Surround Range and Surround Diversity. ES2 Surround parameters • Surround Range: Determine the range of the surround angle (0 to 360 degrees). Put another way, this sets the breadth of the surround field. You can modulate the movement of sounds within the surround range by using the Pan target in the router.
Create random ES2 sound variations Use Logic Pro ES2 randomization parameters ES2 offers a powerful feature that enables you to randomly vary sound parameters. You can define the amount of random variation and can restrict variations to specific sonic elements. The random sound variation feature can inspire and aid you when creating new sounds. Set the amount of random parameter alteration with the Random Intensity slider.
Randomize section Comments All All parameters, with the exception of those mentioned above, are randomized. All except router and Pitch All parameters, with the exception of router parameters and the basic pitch (semitone settings of the oscillators), are altered. Oscillator finetuning is, however, randomized. All except Vector Env All parameters, with the exception of Vector Envelope parameters, are altered. This maintains the rhythmic feel of a given setting.
ES2 tutorials Create ES2 sounds from scratch Logic Pro ES2 sound design from scratch The Create ES2 sounds from scratch tutorials guide you—from the ground up (from scratch)—through the creation of commonly used sounds. The Logic Pro ES2 sound design with templates tutorials also guide you through the sound creation process, but you use a number of templates as your starting point. To see the settings for these tutorials in the ES2 window, choose Tutorial Settings from the Settings pop-up menu.
• Engage Unison mode and select a higher setting for Analog. Because the sound is polyphonic, each note is doubled. The number of notes that can be played simultaneously is reduced from 10 to 5. This makes the sound rich and broad. Combining Unison and higher values for Analog spreads the sound across the stereo spectrum. In many factory settings, Unison mode is active.
Create distorted analog basses in ES2 In the Analog Bass Distorted setting, Filter 1 is engaged, with high settings for Drive and Distortion. This filter is better suited to the creation of distorted analog sounds than Filter 2. In Logic Pro, fo the following: • Check out Filter 2 by setting Filter Blend to its rightmost position. Notice that Filter 1 works better with distorted sounds. • To control the filter modulation, move the green sliders of the first modulation routing in the router.
Control ES2 FM intensity with an envelope and FM scaling In the FM Envelope setting, you can control the FM intensity with an envelope, generated by Envelope 2. The modulation target is the range that falls between Sine and FM in the oscillator wave selector. The first Router channel is used for this modulation routing. You can control a wider range by using additional modulation routings, which have been preprepared for you. All you need to do is set their values.
Create FM sounds with wavetables in ES2 You can program the most vivid FM sounds when the modulation source morphs between different Digiwaves. The morphing in the FM Digiwave setting is controlled by LFO 2. The tempo of LFO 2, and therefore the morph, depends on the Logic Pro tempo—here, two bars. In Logic Pro, do the following: • Set LFO 2 to different waveforms. Lag S/H (smooth random), in particular, should be fun. • Check out different FM intensities and oscillator frequencies.
Create Logic Pro ES2 PWM sounds Pulse width modulation (PWM) is one of the most essential features of any analog synthesizer. Set up a basic PWM sound in ES2 • In Logic Pro, choose the PWM Start setting, and move the Wave control slowly back and forth between the rectangular and the pulse wave symbols. Both are green. What you hear is a manual pulse width modulation. • Choose the PWM Slow setting. Here, LFO 1 controls the pulse width modulation source, not your manual movements.
Create Logic Pro ES2 ring modulated sounds A ring modulator takes its two input signals and outputs their sum and difference frequencies. In the ES2, oscillator 2 outputs a ring modulation, which is fed with a square wave of oscillator 2 and the wave of oscillator 1, when Ring is set as the oscillator 2 waveform. Odd intervals (frequency ratios) between the oscillators result in bell-like spectra, much like those heard in the Ringmod Start setting.
Note: Pulse width modulation is also available via the synchronized square wave of oscillators 2 and 3. A modulation of the wave parameters of these two oscillators results in a PWM when the synced square wave is selected. Vector synthesis in Logic Pro ES2 This tutorial provides hints for Vector Envelope programming. Familiarize yourself with the ES2 Vector Envelope In the Vector Start setting, the “mix” of the oscillators is controlled by the Vector Envelope.
Vector synthesis with the ES2 Planar Pad The Vector Envelope setting starts where the Vector Start setting left off. You have a simple Vector Envelope consisting of four points, which is set to modulate the oscillator mix (the Triangle). In this example, the Vector Envelope is used to control two additional parameters—the Cutoff Frequency of Filter 2 and Panorama. These are preset as the X and Y targets in the Planar Pad. Both have a value of 0.50.
In Logic Pro, do the following: • Switch off the Vector Envelope by setting Solo Point to on. This allows you to audition the individual points in isolation. • Take the opportunity to alter the pointer positions in the Planar Pad according to your taste. The X/Y axes of the Planar Pad control the cutoff frequency of Filter 2, and the panorama position. Adjustments to these make the sound more vivid. • Activate the Vector Envelope by setting Solo Point to off.
Create percussive synthesizer and bass sounds with two filter decay phases in ES2 As with the Vector Kick setting, the Vector Perc Synth setting uses the Vector Envelope to control the filter cutoff frequency, with two independently adjustable decay phases. This would not be possible with a conventional ADSR envelope generator.
Set Envelope 1 decay time for this short push by moving the wave selectors for all oscillators. (Although it makes no sense to do this on the synced sawtooth oscillator, Osc 2, use the envelope trick regardless.) This allows you to vary the punchiness of the content between: • Envelope 1 contribution to the overall attack noise and changing decay length—a short decay results in a peak, a long decay results in a growl, as Envelope 1 reads a couple of waves from the wavetable.
• Modulation routing 4 does not need to be adjusted, but you are free to do so. It has been set up to use ENV1 to “push” the wavetable. Adjust ENV1 Decay to make the sound more pipe organ-like. Adjust ENV1 Attack to sweep through the wavetable. • Modulation routing 5 reduces the overall volume according to personal taste, but the organ level shouldn’t increase too drastically when all modulations are moved to their respective maximums.
• The rate of LFO1 directly controls the speed of the movement of the pulse width modulation. For this patch, both LFOs are used, to achieve a stronger diffusion effect at different modulation speeds. Tip: You should use LFO1 for all permanent, automatic modulations because you are able to delay its impact with its EG parameter. You can use LFO 2 for all real-time modulations that you intend to access via ModWheel, aftertouch, or other controls while playing.
Logic Pro ES2 MW-Pad-Creator setting This is an attempt to create a patch that is able to automatically generate new patches. Oscillator 2 is used for a pulse width modulation—which creates a strong ensemble component (for more information, see Logic Pro ES2 Crescendo Brass setting). Oscillators 1 and 3 are set to an initial start wave combination within their respective Digiwave tables. You can modify these, if you wish, and start with a different combination of Digiwaves from the outset.
If you move the wheel, you can scroll through the spectrum of harmonics that have been programmed—for real-time changes. Any modification here starts with the pitch of oscillator 2 itself, which is set to 3 semitones below the overall pitch. Feel free to start with a different pitch for oscillator 2; it won’t affect the tuning of the sound. The next modification may be modulation routing 7 intensity (or the interval).
EFM1 Logic Pro EFM1 overview The 16-voice EFM1 is a simple but powerful frequency modulation synthesizer. It can produce the rich bell and digital sounds that frequency modulation (FM) synthesis has become synonymous with. If you’re new to synthesizers, see Synthesizer basics overview, which will introduce you to the terminology and give you an overview of various synthesis systems and how they work. EFM1 is divided into several areas.
• Modulator and Carrier parameters: The FM engine consists of the modulator and carrier parameters (raised, darker sections), and the FM Intensity knob (in the center). These are the key controls for setting the basic tone of EFM1. See Logic Pro EFM1 Modulator and carrier overview. • Modulation parameters: The modulation envelope and LFO at the top and bottom of the mushroom-shaped area in the center respectively are used to animate the sound. See Logic Pro EFM1 modulation parameters.
Changes to the ratio of the two oscillators is achieved by adjusting the Harmonic parameters, found in both the Modulator and Carrier sections. Additional tuning control is provided by the Fine (tune) parameters. Modulator parameters • Harmonic knob: Set the tuning ratio between the modulator (left) and carrier (right) oscillators. See Set the Logic Pro EFM1 tuning ratio. • Fine knob: Adjust the tuning between two adjacent harmonics, as determined by the Harmonic knobs of both oscillators.
Set the Logic Pro EFM1 tuning ratio The carrier frequency is determined by the played key, and the modulator frequency is typically a multiple of the carrier frequency. You can tune the modulator and carrier to any of the first 32 harmonics. The tuning relationship, or ratio, between the two significantly changes the base sound of EFM1, and is best set by ear. You use the Harmonic knobs to set the tuning ratio between the modulator (left) and carrier (right) oscillators.
Logic Pro EFM1 modulation parameters FM synthesis is, at its core, caused by the intensity and type of modulations that take place in the signal path. The modulators outlined in this section have a different impact and role to play than equivalent envelopes and LFOs found in analog synthesizer designs. Modulation parameters • • • Modulation Envelope sliders: Control both the FM (Intensity) and Modulator pitch parameters over time. The envelope is triggered every time a MIDI note is received.
• • • If you click the “0” to center the FM Depth knob, the envelope has no effect on FM intensity. LFO knob: Set the amount of modulation applied to FM intensity or pitch. • If you turn the LFO knob clockwise, you increase the effect of the LFO on FM Intensity. If you turn the knob counterclockwise, you introduce a vibrato. • If you click the “0” to center the LFO knob, the LFO has no effect. Rate knob: Set the speed of the LFO.
Logic Pro EFM1 output parameters EFM1 provides the following level controls. Output parameters • Sub Osc Level knob: Introduce a sub-oscillator signal that enhances bass response. EFM1 features a sine wave sub-oscillator. This operates one octave below the FM engine, as determined by the Transpose parameter. Increase the Sub Osc Level control to mix the sub-oscillator sine wave with the FM engine output. • Stereo Detune knob: Add a chorus-like effect to the sound.
Create random Logic Pro EFM1 sounds The Randomize feature generates new sounds by randomly altering a number of key parameter values. This feature is ideal for creating subtle variations of a particular sound or for creating totally new sounds. It is useful when getting started with FM synthesis. Randomize parameters • Randomize button: Create a new sound by randomizing multiple parameters. • Randomize field: Determine the amount of randomization—variance from the original sound.
Logic Pro EFM1 MIDI controller assignments EFM1 allows remote control with your MIDI controller keyboard or other MIDI device. You can assign any unused MIDI controller to the following parameters: • FM Amount • Vibrato Note: EFM1 also responds to MIDI pitch bend data. Pitch bend is hard-wired to the overall pitch of EFM1. Assign a MIDI controller 1. In Logic Pro, click the disclosure triangle at the lower left to view the extended parameters. 2.
ES E Logic Pro ES E overview The eight-voice ES E (ES Ensemble) synthesizer is ideal for quickly creating warm, rich pad and ensemble sounds. ES E produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms and reshape them to create new sounds.
• Envelope parameters: The area to the right of the filter parameters contains the envelope parameters, which control the level of the sound over time. See Logic Pro ES E envelope parameters. • Output parameters: The area at the extreme right houses the switches for the integrated modulation effects and the Volume knob, which is responsible for the main output level. The effects can be used to color or thicken the sound. See Logic Pro ES E output parameters.
Logic Pro ES E LFO parameters The LFO (low frequency oscillator) generates a cyclic waveform that is used to modulate the ES E waveform. The behavior and effect of the LFO depend on whether a sawtooth or pulse wave is selected. • If Wave is set to sawtooth, the LFO modulates the frequency of the waveform, resulting in a vibrato or siren effect—depending on the LFO speed and intensity. • If Wave is set to a pulse wave, the LFO modulates the waveform pulse width—pulse width modulation (PWM).
Filter parameters • Cutoff knob: Control the cutoff frequency of the filter. • Resonance knob: Boost or cut portions of the signal that surround the frequency defined by the Cutoff parameter. Note: Increasing the Resonance value results in a rejection of bass—low frequency energy—when using lowpass filters. • AR Int knob: Set the amount (depth) of cutoff frequency modulation applied by the envelope generator.
Logic Pro ES E output parameters The ES E output stage consists of the Volume section and the Chorus/Ensemble buttons. Output Parameters • Volume knob: Set the overall output level. • Velo Volume knob: Set the amount (depth) of velocity sensitivity to incoming MIDI note events. When set to higher values, each note is louder, if struck more firmly. At lower values, the dynamic response is reduced, so that there is little difference when you play a note pianissimo (soft) or forte (loud/hard).
ES M Logic Pro ES M overview The monophonic ES M (ES Mono) synthesizer is a good starting point if you’re looking for bass sounds that punch through your mix. ES M features an automatic fingered portamento mode, making bass slides easy. It also provides an automatic filter compensation circuit that delivers rich, creamy basses, even when you use higher resonance values. ES M produces sounds using subtractive synthesis. It has an oscillator that generates harmonically rich waveforms.
• Filter and filter envelope parameters: The section to the right of the Oscillator parameters includes the Cutoff (frequency) and Resonance knobs. The filter is used to contour the waveforms sent from the oscillators. The filter envelope parameters are found toward the upper right. These control the filter cutoff over time. See Logic Pro ES M filter and filter envelope.
• Glide knob: Introduce a continuous pitch bend between two consecutively played notes. Adjust the value to set the time required for the pitch to travel from the last played note to the next. At a value of 0, no glide effect occurs. Note: The ES M always works in a fingered portamento mode, with notes played in a legato style resulting in a glide—portamento—from pitch to pitch. Logic Pro ES M filter and filter envelope ES M includes a lowpass filter that lets you contour the output from the oscillator.
Logic Pro ES M envelope and output controls The ES M output stage offers the following parameters. Envelope and output parameters • Decay knob: Set the decay time of the dynamic stage. The attack, release, and sustain times of the synthesizer are internally set to 0. • Velo knob: Determine the velocity sensitivity of the dynamic stage. • Vol knob: Set the ES M master output level. • Overdrive knob: Set the level of the integrated overdrive effect.
ES P Logic Pro ES P overview The eight-voice ES P (ES Poly) emulates classic polyphonic synthesizers of the 1980s. It is a versatile instrument that is capable of producing a huge variety of useful musical sounds. The creation of classic analog synthesizer brass sounds is just one of its many strengths. ES P produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms.
• Envelope and level parameters: The area to the right of the filter parameters contains the envelope and level parameters, which control the level of the sound over time. See Logic Pro ES P envelope and level controls. • Effect parameters: The area at the extreme right contains the Chorus and Overdrive parameters. These can be used to color or thicken the sound. See Use the Logic Pro ES P effects processor.
• Noise generator slider: Set the level of white noise. This is the raw material for classic synthesizer sound effects, such as waves, wind, and helicopters. • 4, 8, and 16 buttons: Set the pitch in octaves—transpose it up or down. The lowest setting is 16 feet, and the highest is 4 feet. The use of the term feet to determine octaves comes from the measurements of organ pipe lengths. The longer and wider the pipe, the deeper the tone.
Filter parameters • Frequency knob: Set the cutoff frequency of the lowpass filter. • Resonance knob: Boost or cut portions of the signal that surround the frequency defined by the frequency knob. Note: Increasing the Resonance value results in a rejection of bass—low frequency energy—when using lowpass filters. The ES P compensates for this side effect internally, resulting in a more bassy sound.
• Sustain slider: Set the signal level (the sustain level). • Release slider: Set the time it takes for the signal to fall from the sustain level to a level of zero. • Volume knob: Set the overall output level. • Velo Volume knob: Set the amount (depth) of velocity sensitivity to incoming MIDI note events. At higher values, each note is louder if struck harder.
EVOC 20 PolySynth EVOC 20 PolySynth and vocoding Logic Pro EVOC 20 PolySynth overview EVOC 20 PolySynth combines a vocoder with a polyphonic synthesizer and can be played in real time. It can create classic vocoder sounds, made famous by groups such as Kraftwerk during the 1970s and 1980s. Vocoding remains popular in current electronic, hip-hop, R & B, and other music styles.
4. Adjust the volume levels of EVOC 20 PolySynth and the side chain source—if not muted—to meet your needs. 5. To further enhance the sound, adjust the knobs, sliders, and other controls, and insert other effect plug-ins. Vocoder basics The word vocoder is an abbreviation for voice encoder. A vocoder analyzes and transfers the sonic character of the audio signal arriving at its analysis input to synthesizer sound generators. The result of this process is heard at the output of the vocoder.
These control signals are then sent to the synthesis filter bank—where they control the levels of the corresponding synthesis filter bands. This is done with voltage-controlled amplifiers (VCAs) in analog vocoders. Volume changes to the bands in the analysis filter bank are imposed on the matching bands in the synthesis filter bank. These filter level changes are heard as a synthetic reproduction of the original input signal—or a mix of the two filter bank signals.
• Synthesis parameters: Control the polyphonic synthesizer of the EVOC 20 PolySynth. See Logic Pro EVOC 20 PolySynth synthesis overview. • Formant Filter parameters: Configure the analysis and synthesis filter banks. See Logic Pro EVOC 20 PolySynth formant filter. • Modulation parameters: Modulate the synthesizer and filter banks—through two LFOs. See Logic Pro EVOC 20 PolySynth modulation. • Output parameters: Configure the output signal of the EVOC 20 PolySynth.
Freeze the input signal Freezing the input signal lets you capture a particular characteristic of the signal, which is then imposed as a complex sustained filter shape on the Synthesis section. Here are some examples of when this could be useful: • If you are using a spoken word pattern as a source, the Freeze button could capture the attack or tail phase of an individual word within the pattern—the vowel a, for example. • People cannot sustain sung notes indefinitely.
Logic Pro EVOC 20 PolySynth (U/V) detection Human speech consists of a series of voiced sounds—tonal sounds or formants—and unvoiced (U/V) sounds. The main distinction between voiced and unvoiced sounds is that voiced sounds are produced by an oscillation of the vocal cords, whereas unvoiced sounds are produced by blocking and restricting the air flow with lips, tongue, palate, throat, and larynx.
• • Blend: Uses the analysis signal after it has passed through a highpass filter for the unvoiced portions of the sound. The Sensitivity parameter has no effect when this setting is used. U/V Level knob: Set the volume of the signal used to replace the unvoiced content in the input signal. Important: Take care with the Level knob, particularly when a high Sensitivity value is used, to avoid internally overloading the EVOC 20 PolySynth.
EVOC 20 PolySynth oscillator parameters Logic Pro EVOC 20 PolySynth oscillators You can switch the EVOC 20 PolySynth oscillators between dual mode and FM mode. The Synthesis section also incorporates a noise generator that can add a further color to your sound. • Dual mode: Each oscillator allows you to choose a digital waveform. • FM mode: Oscillator 1 generates a sine wave. The frequency, or pitch, of oscillator 1 is modulated by oscillator 2.
Dual mode oscillator parameters • Semi field: Adjust the tuning of oscillator 2 in semitone steps. • Detune field: Fine-tune both oscillators in cents. One hundred cents equals one semitone step. • Balance slider: Set the level balance between the two oscillator signals. Logic Pro EVOC 20 PolySynth oscillator FM mode In FM mode, oscillator 1 generates a sine wave. The Wave 1 parameter has no effect in this mode.
Noise generator parameters • Level knob: Control the amount of noise added to the signals of the two oscillators. • Color knob: Set the timbre of the noise signal. Turn full-left to hear white noise. Turn full-right to hear blue noise (high-passed noise). White noise has traditionally been used to create wind and rain sound effects. It has the same energy in each frequency interval. Blue noise sounds brighter, because its bass portion is suppressed by a highpass filter.
Filter parameters • Cutoff knob: Set the cutoff frequency of the lowpass filter. Turn to the left to remove high-frequency content from the synthesizer signal. • Resonance knob: Boost or cut the signal portion that surrounds the frequency defined by the cutoff knob. Tip: Set cutoff as high as possible, then adjust resonance to achieve a brighter highend signal. This is useful for achieving better speech intelligibility.
• Unison button: Turn Unison mode on or off. • In Unison/Poly mode—where both the Unison and Poly buttons are active—each voice is doubled. This cuts polyphony in half (to a maximum of eight voices, shown in the Voices field). The doubled voices are detuned by the amount defined with the Analog knob. • In Unison/Mono mode—where both the Unison and Mono or Legato buttons are active—up to 16 voices can be stacked and played monophonically.
Formant filter parameters • • Low/High Frequency parameters: Set the lowest and highest frequencies allowed to pass by the formant filter. Frequencies outside these boundaries are cut. • The length of the horizontal blue bar at the top represents the frequency range for both analysis and synthesis (unless Formant Stretch or Formant Shift is used). You can move the entire frequency range by dragging the blue bar.
Logic Pro EVOC 20 PolySynth modulation The Modulation section contains two LFOs that can either run freely or can be synchronized with the Logic Pro tempo. • The Pitch LFO controls pitch modulation of the oscillators, enabling you to produce vibrato effects. • The Shift LFO controls the Formant Shift parameter of the synthesis filter bank, enabling you to produce dynamic phasing-like effects. Modulation parameters • Int via Whl slider: Set the intensity of LFO pitch modulation.
Logic Pro EVOC 20 PolySynth output parameters The Output section controls the type of signal, stereo width, and level of signal that is sent from EVOC 20 PolySynth. The Output section also has an integrated ensemble effect processor. Output parameters • Signal pop-up menu: Choose the signal that is sent to the main outputs. • Voc(oder): Choose to hear the vocoder effect. • Syn(thesis): Choose to hear only the synthesizer signal. • Ana(lysis): Choose to hear only the analysis signal.
EVOC 20 PolySynth performance tips Level and frequency tips A vocoder always generates the intersection point of the analysis and synthesis signals. If there’s no treble portion in the analysis signal, the resulting vocoder output also lacks treble. This is also the case when the synthesis signal has a lot of high-frequency content. Because this is true of each frequency band, the vocoder demands a stable level in all frequency bands from both input signals to obtain the best results.
When you gate speech and vocals with the Noise Gate plug-in, use Threshold to define the level above which the gate opens, and use Hysteresis to define a lower Threshold level below which the gate closes. The Hysteresis value is relative to the Threshold level. Unwanted triggering by low or high frequency noise is avoided by the dedicated sidechain filters of the Noise Gate plug-in.
Vocoder history The development of the vocoder dates back to the 1930s in the telecommunications industry. Homer Dudley, a research physicist at Bell Laboratories in New Jersey, developed the vocoder (short for voice encoder) as a research machine. It was originally designed to test compression schemes for the secure transmission of voice signals over copper phone lines.
In 1979, Roland released the VP 330 ensemble/vocoder keyboard. The late 1970s and early 1980s were the heyday of the vocoder. Artists who used them included ELO, Pink Floyd, Eurythmics, Tangerine Dream, Telex, David Bowie, Kate Bush, and many more. On the production side, vocoders could—and can still—be picked up cheaply in the form of kits from electronics stores. From 1980 to the present, EMS in the UK, Synton in Holland, and PAiA in the USA have been—and remain—the main flyers of the vocoding flag.
Quick Sampler Logic Pro Quick Sampler overview Quick Sampler lets you quickly create sampler instruments consisting of a single audio file. You can load any audio file, including Apple Loops, into Quick Sampler or use Quick Sampler to record a new sample. Quick Sampler is inserted in instrument channel strips and is useful as both an instrument and audio manipulation utility. You can use it in a number of ways in your productions, such as experimentation with Live Loops.
• The upper section contains all sample-related functions, including the sampler mode, the waveform display, and analysis, playback, mapping and other options. See Choose a Logic Pro Quick Sampler mode. • The lower section contains two LFOs and Pitch, Filter, and Amp panes that each have an independent envelope. A dedicated Mod Matrix pane provides extensive modulation options. See Logic Pro Quick Sampler Mod Matrix pane.
Drag and drop content into Quick Sampler 1. In Logic Pro, drag a region or an audio file from the Audio File window, Apple Loops window, or Finder into the Quick Sampler waveform display. 2. Drop the file into either the Original or Optimized portion of the waveform display. • Original: Adds the audio file to the waveform display, which uses the tuning, loudness, looping, and length characteristics of the source file.
• Save A Copy As: Saves a copy of the currently loaded Quick Sampler content. You are prompted to provide a different filename. Use this command when you want to save a copy or multiple versions of an edited instrument, rather than overwriting the original version. • Save As Default: Saves the currently loaded Quick Sampler parameter settings as the Default instrument. This instrument serves as a template for future Quick Sampler instruments and is used when you create a new instrument.
• Slice button: Enable Slice playback mode to divide samples into multiple segments (slices) mapped to keys starting from the defined start key. Hold a key to start playback from the beginning of each slice. Depending on settings, playback continues until the next slice marker or the end marker while the key is held. When the Gate parameter is active, playback stops when you release the key. A number of Slice mode parameters are shown below the waveform display.
• Crossfade marker: Drag the gray crossfade marker to adjust the length of the crossfade at the beginning and end of loop boundaries. Crossfading helps to smooth out audible glitches at the point where the loop cycles across the loop end and start points. • Root Key pop-up menu: Choose a keyboard note value that is used to play the sample at the original pitch. Keys below this will play the sample at a lower pitch and slower speed. Keys above this will play the sample at a higher pitch and faster speed.
Logic Pro Quick Sampler One Shot mode Use Quick Sampler One Shot mode to play an audio file, or a portion of it. It provides fade in and fade out parameters. Notes run for the duration of the Amp envelope when you strike a key. One Shot mode is useful for adding effects such as a reversed portion of a sample played alongside the original, or fading in a slightly detuned version to double parts. Use Classic mode if you want to loop part or all of the sample.
Logic Pro Quick Sampler Slice mode Use Quick Sampler Slice mode to divide the audio file into segments (slices). You can map each segment to a keyboard key and play each slice independently. This mode is useful for playing individual hits or portions of a sample. Slices can be played in any order, enabling you to totally change the rhythm or pattern. For example, you may sequentially play every second or third note to create pseudo gating effects.
• Start Key pop-up menu: Assign the key (note) for the first slice. • Start Key Mapping pop-up menu: Choose Chromatic, White, or Black to map slices to keys above the Start key. • Gate button: Turn on to enable the release phase of Pitch, Filter, and Amp envelopes when the key is released. Turn off to play the sample in One Shot mode. • Play to End button: Turn on to play the triggered slice to the end marker position. • Flex On/Off button: Turn Flex mode on or off.
Record in Logic Pro Quick Sampler You can use Quick Sampler to record the signal from any audio input. Quick Sampler Recorder mode parameters • Record button: Click to start and stop recording. • Input pop-up menu: Choose the audio input source. • Monitor button: Turn on to hear the incoming signal. Tip: Take care with levels to avoid audio feedback.
Logic Pro Quick Sampler waveform display You can see the current audio file in the waveform display and directly edit a number of sample playback parameters. If you are using a trackpad, you can zoom in or out with pinch gestures, or scroll using two-finger swipes or by dragging the scroll bar. If you are using a Magic Mouse, use a single-finger horizontal swipe to scroll, and a single-finger vertical swipe to zoom. As you move the pointer across the waveform display, it changes in appearance and function.
Tip: You can use your trackpad to zoom in or out on the waveform display with pinch gestures, or scroll using two-finger swipes or by dragging the scroll bar. You can use a Magic Mouse to perform the following gestures: use a one-finger horizontal swipe to scroll, or a one-finger vertical swipe to zoom. • Action pop-up menu: Choose a sample handling, processing, or display function for the active mode. Note: Control-click the waveform display to access shortcut menu items that apply to the active mode.
Quickly zoom a portion of the waveform display The zoom buttons and pinch gestures can be used to zoom the waveform display, but you can also do the following to quickly zoom a portion of the waveform: • Hold Control and Option, then drag in the waveform display. The selected area is zoomed to fill the entire waveform display.
• Linear Crossfade: Sets the crossfade gain value behavior. • Optimize Loop Start: Use to automatically adjust the loop start point to create a smooth loop cycle. • Optimize Loop Crossfade/End: Use to automatically set crossfade values at the point in the loop cycle where the loop end and loop start markers cross over. Loop length is not affected. • Optimize Sample Gain: Analyzes the audio content and sets automatic gain values.
• Choose Create Slice Marker from the Action or shortcut menu to insert a slice marker at the pointer position, if required. • Choose Delete Slice Marker from the Action or shortcut menu to delete the highlighted slice marker. Move the pointer over a slice marker to highlight it. • Choose the Create Drum Machine Designer Track command from the Action pop-up menu. You will see an analysis dialog. A new Drum Machine Designer track is created and a new MIDI region is created on this track.
Use Flex to synchronize an Apple Loop in Quick Sampler Follow these steps to use Flex to play an Apple Loop synchronously with other tracks in your project. 1. Load a project with at least a few tracks. 2. Open the Loop Browser. Default key command: O. 3. Drag a melodic Apple Audio Loop, such as a rhythmic acoustic or electric guitar part, into the Quick Sampler waveform display. Drop it on the Original dropzone. 4. Play some notes on your keyboard over a few octaves.
Quick Sampler modulators Logic Pro Quick Sampler Mod Matrix pane Quick Sampler LFOs and envelopes are known as modulation generators. These modulation sources are used to control modulation targets, such as oscillator pitch or filter cutoff. You can assign up to four independent routings of modulation sources and targets in the Mod Matrix pane. If you’re new to synthesizers and the concepts behind modulation generators, such as LFOs and envelopes, see Synthesizer basics overview.
You can also assign your keyboard modulation wheel, aftertouch, pitch bend, velocity, and MIDI continuous controllers as real-time control sources for Quick Sampler target parameters in the Mod Matrix pane. In the Mod Matrix pane: 1. Choose a modulation target from the Target pop-up menu. 2. Choose a modulation source from the Source pop-up menu. As an example: Use Velocity Inverted to modulate a target with a soft keystrike, and no modulation when struck firmly.
• Sample Start or End: Choose None, or Bar, Beat, or Triplet values to rhythmically modulate the sample start or end position. • Loop Start or End: Choose None, or Bar, Beat, or Triplet values to rhythmically modulate the loop start or end position. • Loop Position: Choose None, or Bar, Beat, or Triplet values to rhythmically modulate the loop position. 3. Set the amount of modulation with the Amount slider. 4.
• Phase knob and field: Set the LFO waveform start point when a new key is struck. Set Trigger Mode to Poly to make effective use of this parameter. • Waveform pop-up menu: Set the waveform type used by the LFO. • Polarity button: Enable bipolar or unipolar LFO waveform cycles. • Mode button: Choose a mode to define the LFO trigger behavior. • Poly: The LFO modulates each voice independently. • Mono: The LFO modulates all voices in the same way.
Logic Pro Quick Sampler Pitch controls Quick Sampler Pitch controls affect the playback pitch behavior of the current audio file. You can control pitch over time with a dedicated multimode envelope. Parameters that are modulation targets are indicated by a white dot when a note is played. The modulation range is shown as an orange ring around target parameters. If you’re new to synthesizers and the concepts behind components such as filters, LFOs, and envelopes, see Synthesizer basics overview.
• • Decay handle and field: Drag horizontally to set the time it takes for the envelope to fall to the sustain level, following the hold phase or the initial attack time. Drag the field vertically. • Sustain handle and field: Drag vertically to set the sustain level, which is held until you release the key. Drag the field vertically. • Release handle and field: Drag horizontally to set the time it takes for the envelope to fall from the sustain level to a level of zero. Drag the field vertically.
Quick Sampler Filter parameters • On/Off button: Turn the filter on or off. • Type pop-up menu: Choose a filter characteristic. Each option provides a different tonal color and response to Cutoff, Drive, and Res control values. See Logic Pro Quick Sampler filter types. • 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.
To explain, raising the slider value reduces the envelope minimum amplitude, with the difference being dynamically controlled by keyboard velocity. For example, when you set the Vel slider to 25%, the minimum envelope amplitude is reduced to 75%. The remaining 25% is added in response to the velocities of keys you play. A key played with a zero velocity results in an envelope amplitude of 75%. A key played with a MIDI velocity value of 127 will result in an envelope amplitude of 100%.
Logic Pro Quick Sampler Amp controls Quick Sampler Amp controls set the level, pan position, and polyphony. You can control the level over time with a dedicated multimode envelope. Parameters that are modulation targets are indicated by a white dot when a note is played. The modulation range is shown as an orange ring around target parameters. If you’re new to synthesizers and the concepts behind envelopes, see Synthesizer basics overview.
• Vel slider: Set the sensitivity of amplitude envelope modulation in response to incoming velocity data. • If the Vel slider is set to zero, the envelope outputs its maximum level when you strike the keys at any velocity. • At a Vel slider value of 100%, the entire dynamic range is under velocity control. To explain, raising the slider value reduces the envelope minimum amplitude, with the difference being dynamically controlled by keyboard velocity.
Retro Synth Logic Pro Retro Synth overview Retro Synth is a flexible 16-voice synthesizer that can produce a wide variety of sounds. Retro Synth provides four different synthesizer engines—Analog, Sync, Wavetable, and FM. Each engine can generate unique sounds that are difficult or impossible to achieve with other types of synthesizers. Retro Synth is very easy to use, with many identical controls found in each synthesizer engine.
Logic Pro Retro Synth Analog oscillator The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation. See filter controls, amp and effect controls, modulation, and global and controller settings.
Logic Pro Retro Synth Sync oscillator The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation. See filter controls, amp and effect controls, modulation, and global and controller settings.
Retro Synth Table oscillator controls Logic Pro Retro Synth Table oscillator The synthesizer oscillators are used to generate one or more waveforms. You set the basic tonal color with the chosen waveform or waveforms, adjust the pitch of the basic sound, and set the level relationships between oscillators. The signal of one or both oscillators is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation.
• Semitones knob: Rotate to set the pitch of oscillator 2—in semitone steps, over a range of ±2 octaves. • Cents knob: Rotate to precisely adjust the frequency of oscillator 2 in cents (1 cent = 1/100th semitone). • Mix slider: Move to crossfade (set the level relationships) between the oscillators (Shape 1 and Shape 2). Use the Logic Pro Retro Synth Waveset menu The Retro Synth Waveset menu lets you create and manage custom wavetables.
Logic Pro Retro Synth FM oscillator The synthesizer oscillators are used to generate the basic tonal color. This signal is then sent to other parts of the synthesizer engine for shaping, processing, or manipulation. See filter controls, amp and effect controls, modulation, and global and controller settings. In FM synthesis, the basic sound is generated by setting different tuning ratios between the modulator and carrier oscillators and by altering the FM intensity.
• • The middle switch position lets you use the LFO or Filter Envelope to modulate the FM (Amount) and Harmonic content at the same time. • The right switch position lets you use the LFO or Filter Envelope to modulate the Harmonic content. Harmonic/Inharmonic sliders: Precisely change the levels of these sonic elements, and therefore, the tonal color of your sound.
Filter parameters • On/off button: Turn the filter section on or off. The filter is enabled by default (indicated by the lit button at the top left of the filter section). Disable the filter when adjusting other sound controls because this makes it easier to hear changes. • Filter Type pop-up menu: Choose a filter type from the menu. There are eight lowpass filters with different slopes, four highpass, four bandpass, a band reject, and a peak filter available.
Note: The Oscillator 1 sine wave generator always generates a sine signal at the frequency of Oscillator 1. • LFO knob: Set the strength of filter cutoff frequency modulation with the LFO. Positions further away from the centered (off) position make modulation more or less intense. See Logic Pro Retro Synth LFO and Vibrato. • Filter Env(elope) knob: Set the strength of filter cutoff frequency modulation with the Filter Envelope.
Retro Synth filter types: band reject and peaking A band reject filter cuts a narrow band around a resonant frequency. The remainder of the signal is affected minimally. • Cutoff: Sets the frequency of the cut band. • Amount: Controls the amount of attenuation. A peaking filter boosts a narrow band around a resonant frequency. The remainder of the signal is affected minimally. • Cutoff: Sets the frequency of the boosted band. • Gain: Controls the amount of boost.
Effect parameters • On/off button: Turn the effect section on or off. • Effect Type pop-up menu: Choose either the Chorus or Flanger effect. • The Chorus effect is based on a delay line, the output of which is mixed with the original, dry signal. The short delay time is modulated periodically, resulting in pitch deviations. The modulated deviations, in conjunction with the original signal pitch, produce the chorus effect.
If you’re new to synthesizers and the concepts behind modulation generators, such as LFOs and envelopes, see Synthesizer basics overview. Modulate the oscillator waveform The Analog, Sync, and Wavetable oscillator waveform shapes can be modulated by following these steps. In the FM synth engine, you can modulate the FM or Harmonic amount (or both). 1. In Logic Pro, move the control toward LFO or Filter Env. Positions further away from the centered (off) position make waveform modulation more intense. 2.
Logic Pro Retro Synth Glide and Autobend In glide mode, the pitch of a played note slides to the pitch of the following played note. Autobend automatically bends note pitches when you strike a key. Glide mode behavior changes when legato is selected with the Polyphony control. See Logic Pro Retro Synth global settings. Glide/Autobend parameters • On/off button: Turn the Glide/Autobend section on or off. • Bend Type pop-up menu: Choose Glide or Autobend mode.
Although they are oscillators, LFOs are not audible—but their effects can certainly be heard. The sole purpose of an LFO is to modulate other sound generating elements of the synthesizer. LFO/Vibrato parameters • LFO/Vibrato tabs: Change between LFO and Vibrato parameter panes. • Waveform display: Click the buttons at the top of the display to independently choose an LFO or Vibrato waveform. • The sawtooth waves are suitable for bubbling, rhythmic effects.
If you break down any sound over time, you can emulate snare drum-like, piano-like, or string-like characteristics easily with Retro Synth envelopes. Envelope parameters • Attack handle: Drag horizontally to set the time it takes for the envelope to reach the initial level. Note: Oscillators automatically switch from free mode to synced mode when the Attack time is set to values below 0.50 ms. This has a pronounced effect on stacked voices, in particular. See global and controller settings.
Logic Pro Retro Synth global settings Retro Synth global controls are used to set the overall tuning, polyphony, and other aspects of your instrument. The controller settings let you assign MIDI keyboard features to Retro Synth controls. You can use three MIDI controllers—velocity, modulation wheel, and aftertouch—to change Filter Cutoff, Wave Shape (Pulse Width), or LFO/Vibrato Rate controls.
• Unison pop-up menu: Set the number of voices played in unison mode. Behavior in unison mode depends on the Polyphony parameter value. One of the strengths of polyphonic analog synthesizers is unison—or stacked voices—mode. Traditionally, in unison mode classic analog polysynths run monophonically, with all voices playing simultaneously when a single note is struck. Because the voices of an analog synthesizer are never perfectly in tune, this results in a rich, chorus-like effect with great sonic depth.
Sampler Sampler overview Sampler is a sophisticated software sampler with which you can quickly create multisample instruments using drag-and-drop workflows. Audio files, called samples, are combined into tuned, organized collections called sampler instruments. A sampler instrument is the file type that is loaded into Sampler with the plug-in Settings pop-up menu.
You can use Sampler as a mono, stereo, or surround instrument, and can route loaded samples to multiple audio outputs. This lets you independently process individual drum sounds in a drum kit, for example. If you want to play and edit a single sample instrument, try using Quick Sampler. The Sampler interface is contained in a single scrolling window, with shortcut buttons shown in the Navigation bar at the top.
Use the Navigation bar shortcut buttons In Logic Pro, you can use the Navigation bar shortcut buttons to hide or show panes within the Sampler interface, to quickly navigate between visible panes, and to resize panes within the visible area. The Navigation bar Action pop-up menu provides commands used to manage synthesizer parameter and mapping data. Navigation bar parameters • Navigation buttons: Use to view, and scroll to panes. Double-click to switch pane zoom levels. Click the LED to hide panes.
• Initialize Synth Parameters: Recalls a neutral setting for all parameters in the Synth, Mod Matrix, and Modulators panes. This provides a clean slate when you are adjusting the parameters of your sampler instrument. Note: This does not affect the existing mapping. • Copy Synth Parameters without Mapping: Copies all current parameter values from the Synth, Mod Matrix, and Modulators panes to the Clipboard.
• In the Mapping pane, use the zoom slider. • In the Zone pane, use a two-finger vertical swipe to zoom with the trackpad, or a singlefinger vertical swipe with a Magic Mouse to zoom the waveform. • In the Zone pane, use the zoom buttons. Tip: You can double-click any pane button in the Navigation bar to quickly switch between a maximized view and the current view of that pane.
• Previous Plug-in Setting or Instrument • Previous Channel Strip or Plug-in Setting or Instrument • Next Plug-in Setting or Instrument • Next Channel Strip or Plug-in Setting or Instrument Tip: You can also browse through your sampler instruments by using your MIDI keyboard. You can assign a MIDI event, such as a MIDI note, control change, or program change to select the previous or next sampler instrument in Sampler Preferences.
Save a sampler instrument In Logic Pro, you can access all basic sampler instrument file operations using the commands in the plug-in Settings pop-up menu. • Save: Saves the currently loaded sampler instrument. When you create a new instrument and save it for the first time, you are asked to provide a name. If you have edited an existing sampler instrument and use this command, Sampler uses the existing filename and overwrites the original instrument. You can also use the Save Instrument key command.
Save a Sampler patch in the Library You can also save patches, comprised of a sampler instrument and associated plug-in settings and routings, in the Library. 1. In Logic Pro, click the Save button at the bottom of the Library pane. If the Library is not visible, click the Library button on the menu bar or use the default key command: Y. 2. In the Finder window, browse to the file location you want to use. The default folder location is User Patches. If you wish, create a new folder. 3.
Synth pane parameters Double-click a parameter knob to reset it to the default value. Double-click a parameter value field to enter in a new value. Press Return to complete the operation. • Details button: View or hide a slide-out pane which provides additional synthesis parameters. See Sampler Synth Details. • Tune knob and field: Raise or lower the pitch of the sampler instrument in semitone increments. At the default (zero) position, no pitch change occurs.
• Series button: Turn on to pass the signal through the first filter, which forwards this filtered signal through Filter 2. The output signal of Filter 2 is then sent to the input of the dynamic stage (Amplifier section). • Parallel button: Turn on to pass the signal through both filters. If the Filter Blend knob is set to the center position, you’ll hear a 50/50 mix of the signal, routed via Filter 1 and Filter 2.
Synth Details parameters • Glide field: Set the time it takes to slide from one note pitch to another—the portamento time. Note: In Legato mode, Glide is active only on tied notes and envelopes are not retriggered when tied notes are played. In other words, playing a series of tied notes results in only a single envelope trigger. In Mono mode, Glide is always active and the envelopes are retriggered by every note played. See Use Sampler Unison, Mode, and Polyphony parameters.
• Unison pop-up menu: Set the number of unison voices or turn unison mode off. • Random Detune field: Set the amount of random detuning applied to each voice. Use this parameter to simulate the tuning drift of analog synthesizers or to thicken the sound. Random Detune is also effective when you are emulating various stringed instruments. • Used Voices field: Shows the number of playing voices in real time.
Change the keyboard mode A polyphonic instrument, such as an organ or piano, lets you play several notes simultaneously. Brass or reed instruments are monophonic, which means that you can play only one note at a time. You can choose an appropriate keyboard mode for the type of instrument that is loaded. You are also free to use a monophonic mode for polyphonic instruments such as pianos or guitars, which allows playing styles that are not possible with these polyphonic instruments.
Crossfade between active parallel filters • In the Synth pane of Logic Pro Sampler, rotate the Filter Blend knob to crossfade between the two filters when they are cabled in parallel. Note: Both filters must be turned on. If only one filter is active, you will hear a crossfaded mix of the original signal and the filtered signal. • Set Filter Blend to the leftmost position to hear only the effect of Filter 1. • Set Filter Blend to the rightmost position to hear only the effect of Filter 2.
• Gritty: Two-pole filters designed to saturate heavily at higher Resonance and Drive settings. • Lush: Four-pole lowpass analog-modeled filters. • Lush (Fat): Four-pole analog-modeled filters. • Sharp: Two-pole analog-modeled filters. The three principal filter controls have standard functions for all filter types. • Cutoff: Controls the filter cutoff frequency. • Resonance: Controls the filter resonance or emphasis.
Sampler Mod Matrix pane Use the Sampler Mod Matrix You can use the Mod Matrix pane to route any modulation source to any modulation target—much like the connections made in an old-fashioned telephone exchange or a studio patch bay. If you are new to synthesizer modulation routings, see Modulation basics. You can use up to twenty modulation routings of source, via, and target—arranged in horizontal rows—simultaneously.
• Column sort buttons: Use to alphabetically sort all visible Source, Target, or Via routings. Click again to reverse the sort order. • On/Off button: Turn on the modulation routing, or turn off to disable (bypass) it, without losing settings. • Source pop-up menu: Choose the parameter you want to use as the modulator of the target. • Inv button: Invert the effect of the modulation source. A negative value becomes positive, and vice versa.
Remove a modulation routing 1. In the Logic Pro Sampler Mod Matrix pane, click the modulation routing you want to remove. 2. Click the Minus button (—) at the top right of the Mod Matrix pane to delete the modulation routing. This completely removes the routing from the Mod Matrix pane. Use the Mod Matrix view filter The Mod Matrix view filter is useful when setting up new modulation routings and when dealing with complex instrument routings.
• The area between the two Amount slider handles defines the modulation range of the via controller. Create a modulation routing that includes a via source 1. In the Logic Pro Sampler Mod Matrix pane, click the + button to create a new modulation routing. 2. Choose the target parameter you want to modulate from the Target pop-up menu. 3. Choose a modulation source from the Source pop-up menu.
Invert the effect of the via modulation source • In the Logic Pro Sampler Mod Matrix pane, click the Via Inv button to invert the effect of the via modulation source. A negative value becomes positive, and vice versa. Sampler LFOs Sampler LFO overview You can use any of the four identical LFOs (low frequency oscillators) shown in the Modulators pane to control and add animation to your instruments. All LFOs are available as sources and targets in the Mod Matrix pane.
LFO parameters Double-click a parameter value field to enter a new value. Press Return to complete the operation. • Minus button (—): Highlight the modulator you want to remove, then click the button to delete the modulator from the Modulators pane. • + LFO button: Add an LFO to the Modulators pane. Up to four LFOs can be used. • Waveform pop-up menu: Choose the LFO waveform. For details about how to use them, see Sampler LFO waveforms.
Waveform Comments Square Use of square/rectangle waves periodically switches the LFO between two values. The upper wave cycle switches between a positive value and 0. The lower wave cycle switches between a positive and a negative value set to the same amount above or below 0. You can achieve an interesting effect by modulating the Pitch target with a suitable modulation intensity that leads to an interval of a fifth. Random The two Random waveforms output random values.
Set the Sampler LFO rate LFOs, particularly when you use them monophonically, are well suited for creating rhythmic modulation effects—effects that retain perfect synchronicity even during project tempo changes. You will find that the triangle waveform is most suitable for adding vibrato to a sound, and when using an LFO as a modulation source for other LFOs. You are, of course, free to use any LFO waveform. See Sampler LFO waveforms.
Envelope parameters Double-click a parameter value field to enter a new value. Press Return to complete the operation. • Minus button (—): Highlight the modulator you want to remove, then click the button to delete the modulator from the Modulators pane. Note: ENV 1 can not be removed from the Modulators pane. • + ENV button: Add an envelope to the Modulators pane. Up to five envelopes can be used. ENV 1 is hard wired to amplitude and is always visible.
To explain, raising the slider value reduces the envelope minimum amplitude, with the difference being dynamically controlled by keyboard velocity. For example, when you set the Vel slider to 25%, the minimum envelope amplitude is reduced to 75%. The remaining 25% is added in response to the velocities of keys you play. So, a key played with a zero velocity results in an envelope amplitude of 75%. A key played with a MIDI velocity value of 127 will result in an envelope amplitude of 100%.
Logic Pro Instruments Target Comments Pitch Modulates the frequency (pitch) of the loaded sampler instrument. If you select an LFO as the source, this target leads to siren or vibrato sounds. Select one of the envelope generators with zero attack, short decay, zero sustain, and short release as the source for tom and kick drum sounds. Slight envelope modulations can make the amount of detuning change over time, which can be particularly useful for brass sounds.
Sampler modulation sources The table outlines sources you can choose in the Source pop-up menus of the Mod Matrix pane that can be used for real-time modulation of targets. Also see Sampler modulation targets and Sampler modulation via sources. Source Comments --- or None Disables the source. Side Chain Side Chain modulation uses the side-chain signal level as a modulation signal. The side-chain source is chosen from the Side Chain pop-up menu in the plug-in window header.
Sampler modulation via sources The table outlines sources you can choose in the Via pop-up menus of the Mod Matrix pane that can be used to control the modulation intensity. Also see Sampler modulation sources and Sampler modulation targets. Via Source Comments --- or None Disables the via source. Side Chain Uses the side-chain signal as a modulation signal. Choose the side-chain source from the Side Chain pop-up menu in the plug-in window header.
Sampler Edit panes Sampler Mapping and Zone pane overview You can use the Mapping and Zone panes to create and edit sampler instruments. The two panes are designed for different tasks, but work together to provide full control of individual samples, or zones, and their use within one or more collections of zones, known as groups. A sampler instrument consists of zones and groups: • A zone is a location into which a single sample (an audio file) is loaded from hard disk.
• Zone view button: Shows groups to the left, with zones and associated parameters in a column layout. See Use Sampler Zone view. • Menu bar: The menu bar at the top of the Mapping pane contains elements that are common to all editor views. See Mapping pane menu bar. Use the Sampler Key Mapping Editor You can choose from three editor views in the Mapping pane: Key Mapping Editor, Group view, and Zone view. Click the buttons at the top right to switch between these edit panes.
• Key Mapping Editor: Drag zones into the Key Mapping Editor to add them. Zones are represented by rectangles. Zone key range is indicated by the width. Zone velocity range is indicated by the height. Zone parameters are shown below the keyboard. • Keyboard: Drag zones onto the keyboard to add them to a key. Click a key to play the mapped zone. The root key of each zone is indicated in gold. • Group list controls: Use to choose a group, mute, solo, or hide and view the group list.
• Group Velocity Range fields: Use to define a velocity range for the selected group. Velocity Range is useful for sounds where you want to dynamically mix—or switch between—samples by playing your MIDI keyboard harder or softer. This feature is ideal for layered sounds, such as a piano/string layer, or when switching between different percussion samples. • Use the left field to set the lowest velocity that triggers the group. • Use the right field to set the highest velocity that triggers the group.
Navigate the Key Mapping Editor • In Logic Pro Sampler, drag the scrollbars to navigate to non visible zones or groups. You can also use a two-finger swipe to scroll vertically or horizontally. If you are using a Magic Mouse, use a single-finger swipe to scroll. • Use a pinch gesture to zoom the keyboard display. Alternatively, drag the Zoom slider. Tip: You can double-click the Mapping button in the Navigation bar to quickly switch between a maximized and the current view level.
Use Sampler Group view You can choose from three editor views in the Mapping pane: Key Mapping Editor, Group view, and Zone view. Click the buttons at the top right to switch between these edit panes. The menu bar at the top of the Mapping pane contains elements that are common to all editor views. See Mapping pane menu bar. In Group view, you can: View and edit all group parameters, organized into columns, with related parameters shown in subcolumns.
Group view parameters Drag vertically in parameter value fields to change them. For example, vertically drag the value shown for a group in the Pan column to change it. Alternatively, you can double-click in a field and enter a value, then press the Return key. • • • • Logic Pro Instruments Group parameters: New groups are automatically assigned a consecutive number. • Mute button: Mute or unmute a group. • Solo button: Solo or unsolo a group. All other groups are silenced when active.
• • • • • • • Logic Pro Instruments Round Robin parameters: Control groups in a round robin cycle. Round robin cycles are used to switch between groups of samples assigned to a single key. See Make advanced group selections. • ON/OFF button: Turn on to use the group in a round robin cycle. • Cycle pop-up menu: Choose to add or remove groups from the round robin cycle, or move the selected group to the end of the cycle, or to a new cycle.
• Release Trigger parameters: Use to determine if zones pointing to this group are triggered on key down or on key release. This is useful for emulating organ key clicks, for example, where you may want the organ note triggered on key down, but the organ click triggered on key release. • ON/OFF button: Turn on to turn on key release triggers. If turned off, zones in the group are triggered only on key down. • Decay button: Turn on to turn on the (Decay) Time field.
Make advanced group selections in Sampler You can define a specific event to use as a group selection switch. Whenever the defined selection event is triggered, zones in this group can be played, while other groups selected with a different event are not played. The defined event does not play or alter a sound; it acts only as a group selection switch.
6. Drag vertically in the Enable by Note Value field to change the note number of the second group. This should be a note that has no assigned zone. When you play this note, the second group is enabled—all other groups are disabled. Set up a round robin in Sampler The term round robin is used to describe sample switching when a single key is struck repeatedly.
7. Click the OFF button of any group in the On subcolumn. You will see that the Cycle subcolumn is automatically populated with A.1 (Filename 1), A.2 (Filename 2), A.3 (Filename 3), and ensuing entries. 8. Now repeatedly strike a key on your keyboard. You will hear, and see, each group being played sequentially. Fade between sample groups in Sampler You can use the crossfade (Xfade) parameters to crossfade between layered groups—by velocity or by key range.
In this example, the maximum velocity range value of zone 121 and the minimum velocity range value of zone 122 are adjacent. If you play note D1 at velocities above or below a value of 51, you can clearly hear each sample being triggered. To make this transition less abrupt, you can expand the velocity range of these zones by applying a crossfade value to the Sustain pedal #1 group. Each layered zone within this group will be crossfaded by the Xfade amount you set.
3. In the Mapping pane, click the Group view button at the top right, then set the Key Range or Velocity Range crossfade (Xfade) parameter to a value that provides the smoothest transitions between layers. Alternatively, you can choose a value that abruptly switches between sample layers. If the Xfade parameters are not shown, Control-click the column header to open a shortcut menu, where you can choose to view the Key Range and Velocity Range parameters.
• Drag the scrollbars to navigate to non-visible zone parameters. You can also use a twofinger swipe on your trackpad to scroll vertically or horizontally. If you are using a Magic Mouse, use single-finger swipes. Zone view parameters Drag vertically in parameter value fields to change them. For example, vertically drag the value shown for a zone in the Tune column to change it. Alternatively, you can double-click in a field and enter a value, then press the Return key.
• • • Velocity Range parameters: Use these parameters to define a velocity range for the zone. When you play notes outside this range, you will not trigger or hear the sample assigned to this zone. • Low field: Set the lowest velocity that triggers the zone. • High field: Set the highest velocity that triggers the zone. Mixer parameters: Use these parameters to define zone output handling. • Volume field: Set the overall output level of the zone. • Pan field: Set the pan position of the zone.
Note: The Anchor field value affects only sequenced playback of the sample. Live keyboard playing triggers the sample at the anchor point, so any sample data that precedes this is not played. • Loop parameters: You can control all aspects of zone loops with these options. • Loop ON/OFF button: Turn on to enable looping and to set other loop parameters. • Loop Mode pop-up menu: Choose a looping mode. • Forward: Playback cycles from the loop start point to the loop end point while you hold a key.
Use the Sampler Mapping pane menu bar You can use Mapping pane menu commands and functions at any time. The menu bar displays the same menus and elements in the Key Mapping Editor, Group view, and Zone view. Mapping pane menu parameters See the tasks in this section to learn more about the commands and functions in each popup menu. • Edit pop-up menu: Choose an editing or selection command or function. • Group pop-up menu: Choose a group-related command or function.
• Select Unused: Selects all unused zones and groups in the loaded sampler instrument. These commands are available only when the Key Mapping Editor or Zone view is active. • Unused Group: A group that doesn’t contain at least one zone, is not part of a round robin, and has no keyswitch is considered unused. • Unused Zone: A zone without a reference to an audio file is considered empty or unused. Note: A zone without a reference can be created manually by using the New command in the Zone menu.
• Normalize Loudness: Choose to analyze the selected zone to find the perceived loudness and raise or lower the volume of the zone to achieve a perceived loudness of -12 LUFs. The dynamic relationships of sample levels within the zone remain unaltered. When multiple zones are selected, all will play at the same loudness and the dynamic relationships of sample levels between zones will change. Tip: If you want to maintain the same relative gain relationship between zones, raise or lower the group volume.
Use Mapping pane Zone menu Automap commands Automapping is a process that repositions zones across keyboard and velocity ranges, based on the audio content of each zone. As examples: note pitch or loudness, or a filename. In Logic Pro Sampler, choose any of the following commands or functions from the Zone > Automap menu: • Automap using Current Root Note: Selected zones are extended horizontally to fill the entire key range without gaps between zones, relative to the current root note position.
• Remap Black Notes: Use to remap all selected zones to black notes only. • Remap to Root Notes: Use to remap all selected zones to their respective root key positions. • Remap Velocities: Use to open a dialog where you can specify a velocity range that is applied to all selected zones. • Remap White Notes: Use to remap all selected zones to white notes only.
• Show Group Column in Zone List: Turn on to display the group list in Zone view. • Visible Group List Columns: Choose each item to display the corresponding parameter column in Group view. A checkmark is shown beside active items. Choose an active item to hide the column in Group view. • Visible Zone List Columns: Choose each item to display the corresponding parameter column in Zone view. A checkmark is shown beside active items. Choose an active item to hide the column in Zone view.
• View menu: Choose an option that affects the appearance of the display. See the task in this section to learn more about the commands and functions in this pop-up menu. • Preview button: Play the selected zone. • Snap pop-up menu: Choose a value. Edits to crossfade, sample, fade, or loop markers in the waveform display automatically snap to the nearest possible value.
• Fade In/Fade Out handles and fields: Set the fade-in or fade-out time for the zone. Drag to reposition. Option-click, then drag either handle to move both markers. The fade markers cannot be positioned before or after the sample start and end markers. • Loop Start/Loop End handles and fields: Set the loop start and end points. Drag to reposition. Drag the shaded loop area to move both markers and the crossfade marker.
Use Sampler Zone pane start, end, loop, fade, anchor, and crossfade markers You can use Sampler Zone pane markers to alter audio playback in Logic Pro. To define the possible positions for markers, use the Snap menu. Do any of the following: • Drag the blue start or end marker to set the sample start and end point. Playback occurs between these markers. • Press and hold Option, then drag either the start or end marker to move both the sample start and end point.
Use the Sampler Zone pane shortcut menu In Logic Pro, you can use the shortcut menu to choose a number of sample-handling commands. Control-click in the waveform display to access available options from the shortcut menu. Important: The shortcut menu is context-sensitive. The commands shown in the Zone pane shortcut menu change when you click on different portions of the waveform display.
Use the Sampler Zone pane Edit menu In Logic Pro, you can use the Zone pane Edit menu to choose a number of sample-handling commands. Choose any of the following: • Auto-Loop: Analyzes the audio content and automatically sets a loop. You can use the command multiple times to try different automatic loops. • Auto-Loop within loop area: Analyzes the audio content and automatically sets a loop within the area defined by the loop start and end markers.
Synchronize Sampler audio with Flex In Sampler, you can use the Flex parameters to synchronize the audio playback tempo. This is ideal for synchronously playing an Apple Loop in a key that matches the key of other tracks, for example.
Edit in the Logic Pro Audio File Editor Sampler and the Logic Pro Audio File Editor work seamlessly together. While you will typically perform most sample editing tasks in the Zone pane, you have the option of performing edits and adjustments in the Audio File Editor or an external audio editing application. Choose an external sample editing application By default, the Logic Pro Audio File Editor is opened when you use the Open in Audio File Editor shortcut menu command in the Zone pane.
Edit sample borders and loop points in the Audio File Editor 1. In Logic Pro, after the sample is opened in the Audio File Editor, drag the sample (region) and loop borders graphically in the Region and S. Loop rows below the waveform. The region length is represented as a red bar. The loop length is represented by a yellow bar.
You can also create sampler instruments with the Auto Sampler utility plug-in. Important: Audio files are not contained within a sampler instrument. The sampler instrument only stores information about the files, including filenames, parameter settings, and locations on the hard disk. If you delete or rename an audio file, any sampler instrument that uses this file will be unable to find it.
• When you drag one or more samples onto the Optimized dropzone, Sampler automatically determines the root notes of the zones and maps the zones across the keyboard. If there are multiple zones with the same root note, Sampler creates velocity layers—a different sample is triggered depending on how hard you strike the key—based on the perceived loudness of the samples. Loop point data in the file header is used, if present.
If you import more samples than the number of available keys, Sampler automatically creates additional groups, which start mapping samples chromatically from C2 in each new group.
Quickly create instruments from audio regions In Logic Pro, you can convert one or more audio regions to sampler instruments with the Convert Regions to New Sampler Track function (default key command: Control-E). All selected regions are sequentially mapped—in accordance with their timeline positions— to the specified key range, starting with the lowest note.
Create zones with drag and drop A zone is a location into which a single audio file—or sample, if you prefer this term—can be loaded. The sample loaded into the zone is memory resident—it uses the RAM of your computer. You can define as many zones as needed. A zone offers parameters that control sample playback. You can set the key range—the range of notes that the sample spans—and the root key—the note at which the sample sounds at its original pitch for each zone.
The root key is shown in gold on the keyboard. The start key, end key, and root key are all set to the note that the file is dragged to. Note: You can drag multiple audio files onto a key in the Key Mapping Editor. This automatically creates a stack of layered zones, split by velocities. The drop location changes the import behavior: • When you drop an audio file onto the keyboard, it is mapped to that key.
Add multiple files to the Key Mapping Editor In Logic Pro Sampler, you can add audio files to the Mapping pane in several ways and in different editor views. 1. Click the Mapping button in the Navigation bar to view an empty Mapping pane. Click the Key Mapping Editor button if not already shown. 2. From the Finder, Loop Browser, or File Browser, drag one or more files into the Mapping pane, either directly onto the keyboard or the Key Mapping Editor above the keyboard.
Add multiple files to the Zone view and create a new group In Logic Pro you can add audio files to the Mapping pane in several ways and in different editor views. 1. Click the Mapping button in the Navigation bar to view an empty Mapping pane. Click the Zone view button if not already shown. 2. From the Finder, Loop Browser, or File Browser, drag one or more audio files onto the Zone view. Shift-click or Command-click to select multiple files. Tip: You can also drag regions from the Main window.
Create a new, empty instrument 1. In Logic Pro, insert Sampler into an instrument channel. 2. Click the Mapping or Zone buttons (or both) in the Navigation bar to turn on these panes, if they are not shown. 3. Click the Mapping button in the Navigation bar to view an empty Mapping pane. You will typically add audio files in either the Key Mapping Editor, Navigation bar, or Zone view, but you can also drop files into the Group view or Zone pane.
Create an empty zone with a menu command, and assign a sample to it 1. In the Logic Pro Sampler Mapping pane, choose Zone > New. A new group is shown in the Mapping pane, and a zone is automatically added to the group. 2. Do one of the following: Logic Pro Instruments • In the Zone pane, drag an audio file into the waveform display area. • In Zone view, click the File column, then choose Load Audio File from the pop-up menu.
• In the Key Mapping Editor, drag an audio file from the Finder, Loop Browser, or File Browser directly onto the zone. 3. If you chose the Load Audio File option in step 2, locate the audio file you want and select it in the File Selector window. • Click the Options button at the lower left of the File Selector window to show or hide the checkboxes and Play button. • Select “Hide used audio files” to dim the names of files used in the currently loaded sampler instrument.
Create instruments with menu commands You can manually create a zone and can add an audio file by using menu options. You can also choose whether the new zone maps your samples chromatically or based on analysis of the audio material. Create a new, empty instrument 1. In Logic Pro, insert Sampler into an instrument channel. 2. Click the Mapping button in the Navigation bar to view the Mapping pane. You can also click the Zone button if you want to view the Zone pane. 3.
Create an empty zone, and assign a sample to it 1. In Logic Pro Sampler, do one of the following: • In Zone view, choose Zone > New to create a new, empty zone. • In the Key Mapping Editor, press and hold Command-Shift, then drag the pointer to create a new, empty zone. A new group is shown in the Mapping pane and a zone is automatically added to the group. 2.
• In the Zone pane, if open, drag an audio file into the waveform display area. Create an assigned zone with menu commands 1. In Logic Pro Sampler, do one of the following: • In Zone view, Choose Zone > Load Audio Files (or use the Load Audio Files key command: Control-F). This method creates a new zone with the selected audio file. • In the Key Mapping Editor, click a zone, then choose Zone > Load Audio Files (or use the Load Audio Files key command: Control-F).
3. To preview looped playback of the currently selected audio file, click the Play button at the lower right of the File Selector window. The Play button label changes to Stop during playback. • You can step through files by using the Down Arrow key, or by clicking them, to audition each file in turn. • Click the Stop button to stop playback. 4. When you find an audio file you want to use, click the Open button to add it to the zone.
Add a zone to a group In any of the Logic Pro Sampler Mapping pane views, do one of the following: • Select an audio file or loop in the Finder, Loop Browser, or File Browser—then drag it onto a group name displayed in the Mapping pane. A new zone, containing an audio file or loop, is created. Shift-click or Command-click to select multiple files. Tip: You can add any type of loop from the Loop Browser, including Software Instrument loops, Step Sequencer loops, and Drummer loops.
Edit Sampler zones and groups Edit zones and groups in Sampler You can extensively customize your instruments with the unique parameters offered by zones and groups. You can use zone parameters to edit the pitch, velocity range, panorama, looping parameters, and other aspects of zones. See Use Sampler Zone view and Zone pane. You can use group parameters to adjust the velocity and output, and to offset envelopes and filters for a group of zones, for example. See Use Sampler Group view.
• The zones of the focused group are displayed in the foreground and can be graphically edited. • The zones of the other selected groups are still visible but dimmed. • Only zones in the focused group can be selected and edited or previewed. • Click a group name to select it and to move focus to the group. Shift-click or drag (from an empty area outside any group) to select multiple groups. The Key Mapping Editor above the keyboard shows only zones that belong to the selected group, or groups.
Select zones or groups by clicking them or pressing arrow keys • • In the Logic Pro Sampler Mapping pane Group or Zone view, click zones and groups to select them. • To select a single zone or group: Click the parameters of that zone or group. • To select two nonadjacent zones and the zones between them: Shift-click the two nonadjacent zones. • To select multiple nonadjacent zones: Command-click each zone. Press the Up Arrow key or the Down Arrow key to select the previous or next zone or group.
Within each group mapping area (notes and velocities), zones can’t overlap. When you force an overlap by dragging zones one above the other within the same group, the Key Mapping Editor automatically cuts zones in order to make space for other zones. This allows you to add zones or delete mapped areas without having to edit all affected zones directly. You can protect either the selected or unselected zones when dragging zones.
• Shift Selected Zone(s)/Group(s) Left (Zones incl. Root Key): Option-Shift-Left Arrow key • Shift Selected Zone(s)/Group(s) Right (Zones incl. Root Key: Option-Shift-Right Arrow key Change the start or end note of a zone In the Logic Pro Sampler Key Mapping Editor: • Drag the start or end point of the zone or group to the target position. Change the velocity range of a zone In the Logic Pro Sampler Key Mapping Editor: 1.
Divide a zone vertically In the Logic Pro Sampler Key Mapping Editor: 1. Select a zone. 2. Press and hold Command-Option to display a vertical cut icon at the pointer position, then click the zone. The zone is divided vertically and a new zone is created. Each zone can be independently edited. Divide a zone horizontally In the Logic Pro Sampler Key Mapping Editor: 1. Select a zone. 2. Press and hold Shift-Option to display a horizontal cut icon at the pointer position, then click the zone.
Use zone and group output labels in Sampler You can name the outputs used by instrument zones or groups and can save these names as a label set. Set output labels for zones and groups In the Logic Pro Sampler Mapping pane: 1. To open the Output Labels window, choose Edit > Edit Output Labels. 2. Click the field in the Label column to the right of the Output that you want to rename, and enter the new name. 3. Press Return, or click outside the field to complete text entry. 4.
Use key labels in Sampler You can add names to keys used by instruments and save these names as a label set. This is ideal for drum kits. Set key labels for zones and groups In the Logic Pro Sampler Mapping pane: 1. To open the Key Labels window, choose Edit > Edit Key Labels. 2. Click the field in the Label column to the right of the note that you want add a name to, and enter the new name. 3. Press Return, or click outside the field to complete text entry. Save a key label set 1.
Sampler articulation handling Sampler includes articulation functions you can use to directly modulate or switch between grouped or individual samples. This enables a number of expressive playing and playback possibilities, such as switching between pizzicato and bowed strings, or triggering instruments with different articulations such as slides, scoops, and falls. In Sampler, each group can be assigned an identifier called an articulation ID.
4. Choose Articulation ID from the Target pop-up menu. 5. Drag the Amount slider all the way to the right, so it is set to 100%. When you manipulate the controller, the articulation ID changes through the range of used values. Manage sampler instruments Sampler instrument management As your sample library grows, the list of sampler instruments also expands. To help you keep the list of sampler instruments manageable, Sampler provides a simple, flexible file management method.
Sampler storage locations Sampler instruments and samples are stored in specific locations. Sampler instrument storage locations To be visible in the Settings pop-up menu, instruments must be stored in the following folder locations: • ~/Music/Audio Music Apps/Sampler Instruments: User-defined or edited instruments are stored here. • ~/Music/Audio Music Apps/Sampler Instruments/AutoSampled: Instruments created with the Auto Sampler utility plug-in are stored here.
A sampler instrument file is created in the Sampler Instruments folder. 3. The raw samples associated with the sampler instrument are placed automatically in a folder named after their original format in ~/Music/Audio Music Apps. 4. To use the added instrument, choose it from the format submenu in the Settings pop-up menu. SoundFont2 files can contain multiple sounds, stored in “banks,” in addition to singleinstrument files. When you load a SoundFont2 bank into Sampler, it creates a bank folder (.
Sampler extended parameters You can use Sampler extended parameters to enable use with MPE and guitar controllers, providing enhanced expression capabilities. You can access these parameters by clicking the disclosure triangle at the lower left of the interface. Extended parameters • MIDI Mono Mode pop-up menu: Choose Off, On (with common base channel 1), or On (with common base channel 16). In either active mode, each voice receives on a different MIDI channel.
Sculpture Logic Pro Sculpture overview This section contains key information and concepts that you need to understand before looking at Sculpture features and parameters. If you’re new to synthesizers, it might be best to start off with Synthesizer basics overview, which will introduce you to the terminology and give you an overview of different synthesis methods and how they work. Sculpture is a synthesizer that generates sounds by simulating the physical properties of a vibrating string.
For example, imagine a steel-stringed guitar that is alternately strummed with your thumb and then picked strongly with your fingers. Changing to nylon strings, or 12 strings, would significantly change the tone. Now imagine the impact of pressing the strings down onto the fretboard, which not only changes the chord but also momentarily bends the strings, and therefore their pitch.
Sculpture is a performance-oriented synthesizer that benefits from the use of controllers, modulations, and different playing techniques. Take time to experiment with all available controls and parameters when you initially audition some of the supplied sounds, and when you create new ones of your own. Several tutorial sections will help you learn about creating sounds with Sculpture.
• Processing parameters: The processing parameters capture the string signal and provide further tonal control. These include the filter, Waveshaper, pickup, and amplitude envelope parameters. • Global parameters: Affect the overall behavior of Sculpture. Global parameters include bend range, keyboard mode, and tuning controls. • Post-Processing parameters: Affect the overall tone and behavior of the entire instrument. Post-processing parameters include the delay effect, Body EQ, and output parameters.
The string parameters apply on a per-voice basis. A number of parameters can be morphed between up to five morph points. These are indicated in the parameter descriptions. See Sculpture morph overview. String parameters • Hide, Keyscale, and Release view buttons: Show or hide different groups of parameters. • Material Pad: Determine the basic tone of the string by setting the stiffness and damping properties.
Logic Pro Sculpture view modes Click the Hide, Keyscale, or Release button to show or hide the corresponding parameters in the ring surrounding the Material Pad. Hide, Keyscale, and Release parameters • Hide button: Hide several elements, simplifying the interface and making it impossible to accidentally change Key Scale or Release parameters. • Keyscale button: Set parameters for notes that fall below C3 or notes that are positioned above it.
The four corners of the Material Pad display different material names. These each represent a combination of maximum/minimum Stiffness and Inner Loss values. The combination of the Inner Loss and Stiffness parameter positions determine the string material and, therefore, the general timbre of your sound. Here are examples of how Inner Loss and Stiffness settings can change the tonal color: • Low Stiffness values, combined with low Inner Loss values, lead to metallic sounds.
Material Pad Keyscale and Release parameters • • Diamond controls: Adjust the Stiffness and Inner Loss Keyscale and Release parameters. • In Keyscale view, the diamonds indicate the intersection between the Inner Loss and Stiffness Low/High Scaling positions. You can drag these diamonds to adjust both parameters simultaneously. • In Release view, you only drag the diamond vertically, because you cannot adjust the release behavior of the Stiffness parameter.
Logic Pro Sculpture string parameter sliders The sliders on the outer ring of the Material Pad refine the properties and behavior of the string. High Scaling sliders are blue. Low Scaling sliders are green. String parameter sliders • • • Logic Pro Instruments Resolution slider: Set the maximum number of harmonics contained in (and spatial resolution of) the sound at C3.
Note: This nonlinear effect can deliver surprising results and can also make the entire model unstable, especially when combined with low Media Loss and Inner Loss values. If your sound spikes or drops out during the decay phase, try reducing Tension Mod, and perhaps Resolution. Adjust Resolution key scaling 1. In Logic Pro, click the Keyscale button. 2. Drag the green low slider inside the top of the Material Pad ring for low notes—or the blue high slider around the top of the outer ring for high notes.
Sculpture objects parameters Logic Pro Sculpture objects overview The objects are used to stimulate or otherwise affect the string in some way. The object parameters discussed in this section apply on a per-voice basis. A number of parameters can be morphed between up to five morph points. These are indicated in the parameter descriptions. For more information, see Sculpture morph overview.
Object parameters • On/Off buttons (1, 2, 3): Turn the object on or off. • Type pop-up menus: Choose the excite, disturb, or damp type. Your choice affects string interaction and changes the behavior of the Timbre and Variation controls. See Logic Pro Sculpture excite objects 1 and 2 and Logic Pro Sculpture disturb and damp objects 2 and 3. • Gate mode buttons: Determine when the object is active—that is, when it disturbs or excites the string.
Logic Pro Sculpture excite objects 1 and 2 Before you look at the tables of object types and properties, you should note the following: • Object 1 can only use the excite types found in the first table. • Object 2 can use the excite and disturb/damp types available in both tables. • Object 3 can only use the disturb/damp types found in the second table. See Sculpture disturb and damp objects 2 and 3.
Logic Pro Sculpture disturb and damp objects 2 and 3 The table outlines all disturb and damp types available for Objects 2 and 3. For information on excite types available for Objects 1 and 2, see Logic Pro Sculpture excite objects 1 and 2. Name Description Strength controls Timbre controls Variation controls Disturb A disturb object that is placed at a fixed distance from the string resting position The hardness of the object The distance from the resting position Controls width.
Name Description Strength controls Timbre controls Variation controls Mass Used to model an additional mass attached to the string. This can lead to inharmonic sounds, and very interesting results, if the position of this mass is modulated along the string.
Pickup parameters • Object position sliders: Drag sliders 1, 2, and 3 to determine the respective position of each (excite/disturb/damp) object along the string. This parameter can be morphed. • Pickup A position slider: Set the position of Pickup A along the string. Values of 0.0 and 1.0 determine the left and right ends of the string, respectively. This parameter can be morphed. • Pickup B position slider: Set the position of Pickup B along the string. This parameter can be morphed.
Logic Pro Sculpture spread controls Although they are not found in the actual Pickup display, two additional pickup parameters are available to the right of the Material Pad. Key/Pickup Spread parameters • Key Spread button: Drag vertically to set the amount of panning (pan position) by MIDI note number. Depending on settings, the farther up or down the keyboard you play, the more the voice is panned left or right. Two lines in the ring that surrounds the Spread parameters indicate values.
• Warmth field: Slightly detune each voice to warm or thicken the sound. This parameter emulates the random fluctuations caused by the components and circuitry of analog synthesizers. • Transpose field: Tune the entire instrument by octaves. Given the ability of component modeling to radically alter pitch with certain settings, coarse tuning is limited to octave increments. • Voices field: Specify the number of voices that can be played at any one time.
Logic Pro Sculpture amplitude envelope The parameters discussed in this section apply on a per-voice basis. This is a straightforward ADSR envelope that scales the pickup signals before passing them on to the Waveshaper and filter. The positioning of the amplitude envelope at this point in the signal path produces more natural-sounding results because you can control signal levels before sending them to the Waveshaper (if used).
Use the Logic Pro Sculpture Waveshaper The Waveshaper imposes a nonlinear shaping curve on each voice of the signal coming from the pickups and amplitude envelope. This reshaped signal is then passed on to the filter. This process is quite similar to the waveshaping of oscillators in synthesizers such as the Korg O1/W. Waveshaper parameters • Waveshaper On/Off button: Turn the Waveshaper on or off. • Type pop-up menu: Choose one of four waveshaping curves. See the table.
Logic Pro Sculpture filter parameters The parameters discussed in this section apply on a per-voice basis. A number of parameters can be morphed between as many as five morph points. These are indicated in the parameter descriptions. For more information, see Sculpture morph overview. The filter parameters provide further timbral/spectral control over your sound. They will be familiar to you if you have any experience with synthesizers.
• Key knob: Determine how cutoff frequency responds to key position. The farther up or down the keyboard you play, the more bright or mellow the sound becomes. Technically speaking, the cutoff frequency is modulated by the keyboard position. A value of 0.0 disables key tracking. A value of 1.0 makes the cutoff frequency follow the fundamental of the note across the entire keyboard range. Play an octave higher and the cutoff frequency also changes by an octave.
Logic Pro Sculpture Basic EQ model The Basic EQ parameters differ from other EQ models. Basic EQ parameters • Low/Int knob: Set the gain of a low shelving filter (or scale the intensity of model formants). • Mid/Shift knob: Set the gain of a peak filter (or shift the formants logarithmically). This is sweepable—see “Mid Frequency/Fine Structure slider” below. • High/Stretch knob: Set the gain of a high shelving filter (or stretch the formant frequencies, relative to each other).
Logic Pro Sculpture Body EQ models All other Body EQ models provide the following parameters: Body EQ parameters • Formant–Intensity knob: Rotate to scale the intensity of model formants. Any formants (harmonics) in the model become louder or are inverted, depending on how this parameter is used. A value of 0.0 results in a flat response. A value of 1.0 results in strong formants. Negative values invert the formants. • Formant–Shift knob: Rotate to shift the formants logarithmically. A value of −0.
Sculpture delay effect parameters Logic Pro Sculpture delay effect overview This is a (project) tempo-syncable stereo or true surround delay. It can also run freely (unsynchronized). The Delay section features all the general delay parameters you’d expect from a delay plus the Groove (delay timing) Pad. Sculpture Delay effect parameters • Delay On/Off button: Turn the Delay effect on or off. • Wet Level knob: Set the Delay output level.
• Delay Time slider and field: Set the delay time. This can be in either musical note values—1/4, 1/4t (1/4 triplet), and so on (see “Sync button” below)—or in milliseconds. • Sync button: Set either tempo-synced or free-running delay modes. • Output Width slider: Change the stereo or surround base of the wet signal. A value of 0.0 results in mono output. A value of 1.
Logic Pro Sculpture Groove Pad (surround) When used in a surround instance of Sculpture, the Delay Time Pad converts into a pure groove pad that controls the delay time relationship between: • Left and right channels (speakers) in the horizontal direction • Front and rear channels (speakers) in the vertical direction The Spread parameter is shown as a numerical field that can be edited at the top left of the Groove Pad. Drag, or double-click and type, to change the value.
Logic Pro Sculpture surround range and diversity In surround instances, Sculpture Extended Parameters display the Surround Range and Surround Diversity parameters: Surround parameters • Surround Range slider: Drag to set the range of the surround angle—the breadth of the surround field. Imagine an LFO routed to pickup pan position with an amount of 1.0. Setting the LFO waveform to sawtooth and the Surround Range to 360 results in circular movement—around the entire surround circle—of the voice output.
Sculpture also includes a number of specially designed modulation sources that are less conventional. These include: • Two jitter generators with adjustable bandwidth—used to create random variations. • Two Randomizers that change values only at note start/on—perfect for emulating the lip, breath, and tongue effects of brass instrument players, for example.
Both LFOs can also be faded in or out automatically, courtesy of built-in envelope generators. LFO parameters • Waveform pop-up menu: Choose the waveform used for LFO modulation. See Sculpture LFO waveforms. • Waveform display: Shows the results of changes to the Waveform pop-up menu and Curve knob parameter settings. • Curve knob: Change the shape of modulation waveforms. A pure waveform of the chosen type is active at a value of 0.0. The +1 and −1 positions deform the wave.
Logic Pro Sculpture LFO waveforms The LFO Waveform pop-up menus set different waveforms for the LFOs. The table outlines how these can affect your modulations. Waveform Comments Sine Ideal for constant, even, modulations. Triangle Well-suited for vibrato effects. Sawtooth Well-suited for helicopter and space gun sounds. Intense modulations of the oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds.
Modulate Logic Pro Sculpture LFOs Two modulation targets can be assigned per LFO. An optional via modulation can also be assigned. The LFOs also feature a simple envelope generator, which is used to control the time it takes for the LFO modulation to fade in or fade out. At its center position, which is accessed by clicking the middle mark, the modulation intensity is static—in other words, no fade-in or fade-out occurs.
3. Select an LFO Rate of 5 Hz. 4. Choose the triangular wave as the LFO waveform. Tip: Chaotic and fast modulations of pitch by an LFO source—with a delayed Sample&Hold waveform, a high Rate, and short fade-out—are ideal for emulating the attack phase of brass instruments. Logic Pro Sculpture Vibrato parameters One LFO is hard-wired to pitch, for vibrato effects, periodic pitch modulations.
• DepthviaVibCtrl sliders: Drag to define the impact of the controller assigned to Vib Depth Ctrl (see Assign Logic Pro Sculpture MIDI controllers). • Via slider: Determine the modulation intensity of the controller assigned to Vib Depth Ctrl. • Amt slider: Determine the maximum modulation amount. Logic Pro Sculpture Jitter generators Many sounds can benefit from small, random modulations to parameters. These can emulate the subtle variations that occur when particular instruments are played.
Logic Pro Sculpture note-on random modulators The two note-on random sources are intended for random variations between different notes or voices. Values are randomly generated for each note and remain constant until the voice is released. Such randomizations are useful for adding interest or thickening the sound when you play polyphonically. Note-on random is also useful for emulating the periodic fluctuations that a musician introduces when playing an instrument—even when repeating the same note.
• Curve buttons: Choose from concave, linear, and convex velocity curves. Use Controller A and B in Logic Pro Sculpture These parameters define two discrete modulation targets. The modulation intensity, or strength, is assigned to Controller A, Controller B, or both. Controller A and B parameters • On/Off buttons (1 and 2): Turn the controller A and B modulation sources on or off. • Target pop-up menus: Choose the target parameter that you want to modulate with the specified controller.
Control envelope parameters • Envelope 1/2 buttons: Choose control envelope 1 or 2, and access the parameters of each. • On/Off buttons (1 and 2): Turn the control envelope 1 and 2 modulation sources on or off. • Target pop-up menus: Choose modulation targets 1 and 2. Two targets can be assigned per envelope, with an optional via modulation. Targets include string, object, pickup, Waveshaper, and filter parameters.
• Sync and ms buttons: Select either a tempo-synced envelope with note value options, such as 1/8 or 1/4, or a free-running envelope (with segment times displayed in milliseconds). Note: Switching between values forces a recalculation of times to the nearest note value or ms time, respectively, based on the current project tempo. • Compare button: Toggle between the original recording and the edited version.
• If you click the handles (nodes) or lines between the nodes in the envelope display, the current envelope segment becomes highlighted. A small help tag also indicates the millisecond value of the current segment. Copy, paste, or clear Sculpture envelopes with the shortcut menu You can copy and paste envelopes between Envelopes 1 and 2, between settings, or between multiple open Sculpture instances. The Clear command deletes the selected envelope.
Loop Logic Pro Sculpture envelopes The envelope can run in one-shot mode, like any envelope—the envelope phases run for as long as the note is held. It can also run through each phase several times or in an infinite cycle, much like an LFO. You can achieve this through the use of loops. You can synchronize loops to the project tempo automatically by using the sync and ms buttons.
• Record trigger mode pop-up menu: Choose different record trigger modes to start and stop recording when Record is active. • NoteOn: Recording starts when a note is played. • Note + Ctrl Movement: Recording starts when MIDI control change messages arrive while a note is held (for information about assigned MIDI controllers, see Assign Logic Pro Sculpture MIDI controllers. • Note + Sustain Pedal: Recording starts when the sustain pedal is depressed while a note is held.
Sculpture morph parameters Logic Pro Sculpture morph overview Sculpture has a number of morphable parameters, indicated in the Sculpture interface by an orange value bar, rather than a blue or turquoise one. This makes it easy to identify, and edit, the values of these parameters. All morphable parameters can be independently adjusted and stored with a morph point. In essence, the values of all morphable parameters are captured at a particular moment in time, much like a photograph.
During a morph, the red line in the Morph Envelope timeline shows the current time position, and the Morph Pad displays a moving dot that indicates the current morph position. Note: The current morph position is only shown if one note is being played. Sculpture Morph Pad Morph points in the Logic Pro Sculpture Morph Pad One of the five Morph Pad points (A, B, C, D, and Center) is always selected for editing. This selected point is indicated by two concentric circles that surround it.
Randomize points in the Logic Pro Sculpture Morph Pad The randomize feature creates random variations of selected morph points. When combined with the copy/paste function, randomizing lends itself to using the Morph Pad as an automatic sound generator. Use of the Morph Pad can yield interesting composite sounds—hybrids of the original and morphed sound. You can copy this hybrid sound to a corner of the Morph Pad, or to several corners, and randomize it by a definable amount.
As you move the morph ball around, you’ll see ghost controls in the Pickup display and the ball in the Material Pad move. If you look closely, you should see a number of red dots moving in the string and object parameters, which indicate the current morph position. Note that positions on the Morph Pad that fall in between the various morph points cause the randomized parameters to interpolate between values. You can use the Copy and Paste commands to make use of these in-between values.
Sculpture Morph Envelope Logic Pro Sculpture Morph Envelope display The Morph Envelope contains nine points and eight segments. It has recording behavior that is similar to the controller envelopes. • The overall time/length of the Morph Envelope is indicated by the numerical entry at the top right of the display. • The maximum time/length of the Morph Envelope is 48 bars/40 seconds. • The lines on the background grid are placed 100 milliseconds apart.
Morph Envelope parameters • Record button: Arm the envelope for recording. See Record Morph Envelopes in Logic Pro Sculpture. • Trigger mode pop-up menu: Choose the event type that triggers recording. • Mode buttons: Turn on the Morph Envelope. See Logic Pro Sculpture Morph Envelope mode. • Pad Mode pop-up menu: Choose a Morph Envelope mode. • Timescale field: Scale the duration of the entire envelope between 10% (ten times faster) and 1000% (ten times slower).
• Offset button: When in Env + Pad mode, choose from several menu items: • Offset: The default mode. Behavior is the same as Env+Pad mode: Envelope is running, and the position of the morph ball or X/Y MIDI controllers is used as an offset for any envelope movements. • Point Set: Envelope is running. The selected envelope point can be edited by moving the morph ball or with a MIDI controller (MorphX and MorphY Controller Assignments). • Point Solo: Envelope is in a kind of snapshot mode.
• Loop Forward: The envelope runs to the Sustain point and begins to repeat the section between the Loop point and Sustain point periodically—always in a forward direction. • Loop Backward: The envelope runs to the Sustain point and begins to repeat the section between the Sustain point and Loop start point periodically—always in a backward direction.
Following the recording of a controller movement, R(ecord) Enable is automatically set to off and Mode is set to Env only. This ensures that only the recorded movement is active, regardless of the controller position or further movements after you finish recording. Note: The mode defaults to (Morph) Pad as soon as you click the R button. See Logic Pro Sculpture Morph Envelope parameters.
Learn a MIDI controller assignment in Sculpture 1. In Logic Pro, open a control pop-up menu, and choose the Learn item. 2. Move the controller on your MIDI keyboard or MIDI controller. Note: If no suitable MIDI message is received within 20 seconds, the selected control reverts to the previous value/assignment. Logic Pro Sculpture extended parameters Sculpture provides additional parameters that can be accessed by clicking the disclosure triangle at the lower left of the interface.
• Extended: Choose to set a maximum of 1000 elements. The Resolution slider, coupled with pitch, stiffness and pitch bend range settings affect the number of elements (overtones) used. This mode automatically reduces the number of audible inharmonic overtones until none of the overtones happen at rates above half the sampling frequency. • High Definition: Choose to set a maximum of 1000 elements and to also turn on internal 2x oversampling, which adds frequency headroom for more overtones.
Save a default setting in Sculpture • In Logic Pro, choose Save Settings As from the Settings pop-up menu, then enter the name you want—maybe “neutral” or “vanilla”—and click Save. This setting can be reloaded as you work through the examples. Explore the Logic Pro Sculpture string The string is the central synthesis element of Sculpture and is responsible for the basic tone.
2. You probably noticed that moving the Media Loss, Tension Mod, and Resolution sliders also had an effect on the green and blue Keyscale sliders inside and outside the ring. Drag each of these Keyscale slider arrowheads to different positions—one by one— while you play a few notes either side of middle C. Notice the changes that happen up or down the keyboard range. 3.
String and object interplay in Logic Pro Sculpture Each parameter has an impact on the overall tone of the string and—more often than not— an impact on the string interaction of other parameters. As you introduce or make changes to parameters, the modeled string is affected. This, in turn, affects the interaction of each parameter with the modeled string. Therefore, parameter settings that you already made for Object 1, for example, may need to be adjusted when Object 2 is turned on.
Explore other Logic Pro Sculpture processing options From the pickups, the signal is sent to the processing section, which consists of the ADSRequipped amplitude stage (just to the right of the circular Material Pad in the center), a Waveshaper with selectable types of waveshaping curves (above the circular Material Pad), and a multimode filter (below the Material Pad). All elements covered thus far exist on a per-voice basis.
Use breath control without a breath controller in Sculpture 1. In Logic Pro, record breath controller modulations into the recordable envelopes by using your keyboard modulation wheel or another controller. 2. Reassign the recorded modulation routing to either, or both, the CtrlEnv 1 and CtrlEnv 2 parameters. 3. Choose NoteOn from the Record Trigger pop-up menu. Incoming note-on messages trigger the CtrlEnv 1 and 2 parameters.
• How is the instrument played? Is it bowed, blown, struck, or plucked? • Are there other elements that form part of the instrument sound? • Changes in lip pressure and mouth position with brass and wind instruments • Breath or mechanical noises • Momentary pitch changes—for example, when fingers are pressed into a fretboard, or when a string is plucked • Momentary tonal or level changes—such as when brass players are running out of breath, or fluttering the valves After you mentally, or physical
7. Drag Object 1 pickup position to a value of 0.10. You should be starting to get pretty bells now … play a few notes. 8. To activate the Delay unit, click the Delay button in the upper-right section. 9. Click the Sync button at the bottom of the Delay section, and drag the Delay Time slider to a value of 20 ms. 10. Adjust the Wet Level knob to 66%. 11. Click the Body EQ button in the lower right to activate it. Make sure that Lo Mid Hi is chosen from the Model pop-up menu. 12. Adjust the Low knob to 0.
11. Turn on the Waveshaper and select Scream as your preferred type. Adjust the Input Scale and Variation parameters to taste. 12. Turn on the Filter. Select HiPass mode, and adjust the Cutoff, Resonance, and other filter parameters to taste. (As a suggestion, set Cutoff at 0.30 and Resonance at 0.41). 13. Choose Save Setting As from the Settings pop-up menu and save the setting with a new name.
15. As you play sustained notes, you may notice a distinct lack of interesting timbral shifts (typical of real flute sounds—due to changes in the player’s breath, lip position, and so on) as the note is held. 16. You can use a number of approaches to add interest to the sustained sound. These include using the vibrato modulator (assigned to aftertouch, perhaps), recording or drawing in an envelope, and controlling the Waveshaper Input Scale via Velocity and/ or String Media Loss.
Tip: Play notes or chords adjusting parameters, so you can hear what each parameter is doing to the sound. You probably notice some intermodulations that are introduced when you’re playing chords. Apart from the pitch differences between notes in the chord, this is a result of the interactions between each voice being produced by Sculpture.
7. To make your bass more woody, adjust Object 1 pickup position toward the right (drag the #1 slider in the Pickup section, which is at the left side of the interface). At extreme positions (the left or right end), you’ll find that the bottom end of your bass is lost. Try it out. 8. Adjust the position of Pickup A and Pickup B by dragging the horizontal sliders. As you’ll hear, you can quickly recreate a picked acoustic or electric bass sound. 9.
Create other guitar-like sounds in Sculpture In Logic Pro, do any of the following: • Adjust the Object Strength, Variation, and Timbre parameters. • Reposition the Material Pad ball to create a completely different tone to your guitar. • Use Delay or Vibrato to emulate the double-strike picking of mandolins. Create a solo string sound in Sculpture Solo stringed instruments that are played with a bow, such as violins and cellos, can be created in much the same way.
Classic synthesizer programming in Logic Pro Sculpture One strength of Sculpture is the ability to create endlessly evolving pad and atmospheric sounds. It can also generate fat synth basses, powerful leads, and other types of typical synthesizer sounds. Sculpture has an advantage over traditional synthesizers in that its core synthesis engine produces a wider variety of basic tones, and these tones have an organic quality and richness to them.
6. Click the sync button, and adjust the Rate knob to a value of 1/8t. 7. Activate the second LFO 1 object by clicking the 2 button, and then choose Object 1 Position from the Target pop-up menu by the 2 button. 8. If you play the keyboard, little is different. 9. Choose Velocity from the via pop-up menu near the 2 button. 10. Play the keyboard at different velocities, and you’ll hear some shifting of the Object 1 pickup position. 11.
Advanced Sculpture tutorial: electric bass Electric bass programming in Logic Pro Sculpture This section concentrates on a single instrument type—the electric bass, including all of its important variations and articulations. The physical nature of electric basses is not as complex as their acoustic counterparts. This instrument is therefore an excellent choice for the sound programming tutorials, the goal of which is to acquaint you with the art of using Sculpture to accurately reproduce detailed sounds.
The vibration of the strings is captured by an electromagnetic pickup. When the string is vibrating, its steel core affects the magnetic field. The pickups are almost always found some distance to the side, nearer to the bridge and stop tailpiece. There are different pickup concepts for electric basses, and often two or more pickups are combined to make the sound.
Recreate the sound characteristics of a typical bass instrument in Sculpture 1. In Logic Pro, set the Attack value of the amplitude envelope to its minimum value (0.00 ms). The A(ttack) slider is just to the right of the Material Pad. 2. Shorten the Release time of the amplitude envelope to a value between 4 and 5 ms. Play a key on your keyboard. The note should stop abruptly when you release the key and should be free of artifacts (a digital crackle or snap).
7. You’ll quickly realize that you can achieve a precise, crisp sound only when you drag the slider relatively far away from the middle of the string. Move Object 1 closer to the pickup (position 0.15 in the figure below). 8. The low notes are still distorted. You can remedy this by adjusting the Level knob to the right of the amplitude envelope. Set a value of −10 dB.
Splay overtones in Sculpture 1. In Logic Pro, drag the ball in the Material Pad gradually to the right. The sound takes on a more pure, bell-like character. 2. To realistically simulate the splaying of overtones, try the following example setting: Emulate string and fret vibrations with Object 2 in Sculpture The vibration of a bass string does not occur in a vacuum. The antinode of the string frequently encounters the natural, physical limitations of the instrument.
Set the range for the basic bass sound in Sculpture To more realistically replicate the different tonal ranges of the bass, use the scaling function. When turned on, the key-scaling function is used to adjust the timbre of the sound, independent of pitch. Before using the blue sliders to do this, try the Resolution parameter. • In Logic Pro, click the Keyscale button at the bottom of the Material Pad. The key scale below C3 is displayed in green, the range above in light blue.
2. Increase the Resolution value until the metallic rattling disappears. Set the slider to the following position: 3. Play some notes in the bottom range (around E 0). You’ll note that the sound is quite muffled and vintage-like. Move the green Low Keyscale slider (found below the main Resolution slider) all the way to the right; the low range should now sound a little more wiry. With most stringed instruments, the overtone content decreases as the pitch becomes higher.
Set sustain levels for the basic bass sound, dependent on pitch in Sculpture In basses in particular, low notes sustain far longer than high notes. Sculpture allows you to authentically and convincingly simulate this behavior with the Media Loss parameter. 1. In Logic Pro, play a few held notes in the range around C2 and above. You’ll hear that these notes die out much too slowly. Drag the Media Loss slider up until this range begins to fade out quickly enough.
Alter the frequency spectrum of your basic bass with the Body EQ in Sculpture The Body EQ is ideal for giving the bass sound that final, finishing touch. Your electric bass sound could be a little less smooth, and a bit more precise in its attack phase. Bassists like to use the terms drier and more bite to describe this phenomenon. 1. In Logic Pro, load the E-Bass Fingered Basic setting. 2. Choose the standard Lo Mid Hi model from the Model pop-up menu in the Body EQ section. 3.
Compensate for thinning side effects with the Body EQ in Sculpture 1. In Logic Pro, activate the Body EQ and add a healthy portion of bottom end to the sound by setting the Low parameter to 0.60. Mid should be set to 0.33. 2. Set the High knob to −0.45 because the sound is now so bright that rolling off a few of the highs can’t hurt. 3. Bring the volume into line. If you adjust the Level knob to 2.5 dB, nothing should be distorting.
Simulate harmonics created by fingers lightly touching the strings in Sculpture Harmonics are single partials (overtones) of the overall sound. They can be heard by damping certain points along the string. This is done by lightly laying the fingers of the left hand (assuming a right-handed bass player) on the string—not pressing down—before the note is articulated.
Program a slap bass sound in Logic Pro Sculpture You’re actually dealing with two different articulations here. The low notes originate when the thumb literally slaps the strings on the upper part of the fingerboard. The high notes are produced when the strings are strongly plucked or popped with the fingers. This is achieved by hooking a finger under the string, pulling it away from the instrument, then allowing it to slap back onto the fingerboard.
Set the parameters for object 1 in Sculpture 1. In Logic Pro, set Timbre to a value of 0.38, which corresponds to a rapid attack. Timbre determines the angle of the obstacle to the string. 2. Set the Strength parameter to 0.53. 3. Set the Variation parameter to −0.69. This defines the softer material that constitutes the fleshy part on the side of your slapping thumb. Put more technically, Variation defines the type and degree of reflection. 4.
3. Choose Disturb from the Object 2 Type pop-up menu. Tip: In the Disturb model, the Timbre parameter determines how far the string is deflected from its resting position by the obstacle. Positive values precipitate no deflection of the vibration from its resting position. Variation defines the length of the string section that is disturbed—positive values correspond to a longer section of string, negative values to a correspondingly shorter section of string. 4.
Add effects to your Logic Pro Sculpture bass sound Detuning and ensemble effects are normally achieved using a modulation effect or by combining doubling and detuning. When you are using a fretless bass for a solo part, a broad chorus effect adds a nice touch. Because Sculpture can synthesize only one note at a time at any given pitch, simple doubling isn’t an option. There are, however, alternatives for bringing movement and life into the sound.
Tip: At the maximum stereo breadth, effects based on detuning are not as prominent, especially when the beats heard in the sound result from signal differences between the left and right channels. This is valid only to a certain degree, because the motion of the pickup doesn’t create a true chorus or harmonizer effect. Try it out and see what happens when the stereo breadth is reduced a little. Also test other modulation targets, such as Pickup Pos A+B, Pickup Pan A+B, Pickup Pan A−B, and String Stiffness.
7. Drag the LoCut slider to 200 Hz and the HiCut slider to 1600 Hz. 8. Now adjust the overall level of the effect—try setting the Wet Level knob to a value of 45%. 9. Vary the stereo position and rhythmical structure of the delay, by moving the small light blue diamond around the Delay Pad. 10. Save this setting as Fretless Chorus+Wet Delay.
Record an envelope in Sculpture 1. In Logic Pro, make sure you have loaded the default setting, then drag the Object 1 slider all the way to the left. Starting from this position, where it generates only an overtone-rich scratch, start animating it by using the envelope. 2. Locate the Envelope section in the lower-right corner of the Sculpture window. Select the first of the two envelopes by clicking the envelope 1 button to select it.
Increase stereo breadth and chorus in Sculpture To give the very dry-sounding “0001 raw pad” setting a little more stereo breadth and chorus effect, modulate the Pickup positions, and assign them to the left and right channels. 1. In Logic Pro, load the “0001 raw pad” setting. 2. Drag the Spread Pickup semicircle upward until the light blue dots come to rest near the line that separates both semicircles. This separates the stereo pan positions of the Pickups. 3.
The pad now has a pleasant and unobtrusive ambience; you can leave the other Delay parameters at their original values. Make the sound more lively using the jitter modulators in Sculpture You can make the sound more animated with some subtle modulation, which makes the jitter modulators the perfect tool for the job. The jitter modulators are basically LFOs that use a random waveform. 1. In Logic Pro, click the Jitter button below the LFO section to activate the display for both of the jitter modulators. 2.
Create morphed sounds in Logic Pro Sculpture The Morph Pad is in the middle of the lower part of the Sculpture window. Each corner of the Morph Pad can contain a different setting for a diverse number of parameters. You can crossfade between these settings and can morph the sound by dragging the red ball in the center of the Morph Pad. Vary the sound with the Morph Pad in Sculpture 1.
Studio Instruments Logic Pro Studio instruments overview The studio instruments are high-quality multisampled brass and string players that offer a collection of solo and grouped instrument presets. See Logic Pro Studio Horns overview and Logic Pro Studio Strings overview. Each preset provides a range of articulations that enable you to create expressive, nuanced performances and recordings.
Default section and single instrument keyswitches are covered in Logic Pro Studio Horns keyswitch mapping. Studio Horns parameters • Preset pop-up menu: Choose a solo or section instrument. You can use MIDI channel events to control section instruments. If you want to play specific instruments in a section, you can send MIDI messages on their respective channels, then add a list of channel assignments. See Logic Pro studio instruments section MIDI channels.
Choose a section or single instrument • In Logic Pro, click the Preset pop-up menu to open a window that shows available presets, then click or double-click a section or a single instrument icon to load the sound. • Click outside the window to close it. Use advanced articulation features Studio Horns provides several articulations for falls and doits. These can be played on your keyboard like any other articulation.
Studio Horns common extended parameters The following parameters apply to solo or section instruments. • Vibrato Controller pop-up menu: Choose a MIDI controller to adjust vibrato. • Manual Vibrato Mode pop-up menu: Choose a vibrato response curve for incoming MIDI controller data. Choices are Off, Normal, Slow, Fast, Gentle, and Expressive. Note: This affects manually controlled vibrato only.
Studio Horns Auto Voice Split extended parameters The following parameters apply only to section instruments when the Auto Voice Split button is active in the main window. • • • • Allow Unison checkbox: Turn on to enable unison mode for split voices. • When enabled, multiple instruments within a section can play the same note simultaneously when a single or multiple keys are pressed. • When disabled, one instrument within the section is played per key.
Logic Pro Studio Horns keyswitch mapping This section outlines the default keyswitch mapping of the Studio Horns instruments. Articulations are accessed with the Articulation pop-up menu in the plug-in header. Articulations can be remotely switched while performing or recording, enabling you to add a fall or trill to a solo saxophone part, for example. The table shows the default keyswitch mapping, starting from C1 (MIDI note number 24). You can, of course, transpose the octave of notes used as keyswitches.
Studio Strings Logic Pro Studio Strings overview Studio Strings provides a collection of highly expressive single and section stringed instruments. It has a simple, clean interface, with all main controls at hand. Additional controls enable you to customize Studio Strings to match your preferences and to work best with your controllers. See Logic Pro Studio Strings extended parameters.
• Cutoff knob: Set the cutoff frequency of the sound. • Resonance knob: Set the amount of cut or boost of the frequency range surrounding the defined cutoff frequency. • Volume knob: Set the output level of the instrument. • Attack knob: Set the amount of time it takes for the instrument to fade in, following a MIDI note on message. • Release knob: Set the amount of time it takes for the instrument to fade out, following a MIDI note off message.
Logic Pro Studio Strings extended parameters The extended parameters provide advanced control of performance and controller functions. Click the disclosure triangle at the lower left to view the extended parameters. Note: The parameters are different for solo and section instruments. Studio Strings common extended parameters The following parameters apply to solo or section instruments. Logic Pro Instruments • Vibrato Controller pop-up menu: Choose a MIDI controller to adjust vibrato.
• Extended Key Range checkbox: Turn on to allow the instrument (or instruments in a section) to play beyond its normal key range. • When off, the instrument (or instruments in a section) plays in the original key range. This is the default, and should be used if you are aiming for authentic-sounding performances. • When on, the instrument uses the full keyboard range, allowing you to create parts that extend beyond the realistic range of the instrument (or instruments in a section).
• Inst via MIDI Channel checkbox: Turn off to play the full section on any incoming MIDI channel. Active Unison / Auto Voice Split / MIDI Split settings apply. When on (default), the following applies: • MIDI Channel 1: Full section is played with the active Unison / Auto Voice Split / MIDI Split settings. • MIDI Channels 2-16: Access individual instruments within the section. See Logic Pro studio instruments section MIDI channels.
Logic Pro studio instruments section MIDI channels In section presets, each instrument uses a dedicated MIDI channel. This enables you to play specific instruments in a section by sending MIDI messages on their respective channels. Similarly, if you create a region for a section instrument, you can assign each MIDI event a specific MIDI channel to ensure that it is played only by a particular instrument within the section.
Ultrabeat Logic Pro Ultrabeat overview Ultrabeat is a synthesizer that is designed to create percussive sounds and polyphonic rhythms. It also incorporates a powerful step sequencer which you can use to create polyphonic rhythmic sequences and patterns. See Logic Pro Ultrabeat step sequencer overview. Most software synthesizers offer one synthesizer per plug-in instance. Ultrabeat, however, places 25 independent synthesizers at your disposal.
The distribution of drum voices across the MIDI keyboard is as follows: a single drum voice is assigned to each of the first 24 MIDI keys (spanning MIDI notes C1 to B2). The 25th drum voice is assigned to the keys from the 25th MIDI key (C3) and above, enabling you to play this sound chromatically. The 24-drum pad assignment is compatible with the widely adopted GM (General MIDI) MIDI Drum note mapping standard.
Logic Pro Ultrabeat interface The Ultrabeat user interface is divided into three main sections. Logic Pro Instruments • Assignment section: Displays all drum sounds in a drum kit. You can select, name, and organize drum sounds here. This section also includes a small mixer, used to adjust the level and pan position of each sound. See Logic Pro Ultrabeat Assignment section. • Synthesizer section: Used to create and shape individual drum sounds.
Ultrabeat Assignment section Logic Pro Ultrabeat Assignment section The Assignment section displays all sounds in a drum kit.
Play and select Logic Pro Ultrabeat sounds The 25 sounds of an Ultrabeat drum kit are mapped to the onscreen keyboard at the left side of the Ultrabeat interface. Sounds start from the bottom of the onscreen keyboard and correspond to note values on a connected MIDI keyboard, starting at C1. Play a drum sound In Logic Pro, do one of the following: • Play a note on a connected MIDI keyboard. • To trigger the sound on the adjacent row, click a key on the onscreen keyboard.
Select a drum sound • In Logic Pro, click the name of the sound in the Assignment section. The selected sound is indicated by the gray frame around the assignment row. The parameters of the selected sound are shown in the Synthesizer section to the right. See Logic Pro Ultrabeat Synthesizer section. The image below shows drum sound 2 being played (indicated by the blue key) while drum sound 4 is selected (the gray frame).
Drag to swap or copy drum sounds • In Logic Pro, drag the sound name to the target position (do not click a button or menu). The target is shaded as you drag across the list of sound names. • A standard drag operation swaps the two drum sounds (including Mixer settings: volume, pan, mute, solo, and output configuration). Sequences are not swapped. • Option-drag to copy the sound. Sequences are not copied. Swap or copy drum sounds using a shortcut menu command 1.
• Init > (submenu): Opens a submenu that contains a few starting-point (Init) sounds. Select one of these to replace the target drum sound. The Sample Init sound initializes the filter and pitch parameters to neutral settings, which are ideal as a starting point for programming sample-based drum sounds. These commands affect only the selected drum sound. The sequence and sound data of the other 24 sounds are unaffected.
A list of all sounds found in the selected setting, or samples in the sampler instrument, is shown to the right of the Assignment section Mixer. Drag sounds into your drum kit • In Logic Pro, drag the sound name from the import list into the target row in the Mixer section. Note: Hold down the Command key to include all sequences. Transfer sounds using shortcut menu commands 1.
Import a sampler instrument into Ultrabeat • In Logic Pro, drag a sampler instrument filename from the Finder directly onto the Assignment section. Ultrabeat reproduces the Sampler layout as closely as possible. Layered Sampler zones are set up as layered drum sounds, using the sample playback mode of oscillator 2. See Use Logic Pro Ultrabeat oscillator 2 sample mode. Note: This method does not allow paging through the sampler instrument if it contains more than 25 sounds (samples).
Use Logic Pro Ultrabeat settings Ultrabeat settings are saved and loaded in the same way as other instruments. You can also use the Setting pop-up menu to load Drum Synth settings, enabling you to leverage Ultrabeat synthesis functions for Drum Synth sounds. An Ultrabeat setting contains: • The drum kit, which consists of 25 drum sounds, including assignment and mixer settings.
Logic Pro Ultrabeat Synthesizer section The Ultrabeat sound engine is optimized for creating electronic and acoustic drum and percussion sounds. It combines several synthesis approaches—phase distortion, sample playback, FM (frequency modulation), and physical modeling—to create tones. You can also use an audio side chain input as a sound source. The sound engine provides comprehensive modulation functions, enabling nearly every Ultrabeat element to be modulated.
The large, round, elevated Filter (and Distortion) section is in the center. Its placement and design are both symbolic and practical, as the filter plays a central role in Ultrabeat. The Filter is discussed in Logic Pro Ultrabeat filter section. The Filter receives its signal from the following sound sources: oscillator 1, oscillator 2, the noise generator, and the ring modulator.
Common oscillator parameters These parameters are available to both oscillators. • Oscillator on/off button: Click the button (at the top left of oscillator 1 or bottom left of oscillator 2) to turn each oscillator on or off independently. • Volume knob: Set the level of oscillator 1 or 2. Volume can be modulated by the sources found in the mod and pop-up menus. • Pitch slider and field: Drag to set the oscillator pitch in semitone steps.
• Click a button on the lower edge of oscillator 2 to select a mode (synthesizer engine). Use Logic Pro Ultrabeat oscillator 1 phase osc mode The waveform of the phase oscillator can be reshaped into almost any basic synthesizer waveform. The effects of parameter changes are immediately reflected in the waveform display. See Use Logic Pro Ultrabeat oscillator 2 phase osc mode. Phase oscillator parameters • Slope knob: Rotate to set the slope or steepness of the waveform.
Use Logic Pro Ultrabeat oscillator 1 FM mode FM (frequency modulation) synthesis is well suited for creating bell-like digital tones and metallic sounds. The principle of frequency modulation (FM) synthesis was developed in the late 1960s and early 1970s by John Chowning. It was popularized by Yamaha DX synthesizers in the 1980s. Although Ultrabeat can’t be compared with the DX series in the discipline of pure FM synthesis, it can achieve some of the signature sounds of these instruments.
Use the Logic Pro Ultrabeat oscillator 1 side chain In side chain mode, Ultrabeat uses an external side chain input as the source for oscillator 1. The signal of any audio channel strip, bus, or live input can be routed through Ultrabeat filters, envelopes, LFO, and step sequencer. Using busses as side chain sources makes it possible to route signals to the side chain input from any channel strip type that offers busses as outputs or sends.
Use Logic Pro Ultrabeat oscillator 2 phase osc mode The waveform of the phase oscillator can be reshaped into almost any basic synthesizer waveform. Oscillator 2 operates in a nearly identical fashion to oscillator 1 when in phase oscillator mode. The key difference is that Saturation can be modulated in oscillator 2, rather than Asymmetry in oscillator 1. This results in the production of different sounds when both oscillators are in phase oscillator mode.
Waveform Basic tone Comments Triangle Sweet sounding, softer than sawtooth Useful for flutes, pads Sine A pure tone The sine wave of oscillator 1 can be frequency-modulated by oscillator 2. This kind of frequency modulation forms the basis of FM synthesis. Use Logic Pro Ultrabeat oscillator 2 sample mode In sample mode, oscillator 2 uses an audio file as a sound source. Sample mode parameters • Sample Name display: Use to load and unload samples or to display the loaded sample in the Finder.
Load a sample into Ultrabeat oscillator 2 Ultrabeat factory settings include a selection of multilayer drum and percussion samples. You can also load your own samples in AIFF, WAV, CAF, or SDII stereo interleaved format. Note: The velocity layering function is not available for user-loaded samples. 1. In Logic Pro, choose Load Sample from the pop-up menu in the upper-left corner of the waveform display. 2.
• To temporarily replace the sample files of the currently selected drum sound, click the “Preview Sample in Ultrabeat Voice” checkbox. The drum sound can be triggered as usual (played notes, MIDI region events, or Ultrabeat sequencer events) while the Load Sample window is open and different files are being selected. The selected sample can be heard as part of the current drum sound, inclusive of all synthesizer processing.
• Resolution slider: Determine the precision of the calculation. High values produce extra harmonics. Low values produce fewer harmonics, or inharmonic spectra. Use the Ultrabeat Material Pad The combination of the Inner Loss and Stiffness parameter positions determines the string material and, therefore, the general timbre of your sound. In general synthesizer terms, use of these parameters could be viewed as being similar to the waveform selector/generator in the oscillator section.
Ring modulator parameters • Ring Modulator On/Off button: Turn the ring modulator on or off. Note: If you want to hear the ring modulator signal in isolation (to better judge your settings), temporarily set the volume of both oscillators to a value of 0. • Level slider: Set the output volume of the ring modulator. • Mod and via pop-up menus: Choose the modulation source (and optional via source) for the Level parameter.
• • HP (highpass): This filter type allows frequencies above the cutoff frequency to pass. The filter slope is fixed at 12 dB/octave. • BP (bandpass): The frequency band directly surrounding the center frequency (determined with the Cutoff knob) is allowed to pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the center frequency of the band.
Logic Pro Ultrabeat filter section The Ultrabeat multimode filter can dramatically, or subtly, alter the timbre of your drum sounds. Filter parameters • Filter (On/Off) button: Turn the entire Filter section on or off. Deactivating the Filter section makes it easier to hear adjustments to other sound parameters, as the filter always heavily affects the sound. If the Filter label is red, the filter is engaged. If gray, the filter is disabled.
• BR (band rejection): The frequency band directly surrounding the center frequency (set with the Cutoff knob) is rejected, while the frequencies outside this band can pass. The Resonance parameter controls the width of the rejected frequency band. Set the Ultrabeat filter slope Most filters don’t completely suppress the portion of the signal that falls outside the frequency range defined by the Cutoff parameter.
Set signal flow order through the Ultrabeat filter and distortion unit The output signals of both oscillators, the ring modulator, and the noise generator are sent to the central Filter section (if not bypassed with the various Signal Flow buttons). The Filter section offers a multimode filter and a distortion unit. Sounds are passed through the filter and distortion unit as determined by the direction of the arrow found in the center of the filter section.
Distortion parameters • Crush and Distort buttons: Activate the mode you want to use. The name of the active effect type is indicated in red. If neither button is active, the Distortion circuit is bypassed. • Drive knob: Control the amount of distortion. • Color knob: Determine the basic tone of the distortion. Higher values result in a brighter sound. Lower values lead to a darker, warmer tone. • Level knob: Set the output level of the Distortion effect in Distortion mode.
Logic Pro Ultrabeat two-band EQ Both equalizer bands have almost identical features. You can adjust each band separately. Two-band EQ parameters • Band 1/2 buttons: Turn each band on or off. Band 1 is a low shelving EQ. Band 2 is a high shelving EQ. If neither EQ is activated, the signal passes through unaffected. • EQ type buttons: Switch between two different types of EQs: shelving (top button) and peak (lower button).
Edit the graphical EQ curve In Logic Pro, do any of the following: • To change the EQ frequency, drag horizontally. • To change the Gain, drag vertically. • To change the Q factor, drag the handle shown at the peak (maximum point) of the EQ curve.
Use Logic Pro Ultrabeat stereo spread mode The EQ output signal is passed to the Pan Modulation/Stereo Spread section where the placement of the sound in the stereo field can be modulated (pan modulation mode), or the stereo basis of the sound can be broadened (stereo spread mode). Stereo Spread broadens the stereo image, making it wider and more spacious. Stereo spread parameters • Spread button: Turn on stereo spread mode. If neither mode is activated, the signal passes through unaffected.
Use Logic Pro Ultrabeat trigger mode The way Ultrabeat reacts to a succession of incoming notes is set independently for each sound. Parameters that control this aspect of Ultrabeat behavior are found in the trigger mode section. Trigger mode parameters • • Trigger pop-up menu: Choose either Single or Multi trigger mode. • Single: A new trigger note cuts off the note that is currently playing.
Mod and via modulations in Logic Pro Ultrabeat You can modulate a sound parameter using an adjustable value—the modulation depth or intensity—with the mod parameter. You can choose between two LFOs, four envelope generators, and Max as sources for this modulation. Via influences the modulation effect as follows. The depth of the first modulation (mod) can be modulated by a separate, independent source. The intensity of this secondary modulation is set with the via parameter.
In the example, the Cut(off) frequency of the filter is set to a default value of 0.50. The mod source (Env 1) drives the Cut value up from 0.50 to 0.70 during the sound attack phase and back down to 0.50 during the decay phase. When the via source (Ctrl A) is introduced, the following occurs: when Ctrl A is at its minimum value, nothing changes; Cutoff continues to be modulated between values of 0.50 and 0.70 by the envelope (Env 1).
2. Choose a modulation source from the mod pop-up menu. • Off: Deactivates the mod routing, and the mod control can no longer be adjusted. In this situation, no via modulation can occur either, because via no longer has a modulation target, and the via control disappears. • Lfo1-Lfo2: Choose one of the LFOs (low frequency oscillators) as the modulation source. • Env1-Env4: Choose one of the envelope generators as the modulation source. • Max: Produces a static modulation at maximum level.
Assign Logic Pro Ultrabeat MIDI controllers The MIDI Controller Assignments area lets you assign any MIDI controller shown in the menus to each of the four controller slots—Ctrl A, B, C, or D. These assignments enable external MIDI controller hardware—such as sliders, knobs, aftertouch, or the modulation wheel of your MIDI keyboard—to control via modulation sources in Ultrabeat.
LFO parameters The parameters for both Ultrabeat LFOs are described below. You can adjust LFO 1 and LFO 2 independently of each other. • LFO 1/2 buttons: Select the corresponding LFO, allowing independent parameter adjustments. • On/off button: Turn the selected LFO on or off. • Sync/free buttons: The LFO speed can be synchronized with the Logic Pro tempo or set independently. Click either button to activate the corresponding mode. • Rate knob and field: Rotate to set the speed of the LFO.
Waveform Comments Square and Rectangle Square/rectangular waves periodically switch the LFO between two values. The right hand rectangular wave switches between a positive value and zero. The left hand rectangular wave switches between a positive and a negative value set to the same amount above/below zero. Sample & Hold The right hand waveform outputs random values. A random value is selected at regular intervals, as defined by the LFO rate.
Logic Pro Ultrabeat envelope overview Ultrabeat features four identically specified envelope generators per voice. They are abbreviated as Env 1 to Env 4. In addition to potential use as a modulation source (in the mod pop-up menus of various sound parameters), Env 4 is permanently connected to the Voice Volume parameter. In other words, each Ultrabeat drum sound has a hard-wired volume envelope generator—Env 4.
Logic Pro Ultrabeat envelope parameters To edit envelope parameters, you first need to select one of the four envelopes with the 1-4 buttons. The parameters of the corresponding envelope can then be changed in the envelope display window. Envelope parameters • Buttons 1–4: Select one of the four envelopes. Only the selected envelope can be edited. The button frame of the chosen envelope is highlighted, and the envelope display immediately updates to reflect your selection.
• Zoom A/D buttons: Click to show only the attack (A) or decay (D) phase across the entire width of the envelope display. This enables you to perform more accurate edits to envelope shapes (down to millisecond values). Use the Logic Pro Ultrabeat modulation target display Ultrabeat has a feature that makes it easy to find the modulation targets of LFOs and envelopes.
The step sequencer allows all Ultrabeat sounds to be combined in patterns, based on sequences for each individual sound. Its design and use—commonly referred to as step programming—are based on analog sequencers and drum machines. Unlike these analog precursors, Ultrabeat enables you to program automated changes for nearly every synthesizer parameter.
Logic Pro Ultrabeat step sequencer interface The Ultrabeat step sequencer contains a sequence for each sound in a drum kit. Each sequence can consist of up to 32 steps. A pattern is a container for all sequences in a drum kit. Up to 24 patterns can be saved and recalled with each Ultrabeat setting. The step sequencer is divided into three sections. • Global parameters: Turn the step sequencer on or off, control playback, provide access to various modes, and control the overall playback feel.
• • Step mode: In Step mode, you can automate a the parameters of a sound from one step to the next. See Logic Pro Ultrabeat step automation overview. Transport button: Start and stop the sequencer pattern. The step sequencer is always synchronized with the host application tempo. Note: If the Transport button is blue, the step sequencer interprets incoming MIDI notes between C-1 and B0 as performance information. See Logic Pro Ultrabeat sequencer MIDI control.
Copy a pattern using a shortcut menu 1. In Logic Pro, choose the pattern that you want to copy from the Pattern pop-up menu. 2. Control-click (or right-click) the Pattern pop-up menu, and choose Copy from the shortcut menu. 3. Choose the target pattern from the Pattern pop-up menu. 4. Control-click the Pattern pop-up menu, and choose Paste from the shortcut menu. Copy a pattern using the key command You can also use a key command to copy patterns. 1.
Ultrabeat Step grid Logic Pro Ultrabeat Step grid overview The Step grid displays sequence steps on two rows. The steps shown in these rows correspond to the sound that is currently selected in the Assignment area. Choosing a different sound switches the sequencer display to show the rows that correspond to the newly selected sound. The Step grid area contains two rows, each with 32 fields (steps). • Trigger row: Click a button to activate or deactivate the sound on the corresponding beat.
Remove a step 1. In Logic Pro, select the drum sound that you want to remove steps from in the Assignment section. 2. Click the buttons—1 through 32—that correspond to the step or steps that you want to remove. Note: Drag horizontally across the buttons to quickly turn trigger events on or off.
• Shift Right 1/2 Beat: Shifts all steps in the sequence one-half beat to the right. The number of steps that equals one-half of a beat depends on the current grid resolution. For example, at a resolution of 1/16, a beat equals four steps, so half of one beat is two steps; at a resolution of 1/8, a beat equals two steps, so one half of one beat is one step, and so on. • Shift Right 1 Beat: Shifts all steps in the sequence one beat to the right.
Reset all velocity and gate values to default settings • In Logic Pro, the Reset button is shown at the left of the velocity/gate row. Click to reset all velocity and gate values. The default velocity setting is 75 percent. The default gate value is all four sections active.
Use the Logic Pro Ultrabeat Step grid full view Click the Full View button in the lower-right corner to see a large sequencer grid filled with trigger buttons. The large grid simultaneously displays the 32 trigger buttons for all 25 drum sounds. Full view provides an overview of the whole pattern, rather than a single drum sound sequence. Because the trigger events for all sounds are shown, you can quickly identify accidental notes. Full view also accelerates the pattern creation process.
Automate Ultrabeat step sequencer parameters Logic Pro Ultrabeat step automation overview Click the Edit Mode switch to turn on Ultrabeat step automation. Step automation lets you program parameter changes on a per-step basis for each drum sound.
Use the offset row in Logic Pro Ultrabeat The offset row lets you view and enter offset values on a per-step basis for all Synthesizer section parameters that can be automated. Adjustments made in the offset row are relative to the current parameter value. Values shown in the offset row are either added to or subtracted from the parameter value set in the Synthesizer section. In other words, parameter offsets increase or decrease, but do not specify, an absolute value for the parameter.
• Positive offsets are shown as a bar above the center line. • Negative offsets are shown as a bar below the center line. Use the Ultrabeat parameter offset shortcut menu • In Logic Pro, Control-click any step in the (parameter) offset row to open a shortcut menu, then choose one of the following commands. • Alter: Changes the (selected) parameter values, for all steps, by a random amount. • Randomize: Creates a new, random value for the selected parameter.
A region is created containing all MIDI events, including Swing and Accent parameter settings. Accents are interpreted as polyphonic aftertouch events. Step automation events, created in Step mode, are also exported as part of the MIDI region. Note: To avoid double-triggering while playing back the exported MIDI region, turn off the Ultrabeat step sequencer. Logic Pro Ultrabeat sequencer MIDI control Pattern performance can be influenced by incoming MIDI notes.
• Voice Mute Mode button: Playing MIDI note C1 and above mutes the corresponding sound in the Ultrabeat mixer. A subsequent MIDI note of the same pitch unmutes it. This is ideal for spontaneous rearranging of patterns and/or muting single elements of a pattern without deleting them. This is especially useful in a live performance or remixing situation.
Create kick drums in Logic Pro Ultrabeat Electronically produced kick drum sounds are based primarily on the sound of a deeply tuned sine wave. Follow the tutorials sequentially to get the most from these examples. Program a basic kick drum in Ultrabeat 1. In Logic Pro, choose Settings > Tutorial Settings > Tutorial Kit, and select Standard Tut from the Assignment section. Note that oscillator 1 is in Phase Oscillator mode. 2.
5. Change the Mod amount (the blue slider) of Osc 1 Pitch again (see step 2). The interaction of this parameter with the envelope decay time provides numerous possibilities for shaping the kick or punch of the bass drum sound. Note: This simple bass drum sound is listed as Kick 1 in the Tutorial Kit, at a pitch of C1. Reduce kick drum tonality using the 2 Band EQ One advantage of bass drums based on sine waves is that their sound can be precisely tuned to match the song.
7. Set Resonance to 0.30. 8. Set the attack time of Env 3 to 0. Use the Decay time of Env 3 to shape the sound of the filtered bass drum. 9. You may also choose to control the filter resonance with an envelope. Make sure you dedicate a single envelope to this function (in this case, use Env 2 as a Mod source for Res). Choose a Mod amount for Res of about 0.80.
In the example, all four envelopes are being used. Take some time to play with the shapes of the envelopes, while maintaining the attack and decay settings. Experiment with the junction points of the decay phase in the different envelopes to familiarize yourself with the sound-shaping options available.
You have modulated Osc 2 Pitch with a rapidly vibrating LFO with a medium Ramp Decay value. This eliminates the sine wave—which is not especially desirable for a snare sound, in contrast to the bass drum. 4. Set LFO 1 to a high Rate. Choose a value of 20 for Cycles and −20 for Ramp. Set the LFO Waveform parameter to a value of about 0.58, which is a square wave. 5.
Recreate the 808 snare sound The famous 808 snare is based on two resonating filters and a noise generator, fed through a highpass filter. The mix ratio of the two filters and the volume of the noise generator can be adjusted. This structure cannot be 100% replicated in Ultrabeat. 1. In Logic Pro, load the Standard Tutorial setting. You are now ready to replicate the resonating filters of the 808 snare using two cleverly programmed phase oscillators. 2.
A slider appears on the ring around the knob. 3. Drag the slider clockwise. When you drag the slider, a help tag displays the value. Set it to 0 dB. 4. Repeat steps 2 and 3 in both oscillator 2 and the noise generator. You can now dynamically play the sound using velocity. Increase the performance dynamics of your 808 snare 1. In Logic Pro, reduce the values of the individual volumes by turning down the Volume knobs in both oscillators and the noise generator.
2. Increase the dynamics of the sound as a whole by assigning the following setting to the Voice Volume knob: You now have an 808 snare that is exceptionally responsive to velocity. As you may know, this wasn’t possible with the original—not even an 808 sample could offer the dynamic volume control of individual sound components demonstrated here. A sample offers you only the whole sound, not its constituent parts.
6. Modulate the noise generator as follows: • Cut parameter: Choose Max as modulation source, then set the modulation control as shown below. • Dirt parameter: Choose LFO 2 as modulation source, then set the modulation control as shown below. The sound is now nothing like an 808 snare, which was your goal. Keep experimenting with velocity and figure out when it makes sense to use it as a direct or indirect modulation source, in either its positive or negative form.
Create tonal percussion in Logic Pro Ultrabeat Tonal percussion sounds such as toms or congas are relatively easy to emulate electronically with sine or triangular wave oscillators. The Ultrabeat phase oscillator offers you a broad spectrum of suitable basic sounds to start with. Control the pitch of the oscillators with envelopes, and use the programming techniques discussed in the kick and snare drum sections to alter tonality. You should find it easy to create a broad range of toms and similar sounds.
Create cymbals in Ultrabeat It’s not far from the hi-hat to the crash cymbal. The main difference between a hi-hat and crash cymbal sound is the length of the decay time. Correct assignment of the envelopes is the key to producing different cymbal sounds. • In Logic Pro, select the Cym 1 and Cym 2 sounds in the Tutorial Kit and try different envelope assignments and settings for Cutoff and Volume in the noise generator, Cutoff and Volume in the main filter, and so on.
Utilities Logic Pro Utility instruments The Utilities found in the instrument plug-in menu include: • Logic Pro External Instrument lets you route hardware MIDI sound generators through the Mixer, which you can then process with Logic Pro effects. • Logic Pro Klopfgeist is an instrument that provides a metronome click. • Test Oscillator can be used as an instrument or effect. It is used to calibrate tuning of studio equipment and instruments.
Tip: When using multitimbral MIDI sound sources, you can gain maximum flexibility with multiple External Instrument instances. In this situation, connect a separate audio output of the tone generator (if equipped with multiple outputs) to different inputs on your audio interface—each addressed by an individual External Instrument instance. External Instrument parameters • MIDI Destination pop-up menu: Choose the target MIDI port. • MIDI Channel pop-up menu: Choose the target MIDI channel.
Logic Pro Klopfgeist Klopfgeist is an instrument that provides a metronome click. It is inserted in instrument channel strip 256 by default and is used to generate the MIDI metronome click. Klopfgeist can also be inserted in any other instrument channel strip for use as an instrument. Klopfgeist has a number of synthesizer parameters that you can use to quickly create metronome click sounds.
Vintage B3 Organ Logic Pro Vintage B3 Organ overview Vintage B3 Organ (abbreviated to Vintage B3 in the guide) emulates the sound and features of the Hammond B3 organ with two manuals (keyboards) and a pedalboard, each of which can have its own registration (sound setting). You can play all registers with a single-manual master keyboard, or you can use two manuals and a MIDI pedalboard.
• Effects button: Shows controls for the built-in EQ, Wah, Distortion, Chorus, and Reverb effects. See Use Logic Pro Vintage B3 effects. • Expert button: Shows Organ, Pitch, Condition, Sustain, and Miscellaneous controls. These provide precise control over the tone of the organ and over other aspects, such as tuning, draw bar leakage, key click characteristics, and crosstalk levels. You generally access these parameters only when editing or creating an organ sound.
Logic Pro Vintage B3 draw bar controls Vintage B3 provides 20 draw bars, nine each for the upper and lower manuals, and two for the pedalboard. The upper manual draw bars are on the left, the pedal draw bars are in the center, and the lower manual draw bars are to the right. Drag down the draw bars to make the selected sine choirs louder. You should note that MIDI control of the draw bars is also reversed when using a standard MIDI fader unit.
Important: Scanner Vibrato and Chorus controls are spread across two windows. Click Main in the control bar, then click the Control button at the lower right to view the On and Off switches and to choose the vibrato or chorus type. Click the Options button in the control bar to use the Rate and Depth controls in the Options window. Scanner Vibrato and Chorus parameters (Main window) • Upper/Lower switches: Switch the scanner vibrato on or off, independently, for the upper and lower manuals.
Percussion effect parameters (Options window) • Mode switch: Mono triggers the percussion effect with each key press. Poly engages a polyphonic percussion effect that only (re)triggers after all keys are released. If you release all keys, new notes or chords sound with percussion. If you play legato or sustain other notes on the upper manual, no percussion is heard. • Perc on Preset switch: Set to B0 to simulate the B preset key restriction. Choose All if you want percussion to always be available.
The default range for preset (registration) keys spans MIDI note numbers 24 to 35 (C0 to B0). This means that the lowest playable MIDI note number is 36 (C1). You can transpose the keyboard range in Logic Pro or Vintage B3 itself. A 61-note keyboard—which spans notes C to C—can be played across the entire range when the Transpose values of your host application are set to 0. The preset (registration) keys are positioned one octave below this transposed or non-transposed range.
1. In Logic Pro, open the Options window, then choose the Edit Preset Key A# and B only switch position. The upper manual draw bars can now change the registration of the A# preset key, and the draw bars of the lower manual affect the B preset key. 2. Change the draw bars of the A# preset key. You can play the keyboard while doing so, without changing the currently chosen registration. 3. Switch to the prepared registration with the A# preset key.
Set the keyboard mode There are three keyboard modes: single, split, and multi. 1. In Logic Pro, click Main in the control bar, then click the Split button at the lower right. 2. Set the switch to the left of the keyboard in the central display to Single, Split, or Multi. • Single: Uses the entire keyboard. You can only play the upper sound. • Split: Divides the keyboard into two. You can play the upper and lower sounds in different keyboard zones. • Multi: Divides the keyboard into three.
Use a single-channel controller with Logic Pro Vintage B3 If you don’t have a master keyboard that allows multichannel transmission, you can use a MIDI keyboard that is capable of transmitting on only one MIDI channel. You can use Vintage B3 Split parameters to split the keyboard in order to play upper, lower, and pedal sounds in different keyboard zones. Each keyboard zone can be transposed independently. There are three keyboard modes: single, split, and multi. • Single: Uses the entire keyboard.
Vintage B3 Rotor Cabinet window Logic Pro Vintage B3 Rotor Cabinet window The Hammond story can’t be fully told without discussing the rotor cabinets manufactured by Leslie. In fact, playing the B3 organ without a rotor cabinet is viewed as something of a special effect these days. Vintage B3 not only simulates the speaker cabinet itself, but also allows you to change the listening position by placing virtual microphones in different locations.
Note: When using a pedal to control rotor speed, you can hold down the pedal for a second or so, then release it to activate braking. Repeat to switch to the previously active speed mode: Fast or Slow. Logic Pro Vintage B3 Cabinet parameters The advanced cabinet parameters are divided into three groups: Cabinet, Motor, and Brake. Also see Logic Pro Vintage B3 Motor parameters and Logic Pro Vintage B3 Brake parameters. The microphone parameters are described in Logic Pro Vintage B3 Microphone parameters.
• Deflector switch: Emulate a Leslie cabinet with the horn deflectors removed or attached. A Leslie cabinet contains a double horn, with a deflector at the horn mouth. This deflector makes the Leslie sound. You can remove the deflector to increase amplitude modulation and decrease frequency modulation. Logic Pro Vintage B3 Motor parameters The advanced cabinet parameters are divided into three groups: Cabinet, Motor, and Brake.
• Speed MIDI Control pop-up menu: Choose a MIDI controller that is used to remotely switch the rotor speed. All items (except ModWheel) in the pop-up menu switch between fast and the speed set with the Rotation switch positions—either switching between slow and fast, or switching between brake and fast. If fast is chosen, the rotor speaker switches between fast and slow. Note: When using a pedal to control rotor speed, you can hold down the pedal for a second or so, then release it to activate braking.
Logic Pro Vintage B3 Brake parameters The advanced cabinet parameters are divided into three groups: Cabinet, Motor, and Brake. See also Logic Pro Vintage B3 Cabinet parameters and Logic Pro Vintage B3 Motor parameters. The microphone parameters are described in Logic Pro Vintage B3 Microphone parameters. Brake parameters • Dry Level knob and field: Set the level of the dry signal. This can also be useful if Dry is active for the Output switch.
Logic Pro Vintage B3 Microphone types Vintage B3 provides modeled microphones that pick up the sound of the Leslie cabinet. You can specify the microphone type with these parameters. Click the microphone icons to choose a microphone type for the horn and drum speakers when Real Cabinet is chosen in the Type pop-up menu. See Logic Pro Vintage B3 Cabinet parameters. Logic Pro Instruments • Dynamic: Emulates the sound of a dynamic cardioid microphone.
Logic Pro Vintage B3 Microphone parameters Vintage B3 provides modeled microphones that pick up the sound of the Leslie cabinet. You can set the listening position with these parameters. Microphone parameters • Mic Position switch: Choose either the front or rear position for the virtual microphone. • When Real Cabinet is chosen in the Type pop-up menu: • • Logic Pro Instruments • Horn knob and field: Define the stereo width of the Horn deflector microphone.
Vintage B3 Options window Logic Pro Vintage B3 Options window overview You can adjust the Vintage B3 output level, tuning, key click volume, and other basic sound aspects with the Options controls. See Logic Pro Vintage B3 Master and Click controls. Advanced controls for Percussion, Scanner Vibrato, and Morph are also found in the Options window. See Logic Pro Vintage B3 Percussion effect, Logic Pro Vintage B3 Scanner Vibrato and Chorus, and Logic Pro Vintage B3 Morph parameters.
Logic Pro Vintage B3 Morph parameters You can switch—or smoothly crossfade (morph)—between the presets of the upper manual. See Use Logic Pro Vintage B3 Morph controls. Important: Morph controls are spread across two windows. Click Main in the control bar, then click the Preset button at the lower right to view the Morph slider. The Options window contains advanced Morph controls. Morph parameters (Main window) • Upper Morph slider: Drag left or right to control the switching or morphing.
Set the Vintage B3 morph range Once you have chosen a controller to use for switching or morphing between upper manual registrations, you can determine the number of preset keys that are affected. You can morph between two and eleven presets for the upper manual. Morphing always begins with the top preset key, the B. • If Range = A#, you morph between two presets. • If Range = G#, you morph between four presets (B, A#, A, and G). • If Range = F#, you morph between six presets (and so on). 1.
Activate or bypass the effects In Logic Pro, do one of the following: • Turn the Master switch on or off to enable or disable the entire Vintage B3 effects section. • Use the On/Off switches to independently enable or disable the Reverb, EQ, Wah, and Distortion effects. Change the routing of the EQ, Wah, and Distortion effects. • In Logic Pro, drag the name of each effect to create the signal flow you require.
Logic Pro Vintage B3 Wah effect controls The name wah wah comes from the sound it produces. It has been a popular effect with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass filter. The wah pedal is also used extensively with the Hammond organ. For the most dynamic and musical performance of the Wah effect, consider attaching an expression pedal to your MIDI master keyboard.
Use an expression pedal to control the Wah effect 1. In Logic Pro, click Options in the control bar, then set the Expression knob to a value of 0. 2. Click Effects in the control bar, then choose controller 11 from the Sweep MIDI Control pop-up menu. This enables control of Wah cutoff frequency with the expression pedal and requires no further setup of your master keyboard. If step 1 is overlooked, the expression pedal is used to control both Vintage B3 main volume and the Wah effect.
• Drive knob and field: Set the amount of overdrive distortion. The output level is automatically compensated for, so there’s no need for a distortion output volume control. A level of 0 effectively turns off the Distortion circuit. Note: The Drive knob shown in the Main window is linked with the Drive knob shown in the Effects window. When you rotate either Drive knob, your change is mirrored in the other window.
For more information about the technical aspects of the Hammond B3 and the concepts behind tonewheel sound generation, see A brief Hammond history and Tonewheel sound generation. Logic Pro Vintage B3 Pitch controls Vintage B3 provides several parameters that change its pitch behavior, adding flexibility that isn’t possible with the original instrument. Vintage B3 is tuned to an equal-tempered scale.
• Pitchbend Up/Down sliders: Independently set the upward/downward pitch bend sensitivity in semitone steps. The maximum sensitivity for upward bends is one octave. The Hammond B3 has no pitch bend facilities. Therefore, use of pitch bend is not suitable for realistic organ simulations, but it does provide a number of creative options.
Condition parameters • Click Minimum/Maximum sliders: Combined, these sliders determine a range for click duration, which can vary between a short “tick” and a longer “scratch.” A random click duration (that falls within the defined range) is used as you play. Note: Even if both parameters have identical values, there is a random variation in sound that makes some clicks seem shorter than the value set with Click Min. • Click Color slider: Set the tonal color of the click.
Logic Pro Vintage B3 Organ Model controls The Organ Model controls change the basic tonal quality. Organ Model parameters • Maximum Wheels slider: Set the number of tonewheels that are emulated. Reduce the value to minimize processing load. Reducing the value diminishes some overtones, so keep the number high if you’re after an ultra-realistic simulation. • Tonal Balance slider: Change the mix relationship of the higher and lower tonewheels. Use positive values for a lighter and brighter sound.
Use a MIDI controller with Vintage B3 Set the Logic Pro Vintage B3 MIDI control mode Choose a supported external MIDI controller to use with Vintage B3. The Hardware Controller parameter determines the way Vintage B3 draw bars respond to remote MIDI control change messages. Most users won’t need to change anything here. If you own a MIDI draw bar organ, you’ll want to use its hardware draw bars to control Vintage B3.
Controller number MIDI mode VK or CX: assigned parameter 80, 92 Slow/Brake/Fast 81 Slow/Brake Reverb 82 Reverb Level Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 87 Chorus Vibrato Type Percussion 94 on/off 95 2nd/3rd 102 Percussion Volume 103 Percussion Time Equalizer 104 EQ Low 105 EQ Mid 106 EQ Hi 107 EQ Level Wah 108 Wah Mode 109 Wah Bite Distortion 110 Distortion Type 111 Distortion Drive 112 Distortion Tone Click Levels 113 Click On Level 114 Click
Controller number MIDI mode VK or CX: assigned parameter Rotor Fast Rate 118 Rotor Fast Rate Logic Pro Vintage B3 Hammond Suzuki mode The table outlines MIDI controller assignments when MIDI mode is set to Hammond Suzuki. This setting matches the controller mapping of Hammond XB-series organs.
Logic Pro Vintage B3 Native Instruments B4D mode The table outlines MIDI controller assignments when MIDI mode is set to Native Instruments B4D. This setting matches the controller mapping of the Native Instruments B4D controller.
Controller number MIDI mode Native Instruments B4D: assigned parameter Equalizer 90 EQ Low 70 EQ Mid 5 EQ High Distortion/Click 76 Distortion Drive 78 Distortion Tone 75 Click On Level Leslie Pan MSB Microphone Angle 3 Microphone Distance GP 8 Leslie Accelerate/Decelerate GP 7 Leslie Fast ModWheel MSB Leslie Speed 68 Controls Brake function: if Value = 0.0, switches Leslie to Brake. All other values switch Leslie to previous speed.
Controller number MIDI mode Nord Electro: assigned parameter 71 Lower draw bar 5 1/3’ 72 Lower draw bar 8’ 73 Lower draw bar 4’ 74 Lower draw bar 2 2/3’ 75 Lower draw bar 2’ 76 Lower draw bar 1 3/5’ 77 Lower draw bar 1 1/3’ 78 Lower draw bar 1’ Chorus/Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 84 Vibrato mode (selection goes from V1 to C3, C0 is excluded) Percussion 87 Percussion on/off 88 Percussion Volume (soft/normal) and Time (short/long) 95 Percussion Harmonic
Despite characteristics such as key clicks, variable intonation, distortions, and crosstalk (all of which Vintage B3 emulates), playing a single note, with a single register, results in a pure sine tone. Mixing sine tones results in more complex harmonic spectra; this is known as additive synthesis. Organs—even pipe organs—can be regarded as additive synthesizers. Several limitations should be considered before viewing the instrument in this way.
Old pipe organs also make use of the residual effect, by combining two smaller pipes, thus eliminating the need for long, heavy, and expensive giant pipes. This tradition is continued in modern organs and is the reason for arranging the 5 1/3’ under 8’: the 5 1/3’ tends to create the illusion of a pitch that is one octave lower than 8’. Tonewheel sound generation Tonewheel sound generation resembles that of an air horn, or a siren.
The Hammond B3 was manufactured between 1955 and 1974. It is the Hammond model preferred by jazz and rock organ players, such as Fats Waller, Wild Bill Davis, Brother Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve Winwood, Joey DeFrancesco, and Barbara Dennerlein. In addition to the B3, there are a number of smaller Hammond instruments, known as the spinet series (M3, M100, L100, T100).
Vintage Clav Logic Pro Vintage Clav overview Vintage Clav emulates the classic Hohner D6 Clavinet. The sound of the D6 is synonymous with funk, but it was also popularized in the rock, pop, and electric jazz of the 1970s by artists like Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner, and the Commodores. If you’ve heard “Superstition” or “Higher Ground” by Stevie Wonder, then you know the D6 sound. See D6 Clavinet history.
• Model pop-up menu: Choose a basic type of tone, or model. Each has a unique tonal characteristic and different harmonic structure, designed to create different sounds. See Logic Pro Vintage Clav models. • Main button: Shows the Pickups, Stereo Spread, Brilliance, and Decay controls in the central display. See Logic Pro Vintage Clav Main window overview. • Effects button: Parameters for the integrated effects are shown in the central display. See Logic Pro Vintage Clav Effects window.
• Decay knob and field: Set the decay time of the strings, following the attack phase of a played note. Positive values increase the decay time. Negative values reduce the decay time. • Filter switches: The four filter switches emulate the original tone control switches of the D6. • Brilliant: Make the sound nasal with a strong bass cut. • Treble: Make the sound sharper with a gentle bass cut. • Medium: Make the sound thinner with a slight bass reduction.
Logic Pro Vintage Clav model characteristics The table outlines the characteristics of each clavinet model. Model name Comments Belltone A bell-like model with strong inharmonic overtones (inharmonicities). Classic I and II Classic I is a near exact emulation of the original D6. It includes string noises on long decays and accurate behavior following the release of keys. Each D6 was unique in its way, so you can adjust the sound to match the tone of D6 clavinets you have heard.
Use Logic Pro Vintage Clav Pickup parameters The original D6 is equipped with two electromagnetic pickups, much like those found in electric guitars—one below the strings (lower) and one above the strings (upper). In contrast to the fixed pickups of the original instrument, Vintage Clav pickups can be set to arbitrary positions and angles. Try moving pickup positions while repeatedly striking a note to hear the effect that the pickup position has on the overall tone.
Use Logic Pro Vintage Clav Stereo Spread Unlike the original D6, Vintage Clav has a stereo output that you configure with the Stereo Spread parameter. It is divided into two halves: Key and Pickup. Drag the Key parameter to set a key scale modulation of the panning position. In other words, the played keyboard note position determines the panning position. Use the Pickup parameter to spread the two pickup signals across the stereo spectrum when both pickups are active (Upper+Lower or Upper-Lower modes).
Vintage Clav Effects window Logic Pro Vintage Clav Effects window No clavinet simulation would be complete without a selection of effect processors. Vintage Clav incorporates three “classic” foot-pedal effect emulations: Distortion, Modulation, and Wah. Each effect is modeled on pedals that were available in the heyday of the Clavinet— the 1970s—adding an authentic sound to your performances. A simple compression circuit is also included and can be placed anywhere in the effects chain.
Logic Pro Vintage Clav Compressor effect The Compressor effect is normally used just before the 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.
Distortion effect parameters • On/off button: Turn the Distortion effect on or off. • Gain knob and field: Set the level of the Distortion effect. If Gain is at the minimum value, no distortion is heard. • Tone knob and field: Change the tonal color of the Distortion effect. • Use low Tone and Gain settings to create warm overdrive effects. • Use high Tone and Gain settings for bright, screaming distortion effects.
Logic Pro Vintage Clav Wah effect Vintage Clav provides simulations of several classic wah effects, as well as some basic filter types. The name 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, lowpass, or—less commonly—highpass filter. Wah wah pedals are also used extensively with the D6.
• Envelope knob and field: Determine the sensitivity of the (filter) envelope to incoming note velocity messages. An auto wah effect is produced by using the integrated envelope follower function, which controls the depth of filter cutoff modulation. In practical terms, this means that the dynamics of your performance directly control the depth of the Wah effect.
Excite and Click parameters • Shape slider and field: Contour the attack shape, simulating the hardness of the rubber hammers in a D6. As the instrument ages, hammers wear and split, changing brightness and tone. Negative values—to the left—provide a softer attack, and positive values result in a harder attack. • Intensity slider and field: Set the level of the release click. A negative value of −1.00 eliminates the release click. To simulate an old D6, increase the value.
• Stiffness/Inharmonicity sliders and fields: Intensify or reduce inharmonic overtones. Different values let you create metallic, bell-like sounds or DX-style electric pianos. Stiffness and Inharmonicity can also be useful for wood bass sounds. • The Inharmonicity parameter determines the lowest harmonic—the harmonic threshold. Inharmonic content above this threshold is stretched or spread across the frequency spectrum.
• Warmth slider and field: Set the amount of random deviation from an equal-tempered scale. High values add life to sounds. The Warmth parameter can be useful when you are emulating an instrument that has not been tuned for a while, or for slightly thickening a sound. When you are playing chords, the Warmth parameter creates a slight detuning or beating effect between notes. • Pitch Wheel slider and field: Determine the pitch bend range in semitone steps.
Misc parameters • • Voices pop-up menu: Choose the maximum number of voices that can be played simultaneously. Lowering the value of this parameter limits the polyphony and processing requirements of Vintage Clav. There are two monophonic settings: mono and legato. Each setting provides a single voice when playing Vintage Clav. • Mono: Vintage Clav voice is triggered each time a key is pressed.
Logic Pro Vintage Clav extended parameters Vintage Clav provides two parameters that can be accessed by clicking the disclosure triangle at the lower left of the interface. Extended parameters • MIDI Mono Mode pop-up menu: Choose Off, On (with common base channel 1), or On (with common base channel 16). In either Mono mode, each voice receives on a different MIDI channel. Controllers and MIDI messages sent on the base channel affect all voices. • Mono Mode Pitch Range slider: Set a value from 0 to 96.
The early models—Clavinet I with a built-in amp, Clavinet II with tonal filters, Clavinet L with its bizarre triangular shape—all led to the Clavinet model C. This, in turn, was refined into the more portable D6. The D6 uses a hammer action, which strikes a string against a metal surface to produce a tone. It has a fully dynamic keyboard because the striker is directly beneath the key—the harder you hit, the louder and more vibrant the tone.
Vintage Electric Piano Logic Pro Vintage Electric Piano overview Vintage Electric Piano simulates the sound of various Rhodes and Wurlitzer pianos as well as the sound of the Hohner Electra Piano. See Rhodes models and Hohner and Wurlitzer models. The unmistakable tones of Fender Rhodes pianos are some of the best-known keyboard instrument sounds used in the second half of the 20th century.
Logic Pro Vintage Electric Piano interface Vintage Electric Piano is divided into four areas. The control bar at the top lets you choose an electric piano model and provides access to further controls shown in the main display. The central area gives you direct access to Bass Boost and Volume controls. Extended parameters are available at the bottom of the interface. Click the control bar Effects and Details buttons to update the main display. • Model pop-up menu: Choose an electric piano model.
Vintage Electric Piano Effects window Logic Pro Vintage Electric Piano EQ controls The EQ allows you to boost or cut the high and low frequency ranges of your Vintage Electric Piano sound. The EQ is positioned after the Drive circuit in the Vintage Electric Piano effects chain. EQ parameters • On/off button: Turn the equalizer on or off. • Bass knob and field: Control the low frequency range. Either shelving or peak-type filters are used—depending on the piano model selected.
Drive effect parameters • On/off button: Turn the Drive effect on or off. • Drive mode switch: Switch between two types of distortion effect. • Gain knob and field: Set the amount of harmonic distortion. • Tone knob and field: Equalize the sound before amplification or distortion by the virtual tube amplifier circuit. • Use low Tone values to set a mellow tonal color. If the sound becomes too soft, boost the treble portion of your sound with the EQ Treble control.
Note: Logic Pro offers a sophisticated Phaser effect (and other modulation plug-ins) that can be used alongside, or to replace, the integrated Vintage Electric Piano Phaser effect. Phaser effect parameters • On/off button: Turn the Phaser effect on or off. • Rate knob and field: Set the speed of the phasing effect. The rate is set in Hz values, or bar/beat values when the Sync button is turned on. • Sync button: Synchronize the Phaser effect to the host application tempo.
• Stereo knob and field: Determine the relative phase shift between the left and right channels. • A value of 0 changes the level of both channels—in phase. • A value of 180 (out-of-phase modulation), results in a stereo tremolo effect that is also known as auto panning. This is similar to manually turning the pan pot from side to side. Tip: The original Wurlitzer Piano has a mono tremolo with a fixed modulation rate of 5.5 Hz. For an authentic Wurlitzer sound, select a Stereo value of 0 degrees.
• Stereo Width knob and field: Adjust the stereo field. At high values, bass notes are heard in the left channel and treble notes are heard in the right channel. Tip: Avoid using this parameter if you are trying to faithfully recreate a vintage electric piano because these instruments were not equipped with stereo outputs. • Tine Bell knob and field: Set the level of the (inharmonic) treble portion of the tone. This is useful for emulating classic electric piano sounds.
• Upper knob and field: Set the amount of deviation from the equal-tempered scale in the treble end of the sound. The higher the value, the farther up the high notes are tuned. At a setting of 0, Vintage Electric Piano is tuned to an equal-tempered scale, with each octave above (up) doubling the frequency. Stretch tuning in acoustic instruments The tones of upright pianos, and to a lesser extent grand pianos (due to their longer strings), have inharmonicities in their harmonic structure.
Vintage Electric Piano emulations Rhodes models Harold Rhodes (born 1910) constructed what is arguably the best known and most widely used electric piano. Designed in 1946—as a piano surrogate for practice, education, and army entertainment—the Rhodes piano was marketed by guitar manufacturer Fender from 1956. The Fender Rhodes is one of the most popular musical instruments in jazz, especially electric jazz. CBS took over production of the Rhodes in 1965, enhancing its popularity in pop and rock music.
Hohner and Wurlitzer models The extremely rare Hohner Electra Piano (not the similarly named all-electronic Electrapiano from RMI) offers striking hammers like those of the Rhodes, but a stiffer keyboard action. It was designed to resemble the look of a conventional acoustic upright piano. Led Zeppelin’s John Paul Jones played it on “Stairway to Heaven,” “Misty Mountain Hop,” and “No Quarter.
Logic Pro Instruments Controller number Parameter name 23 Phaser parameters: Color knob 24 Phaser parameters: Stereo knob 25 Tremolo parameters: Rate knob 26 Tremolo parameters: Intensity knob 27 Tremolo parameters: Stereo knob 28 Chorus parameters: Intensity knob 685
Vintage Mellotron Logic Pro Vintage Mellotron overview Vintage Mellotron recreates the features and a number of sounds from this famous keyboard instrument that has featured on dozens of classic rock and pop songs from the 1960s, ‘70s, and beyond. The Mellotron is considered a precursor to modern sample-playback instruments. It uses a number of magnetic tapes that are drawn across a tape head when a key is pressed. Each key has an individual tape playhead and pressure pads on a spring-loaded mechanism.
Vintage Mellotron also allows you to blend any two sounds together, including combinations that weren’t available in the original tape library. A further bonus is control of the balance between sounds, a feature not found on the original machines. A tape speed control mimics the tonal fluctuations caused by this feature on the original instruments. Also included are octave transposition and tone controls. See Logic Pro Vintage Mellotron controls.
Vintage Mellotron extended parameters The extended parameters provide three additional controls that were not available on the original instruments. These provide flexibility, but their use isn’t true to the source hardware. Click the disclosure triangle at the lower left to view the extended parameters. Logic Pro Instruments • Attack knob: Set the time required for the signal to reach the initial signal level, known as the sustain level.
Legacy instruments Logic Pro legacy instruments overview The legacy instruments are less CPU- and memory-intensive versions of equivalent Logic Pro instruments. All legacy instruments feature a few carefully chosen parameters that provide maximum impact and flexibility, making it easy to create great sounds. Legacy instruments are automatically loaded when a GarageBand project is imported, or a Logic project or MainStage concert that uses these instruments is opened.
• Bass buttons: You can activate the lower (bass) pipes with these buttons, adding these lower harmonics, which makes your sound richer and fuller. Note: The bass buttons are not available in all registrations. • Cutoff slider: Allows less sound through at low values and more at high values—damping the sound or making it brighter. • Attack slider: Makes the sound start faster or slower.
Logic Pro Legacy Electric Piano Electric Piano, which is based on Vintage Electric Piano, sounds like the Fender Rhodes and Wurlitzer electric pianos. • Model buttons: A more bell-like tone is achieved when the Tines button is selected. • Decay slider: A short value makes the sound almost plucked, whereas a long setting sustains the sound while the keys are held. • Bell Volume slider: Makes the sound more bell-like, with a stronger ringing tone.
Logic Pro Legacy Piano Piano emulates a number of classical and jazz piano sounds as well as several accordions and a harpsichord. It also provides a number of pad sounds. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows less sound through at low values and more at high values— damping the sound or making it brighter. • Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard.
Logic Pro Legacy Voice Voice emulates a mixed choir. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows less sound through at low values and more at high values— damping the sound or making it brighter. • Attack slider: Makes the sound start faster or slower. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string.
Synthesizers Logic Pro Legacy Analog Basic Analog Basic, which is based on the ES2, is a simple analog synthesizer that is useful for a range of musical styles. • Volume slider: Set the overall volume level of the instrument. • Mix slider: Determine the balance between the oscillator signals. • Tuning slider: Set the overall pitch of the instrument. • Cutoff slider: Allow less sound through at low values and more at high values, damping the sound or making it brighter.
Logic Pro Legacy Analog Pad Analog Pad, which is based on the ES2, can generate warm analog synthesizer pad sounds that are useful for a range of musical styles. • Volume slider: Set the overall volume level of the instrument. • Modulation slider: Make the sweeping movement of the pad faster or slower. • Character slider: Determine whether the sound is soft or sharp. • Cutoff slider: Allow less sound through at low values and more at high values, damping the sound or making it brighter.
• Sync Envelope slider: Determine the amount that envelope parameters affect the sound. • Cutoff slider: Allow less sound through at low values and more at high values, damping the sound or making it brighter. • Attack slider: Make the sound start faster or slower. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string. • Decay slider: Make the harmonic, or bright, portion of the sound sustain for a longer time at slow values.
• Decay slider: Make the harmonic, or bright, portion of the sound sustain for a longer time at slow values. Faster values move to the sustain level more quickly. • Richness slider: Subtly detune each played note from the others, making the sound a little thicker, particularly when high parameter values are used. • Distortion slider: Distort the overall sound, making it quite nasty and aggressive.
External Instrument parameters • Environment Destination pop-up menu: Choose the target environment object (often a MIDI instrument and channel). • Input pop-up menu: Choose the inputs of your audio hardware that the MIDI sound generator is connected to. • Input Volume slider and field: Move to set the incoming signal level. Logic Pro Legacy Hybrid Basic Hybrid Basic is a sample-based synthesizer that can create spectacular sounds.
Logic Pro Legacy Hybrid Morph Hybrid Morph is a sample-based synthesizer that can create spectacular sounds. It differs from Hybrid Basic in that each waveform is based on two sample layers, which leads to a different sonic character. • Volume slider: Set the overall volume level of the instrument. • Waveform pop-up menu: Choose the sample set used to generate the basic synthesizer sound. • Morph slider: Control crossfades between the two sample layers.
Synthesizer basics Synthesizer basics overview If you are new to synthesizers, this appendix will help you understand the basics of sound itself and how this applies to synthesizers. Important facts about synthesizers are discussed and explained, including the differences between analog, digital, and virtual analog synthesizers. You will also be introduced to the major synthesizer terms as you learn about the basic workings of these hardware- or software-based devices.
If the vibrations follow a periodic pattern, the sound is said to have a waveform. The figure above shows an oscillogram—a graphical representation—of a sine wave, the simplest and purest kind of waveform. If the vibrations do not follow a discernible pattern, the sound is called noise. A repetition of a waveform—each peak and trough in the oscillogram—is known as a cycle. The number of cycles that occur per second determines the basic pitch of the waveform— commonly known as the frequency.
• A tone played at twice the frequency of the first harmonic is called the second harmonic. • A tone played at four times the frequency of the first harmonic is called the fourth harmonic, and so on. Each of these harmonics has a timbral quality that is different from that of the fundamental tone. In general, harmonics that can be multiplied or divided by a whole number, such as octaves, odd-numbered or even-numbered harmonics, and so on, sound more “musical.
Other waveform properties In addition to frequency, other properties of sound waves include amplitude, wavelength, period, and phase. • Amplitude: The amplitude of a waveform indicates the amount of air pressure change. It can be measured as the maximum vertical distance from zero air pressure, or “silence” (shown as a horizontal line at 0 dB in the illustration). Put another way, amplitude is the distance between the horizontal axis and the top of the waveform peak, or the bottom of the waveform trough.
When you play two otherwise identical sounds out of phase, some frequency components—harmonics—can cancel each other out, thereby producing silence in those areas. This is known as phase cancelation, and it occurs where the same frequencies intersect at the same level.
In a modular synthesizer, signal routing is achieved by physically cabling modules to each other. In most modern synthesizers the signal routing between modules is internally prewired and is typically changed using switches, knobs, and other controls. For a discussion of synthesizer components and their interaction with each other to control and shape sound, see How subtractive synthesizers work. Synthesizers have existed far longer than you might imagine.
Subtractive synthesizers How subtractive synthesizers work There are many approaches to sound creation with a synthesizer. See Other synthesis methods overview. There are also numerous differences between synthesizer models, but most follow a fundamentally similar architecture and signal flow that is based on subtractive synthesis principles.
Signal-generating and processing components • Oscillators: Generate the basic signal. This is usually a waveform that is rich in harmonics. See Oscillators. Many synthesizers provide more than one oscillator, and almost all synthesizer oscillators can generate several waveform types. • Filter section: Used to alter the basic signal by filtering out (removing) portions of the frequency spectrum. Many synthesizers have a single filter that is applied universally to all oscillator signals.
• Sawtooth wave: Clear and bright-sounding, a sawtooth wave contains both odd and even harmonics, as well as the fundamental tone. It is ideal for creating string, pad, bass, and brass sounds. • Square and pulse waves: Hollow and woody-sounding, a square wave can contain a wide range of odd harmonics, as well as the fundamental tone. It is useful for creating reed instruments, pads, and basses.
• Noise: white, pink and red, blue: Noise is useful for emulating percussive sounds, such as snare drums, or wind and surf sounds. There are more noise wave colors than those listed, but they are rarely found in synthesizers. • White noise: The most common noise waveform found on synthesizers. White noise contains all frequencies—at full level—around a center frequency. • Pink and red noise: These noise colors also contain all frequencies, but they are not at full level across the frequency spectrum.
Filters Filters overview The purpose of the filter in a subtractive synthesizer is to remove portions of the signal— the frequency spectrum—sent from the oscillators. After filtering, a brilliant-sounding sawtooth wave can become a smooth, warm sound without sharp treble. The filter sections of most subtractive synthesizers contain two primary controls known as cutoff frequency—often abbreviated to cutoff—and resonance. Other common filter parameters are drive and slope.
The figure below shows a sawtooth wave. The filter is open, with cutoff set to its maximum value. In other words, this waveform is unfiltered. The figure below shows a sawtooth wave with the filter cutoff near a 50% value. This filter setting results in suppression of the higher frequencies and a rounding of the edges of the sawtooth waveform, making it resemble a sine wave. This setting makes the sound softer and less “brassy.
Resonance The resonance control emphasizes or suppresses signals around the cutoff frequency. The figure below shows an ES1 sawtooth wave with a high resonance setting and the cutoff frequency set to 660 Hz. This resonant filter setting results in much brighter and harsher signals close to the cutoff frequency. Frequencies below the cutoff point are not affected. The result of using filter resonance is a change in the basic waveform shape and, therefore, the timbre of the sound.
Filter slope A filter cuts off the signal at the specified cutoff frequency. This cutoff doesn’t happen abruptly but rather at a given slope, which is measured in decibels (dB) of gain reduction per octave. You can define how steep the “cliff” is at the cutoff point by choosing a severe or gentle slope. Envelopes in the amplifier Amplifier envelope overview The amplifier module of a synthesizer is responsible for controlling the level, or loudness, of the signal over time.
Attack, decay, sustain, and release The oscillogram of a percussive tone shown below illustrates the level rising immediately to the top of its range and then decaying. If you drew a box around the upper half of the oscillogram, you could consider it the “envelope” of the sound—an image of the level as a function of time. The role of the envelope generator is to set the shape of this envelope.
You can affect modulation targets, such as oscillator pitch or filter cutoff frequency, by using modulation sources that include the following: • Velocity modulation: You can modulate a target in different ways with the impact of your keyboard playing (harder or softer). The most common example of modulation controller use is a velocity-sensitive keyboard, set to control the filter and level envelopes. The harder you strike the notes, the louder and brighter the sound is.
ES2 modulation routing ES2 provides ten modulation routings, in columns. Each routing column is quite similar to the modulation controls found in ES1. In the first routing column shown above: • The modulation target is Pitch123. The pitch—the Frequency parameter—of Oscillators 1, 2, and 3 is affected by LFO2, the modulation source. • LFO2 is the modulation source. The two arrows to the right of the column indicate the modulation amount.
• Frequency/Rate: Determines the speed of the waveform cycles produced by the LFO. When it is set to low values, very slow ramps are produced, making it easy to create sounds such as ocean waves rolling in—when white noise is chosen as the waveform in the main oscillator. • Sync mode: Allows you to choose between free running—a user-defined LFO rate—or synchronization with the Logic Pro project tempo. • LFO Envelopes: The LFO can also be controlled with an envelope generator in some synthesizers.
• Trigger mode: Determines how the polyphony of the instrument is handled when the number of notes played exceeds the number of available voices. Trigger mode also allows you to assign legato mode. Essentially, this control changes the way the synthesizer responds to your playing technique. It is invaluable when you are emulating monophonic instruments, such as flutes, clarinets, and trumpets.
Sample-based synthesis Sample-based synthesis, which is sometimes known as Pulse Code Modulation (PCM), or sampling and synthesis (S&S) synthesis, is differentiated from subtractive synthesis mainly by the use of samples in place of oscillator waveforms. The samples—digital recordings of existing sounds—are mapped across the keyboard. Typically, each sample is mapped to a note in the center of a keyboard range that spans a few notes that are unique to that sample.
Typically, FM synthesizers don’t incorporate a filter. You can generate some subtractive synthesizer style sounds with FM synthesis, but it is difficult to recreate the sound of a resonant subtractive synthesizer filter using this method. FM synthesis is extremely good, however, at creating sounds that are difficult to achieve with subtractive synthesizers— sounds such as bell timbres, metallic tones, and the tine tones of electric pianos.
Wavetable, Vector, and LA synthesis Wavetable synthesis uses a number of different single-cycle waveforms, laid out in what is known as a wavetable. Playing a note on the keyboard triggers a predetermined sequence of waves. In general, this is not a stepped transition but rather a smooth blend from one waveform into another, resulting in a constantly evolving waveform.
Depending on the sophistication of the additive synthesizer you are using, you will either have individual envelope control over the level and pitch of each sine wave, or you will be limited to envelope control over groups of sine waves—one envelope per sound and its harmonics, or all odd or all even harmonics, for example.
Resynthesis You can analyze the frequency components of a recorded sound and then resynthesize— reconstruct—a representation of the sound using additive or spectral techniques. See Additive synthesis and Spectral synthesis. At a basic conceptual level, additive synthesis and spectral (modeling) synthesis are similar in that both techniques can recreate complex sounds by adding together many simpler signals. In practice, however, the two methods are very different.
Granular synthesis The basic premise behind granular synthesis is that a sound can be broken down into tiny particles, or grains. In many respects, granular synthesis is similar to wavetable synthesis, but it works on a much finer scale. This method is ideal for creating constantly evolving sounds and truly unique tones. Alchemy extracts sampled grains—2- to 230-milliseconds long—which can be manipulated, reorganized, or combined with grains from other sounds to create new timbres.
In 1919, Russian inventor Leon Theremin took a markedly different approach. Named after the man who masterminded it, the monophonic Theremin was played without actually touching the instrument. It gauged the proximity of the player’s hands as they were waved about in an electrostatic field between two antennae, and used this information to generate sound. This unorthodox technique made the Theremin enormously difficult to play.
Early voltage-controlled synthesizers With the exception of the Telharmonium, which was conceived prior to the advent of the thermionic valve, the precursors to the modern-day synthesizer were all based on tube circuitry. This made these instruments unwieldy and volatile. After the transistor became available in 1947/48, more rugged, smaller, and thus portable, instruments were soon to come. At the end of 1963, American innovator R. A. (Bob) Moog met the composer Herbert Deutsch.
In contrast to previous modular synthesizers, it was neither necessary nor possible for players to connect the modules of the Minimoog as they saw fit. All of the modules’ connecting circuitry was hard-wired at the factory. The type and number of modules was also fixed. This simplified manufacturing considerably, and cut costs dramatically. A major marketing campaign saw the Minimoog become a huge success. Without alteration to its basic design, 13,000 Minimoogs were sold worldwide, right up to 1981.
It was not until 1978 that the problem was resolved. The five-voice polyphonic Prophet-5, released by the American company Sequential Circuits, was the world’s first synthesizer with a global storage feature. All settings for each of its five onboard monophonic synthesizers were stored in memory slots—40 in the debut model. Moreover, all five synthesizers shared a single user interface, which simplified matters considerably.
Another solution was to design synthesizers as a computer peripheral, rather than as a standalone unit. The growing popularity of personal computers from the early 1980s made this option commercially viable. Passport Soundchaser and the Syntauri alphaSyntauri were the first examples of this concept. Both systems consisted of a processor card with a standard musical keyboard attached to it. The processor card was inserted into an Apple II computer.
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