Welcome
- What’s new in Logic Pro for Mac 10.7.8
- What’s new in Logic Pro for Mac 10.7.5
- What’s new in Logic Pro 10.7.3
- What’s new in Logic Pro 10.7
- What’s new in Logic Pro 10.6
- What’s new in Logic Pro 10.5
- What’s new in Logic Pro 10.4
- What’s new in Logic Pro 10.3
- What’s new in Logic Pro 10.2
- What’s new in Logic Pro 10.0
- Get started overview
- Workflow overview
- Logic Pro main window
- Projects
- Playback and navigation
- Tempo, key, and time signature
- Patches
- Arranging regions
- - Piano Roll Editor
  - Audio Track Editor
- Drummer
- Smart Controls
- Live Loops
- Mixing
- Apple Loops
- Smart Tempo
- Sharing
- What is Logic Pro for Mac?
- Logic Pro project basics
- Use menu commands and key commands
- Use the complete set of Logic Pro features
- Undo and redo edits
- Manage Logic Pro content
- How to get help
- Hardware connection overview
- Projects overview
- Create projects
- Open projects
- Save projects
- Delete projects
- Use Logic Remote to control Logic Pro projects
- Preview projects in the Finder
- Close projects
- View project information
- Tracks overview
- Control timing with the groove track
- Use selection-based processing
- Edit track parameters
- Overview
- Use the metronome
- Using loops and other media in Logic Pro
- Bookmark folders in the All Files Browser
- Import compressed audio files
- Arranging overview
- - Remove silent passages
  - Uses for Remove Silence
- Create groove templates
- Overview
- Select audio regions
- Cut, copy, and paste audio regions
- Move audio regions
- Trim audio regions
- Split and join audio regions
- Snap edits to zero crossings
- Delete audio regions
- Use Flex Time and Pitch in the Logic Pro for Mac Audio Track Editor
- Use automation in the Audio Track Editor
- Overview
- View multiple MIDI regions
- Split chords
- Automation/MIDI area in the Piano Roll Editor
- Open other editors
- Overview
- Work with Producer Kits
- Convert Drummer regions to MIDI regions
- Flex Time and Pitch overview
- Use Varispeed to alter the speed and pitch of audio
- Logic Pro for Mac advanced editors overview
- Mixing overview
- - Channel strip types
  - Channel strip controls
- Set channel strip input formats
- Set channel strip pan or balance positions
- Mute and solo channel strips
- Work with channel strip settings
- Surround panning
- Use the I/O Labels window
- Undo and redo Mixer and plug-in adjustments
- Automation overview
- Track automation vs. region automation
- Show automation curves
- Choose automation modes
- - Select, copy, and move automation
  - Delete automation
- Snap automation to grid positions
- Edit automation in the Automation Event List
- Write automation with external controllers
- Smart Controls overview
- Show Smart Controls for master effects
- Choose a Smart Control layout
- Automatic MIDI controller assignment
- Map screen controls automatically
- Map screen controls
- Edit mapping parameters
- Use parameter mapping graphs
- Open the plug-in window for a screen control
- Rename a screen control
- Use articulation IDs to change articulations
- Assign hardware controls to screen controls
- Compare Smart Control edits with saved settings
- Use the Arpeggiator
- Automate screen control movements
- Live Loops overview
- Start and stop cells
- Work with Live Loops cells
- - Record to cells
  - Record and edit takes in cells
- Change loop settings for cells
- How the Live Loops grid and Tracks area interact
- Edit cells
- Edit scenes
- Work in the Cell Editor
- Bounce cells
- Record a Live Loops performance
- Change Live Loops grid settings
- Control Live Loops with other devices
- Step Sequencer overview
- Use Step Sequencer with Drum Machine Designer
- Record Step Sequencer patterns live
- Step record Step Sequencer patterns
- Load and save patterns
- Modify pattern playback
- Edit steps
- Edit rows
- Step Sequencer inspectors
- Customize Step Sequencer
- Global changes overview
- - Add arrangement markers
  - Edit arrangement markers
- - Transposition overview
  - Add and edit transposition points
- Control project volume
- Overview
- Add notes
- Use automation in the Score Editor
- Share a score
- Sharing overview
- Share songs to the Music app
- Share songs using AirDrop
- Share songs using MailDrop
- Share songs to SoundCloud
- Share a project to GarageBand for iOS
- Share a project to Logic Pro for iPad
- Overview of surround and spatial audio
- - Overview of spatial audio with Dolby Atmos
  - - Bed tracks and object tracks
    - Rendering a Dolby Atmos mix in Logic Pro for Mac
- - Surround Panner overview
  - Surround Panner parameters
- - 3D Object Panner overview
  - 3D Object Panner parameters
- - Bounce surround audio files
  - Export ADM BWF files
- Video and synchronization overview
Touch Bar shortcuts
- Environment overview
- Common object parameters
- - Environment Layers overview
  - Create, name, delete, and switch layers
- Customize the Environment
- - Effects overview
  - Add, remove, move, and copy plug-ins
- - Instruments introduction
  - Add, remove, move, and copy plug-ins
  - Use multi-output instruments
- - Alchemy overview
  - Alchemy interface overview
  - Alchemy Name bar
  - Alchemy file locations
  - - Preset browser overview
    - Browser results list
  - - Main filter controls
    - Filter types
  - Alchemy master voice section
  - Alchemy Extended parameters
- - Drum Kit Designer overview
  - Edit pane
  - Use Drum Kit Designer
  - Extended parameters
  - Drum Kit Designer mappings
- - Drum Machine Designer overview
  - Drum Machine Designer interface
  - Kit controls
  - - Pad controls bar
    - Use pad controls
  - Kit Tone and Effect Smart Controls
  - Kit Piece Tone and Effect Smart Controls
- - Drum Synth overview
  - Drum Synth Kicks
  - Drum Synth Snares and Claps
  - Drum Synth Percussion
  - Drum Synth Hats and Cymbals
- - ES1 overview
  - Global parameters
  - - Filter parameters
    - Overdrive the filter
  - Amplifier parameters
  - MIDI controller assignments
- - ES2 overview
  - ES2 interface overview
  - - Use the dynamic stage
    - Enhance sounds with the Sine Level control
  - ES2 integrated effects processor controls
  - Use ES2 in Surround mode
  - Extended parameters
  - - Use randomization parameters
    - Restrict randomization
- - EFM1 overview
  - Modulation parameters
  - Global parameters
  - Output parameters
  - Create random sounds
  - Extended parameters
  - Assign MIDI controllers
- - ES E overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope parameters
  - Output parameters
  - Extended parameters
- - ES M overview
  - Oscillator parameters
  - Filter and filter envelope controls
  - Level envelope and output controls
  - Extended parameters
- - ES P overview
  - Oscillator parameters
  - LFO parameters
  - Filter parameters
  - Envelope and level controls
  - Integrated effects processor
  - Extended parameters
- - - EVOC 20 PS overview
    - Vocoder basics
  - EVOC 20 PS interface
  - Analysis controls
  - (U/V) detection parameters
  - Formant filter controls
  - Modulation parameters
  - Output parameters
  - Vocoder history
  - EVOC 20 block diagram
- - Quick Sampler overview
  - Add audio to Quick Sampler
  - Quick Sampler waveform display
  - Use Flex in Quick Sampler
  - - Mod Matrix pane
    - LFO controls
  - Quick Sampler Pitch controls
  - Quick Sampler Filter controls
  - Quick Sampler filter types
  - Quick Sampler Amp controls
  - Quick Sampler extended parameters
- - Retro Synth overview
  - Analog oscillator controls
  - Sync oscillator controls
  - - Table oscillator parameters
    - Use the Wavetable menu
  - FM oscillator controls
  - Filter controls
  - Filter types
  - Amp and effect controls
  - Global and controller settings
  - Extended parameters
- - Sampler overview
  - Load and save instruments in Sampler
  - Sampler articulation handling
  - Sampler memory management
  - Sampler extended parameters
- - Sculpture overview
  - Sculpture interface
  - - Pickup parameters
    - Spread controls
  - Global parameters
  - Amplitude envelope parameters
  - Use the Waveshaper
  - Filter parameters
  - Output parameters
  - Use surround range and diversity
  - Define MIDI controllers
  - Extended parameters
- - Studio instruments overview
  - Section MIDI channel assignments
- - Ultrabeat overview
  - Ultrabeat interface
  - Synthesizer section overview
  - Filter section controls
  - Distortion circuit controls
- - Utility instruments
  - External Instrument
  - Klopfgeist
- - Vintage B3 overview
- - Vintage Clav overview
  - Vintage Clav interface
  - Extended parameters
  - - D6 Clavinet history
    - D6 mechanical details
- - Vintage Electric Piano overview
  - Vintage Electric Piano interface
  - - Model controls
    - Pitch controls
  - Extended parameters
  - - Rhodes models
    - Hohner and Wurlitzer models
  - MIDI controller assignments
- - Vintage Mellotron overview
  - Vintage Mellotron controls
- - Legacy instruments overview
  - - Bass
    - Church Organ
    - Drum Kits
    - Electric Clav(inet)
    - Electric Piano
    - Guitar
    - Horns
    - Piano
    - Sound Effects
    - Strings
    - Tuned Percussion
    - Voice
    - Woodwind
    - Tonewheel Organ
- - Synthesizer basics overview
  - Synthesizer fundamentals
Glossary
Copyright

Morph melodic sounds in Logic Pro for Mac 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. This group of tutorial tasks covers morphing between sounds that contain melodic material produced by monophonic instruments such as a solo voice, a synth lead, or an orchestral instrument like a flute or oboe. The example files have the same basic length, which makes results more predictable than if file lengths are quite different.

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.

Play a source melody with another source in Alchemy

In Alchemy in Logic Pro, click the File button in the Name bar and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings.
Click the source select field for source A, and choose Import Audio from the pop-up menu.
The Import window opens.
Type “Amanda Aa Ee Ay Oh C3” in the search field, and drag the file to the Dropzone area of the Import window.
Click the Additive 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. This combination is generally best when you are working with melodic, monophonic audio files. When analysis is complete, you can trigger the audio at its native pitch by playing C3 on your keyboard. It’s important to understand that you are hearing a resynthesized version of the original sound that is being generated by the additive synthesis engine and further shaped by the formant engine.
Tip: It’s best to select the same analysis mode for all audio you plan to morph between. If you don’t do this, the primary synthesis element morphing control will be non functional when morphing between sources analyzed with different engines. For example, you can’t perform additive morphing between a source generated by the additive engine and another source generated by the spectral engine.
Click the source B select field, and choose Import Audio from the pop-up menu.
Type “Velvet Rope Synth Lead” in the search field, and click to select the file or drag it to the Dropzone area of the Import window, then click the Import button.
Note: The previously selected import mode is retained, so there’s no need to change anything.
To set both files to loop continuously while you hold down the note, click the A button (under Global), then choose Continuous from the Loop Mode pop-up menu. Repeat this step for source B.
Click the Morph button at the left to show the morphing section at the upper right, then click the Morph Lin button and the A-B button. The All button should be active.
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).
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. The pitch morph is particularly effective because the source A material contains no chordal content and does not change pitch, and the Source B material has a very clear melodic phrase that the pitch analysis can easily track. In general, files that work well for Flex Pitch in Logic work well for pitch morphing applications in Alchemy. Keep this example loaded for the next task.

Explore additive morphs in Alchemy

Elemental morphing can sometimes lead to sudden and dramatic level changes. Before adjusting the Additive control, click the Global button, then double-click the Volume knobs for sources A and B. This sets them both to -18dB.

In Alchemy in Logic Pro, click the Morph button at the left to show the morphing section at the upper right, then click the Morph Lin button, the A-B button, and the Elements button (if required).
Drag the Additive handle (blue dot) to the right while holding C3 on your keyboard. You can also rotate the Additive knob to set this value.
As you move the control, the harmonic partials of the vocal sample transition to the partials of the synth lead. This doesn’t always produce pleasing results because partials in one sound may emphasize noise or artifacts in the other sound. The workflow is often one of sonic exploration in search of happy accidents rather than a predictable process. Play notes and chords above and below C3 as you experiment.
Set the Additive control to approximately 30%, Pitch to 100%, and Formant and Envelope to zero percent.
Click the A button at the left to view source A parameters, click the Additive button at the top right, then rotate the Fundamental knob toward the left.
This attenuates the fundamental partial which brightens the sound by making the higher frequency partials more pronounced.
Turn down the Odd/Even knob to create a more hollowed out sound, emphasizing the partials of the synth lead. Experiment with other controls to get a feel for their effect on the sound. Play octaves and fifths as you experiment.

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.

In Alchemy 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.
Click the A button at the left to view source A parameters, and click the Edit button at the right of the source filename.
The source A edit window opens.
In the waveform editor at the bottom of the main edit window, drag the E handle to the very end of the audible part of the waveform.
This effectively removes the silence at the end of the vocal phrase by reducing the playback length of the overall file.
Play C3 on your keyboard, and note that the phrase plays faster because the timing for the sound is currently based on the timing of the vocal sample.
Also note that you can hear the entire synth lead phrase, which no longer fades away at the end. If you move the end marker further left, you can hear the entire phrase of the synth part played faster.
Click the X at the upper right to close the source A edit window.
Return to the morph controls, and adjust the Envelope knob to hear how it affects the behavior of samples with different lengths.

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.

In Alchemy 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. Rotate the Smooth knob to the left until the Amanda vocal starts to break up and sound “fluttery.”
Click the source B button at the left, then click the Formant button at the upper right. Rotate the Smooth knob to the far left.
Click the Morph button at the left to show the morphing section at the upper right, then move the Formant handle (purple dot) horizontally while playing. You can also use the Formant knob to set this value.
You can hear the “fluttery” effect as you move the Formant control to the left, but this disappears as you move it to the right.

Download the guides:

Logic Pro User Guide: Apple Books | PDF

Logic Pro Instruments: Apple Books | PDF

Logic Pro Effects: Apple Books | PDF

Helpful?