See Logic Pro Alchemy modulation overview. Logic Pro Alchemy name bar The Name bar provides tools for preset management and other functions. It is shown in all views. See Logic Pro Alchemy interface overview.

By default, all presets are shown. To quickly scroll through and load a preset, use the Previous and Next buttons the arrows adjacent to the Preset field.

The order of presets is determined by settings in the Preset browser. The field shows the current preset name and category, or Default if no preset is loaded. The category of the selected preset is displayed to the left of the preset name when a preset is loaded. Note: Because Factory samples use audio files available to all Alchemy users, these files are not copied.

If the preset belongs in the Factory bank, a Save As dialog is displayed, preventing you from accidentally overwriting the preset. This setting remains active when loading other presets or when recalling the project. This prevents clipping of the signal from all voices at the end of the signal path.

This happens at the end of the signal path and controls the effected and dry signals of all voices. File locations The following default locations are used for Alchemy files.

User samples may be located anywhere on disk, with AAZ data being saved in the patch or preset location. Both lists are synchronized. If the Preset browser is used to select a particular category or to sort results, the Name bar list reflects your choices, and vice versa.

When a new instance of Alchemy is inserted, the browser results list shows all available presets. The Name bar preset field displays the preset category and preset name. When a preset is loaded, the area below the browser results list displays Comments and User Tag fields.

The area to the right shows additional parameters. See Logic Pro Alchemy browser results list. A number of columns are shown from left to right. Click column headers to choose an attribute from a pop-up menu. Attributes are used to refine the preset results list and to apply attributes to presets when in Edit mode. Tip: Combine Attributes columns such as Newer Than and Sound Designer to show presets that you created within a date range, without also showing factory presets installed in the same date range.

Click the column header to sort the results list. A second click reverses the current sort order. The highest rated presets appear first in the list.

User-rated presets always take precedence over unrated presets. Three dim stars indicate that a preset has not yet been rated. The number of presets returned by the current search criteria is displayed to the right of the Preset column header. A list of existing user tags is shown below the menu commands.

In Logic Pro X, click an entry such as Guitars in the Category column to limit the preset results list to include only presets belonging to the Guitars category. Click an entry such as Acoustic in the Subcategory column to further limit the preset results list to include only presets belonging to the Acoustic subcategory of the parent category Guitars, in this example.

Click the header of one or more attribute columns to open a pop-up menu where you can choose the attributes you want to use. You can choose multiple entries in any column by doing one or more of the following:. All items between the clicked entries are selected and used as search criteria for the preset results list.

Use the search field The search field is used for manual searching of presets by name, attributes, user comments, artist name, or tags. The most recent search term is saved and recalled with the project.

In Logic Pro X, type your search term, then click the magnifying glass icon or press Enter. The Preset browser results list updates to reflect your search criteria, and the first preset is loaded.

You can refine a text search with the minus symbol. For example, to search for all presets matching analog but not bass, use the search term analog -bass.

This may also be used to remove all bass presets from the results list by entering only -bass in the search field. Presets in the Bass category and presets with bass or basses in the preset name, user tags, or comments field are removed from the preset results list.

To clear the current search term, click the search field and make sure all text is selected, then press the Delete key. Edits made to multiple selected presets apply attributes, user tags, or comments to all presets in the group. All changes made in edit mode are immediately applied and saved in the preset database. Note: It is not possible to change the Sound Library for a preset; this column is displayed for reference only.

In Logic Pro X, click the Edit button to switch to preset edit mode. Click a preset name. You can also use the Previous and Next buttons in the Name bar to select a preset. To select multiple presets, do one of the following:.

All items between the clicked entries are selected and are available for edits. Terms entered in these fields can be searched using the text search function. Change the Category, Subcategory, or Attributes for the preset. Changing the preset category updates only the preset category database. The preset itself is not moved to a new category folder on disk. In Logic Pro X, select the preset that requires user tag changes. Click the User Tags button, then choose New Tag from the pop-up menu.

Click Cancel if you do not want to switch to a new tag or want to close the Enter New Tag field. The new tag is shown below the menu commands in the pop-up menu. Click the User Tags button, then choose the newly created tag name from the pop-up menu. The new tag is assigned to the preset.

This is indicated by a tick beside the tag name. To remove an assigned tag, click the User Tags button, then choose the tag name from the pop-up menu. Assigned tags are indicated by a tick beside the tag name.

The tag is removed from the preset, but the tag is not deleted. No tick is shown beside the tag name. This tag can be reassigned to another preset. To delete a user tag, click the User Tags button, then choose the tag from the Delete Tag submenu.

Rate a preset 1. In Logic Pro X, click a preset name to select it. Click a star in the Ratings column to set the rating between 1 and 5. Unrated presets display 3 stars. Note: You can limit the preset results list to match any star rating by entering the number of stars in the text search field. Click the Advanced button to switch to advanced view. Alchemy sound generating modules are called sources. Four independent sources are available in each preset A, B, C, and D.

Each source has an identical set of components. Each source provides multiple sound generating elements based on different methods of synthesis. See Logic Pro Alchemy source elements overview. Elements can be turned on or off independently within each source, allowing you to combine synthesis methods. Some elements require a sample import or the creation or import of other content before they can be used.

There are a handful of restrictions on element combinations within a single source. You can circumvent such restrictions when creating your sound by using a different synthesis method or combination of methods for each of the four sources. Logic Pro Alchemy source master controls Source components are shown only in advanced view. Source mode buttons: Click Global to view all sources.

Click A, B, C, or D to view a single source. Click Morph to use morph mode. Option-click A, B, C, or D to view and solo the source. When the Global button is on, the source master controls are displayed. The main filter and master voice controls are also displayed when Global is active. When the A, B, C, or D button is on, the subpage controls for the selected source are displayed. See Logic Pro Alchemy source subpage controls. When the Morph button is on, source morphing parameters are displayed.

See Logic Pro Alchemy morph controls. The source select field in each source does double duty as a VU meter that shows the current output level from the source into the main filter section.

When the output level exceeds 0 dB, it clips the input of the main filter section, and the VU meter turns red. This is useful for quickly determining the cause of unwanted distortion. Note: Sources can also be routed directly to the effects section, bypassing the main filters.

The VU meter is shown regardless of the source output destination. Option-click to solo a source. Click to open a pop-up menu with source content handling commands.

Click the Previous and Next buttons the arrows to step through available waveform data. This field also acts as a VU meter during playback. This automatically enables the VA element and disables all other synthesis engines for this source.

Data is in SRC file format. Loaded data includes all source control settings and a reference to any loaded or imported audio data. Source control modulations are not loaded as part of the SRC file.

Saved data includes all source control settings and a reference to any loaded or imported audio data. Source control modulations are not saved as part of the SRC file. This is useful for duplicating the content and settings of one source in another.

Copied data includes settings of all source controls and a reference to loaded or imported audio data. Source control modulations are also copied. This enables you to quickly experiment with the parameter settings of the two swapped sources. A further Fine Tune control is available on each source subpage.

The balance between these targets is set with the Send knob. Note: Signals sent to effects rack A, B, C, or D destinations bypass the main filters when the Send knob is set to the full-right position. You can quickly replace the sound for Alchemy on a software instrument track by dragging an audio file, audio or software instrument region, or Apple Loop to the track header.

When you drag content to one of the Alchemy zones to replace the existing sound, you can choose whether the new sound uses additive, granular, or spectral synthesis. The additive element allows for the most detailed manipulation of sound and is especially good for sound files that represent single notes, rather than chords or more complex sounds and textures.

Importing to the spectral element allows effective manipulation of polyphonic sounds, such as chords, drum loops, and other complex sounds and textures. The granular element is good for drum loops, percussive sounds, and any sound that you want to use granular effects with. Click to view each folder. Only sample data is displayed. See the tasks in this section for information on sample selection. Samples can be from multiple locations or instruments.

See the tasks in this section for information about use. Control-click files in the Dropzone list to open a shortcut menu. See Logic Pro Alchemy inspector group controls. Good results depend on accurate identification of the root note. If the filename has a pitch value appended to it, this is used to set the root note. In other cases, analysis of the waveform pitch determines the root note. The Mapping mode may also be important. The root note determines the MIDI note that plays the resynthesized sound at its original pitch.

In other cases, analysis of the waveform pitch is used to determine the root note. By default, the spectral component is imported and played with the spectral element set to Noise-Resynth mode. Playing the spectral data in Resynth mode produces a markedly different effect, which you may sometimes prefer.

The spectral element internal highpass control is automatically set to a high value, thus excluding frequencies that would compete with those produced by the additive element. If the spectral element is too subtle, you can make it more prominent by setting the highpass control to a lower value. The values of this formant analysis are mapped to the Analyzed formant filter parameters in the source subpage. See Logic Pro Alchemy formant filter controls. The root note determines the MIDI note that plays the sound file at its original transposition.

If the filename has a pitch value appended to it, Alchemy automatically sets the root note to match. Use this mode to automatically place imported samples in keyboard zones for optimum playback when re-pitched. Imported samples are mapped to individual keys starting at C1. No files are imported, and the Import browser window is closed.

Depending on the chosen mode, when you click Import, an import progress dialog is briefly displayed and the Import browser window closes. Click Cancel next to the progress bar to cancel a long import. In Logic Pro X, open advanced view then drag an audio file onto any source select field from one of the following:. Drop the file onto one of the analysis mode labels shown on the grid of the target source. If Additive, Spectral, or Granular mode is chosen, analysis may take a moment or two.

No analysis occurs when Sampler mode is used. Replace the sound for Alchemy on a software instrument track using drag and drop 1. In Logic Pro, drag an audio file, region, or Apple Loop to a software instrument track with an Alchemy instrument plug-in as the instrument. Import a single audio file into a source with the Import browser 1. In Logic Pro X, open advanced view then click a source select field and choose Import Audio from the pop-up menu to open the Import browser window.

Click one of the Analysis Mode buttons to choose an import analysis mode. This performs a further analysis of the audio material and sends the results to the Analyzed section of the formant filter. No analysis occurs when the Sampler analysis mode button is active.

Click the Preview button to enable or disable automatic preview of selected files. Sound files can be mono or stereo, 8-, , , or bit, at any sample rate. Note that rates above Click a filename, then click the Import button to import the sound. An import progress dialog is shown. The Import browser closes when the import is complete, and the previous window is displayed.

Other file types are not supported for multifile import. If the note name is included in the filename, samples are mapped to corresponding keyboard zones for all analysis types. When importing using additive or spectral analysis, samples without a note name are analyzed to determine pitch information that is then used for keyboard mapping. Samples are mapped to the highest key of the zone and pitched down for the remaining notes in the zone. When no pitch information or note names are available, samples are mapped evenly across keyboard zones based on file selection order.

The root key pitch is set to the middle of each zone. Use standard modifier keys to select multiple files: Command-click to select or deselect files, Shift-click to select a range of files. If you are creating a sound that uses samples from multiple instruments or folders, drag the selected file or files to the Dropzone shown at the right side of the Import browser.

Once at least one file is added to the Dropzone, you can double-click a filename to add it to the list of Dropzone files. Drag filenames in the Dropzone list to change their order. You can use standard modifier keys to select or deselect files.

Choose a mode from the Mapping pop-up menu. Note: Clicking Import when at least one file is in the Dropzone imports files from the Dropzone, rather than files selected in the file list. Logic Pro Alchemy source subpage controls Source components are shown only in advanced view.

Each of the four sources has an identical set of controls for more in-depth editing. Several source subpage controls are duplicates of those found in the source master controls. See Logic Pro Alchemy source master controls. For information on source filter controls, see Logic Pro Alchemy source filters. The waveform display and element controls section update to show relevant data and parameters when different synthesis engines are active. The additive element is active for source A in the image.

Note: If you save a preset with one source in solo mode, the resulting preset retains the on state of the source, but solo mode is disabled. All other sources are off. If stereo mode is off and a stereo file is loaded or imported, only the left channel is played. When stereo mode is on, loaded or imported sounds are played in stereo. This makes it possible to pan individual oscillators in the additive element or individual grains in the granular element, for example.

See Logic Pro Alchemy source modulations. Loop Length determines the playback length, expressed as a percentage of the overall length of the sample. Speed has no effect when the element is set to sampler mode. Playback begins at the point set with the Position knob and travels through the audio data on a path determined by the Loop mode.

Speed determines the rate of this travel. Playback remains at the normal pitch regardless of the rate of travel. Note: Global pitchbend behavior is determined with the PitchBend Up and Down controls in the master voice section. See Logic Pro Alchemy master voice section. These positions are set with the Loop Start and Loop End knobs see entries above. Note off messages have no impact on loop repetitions. If the loop end point is placed before the loop start point, playback is reversed backwards to the loop end point when the loop start point is reached.

The length of the loop, controlled with the Loop Length knob, is set as a percentage of the overall length of the sound, such that loop end point is equal to the loop start point plus loop length.

If the settings of Loop Start and Loop Length controls see entries above cause playback to go beyond the end of the underlying sample, silence is automatically inserted at the end of the sound. Note: The loop start and the loop end points, and sample start and end points, can be edited in the Main edit window.

The VA noise component is not affected by the Loop mode setting. The display also shows real-time additive or spectral data, or a representation of the waveform, if the Position or Speed controls are selected. When Position is adjusted, a position indicator is shown, allowing you to fine-tune the start position.

A variable combination of the Additive, Spectral, Pitch, Formant, Granular, Sampler, and VA buttons is available for use, depending on the audio data specified in the source select field and the import method used, if applicable.

Logic Pro Alchemy source filters Source components are shown only in advanced view. The source filter module provides three multimode filters, which can be configured either in series or in parallel. The source filters let you filter each source independently.

The main filters, by comparison, process a mix of all four sources. Tip: Though you can use filters at multiple locations in the signal path, you can attain identical or similar results by careful use of fewer filters, which helps to reduce CPU load. Source filter parameters The most common filter controls are listed. Note that the chosen filter type can change both the name and function of available controls, notably the Cutoff, Resonance, and Drive parameters.

The three filters are independent and can have unique settings. The LED at the top of each button shows on lit or off unlit status. You can step through the available filter types with the Previous and Next buttons the arrows. Series runs from filter 1 into filter 2. Parallel runs the two filters side-by-side. Resonance behavior varies among filter types. This can lead to intense distortions and aliasing, depending on filter type. Logic Pro Alchemy source filter use tips Alchemy provides multiple filter types at different positions in the signal path.

You can use filters at the source level, and the main filters, and you can also insert filters in the effects section. The positioning can have a significant bearing on the sound produced and can also impact on the processing resources required.

Depending on currently available resources, you may need to pay close attention to envelope settings, the number of voices, and other parameters to achieve the sonic result you are chasing. The downside is that source-level filtering requires more processing resources.

Processing is per voice. Filtering at this stage of the signal path is often used to refine the overall sound or to provide a performance control variation.

Use an FM filter as a sound source The FM filter produces a sine wave that is modulated by your source signal. Because the FM process adds harmonics to the sound, the more complex the sound you feed into the filter and the louder it is the more quickly the sound is distorted. FM in Alchemy is great for aggressive sounds, but is also useful for basses and other sounds.

Unlike dedicated FM synths, Alchemy does not have preconfigured algorithms or a modulation matrix set up for FM synthesis. This means following the approach outlined in the steps below is not always the best option in Alchemy if you want to recreate classic digital FM sounds. Such sounds are often more easily achieved by other means, such as with additive synthesis or resynthesis.

FM in Alchemy is more like working with FM on analog synths where you modulate oscillator frequency rather than phase. In Logic Pro X, from the Name bar, click the File button and choose Initialize Preset from the pop-up menu to reset all Alchemy parameters to default settings.

Switch to advanced view, then click the A button to show source A parameters. Click the source A filter On button to enable the filter, then choose FM from the Filter type pop-up menu.

The filter is assigned to track keyboard pitch. By default, the centered knob at Hz provides a medium pitched sound that works well. If you want to change the octave, multiply or divide by two, and round to the nearest whole number that sounds best. For example, set the Frequency knob at Hz for one octave lower. Adjust the modulation Depth on the filter to increase the impact the source signal has on the sine wave generated by the FM filter, and listen to the results.

For more grit, try adjusting the Feedback control, which allows the filter output to apply modulation to itself. FM in Alchemy requires experimentation to develop more complex sounds. Much appreciated! Link to comment Share on other sites More sharing options David Nahmani Posted August 26, Posted August 27, I was finally able to get this working in my own roundabout jackass way.

Thank you for the help. Archived This topic is now archived and is closed to further replies. Create Ultrabeat tonal percussion. Create Ultrabeat hi-hats and cymbals. Create metallic Ultrabeat sounds. Tips for extreme Ultrabeat sounds. Interview Oct 02, by Rounik Sethi. Well-built and attractive, the QuNexus compact controller by Keith McMillen Instruments includes some innovative features that may surprise.

Mo Volans gives it a thorough work out in this review. Transitioning from one version of your favorite music software to the next is never easy. What’s been removed is a common fear for many.

Jay Asher turns that trepidation into joy for LP9 users. Please check your inbox for a verification email. You will need to click on the link provided in order to activate your subscription.

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Understanding Ultrabeat: Part 1: The Basics – Logic pro x ultrabeat manual free download

 

The Ultrabeat tutorials presented in these sections cover a number of specific sound creation tips. These tutorials will help you explore the possibilities ultrabeag to you in Ultrabeat. As you become familiar with drum sound programming, you may begin thinking in building blocks, realizing that drum sounds usually consist logic pro x ultrabeat manual free download different components.

After you mentally—or physically—write down your list of components, try to emulate each component that contributes to the sound character, making dowbload of the different sound generators available in Ultrabeat. Assigning dedicated amplitude envelopes to the different components allows you to control their temporal behavior individually.

For example, you can emulate the body of a drum with oscillator 1 and the sound of the stick hitting the skin or first transient with the noise generator. Additional overtones and harmonics can be provided by oscillator 2 or the ring modulator. When you begin thinking that drum sounds consist of several building blocks or layers, the design of the Volume controls in the individual sound generators might make more sense to you—this is the place where the blocks are combined, balanced, and controlled.

This kit contains all drum sounds discussed in the tutorials. The Tutorial Kit also includes the Standard Tut orial drum sound, which is a default set of neutral parameters that provide an excellent starting point for many of the examples. Create Ultrabeat kick drums.

Create Ultrabeat snare drums. Logic pro x ultrabeat manual free download Ultrabeat tonal percussion. Sony vegas pro 11 green screen free Ultrabeat hi-hats and cymbals. Create metallic Ultrabeat sounds. Tips for extreme Ultrabeat sounds.

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Drum sounds on ultrabeat – replace.me. Logic pro x ultrabeat manual free download

 

– Он над вами издевается. А вы тем временем погибаете.  – Он посмотрел на экран.

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