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Also in the LFO, turn off the Bipolar button. This routing increases Position smoothly so that the entire sample plays back from beginning to end, then jumps immediately back to the beginning and continues to loop. Finally, adjust the Logic Pro X tempo as you play additional notes to confirm that the loop is properly synchronized.

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. This is equivalent to turning the Amp knobs in each source to attain the desired mix. If you crossfade from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, the high source fades out as the low source fades in.

In the middle of the crossfade you hear both sources. If you morph from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, you hear a single sound during the morph. The sound tuning falls smoothly from the high value to the low one. Morphing provides more scope than simple crossfades between sources. It also allows cross-synthesis, where you can combine different aspects of different sound elements.

For example, you could apply the formants or other characteristics of an additive source to the spectral element of another source. See the tutorials found in Logic Pro Alchemy elemental morphs overview. Morphed parameters are indicated by a green arc around the control. Parameters that are morphed and have a modulation assignment show both an orange and green arc around the control. Parameter settings are shared across all morphed sources, which means that changing a parameter in one source results in the corresponding parameter being changed for all morphed sources.

Note: Parameters that do not directly participate in the morph, including most buttons and pop-up menus, are indicated with a lock icon displayed at the top left of the control the lock icons are shown only in source subpages. Where there is a parameter pairing of an On button and a pop-up menu, only the button shows the lock icon. Neither parameter participates in the morph. Regions of each source encompassed by corresponding warp markers are time- aligned in the morph.

See Logic Pro Alchemy zone waveform editor. Also controls VA morph position if the VA element is active. Also controls sampler morph position if the sampler element is active. Also controls morphing of the source filter knobs. These controls morph the timing of the sound. In cases where source A has a short attack and source B has a long attack, for example, the length of the attack varies as you change the X knob. Turn off for the best morphing quality. As an example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources.

Auto Align is automatically turned off when you set warp markers manually. Regions of each source encompassed by corresponding warp markers are time-aligned in the morph. See Logic Pro Alchemy elemental morphs overview. Use Elements to view and edit the X values of five parameters. Morphs affect only the chosen group of sources. This also controls the sampler morphing position if the sampler element is active. Turn off for higher morphing quality.

For example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources. Drag the point to change the X or Y value, or both. Drag each point to change the corresponding X and Y values. Edit buttons are shown on all source subpages. Shown at the top right of all edit windows. 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. The Main edit window is divided into three areas that interact with each other.

You can edit parameters graphically in the keymap or waveform editor or can use corresponding fields and other parameters in the inspector. This area interacts with the zone parameters in the inspector. See Logic Pro Alchemy keymap editor. The source edit window is opened by clicking the Edit button on any source subpage. Click the close window icon X to close the source edit window.

The source inspector is divided into three main parameter groupings: global and source parameters, group parameters, and zone parameters. Click the X icon at the top right of the active window to close it. You can also click the Previous and Next buttons the arrows to step through available waveform data. All other sources are muted. Logic Pro Alchemy inspector group controls Source components are shown only in advanced view.

Click the close window icon X at the top right to close the window. 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. Control-click a group name to choose the Delete command.

You can also use this feature creatively to add abstract reverb tails or to create a pad sound that changes dramatically during the release stage. Apply a fade in time value ranging from 0 to for note-off events when the release trigger mode is active.

This parameter is primarily intended for use in conjunction with release triggering, to create a crossfade between the main body of the note and the release sample. A common use of this feature is to create a group containing an open and a closed hi-hat sample. If you set group polyphony to one, either the closed or open hi-hat sample can play, but not both at the same time. You can create and combine multiple rules using boolean logic. The normal state for any newly created group is a single rule set to Always, unless that group was defined as a Round Robin group in the Import browser Dropzone.

Click the field to choose a rule. This adds a new rule pop-up menu below the first and displays a Logic pop-up menu to the right. Choose Delete from the pop-up menu to remove a rule. At least two round robin groups must exist for this parameter to have an effect. Each group is assigned a different value. If two groups are assigned to the same value, both zones are triggered simultaneously. Each note-on sequentially triggers a round robin group from lowest to highest.

Once the highest group number is triggered, the sequence starts again from the lowest group number. Drag vertically in the field or use the arrows to set a value. No Order pop-up menu is shown. You can also assign keyswitching to a MIDI note or range of notes which prevents the group from triggering until one of these notes is played. Two pop-up menus are displayed, where you can choose keyswitch conditions.

For example, set the first field to Snap2 and the second field to Snap4, which results in the group being triggered only when the Transform pad is at position 2, 3, or 4. Assign multiple groups to different ranges to switch between up to eight different groups. See Logic Pro Alchemy Transform pad. This knob is visible only when the Keysw options are chosen in these menus. For example, set the first field to Keysw1 and the second to Keysw5, which results in the group being triggered when the Keyswitch knob is set to a value that falls within this range.

Up to 10 Keyswitch knob positions are available, enabling you to switch between groups with the knob. Because the Keyswitch knob is available as a modulation target, this lets you create complex automated group switches. Play a note in this range to switch to a group, which remains active until another group is chosen.

Three pop-up menus are displayed where you can choose the controller type and set controller values. You can set other groups with the same type but with a different control range to switch between groups with a single controller.

Because the Control 1 knob used in the example is available as a modulation target, this lets you create complex automated group switches. Drag vertically in the fields or use the arrows to set a value. The different logic conditions result in different outcomes. Crossfade to a different group of samples on note-off 1. Select a sample or multiple samples representing the main sustain portion of your sound, and import using any of the available import modes.

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. Select a sample or multiple samples representing the release portion of your sound, 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. Double-click Group 2, then click the Trig field and change it to Release.

Zones in Group 2 will now trigger when you release each key, playing over zones in Group 1 which continue to sound until AHDSR1 reaches the end of the release stage. Double-click Group 1 in the list, then click the Fade field and change it to a value other than 0. Zones in Group 1 will now fade out when the note is released, allowing Group 2 to be heard during the release stage of the sound.

Higher Fade values result in slower fades. As an option, double-click Group 2 in the list, then click the Fade field and change it to a value other than 0. 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. Create random round robin variations 1.

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 will again analyze each sample and add all zones to a group named Group 2. Any notes you play will now randomly trigger either group 1 or group 2, but not both together. Note that if you play a chord, each individual note is randomly assigned to one of those groups. Repeat steps 7 to 9 as needed to configure a group for each further variation you require.

Assign the source Keysw knob to switch between groups 1. Click the Rule field, and change it from Always to Keyswitch. Click the first range field, and change it to Keysw1. The second range field also changes to the same value. As an option, you can click the second range field and increase the value to specify a range of values that will trigger this group, instead of just a single value. Select a sample or multiple samples representing the second of your variations, and import the import mode is automatically set to match the existing group.

As an option, you can click the second range field and increase the value to specify a range of values that will trigger Group 2, instead of just a single value. Click the X symbol at the top right to close the source edit window. A new Keysw knob is visible in the source pane, to the left of the Keyscale field. Rotate the Keysw knob to switch between the groups you created. Control-click this knob to add modulation routings from the shortcut menu. Create round robin variations for just one Transform pad position 1.

It is automatically assigned the number 1 in the sequence, and a second rule set to Always is added below. Leave the first range field for rule 2 set to Snap1, and change the second range field to Snap7. It is automatically assigned the number 2 in the sequence, and a second rule set to Always is added below. Set the first Range field for rule 2 to Snap8. The second field is automatically set to the same value. Played notes only trigger zones in Group 1 unless the Transform pad is at position 8, in which case Groups 1 and 2 play alternately, in a round robin fashion.

Repeat steps 10 to 14 as needed to configure a group for each further variation you require. Newly imported samples are added to the current configuration. Each new sample results in a new zone. Click to open a pop-up menu where you can select other source zones.

Note: The keymap editor lets you select multiple zones simultaneously. In this case the zone name field shows Multiple to indicate a multi-zone selection. Any parameter changes are applied to all selected zones. The chosen note triggers playback of the sound at its original pitch. A pitched sample should ideally be mapped to a matching root key. If the root note is defined as part of the filename, the Key parameter is set accordingly when the file is imported.

If the root note is not in the filename, samples are analyzed on import to calculate their original pitch and a suitable root key setting.

The button is automatically turned off once the root key has been learned. Note: The loop start and loop end points can be edited in the source main edit page. In VA mode, a raw oscillator noise source is used rather than loopable data, so VA synthesis elements are not affected by the Loop mode setting. This parameter is also useful for level- matching multiple selected zones. Alternatively, drag the left edge of the highlighted zone in the keymap editor.

Alternatively, drag the right edge of the highlighted zone in the keymap editor. Alternatively, drag the lower edge of the highlighted zone in the keymap editor.

Alternatively, drag the upper edge of the highlighted zone in the keymap editor. No more than two zones can be triggered simultaneously within one group, which means that crossfades can be set for zones with adjacent key ranges or for zones with adjacent velocity ranges, but not for both at the same time. This typically results in a crossfade that sounds quieter at the halfway point.

Linear mode can be useful when crossfading two highly similar sounds that may reinforce one another at the halfway point of an equal-power crossfade. When crossfading two sounds with a similar loudness, Power mode results in a smooth fade with the same apparent loudness at the halfway point. If Lo Vel is set to 20 and Bottom is set to 15, the zone fades in gradually for notes with velocities between 20 and Velocity values below 20 do not trigger the zone.

If Hi Vel is set to 90 and Top is set to 30, the zone fades out gradually for notes with velocities between 60 and Velocity values above 90 do not trigger the zone. Note: Zone fades and overlapping zones are not compatible with morphing sources. When morphing is enabled, only one zone is triggered at a time from each morphing source the first zone in the list , and zone fades are disabled. Logic Pro Alchemy keymap editor Source components are shown only in advanced view. The keymap editor displays all sample zones in the currently selected group, with each zone represented as a rectangle.

The size and location of the rectangle indicates the key and velocity range for the associated zone. The selected zone in the inspector is indicated by a white outline in the keymap editor.

The import mode used by the previous sample is retained, and the import mode buttons are dimmed. Select and edit the values of one or more zones 1. In Logic Pro X, select the zone by doing one of the following:. Hold down Shift, then click multiple zones in the keymap editor to select them.

All selected zones are highlighted with a white border, and Multiple is shown in the inspector zone name field. Drag the left, right, top, or bottom edge of the zone. When multiple zones are selected, drag the edge of one selected zone to apply the same relative change to all other selected zones. Delete one or more zones 1.

The zone or zones are deleted. All associated sample, additive, or spectral data is removed from the source. The sample is previewed, inclusive of loop settings but ignoring zone parameters such as Tune, Volume, and Panning. Audio is sent directly to the Alchemy outputs, bypassing any filters or effects that are enabled in other sections. Create a multisample with key splits and crossfades for adjacent zones 1.

Click the Advanced button, then click the source A button. Click the source select field, and choose Import Audio from the pop-up menu. In the Import browser, select two or more samples representing the same instrument played at different pitches, then click the Import button. Any import mode may be used. Alchemy analyzes each sample to determine the root pitch if not defined in the filename and sets the root key and key range for each sample zone accordingly.

Select a zone in the keymap editor, and drag its left or right edge so that it overlaps the adjacent zone. The amount of overlap determines the range of the crossfade. Select the leftmost of the two overlapping zones, and adjust the Right parameter in the inspector zone section. If the overlap between the zones extends over four keys, set this parameter to 4. Select the rightmost of the two overlapping zones, and set the Left parameter in the inspector zone section to the same value used in the previous step.

These two zones will now crossfade from one to the other when you play notes in the overlapping region. Import further samples, and repeat the previous three steps for each pair of zones you want to crossfade.

In Logic Pro X, select the zone you want to loop by doing one of the following:. Loop start and end markers appear on the waveform display, with the loop region highlighted between them. Click and hold the loop start marker handle until the waveform zooms in horizontally, then drag left or right to find a suitable loop start point.

Click and hold the loop end marker handle until the waveform zooms in horizontally, then drag left or right to find a suitable loop end point. If required, enable loop crossfading with the Loop XFade button, then drag the crossfade marker left to create a smooth loop. Logic Pro Alchemy zone waveform editor Source components are shown only in advanced view.

The waveform display of the audio associated with the currently selected zone is shown at bottom of the Main edit window. Zones can be selected in the keymap editor or zone parameters in the inspector.

Note: If the additive or spectral engines are in use, the waveform display shows the resynthesized sound amplitude envelope rather than the original sample.

When morphing is enabled, vertical gray lines with numbered handles are displayed over the waveform. These are warp markers. For information on use of warp markers, see Manually time-aligning morphed sounds in Alchemy. The bright vertical blue lines displayed over the waveform, labeled S and E, indicate playback start and end points. Drag the S or E handle right or left to trim unwanted audio playback from the start or the end of the sound. These can help with manual alignment of warp markers.

If the selected zone is set to one of the looping modes, loop start and loop end markers are displayed as faint orange lines, each with a small triangular handle shown in the ruler.

The loop region is highlighted between these markers. The marker with the left-facing handle sets the loop end point. The marker with the right-facing handle sets the loop end point. Drag the triangular marker handles to adjust the loop start and end points. Click and hold the handle of a loop marker to zoom the waveform horizontally, allowing for more accurate placement.

Note: You cannot position the loop start point later than the loop end point. You can, however, drag both the loop start and loop end markers to the same position, creating a sustain point rather than a loop region. This option is available only in the additive or spectral engines, or with a sample loaded into the granular engine, but not in sampler mode. 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.

Loops in additive, spectral, or granular modes do not click, but timbral or volume differences between the loop start and end points can often result in an obvious sounding loop. Unlike conventional samplers, the additive, spectral, and granular engines are capable of looping a single instant within the sound, with loop start and end markers at identical positions.

This can work well with some sounds, but with others the loop stage may seem too static and obviously different from the start of the note. Tip: Looping clicks in sampler mode can usually be removed with minimal crossfades, while other timbral or volume discontinuities may need larger crossfades. Drag the XF marker while playing a note to find a suitable crossfade length. Note: The Loop XFade button is shown in sampler mode only.

This parameter is not visible if other import modes are used. Fractional values of the overall waveform length are displayed in some situations, such as manual alignment of warp markers.

Use the Additive button at the top of the Main edit window to open the Additive edit window. The Additive edit window allows detailed editing of additive resynthesis data and also lets you design sounds from scratch by creating the additive data yourself.

Additive synthesis represents each sound as a sum of individual partials. The additive data describes each partial in terms of four parameters: amplitude, tune pitch , pan, and phase, each of which changes over time. 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. The phase of a partial at any moment in the evolution of a sound is determined by the phase at the start point of the sound and by the possibly changing pitch of the partial. The phase of each partial is specified only at the absolute start point of the sound. The Additive edit window shows additive data in two graphical displays. Levels represent the amp, pitch, pan, or phase values of individual partials or partial groups, depending on the chosen display mode.

See Logic Pro Alchemy partial bar display. See Logic Pro Alchemy partial envelope. The Partial bar display shows up to partials with independent amplitude, pitch, pan, and phase values at each Partial envelope point. You can edit individual partials or groups of related partials for each envelope point. For example, raising the amplitude of partial number 72 has no effect when Num Partials is set to a value of Conversely, setting a Num Partials value of has no effect in additive mode unless partial data exists for partials.

Also see the Overall button information for the Logic Pro Alchemy partial envelope. Also see Snap Pitch button information below. You can also click the Previous and Next buttons the arrows to step through modes. Group adjustments retain the relative differences between partial values. Hold down Command while dragging to scale adjustments logarithmically. Note that the Shape pop-up menu affects editing behavior in each mode.

Automatically limits partial pitch values to meaningful units when a bar is edited. See the task in this section. Click a partial number to select it without affecting any values. Hold down Shift while dragging to set values with enhanced precision.

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. It is not necessary to change any settings from their initial values as soon as you enter the Additive edit window and start creating data; the configuration of source A switches, automatically, to a sensible set of defaults for additive programming.

In Logic Pro X, open advanced view and click the A button to view the source A subpage, then click the source A Edit button to open the Main edit window. Click the Additive button at the top of the Main edit window to view the Additive edit window. Make sure the Partial bar display Vol button is on and the Overall button is off.

Drag from left to right in the Partial bar display to draw in bars that define the harmonic content at the beginning of the sound. Play a few notes on your MIDI controller to confirm that the sound begins with a bright timbre. The default loop mode is Continuous which loops the sound indefinitely when you hold a note.

If you do not want the sound to loop, change the Loop mode to None. Select point 2 in the Partial envelope, then click the Breakpoint button and choose Copy Breakpoint from the pop-up menu. Select point 3 in the Partial envelope, and drag it toward point 2. Release point 3 when you are close to point 2. Click the Breakpoint button, and choose Paste Breakpoint from the pop-up menu. Make sure point 3 is selected. The data from point 2 is copied to point 3, smoothing out the levels between points.

Click the X icon at the top right to close the Additive edit window. Experiment with the Additive parameters to change the tone of your basic additive sound. Feel free to use other synthesis, filter, modulation, and effect parameters to make your additive sound more interesting.

You can convert an existing image into sound, or you can design new sounds by drawing the image you want to import in an external graphics application. Click the Image button at the top right of the Additive edit window, then choose a PNG- format file in the file browser. The selected file is translated into additive data using the criteria outlined below. 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.

Thus the height of your image determines the number of partials. For example, an image pixels tall translates to a partial sound. A black pixel corresponds to silence, while a white pixel corresponds to maximum amplitude. You can import both color and grayscale images. Color information other than brightness is ignored. Note: Importing an image with a lot of bright pixels results in additive data with numerous high-amplitude partials, which may cause clipping to occur.

If the results of an image import are unexpectedly noisy, you can reduce the overall amplitude by doing one or more of the following:. Logic Pro Alchemy partial envelope Source components are shown only in advanced view. Use the Additive button at the top of the Main edit window to open the additive editor window.

These points also indicate the overall level or value of the visible parameter type in the selected snapshot or partial.

Partials are shown in the Partial bar display. 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. The horizontal, or x-axis, indicates the temporal position of each snapshot.

The vertical, or y-axis, indicates the summed value of each snapshot. Adjusting a value in either the Partial bar display or the Partial envelope is immediately reflected in the other. The horizontal, or x-axis, indicates the temporal position of the selected partial.

The vertical, or y-axis, indicates the value of the selected partial. Note: The time positions of envelope points may vary from one partial to the next as you choose different partials when the Overall button is off.

This is one of the keys to the high quality of resynthesis in Alchemy: each partial can have an independent set of points. When the Overall button is on, Alchemy presents a series of envelope points linked to all partials, and adjustments to individual partial times and values are handled automatically.

This affects the number of points shown. This may necessitate scrolling or zooming to view all points. The or more visible points are unnecessary for anything other than the most precise edits, but you may find this level of detail useful when programming an additive sound from scratch, rather than editing resynthesis data.

All other points remain stationary. Dragging right stretches earlier points and compresses later points. In either case, the total length of the envelope is preserved. Note: Point levels remain fixed in stretch mode, so you can only drag horizontally. In sounds with a fast attack phase, a second point with a nonzero amplitude is shown at a time position very close to the first point.

You may need to increase the Detail setting to see the second point. This method is useful for locating, auditioning, and editing a succession of snapshots. Create or delete points in the partial envelope In Logic Pro X, do one of the following:.

When the Partial envelope contains existing points, either method creates a snapshot of partial values that fall in between the partial values associated with the preceding and following points.

The partial value of the preceding point is also shown in the Partial bar display. Note: The Overall button affects the display of values shown in the Partial bar and related points in the Partial envelope. You can edit these levels to eliminate a pitch wobble or to create vibrato, for example. In Logic Pro X, click an envelope point to select it. You can also drag across multiple envelope points to select them. This selects a snapshot of multiple partials when the Overall button is on, or individual partials when the Overall button is off.

Increasing Density to 2 adds a second grain that is sent in between those of the first, resulting in a new grain every 50 msec, assuming a Size value of msec. The first and second grains overlap each other. Higher Density values inject additional new grains into the output stream. These new grains occur more frequently and overlap more heavily. Setting Size to around msec and Density to around 5 grains is often suitable for smooth pad sounds with no sharp transients. Setting Size between 40 and 80 msec and Density to around 2 grains is useful for drums and other sounds featuring sharp transients.

Small Size values tend to produce a buzz that masks the original pitch of the sample. Large Size values tend to break up the sound. You can counteract both tendencies by increasing the Density. Note: Also important to the Size and Density parameters is the shape chosen in the Grain Shape pop-up menu.

This can have a significant or subtle impact on sonic artifacts that may be introduced in the stream of grains. The source Stereo button must be on for RPan to have an effect. Taps retrigger the attack phase of the source.

Note: Taps that fall within a looped area are retriggered on each loop cycle. Values are shown as a percentage of the overall sound duration. Set to zero to trigger taps in quick succession at the sound end point.

The source Stereo button must be on for Stereo Offset to have an effect. At a basic level, this applies a small fade-in and fade-out to each grain, but some shapes may have a more significant impact, depending on the current Size and Density values and the source material.

You can also step through the available grain shapes with the Previous and Next buttons the arrows. This function is primarily intended to reduce or remove glitches, clicks, and crackles in the playback of a stream of grains, but it can introduce buzzy gaps between grains and can affect the tonality of grains.

There are no fixed rules when it comes to the choice of grain shape, given the infinite variety of source audio material. Therefore, you may want to experiment to achieve the required results. The parameters in this section are shown when the Sampler button is active in a source subpage. The sampler section is available only when you import an audio sample using either granular or sampler mode.

The sampler section allows audio files, known as samples, to be played directly. Samples played at a higher pitch than the original play back at a faster speed. Samples played at a lower pitch than the original play back at a slower speed. The sample waveform is displayed in the center. A progress bar indicates the current playback position for the most recently triggered note.

When multiple elements are used in a source, use this control to set the relative level of the sampled component. The parameters in this section are shown when the VA Virtual Analog button is active in a source subpage. When you click the Name bar File button, and choose Initialize Preset from the pop-up menu to initialize Alchemy to default settings, the VA element is automatically enabled.

Basic saw, sine, square, and triangle and many specialized waveforms are provided. You can also step through the available waveforms with the Previous and Next buttons the arrows.

When multiple elements are used in a source, use this control to set the relative level of the oscillator component. When a square wave is active, Symmetry acts as a pulsewidth control. 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. When multiple elements are used in a source, use this control to set the relative level of the noise component. All frequencies above this value are allowed to pass. All frequencies below are attenuated. All frequencies below this value are allowed to pass. All frequencies above are attenuated. The Low Cut and High Cut parameters work in conjunction with each other to act as a bandpass filter, where the noise signal that falls within the two cutoff ranges is allowed to pass.

Logic Pro Alchemy source modulations Source components are shown only in advanced view. Parameters that have a modulation assignment are indicated by an orange arc around the control. Note: Parameters that are morphed and have a modulation assignment show both an orange and green arc around the control.

This section focuses on Position, which is a modulation target. The principles discussed apply equally to other source parameter targets. Position determines the playback position of audio data. When modulated, the playback path through the audio data is controlled by the selected modulation source. In sampler mode, the note-on modulation value determines the initial offset for the play position within the audio data. Beginning at that position, the rest of the sound plays in a normal manner, although looped as if the Loop mode is set to All.

In additive, spectral, or granular mode, Position can be continuously modulated forward or backward at any rate including zero. Create tempo-synced loops by modulating position Synchronized playback of looped audio with the Logic Pro X tempo is easy to achieve by modulating the Position parameter.

This technique is possible with any synthesis method that permits continuous modulation of Position. This example uses the granular engine, but the same technique can be applied to the additive and spectral engines. 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.

In source A, import a rhythmic or melodic sample that loops evenly. You will hear that playback is frozen at the very beginning of the sample. Do one of the following:. Note the orange arc that appears around the Position knob. This indicates that the parameter has a modulation assignment. Also in the LFO, turn off the Bipolar button. This routing increases Position smoothly so that the entire sample plays back from beginning to end, then jumps immediately back to the beginning and continues to loop.

Finally, adjust the Logic Pro X tempo as you play additional notes to confirm that the loop is properly synchronized. 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. This is equivalent to turning the Amp knobs in each source to attain the desired mix.

If you crossfade from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, the high source fades out as the low source fades in. In the middle of the crossfade you hear both sources. If you morph from a source with a high Coarse Tune setting to a source with a low Coarse Tune setting, you hear a single sound during the morph.

The sound tuning falls smoothly from the high value to the low one. Morphing provides more scope than simple crossfades between sources. It also allows cross-synthesis, where you can combine different aspects of different sound elements. For example, you could apply the formants or other characteristics of an additive source to the spectral element of another source. See the tutorials found in Logic Pro Alchemy elemental morphs overview. Morphed parameters are indicated by a green arc around the control.

Parameters that are morphed and have a modulation assignment show both an orange and green arc around the control. Parameter settings are shared across all morphed sources, which means that changing a parameter in one source results in the corresponding parameter being changed for all morphed sources.

Where there is a parameter pairing of an On button and a pop-up menu, only the button shows the lock icon. Neither parameter participates in the morph. Regions of each source encompassed by corresponding warp markers are time- aligned in the morph. See Logic Pro Alchemy zone waveform editor. Also controls VA morph position if the VA element is active. Also controls sampler morph position if the sampler element is active.

Also controls morphing of the source filter knobs. These controls morph the timing of the sound. In cases where source A has a short attack and source B has a long attack, for example, the length of the attack varies as you change the X knob. Turn off for the best morphing quality.

As an example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources. Auto Align is automatically turned off when you set warp markers manually. Regions of each source encompassed by corresponding warp markers are time-aligned in the morph. See Logic Pro Alchemy elemental morphs overview. Use Elements to view and edit the X values of five parameters.

Morphs affect only the chosen group of sources. This also controls the sampler morphing position if the sampler element is active. Turn off for higher morphing quality. For example, Auto Align corrects the timing of words of four spoken voice samples saying the same phrase in each of the four morphed sources. Drag the point to change the X or Y value, or both.

Drag each point to change the corresponding X and Y values. Edit buttons are shown on all source subpages. Shown at the top right of all edit windows. 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. The Main edit window is divided into three areas that interact with each other.

Click the X icon at the top right of the active window to close it. You can also click the Previous and Next buttons the arrows to step through available waveform data. All other sources are muted. Logic Pro Alchemy inspector group controls Source components are shown only in advanced view.

Attack triggers group zones when note-on messages are received. Release triggers group zones for note-off messages. This mode is useful for instruments with a distinctive end-of-note sound such as a key click or hammer thump. Such sounds can be included as a separate group with release triggering enabled. You can also use this feature creatively to add abstract reverb tails or to create a pad sound that changes dramatically during the release stage.

Apply a fade in time value ranging from 0 to for note-off events when the release trigger mode is active. This parameter is primarily intended for use in conjunction with release triggering, to create a crossfade between the main body of the note and the release sample. A common use of this feature is to create a group containing an open and a closed hi-hat sample.

If you set group polyphony to one, either the closed or open hi-hat sample can play, but not both at the same time. You can create and combine multiple rules using boolean logic. The normal state for any newly created group is a single rule set to Always, unless that group was defined as a Round Robin group in the Import browser Dropzone.

Assign multiple groups to different ranges to switch between up to eight different groups. See Logic Pro Alchemy Transform pad. This knob is visible only when the Keysw options are chosen in these menus. For example, set the first field to Keysw1 and the second to Keysw5, which results in the group being triggered when the Keyswitch knob is set to a value that falls within this range.

Play a note in this range to switch to a group, which remains active until another group is chosen. Three pop-up menus are displayed where you can choose the controller type and set controller values. You can set other groups with the same type but with a different control range to switch between groups with a single controller.

Alchemy again analyzes each sample and adds all zones to a group named Group 2. Double-click Group 2, then click the Trig field and change it to Release. Zones in Group 2 will now trigger when you release each key, playing over zones in Group 1 which continue to sound until AHDSR1 reaches the end of the release stage.

Double-click Group 1 in the list, then click the Fade field and change it to a value other than 0. Zones in Group 1 will now fade out when the note is released, allowing Group 2 to be heard during the release stage of the sound. Higher Fade values result in slower fades.

As an option, double-click Group 2 in the list, then click the Fade field and change it to a value other than 0. 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. Create random round robin variations 1.

Note that if you play a chord, each individual note is randomly assigned to one of those groups. Repeat steps 7 to 9 as needed to configure a group for each further variation you require. Assign the source Keysw knob to switch between groups 1. Click the Rule field, and change it from Always to Keyswitch. Click the first range field, and change it to Keysw1. The second range field also changes to the same value.

As an option, you can click the second range field and increase the value to specify a range of values that will trigger this group, instead of just a single value. Select a sample or multiple samples representing the second of your variations, and import the import mode is automatically set to match the existing group.

Click the Rule field below Group 2, and change it from Always to Keyswitch. Click the first range field, and change it to the first unused Keysw value. If the second range field for Group 1 is set to Keysw3, choose Keysw4. As an option, you can click the second range field and increase the value to specify a range of values that will trigger Group 2, instead of just a single value.

Click the X symbol at the top right to close the source edit window. A new Keysw knob is visible in the source pane, to the left of the Keyscale field. Rotate the Keysw knob to switch between the groups you created.

Control-click this knob to add modulation routings from the shortcut menu. Create round robin variations for just one Transform pad position 1. It is automatically assigned the number 1 in the sequence, and a second rule set to Always is added below. Leave the first range field for rule 2 set to Snap1, and change the second range field to Snap7.

It is automatically assigned the number 2 in the sequence, and a second rule set to Always is added below. Set the first Range field for rule 2 to Snap8. The second field is automatically set to the same value. Played notes only trigger zones in Group 1 unless the Transform pad is at position 8, in which case Groups 1 and 2 play alternately, in a round robin fashion. Repeat steps 10 to 14 as needed to configure a group for each further variation you require.

Newly imported samples are added to the current configuration. Each new sample results in a new zone. Click to open a pop-up menu where you can select other source zones. Note: The keymap editor lets you select multiple zones simultaneously. In this case the zone name field shows Multiple to indicate a multi-zone selection. Any parameter changes are applied to all selected zones.

The chosen note triggers playback of the sound at its original pitch. A pitched sample should ideally be mapped to a matching root key.

If the root note is defined as part of the filename, the Key parameter is set accordingly when the file is imported. If the root note is not in the filename, samples are analyzed on import to calculate their original pitch and a suitable root key setting. The button is automatically turned off once the root key has been learned. Note: The loop start and loop end points can be edited in the source main edit page.

In VA mode, a raw oscillator noise source is used rather than loopable data, so VA synthesis elements are not affected by the Loop mode setting. This parameter is also useful for level- matching multiple selected zones. Alternatively, drag the left edge of the highlighted zone in the keymap editor. Alternatively, drag the right edge of the highlighted zone in the keymap editor. Alternatively, drag the lower edge of the highlighted zone in the keymap editor.

Logic Pro Alchemy keymap editor Source components are shown only in advanced view. The keymap editor displays all sample zones in the currently selected group, with each zone represented as a rectangle. The size and location of the rectangle indicates the key and velocity range for the associated zone. The selected zone in the inspector is indicated by a white outline in the keymap editor.

See Logic Pro Alchemy inspector zone controls. Drag either boundary to set the Lo Key and Hi Key values. Drag either the top or bottom edge to set the Lo Vel and Hi Vel values. Horizontally drag the zoom controls at either end of the scroll bar to resize the contents of the visible display area. The import mode used by the previous sample is retained, and the import mode buttons are dimmed. Select and edit the values of one or more zones 1. In Logic Pro X, select the zone by doing one of the following:.

Hold down Shift, then click multiple zones in the keymap editor to select them. All selected zones are highlighted with a white border, and Multiple is shown in the inspector zone name field. Drag the left, right, top, or bottom edge of the zone. When multiple zones are selected, drag the edge of one selected zone to apply the same relative change to all other selected zones.

Delete one or more zones 1. The zone or zones are deleted. All associated sample, additive, or spectral data is removed from the source. The sample is previewed, inclusive of loop settings but ignoring zone parameters such as Tune, Volume, and Panning. Audio is sent directly to the Alchemy outputs, bypassing any filters or effects that are enabled in other sections.

Create a multisample with key splits and crossfades for adjacent zones 1. Click the Advanced button, then click the source A button. Click the source select field, and choose Import Audio from the pop-up menu. In the Import browser, select two or more samples representing the same instrument played at different pitches, then click the Import button. Any import mode may be used. Alchemy analyzes each sample to determine the root pitch if not defined in the filename and sets the root key and key range for each sample zone accordingly.

Select the rightmost of the two overlapping zones, and set the Left parameter in the inspector zone section to the same value used in the previous step. These two zones will now crossfade from one to the other when you play notes in the overlapping region. Import further samples, and repeat the previous three steps for each pair of zones you want to crossfade. In Logic Pro X, select the zone you want to loop by doing one of the following:.

Loop start and end markers appear on the waveform display, with the loop region highlighted between them. Click and hold the loop start marker handle until the waveform zooms in horizontally, then drag left or right to find a suitable loop start point.

Logic Pro Alchemy zone waveform editor Source components are shown only in advanced view. The waveform display of the audio associated with the currently selected zone is shown at bottom of the Main edit window.

Zones can be selected in the keymap editor or zone parameters in the inspector. Note: If the additive or spectral engines are in use, the waveform display shows the resynthesized sound amplitude envelope rather than the original sample. When morphing is enabled, vertical gray lines with numbered handles are displayed over the waveform.

These are warp markers. For information on use of warp markers, see Manually time-aligning morphed sounds in Alchemy. The bright vertical blue lines displayed over the waveform, labeled S and E, indicate playback start and end points. Drag the S or E handle right or left to trim unwanted audio playback from the start or the end of the sound.

These can help with manual alignment of warp markers. If the selected zone is set to one of the looping modes, loop start and loop end markers are displayed as faint orange lines, each with a small triangular handle shown in the ruler. The loop region is highlighted between these markers. The marker with the left-facing handle sets the loop end point.

The marker with the right-facing handle sets the loop end point. Drag the triangular marker handles to adjust the loop start and end points. Click and hold the handle of a loop marker to zoom the waveform horizontally, allowing for more accurate placement. Note: You cannot position the loop start point later than the loop end point.

You can, however, drag both the loop start and loop end markers to the same position, creating a sustain point rather than a loop region.

This option is available only in the additive or spectral engines, or with a sample loaded into the granular engine, but not in sampler mode. 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.

Tip: Looping clicks in sampler mode can usually be removed with minimal crossfades, while other timbral or volume discontinuities may need larger crossfades. Drag the XF marker while playing a note to find a suitable crossfade length. Note: The Loop XFade button is shown in sampler mode only. This parameter is not visible if other import modes are used. Fractional values of the overall waveform length are displayed in some situations, such as manual alignment of warp markers.

The additive data describes each partial in terms of four parameters: amplitude, tune pitch , pan, and phase, each of which changes over time. 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.

The phase of a partial at any moment in the evolution of a sound is determined by the phase at the start point of the sound and by the possibly changing pitch of the partial. The phase of each partial is specified only at the absolute start point of the sound. The Additive edit window shows additive data in two graphical displays. Levels represent the amp, pitch, pan, or phase values of individual partials or partial groups, depending on the chosen display mode.

You can edit individual partials or groups of related partials for each envelope point. For example, raising the amplitude of partial number 72 has no effect when Num Partials is set to a value of Conversely, setting a Num Partials value of has no effect in additive mode unless partial data exists for partials.

When the Phase button is active, the Partial envelope only is updated. Turn on Overall to adjust the amplitude, pitch, and pan values of all partials across the entire sound, without the need to select and edit individual envelope points for each partial. Also see the Overall button information for the Logic Pro Alchemy partial envelope. Also see Snap Pitch button information below. You can also click the Previous and Next buttons the arrows to step through modes.

Group adjustments retain the relative differences between partial values. Hold down Command while dragging to scale adjustments logarithmically.

Note that the Shape pop-up menu affects editing behavior in each mode. Automatically limits partial pitch values to meaningful units when a bar is edited. See the task in this section. Click a partial number to select it without affecting any values. Hold down Shift while dragging to set values with enhanced precision. 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. It is not necessary to change any settings from their initial values as soon as you enter the Additive edit window and start creating data; the configuration of source A switches, automatically, to a sensible set of defaults for additive programming.

In Logic Pro X, open advanced view and click the A button to view the source A subpage, then click the source A Edit button to open the Main edit window. Click the Additive button at the top of the Main edit window to view the Additive edit window. James McDermott. Matthew Yee-King. The aim of this thesis is to investigate techniques for, and applications of automatic sound synthesizer programming.

An automatic sound synthesizer programmer is a system which removes the requirement to explicitly specify parameter settings for a sound synthesis algorithm from the user. Two forms of these systems are discussed in this thesis: tone matching programmers and synthesis space explorers. A tone matching programmer takes at its input a sound synthesis algorithm and a desired target sound.

Mikkel Bech-Hansen. Gabriel Maynart. Aritz Zabaleta. Roberto Palazzolo. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link. Need an account?

Pdf Download | Apple Logic Pro X User Manual ( pages).

You can also download the guide (where available). Download the guides: Logic Pro User Guide: Apple Books | PDF. Logic Pro Instruments: Apple Books | PDF. Logic. If you are using Logic Pro X, you can save sampler instruments and associated audio files with the project bundle. This makes it easy to keep all sampler.

Logic Pro X 10 5 Instruments User Guide | PDF | Synthesizer | Media Technology.

My new Logic Pro Book is out! Great, David! Mac mini 3. Before this was limited. Legacy plug-ins, instruments, and channel strip settings can be accessed by Option-clicking each respective button. Project packages – everything contained in one package instead of a folder still supports folder structure if desired.

I pcf suggest the major features that were removed be documented directly. Especially the fact детальнее на этой странице the bit bridge is now gone. Click the plus button on the channel strip as many times as you need to separate things I don’t see that. First of all I reloaded a LP 9. Sounds like you’re using the old logic pro x instruments pdf free commands preset.

Logic Pro X should have asked ;df you wanted to continue using the old ones or change to the new ones. In the new ones the “T” toggles the tool menu. Here’s a детальнее на этой странице time saver regarding flex on and off for tracks: just swipe up and down! Logic X I hope it does it clip-based, because if thats the case this is some very nice integration right there.

Record screen in quicktime, open. So logic pro x instruments pdf free Apparently not, that option is missing from the bounce dialog. Another one for the “removed features” thread. At the same time, even though I often used it, I can live without out it, although I really do not understand at all why they’ve removed it? Извиняюсь, adobe indesign cc 14 free весьма cannot remember a single person having issues because of that option.

Mac mini 2. I really don’t understand the removal of features. Unless they directly conflict with new software updates. Seems like the motto should be add rather than subtract. I actually like this better, to be honest. Although it would be nice go have some control of the file start and end points – now I assume with share you’ll bounce anything between the project start- and end marker?

OK, I think everybody using logic pro x instruments pdf free to iTunes” should read нажмите для продолжения carefullybecause you will not immediately spot in the Share dialog if cycle mode is logic pro x instruments pdf free on When you share a project to iTunes, the entire project, from the beginning to the end of the last region, is exported. Any silence at instrumenhs beginning or end of the project is trimmed. I feel it should also show locators like in ‘normal’ bouncing.

But if Instrmuents use U. Select the command, click the Learn by Key Innstruments button turns bluehit T. Hit Learn by Key Label button again, close window, done. You can post now and register later. If you have an account, sign in now to post with your account. Paste as plain text instead. Only 75 emoji are allowed. Display as a link instead. Clear editor. Upload or insert images from URL. Click here! Logic Pro Share More sharing options Followers 0.

Reply to this topic Start new topic. Recommended Posts. David Nahmani Posted July 22, Posted July 22, Link to comment Loigc on other sites More sharing options Jordi Torres Posted July 22, I’ll keep посетить страницу источник to it as I find things to add.

Feel free to add to it too! Nice feature is that LPX will automatically try to assign a proper icon from sounds dragged from the loop browser, also from 3rd party content, probably by analyzing the naming of a file. Where can the discount coupons used toward the purchase of LPX be frse Logic Pro X Cool, I’ve added the ones you’ve contributed guys, thanks. Keep ’em coming! Posted July 23, Another thing that keeps being asked.

The default shortcut for the tool menu is “T. Mac OS X David Nahmani Posted July 23, logic pro x instruments pdf free Thanks teed, adding those inxtruments. Great idea, David. Bass Amp Designer d new stompboxes in Pedalboard. Round robin sample support in EXS Alternatives integrated versioning. Autosave in the background. Here’s my tip for the day. With Drummer, you can have separate outs. Initiate drummer logic pro x instruments pdf free 2. Jordi Torres Posted July 23, Chris D Posted July 23, Posted July 23, edited.

Edited July 23, by Chris Logic pro x instruments pdf free. Eriksimon Posted July 23, Cool, animated gif! How did you create that? Please say it’s a freeware app Why did the chicken cross the Mobius ring? The ability to create your own color palette is gone in Logic X.

Ploki Posted July 23, FoolsGold Posted July 23, Is there a way to do Bounce to iTunes Library? Macbook Pro 2. I sorta liked it, saved having logic pro x instruments pdf free go folder diving through the finder to find your bounce. Eric Cardenas Posted July 23, Nola Posted July 23, Sorry but back to the letter T for the tools list – I specifically said “Yes” the first time I started LPX when it asked me if I wanted to use the new set of key commands designed for LPX – but Esc is still what brings up the tool list for me, and T does nothing??

You know that can assign it it manually if you want? Type “tool” in its’ search box optional, it’s just for easier searching 2. Oh yes, I know it’s all customizable. Thanks for the tip.

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