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

Ultrabeat filter section in Logic Pro for Mac

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.
Filter Type buttons: Switch the filter between lowpass, highpass, bandpass, or band-rejection filter types.
Filter Slope buttons: Switch the filter between different slopes.
Cutoff and Resonance knobs: Rotate to set the cutoff/center frequency and resonance/bandwidth of the filter.
Mod and via pop-up menus: Choose the modulation source (and via source) for the Cutoff and Resonance parameters. See Mod and via modulation.

Set the Ultrabeat filter type

The filter can operate in several modes, allowing specific frequency bands to be filtered (cut away) or emphasized.

In Logic Pro, to select a filter type, click one of the following buttons:
- LP (lowpass): This filter type allows frequencies that fall below the cutoff frequency to pass. When set to LP, the filter operates as a lowpass filter. The slope of the filter can be set to 12 or 24 dB/octave in LP mode.
- HP (highpass): This filter type allows frequencies above the cutoff frequency to pass. When set to HP, the filter operates as a highpass filter. The slope of the filter can be set to 12 or 24 dB/octave in HP mode.
- BP (bandpass): The frequency band directly surrounding the center frequency (set 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 or 12 dB/octave on each side of the center frequency of the band.
- 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. Frequencies that are located close to the cutoff frequency are generally reduced less than those that are farther away. The higher the slope value, the more apparent the level difference is between frequencies that are near to the Cutoff frequency and those that are farther away from it.

In Logic Pro, click the 12 dB or 24 dB button. The slope (curve) chosen for the Filter expresses the amount of rejection in decibels per octave. The steeper the slope, the more severely the level of signals below the cutoff frequency is affected in each octave.

Use the Ultrabeat filter Cutoff parameter

In Logic Pro, rotate the Cutoff Frequency (Cut) parameter to control the brilliance or determine the center frequency of the signal.
- In a lowpass filter, the higher the cutoff frequency is set, the higher the frequencies of signals that are allowed to pass.
- In a highpass filter, the cutoff frequency determines the point where lower frequencies are suppressed, with only upper frequencies allowed to pass.
- In a bandpass/band-rejection filter, the cutoff frequency determines the center frequency for the bandpass or band-rejection filter.

Use the Ultrabeat filter Resonance parameter

In Logic Pro, rotate the Resonance (Res) parameter to emphasize or suppress portions of the signal above or below the defined cutoff frequency, or to determine the width of the band that surrounds the cutoff frequency.
- In a lowpass filter, Resonance emphasizes or suppresses signals below the cutoff frequency.
- In a highpass filter, Resonance emphasizes or suppresses signals above the cutoff frequency.
- In bandpass/band-rejection filters, resonance determines the width of the frequency band that surrounds the center frequency (set with the Cutoff Frequency 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.

In Logic Pro, click the arrow to change the signal flow order between the following:
- First the Distortion unit, then the Filter circuit (arrow pointing up)
- First the Filter circuit, then the Distortion unit (arrow pointing down).

Download the guides:

Logic Pro User Guide: Apple Books | PDF

Logic Pro Instruments: Apple Books | PDF

Logic Pro Effects: Apple Books | PDF

Helpful?