Sample Alchemy

Sample Alchemy in Logic Pro for Mac

Sample Alchemy is designed to allow you to quickly resynthesize a single sample and
transform it into a unique playable instrument. It provides a variety of synthesis techniques,
such as granular, additive, and spectral synthesis, which can be combined to create a wide
range of sounds, including unique sound beds, pads, effects, and rhythms.

You can control up to four independent sound generation sources using handles. Labeled
A, B, C, and D, the handles control separate layers and can be placed at precise points on a
waveform.

The five flexible play modes offer different ways to play back a sample and interact with
it, from Classic mode, which lets you play the sample from start to finish, to Loop mode,
where you place the handles on the waveform to create up to two snippets of looped audio.
In addition, Scrub mode lets you move the handles across the waveform to trigger it as if
scrubbing through tape, and Bow mode replicates the bow action used to play stringed
instruments. Finally, Arp (arpeggiator) mode can generate repeating patterns of notes that
cycle through different sections of the sample, creating intricate sequences based on MIDI
notes.

Sample Alchemy is a sample-based instrument, so you can quickly begin creating sounds
by loading samples and loops directly from the Loop Browser, Finder, or regions in the
Tracks area. Sample Alchemy works best with monophonic instruments, vocals, or found
sounds. When you record your instruments or vocal samples directly in Logic Pro for Mac,
you can conveniently drag audio regions straight into an instance of Sample Alchemy.

You can use Sample Alchemy in a number of ways in your projects, such as building unique
playable instruments or recording automation of the handles to add unique sound effects
and synth elements. Here are a few examples of the types of sounds that you can create
with Sample Alchemy:

• Rich and complex synth pads

• Evocative keys

• Rhythmic and evolving arpeggiator patterns

• Unique and playable effects

• Dynamic and evolving soundscapes

• Big fat basses

• Vocal-like formants

Logic Pro Instruments for Mac 357

 Additionally, with a library of predesigned sounds and a wide variety of sound-manipulation
tools such as filters, synthesis effects, and modulators, Sample Alchemy allows you to
create sounds tailored to your needs.

If you’re new to synthesizers, see Synthesizer basics overview, which introduces you to the
fundamentals and terminology of different synthesis systems.

If you’re new to using plug-ins in Logic Pro, see Add, remove, move, and copy plug-ins.

Sample Alchemy interface in Logic Pro for Mac

The Sample Alchemy interface consists of three primary sections:

• The upper section contains the Edit Mode buttons, the sample name and lock, the Amp/
Mod button for the envelope generators, and the More button for settings.

• The middle section contains the source buttons, Mixer button, Play Modes buttons,
Snap menu, and Mod Matrix. The central part of this view includes the sample waveform
display and the source handles. Here you can interact with the sound by setting a play
mode and moving the handles. This view changes depending on the selected mode. See
play modes, Motion mode, and Trim mode.

• The lower section contains the source controls on the left, the synthesis modes and
their parameters in the middle, and the Filter controls on the right. This view changes
depending on the selected mode.

Logic Pro Instruments for Mac 358

 Add source material to Sample Alchemy in
Logic Pro for Mac
Sample Alchemy provides various ways to add an audio file, Apple Loop, or region. Once
you’ve added the file, you can choose different modes to change playback behavior, you
can directly edit waveform markers, and you can alter the tonal color and performance
characteristics with the synthesis and modulation parameters.

Drag a sample or loop from the Loop Browser into Sample Alchemy
• Drag a sample or loop from the Loop Browser into the Sample Alchemy waveform
display.

Tip: The Tonal filter accessible in the Loop Browser under Descriptors is a good way
to find sounds that work well in Sample Alchemy.

Drag an audio region from the arrangement into Sample Alchemy

• Drag an audio region from the arrangement in your project into the Sample Alchemy
waveform display.

Drag an audio file onto a track header

1. Drag a sample to a software instrument track header.

2. In the Create New Track using dialog, select Sample Alchemy.

Add an audio file using the Sample name field

1. Click the “Sample name” field at the top center of Sample Alchemy.

2. Click Load Audio File to open the Finder.

3. In the Finder, browse to the file you want to import, then click Open.

Sample Alchemy edit modes in Logic Pro for Mac

There are three edit modes. Choose Play, Motion, and Trim buttons to determine the
edit mode.

• Edit mode buttons: Select an edit mode. Play mode provides five different ways to play
back the sample. Motion mode lets you record the movement of the source handles,
and Trim mode lets you crop the sample.

• Play buttons: Select a Play mode. There are five play modes, each providing a
different way to play back the sample. See Play modes.

• Motion button: Select Motion mode. Motion mode lets you record the movement
of the source handles. After recording, the movement plays back in sync with the
tempo of your project when the sound is triggered. See Motion mode.

• Trim button: Select Trim mode. This mode lets you crop the sample. See Trim mode.

Logic Pro Instruments for Mac 359

 Sample Alchemy play modes in Logic Pro for Mac
Each play mode provides a different way to play back the sample. Select Classic, Loop,
Scrub, Bow, and Arp buttons to determine the play mode.

• Play mode button: Each play mode provides a different way to play back the sample.
Choose Classic, Loop, Scrub, Bow, and Arp buttons to determine the play mode.

• Classic button: Select Classic mode to play a sample from beginning to end. Sample
playback begins from the handle point and finishes at the end of the sample. This
mode is great for playing a sample in a conventional manner. In this mode, the first
source parameter (Playback Speed) determines the sample playback speed.

• Loop button: Select Loop mode to loop between two points within a sample. In this
mode, playback starts from the defined start point, playing to the defined loop end
position, then skips to the start point and repeats. These positions are set on the
sample using the source handle and source handle end point. You can also place the
handle after the loop end point to play the sample in reverse, and move the entire
audio section between these markers by dragging the bar between the loop start
and end points. In this mode, the first source parameter (Loop Speed) determines
the sample playback speed. Set the playback speed of each loop on each source
independently to create more dynamic sounds. This mode is ideal for manipulating
musical phrases and looped, rhythmic material. For instance, it lets you play
particular sections of a waveform and repeat them as the basis for a new rhythmic
sound.

• Scrub button: Select Scrub mode to play the sample at the touch point and in unison
with up to four sources. Play the sample at the position you touch on the waveform,
or scrub through the waveform as you touch and move source handles. Up to four
sources can be heard simultaneously, depending on how many have been turned
on. Scrub mode is great for selecting precise points of the sample and playing all
sources in unison for VA synthesizer–style sounds or scrubbing through a sample
waveform like a tape machine. In this mode, the first source parameter (Scrub
Jitter) determines how much random movement is applied to the handle position for
playback. This can be useful for creating a unison-like effect.

• Bow button: Select Bow mode to play the sample at each handle position with the
bow action mechanism used to play stringed instruments. The up-and-down motion
of a bow is replicated to play the sample sources. The up motion plays the sample
normally, and the down bow plays the sample in reverse. Up to four sources can be
heard simultaneously, depending on how many have been turned on. Bow mode is
great for selecting precise points of the sample and playing them back and forth in
unison. In this mode, the first source parameter (Bow rate) determines the speed
of the bow action. The speed of the bow action can also be synced to the tempo of
your project using the Sync button.

• Arp button: Select Arp mode to generate repeating patterns of notes that trigger
different sections of the sample to create intricate sequences based on the notes
played in real time or from a MIDI region. In this mode, the first source parameter
(Arp Speed) determines the rate of the arpeggiator. The rate of the arpeggiation is
automatically synced to the tempo of your project.

Logic Pro Instruments for Mac 360

 Sample Alchemy sources in Logic Pro for Mac
Sample Alchemy sound-generating modules are called sources. Four independent sources
(labeled A/B/C/D) are available in each preset, and each source has an identical set of
controls.

Source components are shown when you click the A, B, C, and D buttons to select the
source you want to edit. Some parameters can be set globally or per source. Global
parameters override individual source settings.

The components in each source are displayed in three modules: source, synthesis, and
filter.

• Source buttons: Turn a source on or off. When turned on, a source is a sound-
generating module indicated by a handle labeled A/B/C/D that is positioned on the
waveform.

• Sample Lock button: Click the lock to keep the current sample when changing presets.

• Sample pop-up menu: Load a new sample, or show the current sample in Finder.

• Source handles: Click the handles labeled A/B/C/D to hear the sample preview. Drag
left or right to adjust the playback position, and drag up or down to adjust the first
parameter in the source module. You can record the movement of the handles in Motion
mode. See Motion mode.

• Mixer button: Show or hide the mixer pane. The mixer lets you adjust the volume for
each source.

• Mixer sliders: Adjust the volume for each source. A dot indicates which source you’re
currently adjusting.

• Source module: The first module displays the parameters for the selected source.
The first parameter available here changes depending on the selected play mode. For
example, in Classic mode you can control the speed at which the sound is played, and in
Loop mode you can control the loop speed. The other parameters in this column let you
set the panning and tuning for each source.

• Source pop-up menu: Choose the source (A/B/C/D) you want to edit, or choose Select
All to edit all sources.

Logic Pro Instruments for Mac 361

 • Synthesis module: The second module provides multiple sound-generating modes
based on different methods of synthesis. Here you can set a synthesis mode for each
source. See Sample Alchemy synthesis modes.

• Filter module: The third module contains the filter. Here you can set the filter for each
source or globally. See Sample Alchemy filters.

Source module parameters

• Playback Speed knob: Set the sample playback speed of the sample. Set low speed
values to create gradually evolving textures.

• Playback Speed Sync button: Turn on to synchronize the playback speed with the
project tempo. Turn off to freely set the playback speed. This button is active only when
the loaded sample contains tempo information.

• Loop Speed knob: Set the sample loop speed between the start point and end point.

• Loop Speed Sync button: Turn on to synchronize the loop speed with the project tempo.
Turn off to freely set the loop speed. This button is active only when the loaded sample
contains tempo information.

• Scrub Jitter knob: Set the depth of the jitter action.

• Bow Rate knob: Set the rate of the bow action.

• Bow Rate Sync button: Turn on to set the rate in tempo-synced note values instead of
Hz. Turn off to freely set the bow rate.

• Arp Rate knob: Set the duration of the arpeggiator steps. The arpeggiator is
synchronized with the project tempo, and the Rate is set from whole notes (1) to 1/32
notes.

• Pan knob: Set the source output position in the stereo field.

• Tune Coarse knob: Tune the selected source in semitone increments.

• Tune Fine knob: Tune the selected source pitch in cent increments.

Turn on a source in Sample Alchemy

• Click a source button (A/B/C/D) to turn on a source.

Turn off a source in Sample Alchemy

• Click a highlighted source button (A/B/C/D) to turn off a source.

Select a source in Sample Alchemy

• Click a source handle (A/B/C/D) to select a source.

Select multiple sources in Sample Alchemy

• Click the Source menu on the lower left side of Sample Alchemy, then choose Select All.

Mix sources in Sample Alchemy

• Click the Mixer button on the upper left side of Sample Alchemy, then drag a volume
level up or down.

Logic Pro Instruments for Mac 362

 Sample Alchemy synthesis modes in Logic Pro
for Mac
Each source has an independent set of parameters and therefore can be set to a different
synthesis type. For example, you can combine granular synthesis with additive synthesis
or spectral synthesis. Each synthesis method has inherent strengths and weaknesses that
make it more suitable for certain sound types than other synthesis engines.

The synthesis module in the lower section has three synth mode buttons you can use to
view the synthesis engine controls and an effect menu:

• Synth mode buttons: Choose a granular, additive, or spectral synth mode. Each mode
provides a different type of synthesis. To learn about synth controls, see granular,
additive, and spectral.

• Source Effect pop-up menu: Choose a synthesis effect type for the Additive or Spectral
synth engines and change related parameters in the area below.

Sample Alchemy granular effect controls in

Logic Pro for Mac
Granular synthesis is a technique used to create and manipulate sounds by breaking them
down into small pieces, or “grains,” and manipulating these grains independently.

In granular synthesis, a sound is typically broken down into a series of short, overlapping
grains, each of which is a few milliseconds in length. These grains are then played back in
sequence, either as a continuous stream or in a randomized or more structured pattern.

You can create a wide range of sounds and timbres by manipulating various parameters
of the grains, such as their pitch, duration, and position in the original sound waveform.
Granular synthesis can be used to create everything from subtle changes in a sound to
radical transformations, and it is often used to create unique and unconventional sounds
that are difficult to achieve using other synthesis methods.

The parameters in this section are shown when Granular is selected in a synthesis module.

Click one of the handles labeled A/B/C/D to select the source you want to edit.

Logic Pro Instruments for Mac 363

 Granular module parameters
• Size knob: Adjust the duration of each grain from 2 ms to 230 ms.

• Density knob: Determine the number of potentially overlapping grains from 1 (no
overlap) to 10.

The Size and Density parameters interact with each other. When the Density value is 1,
a single grain is sent to the output stream. As soon as one grain finishes, the next one is
sent. A Size value of 100 ms sends a new grain every 100 ms.

Increasing Density to 2 adds a second grain that is sent in between those of the first,
resulting in a new grain every 50 ms, assuming a Size value of 100 ms. 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 100 ms and Density to around 5 grains is often suitable for
smooth pad sounds with no sharp transients. Setting Size between 40 and 80 ms
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.

• Random Time knob: Add a small random offset to grain extraction positions in the
sample. The default value is 3% because a small amount of randomization helps to
smooth the output of the granular element.

• Random Pan knob: Add a random offset to the stereo position of each grain.

Sample Alchemy additive effects in Logic Pro

for Mac
Additive synthesis represents each sound as a sum of individual partials. Each partial is
synthesized using a sine wave and is represented in terms of four parameters: amplitude,
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.

Logic Pro Instruments for Mac 364

 Sample Alchemy additive effect controls in
Logic Pro for Mac
The parameters in this section are shown when Additive is selected in a synthesis module.
The controls also vary depending on the selected additive effect.

Click one of the handles labeled A/B/C/D to select the source you want to edit.

Harmonic
The Harmonic effect allows you to control groups of partial levels, with controls relating to
harmonic intervals.

• Odd/Even knob: Set the balance between odd or even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.

• Fifths knob: Set the level of the fundamental tone and all partials at fifth intervals
(7 semitones) above it. Higher values boost harmonics 1, 3, 9, 27, and so on, with a
corresponding reduction in the levels of other harmonics. Low values have the reverse
effect and can make the sound more cutting and edgy.

• Octaves knob: Set the level of the fundamental tone and all partials at whole octave
intervals above it. Set to zero to completely remove harmonics 1, 2, 4, 8, 16, and so on,
while boosting the levels of non-octave harmonics. Set to higher values to boost the
levels of octave harmonics while reducing the levels of other harmonics.

• Fundamental knob: Set the level of the fundamental tone and all partials above it. Set to
zero to completely remove the fundamental tone. Set to 100% to hear the fundamental
tone in isolation. Higher values tend to make the sound thicker.

Partials Lock
Partials Lock is an effect that sets all of the partials to the same zero phase value at
the start. It sets the partials to have no variation in pitch over the course of the sound,
resulting in a clean, artificial sound.

• Symmetry knob: Alter the symmetry, or shape, of the sine waves by lengthening the
first half of the waveform while shortening the second, or the reverse. The audible
effect is similar when the knob is turned in either direction. Symmetry alters waveforms
until they are no longer pure sine waves in shape, resulting in each partial developing
independent harmonics and making the sound brighter.

Logic Pro Instruments for Mac 365

 • Odd/Even knob: Set the balance between odd or even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.

• Num Partials knob: Set the number of additive partials that are generated. The number
of oscillators required depends on the sound. For example, a flute has a limited number
of harmonics and requires fewer partials than a cello or a violin. The playable register
can also affect the number of oscillators required: high notes will accommodate only a
small number of higher harmonics before reaching the limits of audibility, whereas low
bass notes may have hundreds of harmonics without reaching the limit. Always set Num
Partials to the lowest number of partials that are required by the sound because this
helps reduce CPU load.

• Pitch Var knob: Tune all partials simultaneously. This occurs before processing by
the additive effect modules that stretch/shift partial tunings. Set to 0% to tune all
partials in a perfect harmonic series. Set to 100% to make each partial follow the pitch
fluctuations detected in the original audio file. The sonic impact of this parameter is
highly dependent on the audio material: sounds with strong inharmonic content, such as
bells, are dramatically changed by reducing pitch variations. If all partials are tuned to
the harmonic series, however, the knob has no influence on the sound.

Partials
Partials is an effect that allows you to manipulate the spectral content of a sound by
modifying individual partials within the sound.

• Odd/Even knob: Set the balance between odd and even harmonics. Low values increase
the level of odd-numbered partials (1, 3, 5, 7, and so on), making the sound more
hollow. High values increase the level of even harmonics (retaining the fundamental
tone: harmonic/partial 1) to make the sound brighter and sweeter.

• Symmetry knob: Alter the symmetry, or shape, of sine waves by lengthening the first
half of the waveform while shortening the second, or the reverse. The audible effect
is similar when the knob is turned in either direction. Symmetry alters waveforms
until they are no longer pure sine waves in shape, resulting in each partial developing
independent harmonics and making the sound brighter.

• Pitch Var knob: Tune all partials simultaneously. This occurs before processing by
the additive effect modules that stretch/shift partial tunings. Set to 0% to tune all
partials in a perfect harmonic series. Set to 100% to make each partial follow the pitch
fluctuations detected in the original audio file. The sonic impact of this parameter is
highly dependent on the audio material: sounds with strong inharmonic content, such as
bells, are dramatically changed by reducing pitch variations. If all partials are tuned to
the harmonic series, however, the knob has no influence on the sound.

• Num Partials knob: Set the number of additive partials that are generated. The number
of oscillators required depends on the sound. For example, a flute has a limited number
of harmonics and requires fewer partials than a cello or a violin. The playable register
can also affect the number of oscillators required: high notes will accommodate only a
small number of higher harmonics before reaching the limits of audibility, whereas low
bass notes may have hundreds of harmonics without reaching the limit. Always set Num
Partials to the lowest number of partials that are required by the sound because this
helps reduce CPU load.

Logic Pro Instruments for Mac 366

 Formant
Formant is an effect that allows you to shape the spectral content of a sound by
emphasizing or attenuating specific frequency bands.

• Shift knob: Shift all synthesized formant filters up or down in semitones. Higher values
can make sounds seem brighter or thinner. Lower values can create a darker, thicker
character.

• Key Track knob: Determine how the formant filter tracks notes on the keyboard. At
100%, filter resonances shift up or down in pitch with the note. Set to lower values to
reduce key tracking, which may make some sounds playable over a wider keyboard
range.

• Size knob: Stretch the formant filter to alter the perceived size of the resonant chamber.
Size works in conjunction with the Center knob.

• Center knob: Set the center frequency for the formant stretch that you set with the Size
knob. Resonances below the center frequency are shifted upward as the Size value
is increased. A corresponding downward shift occurs to resonances above the center
frequency.

Note: The Center knob has no effect when the Size knob is set to 100%.

Formant Synth
Formant Synth is an effect that applies a vocal formant effect to shape the timbre of the
synthesized sound.

• Shift knob: Shift the formants up or down in semitones. Higher values can make sounds
seem brighter or thinner. Lower values can create a darker, thicker character.

• Size knob: Stretch the formant filter to alter the perceived size of the resonant chamber.
Size works in conjunction with the Center knob.

• Center knob: Set the center frequency for the formant stretch that you set with the Size
knob. Resonances below the center frequency are shifted upward as the Size value
is increased. A corresponding downward shift occurs to resonances above the center
frequency. Note: The Center knob has no effect when the Size knob is set to 100%.

• Vowel knob: Morph smoothly through the four filter shapes: A, E, I, and O. The displayed
value indicates position. Whole numbers indicate a particular filter unit, and fractional
values indicate a position between filters.

Logic Pro Instruments for Mac 367

 Sample Alchemy spectral effects in Logic Pro
for Mac
Spectral resynthesis analyzes the changing frequency spectrum of a signal and attempts
to recreate these spectral characteristics. In Sample Alchemy, the audible spectrum of a
signal is split into a large number of spectral bins. Energy distribution across these bins is
analyzed and the sound is recreated by filling each spectral bin with the required amount
of signal, using either sine waves or filtered noise. The results are then summed.

Sample Alchemy spectral effect controls in

Logic Pro for Mac
The parameters in this section are shown when Spectral is selected in a synthesis module.
The controls also vary depending on the selected spectral effect.

Click one of the handles labeled A/B/C/D to select the source you want to edit.

Formant
Formant is an effect that allows you to shape the spectral content of a sound by
emphasizing or attenuating specific frequency bands.

• Shift knob: Shift the formant filter up or down in semitones. Higher values can make
sounds seem brighter or thinner. Lower values can create a darker, thicker character.

• Key Track knob: Determine how the formant filter tracks notes on the keyboard. At
100%, filter resonances shift up or down in pitch with the note. Set to lower values to
reduce key tracking, which may make some sounds playable over a wider keyboard
range.

• Size knob: Stretch the formant filter to change the perceived size of the resonant
chamber. Use this parameter to alter the size of a guitar body or to make a child’s vocal
sample sound like that of a giant, for example. The Size knob works in conjunction with
the Center parameter.

Logic Pro Instruments for Mac 368

 • Center knob: Set the center frequency for formant stretching (controlled with the Size
knob). Resonances below the center frequency are shifted upward as the Size knob
value is increased. A corresponding downward shift occurs to resonances above the
center frequency.

Note: The Center knob has no effect when the Size knob is set to 100%.

Low/High Cut
Use the Low and High Cut knobs to shape the tonal characteristics of the sound. The Low
Cut and High Cut parameters work in conjunction with each other to act as a bandpass
filter, where signals that fall within the two cutoff ranges are allowed to pass.

• Low Cut knob: Set a cutoff frequency. All signals above this frequency are allowed to
pass. Signals below the frequency are cut.

• High Cut knob: Set a cutoff frequency. All signals below this frequency are allowed to
pass. Signals above the frequency are cut.

Blur
Blur produces a frequency-blurring effect.

Tip: Try a melodic loop with pitch variations to best hear the impact of this effect.

• Mix knob: Set the balance between the original signal and the processed sound.

• Length knob: Set the time period that frequencies are sustained (blurred over time).

• Variance knob: Set the degree of variation for frequency selection (frequencies that are
blurred).

• Gate knob: Adjust the volume threshold so that only frequency bands louder than
the threshold are played back. It’s similar to a noise gate but applied to each band
individually.

Cloud
Cloud produces what might best be described as a cloud of frequency grains, resulting in a
textured chorus effect.

Tip: Try this effect on vocal samples.

• Mix knob: Set the balance between the original signal and the processed sound.

• Threshold knob: Set how many of the frequency bands have the effect applied to
them—the higher this value, the more bands are affected.

• Attack knob: Set the time it takes for frequencies emphasized by the Threshold setting
to fade in.

• Simplify knob: Reduce lower amplitude frequencies to enhance prominent frequencies,

lessening detail in favor of an increasingly pure tone.

Logic Pro Instruments for Mac 369

 Metallize
Metallize produces classic comb filter–style effects.

Tip: Experiment with drum loops to clearly hear the impact of the controls.

• Mix knob: Set the balance between the original signal and the processed sound.

• Interval knob: Set the number of semitones that the affected bands are shifted up.

• Simplify knob: Reduce the number of effect-generated frequencies, resulting in a

simplified sound.

• Feedback knob: Set the intensity of the effect. Higher settings emphasize harmonics,
creating metallic resonances.

Noise
Use Noise to fill spectral bins with filtered noise. The Low Cut and High Cut parameters
work in conjunction to act as a bandpass filter, where signals that fall within the two cutoff
ranges are allowed to pass.

• Low Cut knob: Set a cutoff frequency. All signals above this frequency are allowed to
pass. Signals below the frequency are cut.

• High Cut knob: Set a cutoff frequency. All signals below this frequency are allowed to
pass. Signals above the frequency are cut.

Sample Alchemy filters in Logic Pro for Mac

In a Sample Alchemy, the filter module modifies the harmonic content of the sound being
produced. It can shape the tonal characteristics of the sound by removing or reducing
certain frequencies while allowing other frequencies to pass through.

Sample Alchemy provides an extensive range of filter types, including lowpass, highpass,
comb, downsampler, and FM filters. Each filter type has unique sonic characteristics and
responds differently to incoming signals.

The filters in Sample Alchemy can also be modulated by an envelope, an LFO (low
frequency oscillator), or other modulation sources which allows them to be controlled over
time to create dynamic and evolving sounds. Modulation can be assigned in the Mod Matrix
pane. See Sample Alchemy Mod Matrix.

Logic Pro Instruments for Mac 370

 Sample Alchemy filter types in Logic Pro for Mac
This flexible collection of filters allows you to subtly or dramatically sculpt the tone of your
instruments:

• Lowpass (LP): This filter type passes the portion of a signal below a specified cutoff
frequency and rolls off the portion above that frequency. See Sample Alchemy lowpass,
bandpass, and highpass filters.

• Bandpass (BP): This filter type passes a certain band of frequencies and rolls off
frequencies on either side of the band. See Sample Alchemy lowpass, bandpass, and
highpass filters.

• Highpass (HP): This filter type passes the portion of a signal above a specified cutoff
frequency and rolls off the portion below that frequency. See Sample Alchemy lowpass,
bandpass, and highpass filters.

• Comb PM: This filter mixes the original signal with one or more copies of the signal,
which are delayed by a very short time interval. See Sample Alchemy Comb PM filter.

• Downsampler: This filter creates a lo-fi digital effect (similar to a bitcrusher). See
Sample Alchemy downsampler filter.

• FM: This filter uses a modulator oscillator and a sine wave carrier oscillator. The modulator
oscillator modulates the frequency of the waveform generated by the carrier oscillator
within the audio range, thus producing new harmonics. See Sample Alchemy FM filter.

Sample Alchemy filter general parameters

• Filter On/Off button: Turn the filter module on or off.

• Filter Type pop-up menu: Choose a filter type.

• Global button: Turn on the Global button and choose a filter type and configuration to
use for all sources, overriding their individual filter type settings.

Sample Alchemy lowpass, bandpass, and highpass

filters in Logic Pro for Mac
A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and
rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a
signal occupying a band surrounding the cutoff frequency and rolls off the portions above
and below that band. A highpass (HP) filter passes the portion of a signal above a specified
cutoff frequency and rolls off the portion below that frequency.

There are multiple two-pole, four-pole, multipole state-variable, and analog-modeled

lowpass (LP) and highpass (HP) filter designs in Sample Alchemy, each with distinctive
characteristics that you may prefer for a given purpose. The available LP and HP filter
designs include Sharp, Clean, Gritty, and Edgy variants.

• Sharp: Two-pole analog-modeled filters.

• Edgy: Two- or four-pole analog-modeled filters. Four-pole variants provide a steeper

roll-off of frequencies beyond the cutoff.

• Clean: Bi-Quad filters.

• Gritty: Two-pole filters designed to saturate heavily at higher resonance (Res) settings.

Logic Pro Instruments for Mac 371

 Sample Alchemy lowpass, bandpass, and highpass filter
parameters
The filter controls have standard functions for all lowpass (LP) bandpass (BP), and
highpass (HP) filter types.

• Cutoff knob: Controls the filter cutoff frequency.

• Res(onance) knob: Controls the filter resonance or emphasis. Higher settings boost
frequencies in the immediate vicinity of the cutoff frequency.

Sample Alchemy Comb PM filter in Logic Pro

for Mac
A comb filter is a type of digital audio effect that creates a characteristic “comb” pattern
of peaks and troughs in the frequency spectrum of an audio signal. It is named after the
shape of the frequency response curve, which looks like the teeth of a comb.

The Comb PM filter is useful for classic bright Karplus-Strong style sounds, where the
exciter impulse is not easily heard and the comb is more prominent. Be careful with your
resonance level because it is capable of quickly going to extremes, which can lead to
feedback. Start with a resonance level of zero, and increase (or decrease) slowly to find a
suitable effect strength.

Comb PM filter parameters

• Note: Set the modulation frequency.

• Feedback: Controls the amount of feedback in the comb circuit.

Sample Alchemy downsampler filter in Logic Pro

for Mac
The downsampler filter is a type of digital audio effect that reduces the sampling rate
of a digital audio signal. This can be used to create a range of different effects, such as
creating a lo-fi or vintage sound.

Downsampling works by reducing the number of samples that are used to represent the
audio signal. This can be done by discarding some of the samples. The resulting audio
signal has a lower sample rate and a lower frequency range, which can give it a different
character or timbre.

Downsampler filter parameters

• Freq: Set the downsample frequency.

• Mix: Set the balance between the original and filtered signals. High values result in
stronger downsampling.

Logic Pro Instruments for Mac 372

 Sample Alchemy FM filter in Logic Pro for Mac
Frequency modulation (FM) in Sample Alchemy has a different character from classic
FM synths. Unlike dedicated FM synths, Sample Alchemy does not have preconfigured
algorithms or a mod matrix setup specifically for FM.

FM in Sample Alchemy is more like working with FM on analog synths, where you are
modulating oscillator frequency rather than phase. As a result, Sample Alchemy’s FM is
great for adding different kinds of effects to your sound, as well as “organic” distorted
textures.

FM filter parameters
• Note: Set the carrier oscillator frequency.

• Mod: Set the degree to which the modulator (source audio) can modulate the frequency
of the carrier.

Sample Alchemy envelope generators in Logic Pro

for Mac
You can control the level of the amplitude or modulation over time with dedicated envelope
generators. Use the Amp/Mod button to access each envelope. The parameters for each
envelope are the same.

Amp and Mod Envelope parameters

• Amp/Mod button: Choose an envelope type. You can choose between the Amp
(amplitude) envelope or Mod (modulation) envelope.

• Attack value: Drag up or down to set the time it takes for the envelope to reach the
initial level.

• Decay value: Drag up or down to set the time it takes for the envelope to fall to the
sustain level, following the hold phase or the initial attack time.

• Sustain value: Drag up or down to set the sustain level, which is held until you release
the note.

• Release value: Drag up or down to set the time it takes for the envelope to fall from the
sustain level to a level of zero after you release the note.

Logic Pro Instruments for Mac 373

 Sample Alchemy Mod Matrix in Logic Pro for Mac
Sample Alchemy LFOs and envelopes are known as modulation generators. These
modulation sources are used to control modulation targets, such as filter cutoff, source
synthesis parameters, and source controls. You can assign up to four independent routings
of modulation sources and targets in the Mod Matrix pane.

Sample Alchemy provides four LFOs and dedicated modulation and amplitude envelopes
that can also be assigned as modulation sources or targets in the Mod Matrix pane.

Use the Mod Matrix to control how the sound changes as you move handles up and
down the waveform using the Waveform Y modulator. Your keyboard modulation wheel,
aftertouch, pitch bend, velocity, and MIDI continuous controller features can also be
assigned as real-time control sources for Sample Alchemy parameters in the Mod
Matrix pane.

When a parameter is the target of one or more modulators, an orange modulation arc is
shown beside the blue value arc for the knob. This indicates that the knob is an active
modulation target and shows the modulation range. The amount of depth you assign in the
Mod Matrix pane determines how much a modulation source affects its target.

The Mod Matrix pane shows the modulators applied to the currently selected control in
Sample Alchemy. This is shown via the Target field at the top of the Mod Matrix pane as
well as by the dot that appears in the center of the currently selected knob.

Logic Pro Instruments for Mac 374

 Mod Matrix parameters
• Mod Matrix button: Show or hide the Mod Matrix pane to assign up to four independent
routings of modulation to a target.

• Target pop-up menu: Displays the selected target. Select a target from the menu or
click a parameter in the main Sample Alchemy interface to select it as new modulation
target.

• On/Off button: Turn the row of source modulation for the selected target on or off.

• Source pop-up menu: Choose a modulation source.

• Depth field: Drag vertically to set the maximum value or intensity of modulation. You
can also double-click the field to enter a numerical value.

Set up modulation routing for Sample Alchemy in

Logic Pro for Mac
You can assign Sample Alchemy LFOs and envelopes as modulation sources or targets
in the Mod Matrix pane. You can also assign Waveform Y and your keyboard modulation
wheel, aftertouch, pitch bend, velocity, and MIDI continuous controllers as real-time control
sources for Sample Alchemy target parameters in the Mod Matrix pane.

When a parameter is the target of one or more modulators, an orange modulation arc is
shown beside the blue value arc for the knob. This indicates that the knob is an active
modulation target and shows the modulation range.

Route the source handles to control volume

By default, the movement of the source handles (A/B/C/D) along the y-axis (vertcal axis) of
the sample waveform is mapped to modulate the first parameter in the synthesis module.
To map the source handles to control volume instead, follow these steps:

1. In the Source module in Logic Pro, click the Source pop-up menu and choose All to edit
all sources.

2. Click the Mod Matrix button to show the Mod Matrix.

3. Click the first synth knob in the Synthesis module to select it.

4. In the Mod Matrix, click Waveform Y to open the Source pop-up menu, then choose
None to remove the current mapping.

5. Click the Mixer button to open the mixer, then click slider A to select it as the
modulation target in the Mod Matrix.

6. In the Mod Matrix, click the Source pop-menu and choose Waveform Y.

7. Adjust the Depth value in the Mod Matrix, and adjust the level of the mixer sliders to
fine-tune your sound.

Logic Pro Instruments for Mac 375

 Sample Alchemy Motion mode in Logic Pro for Mac
Using Motion mode, you can record the movement of source handles to automate various
parameters so that they change over time, producing dynamic and evolving sounds.

After you record a motion sequence, it is automatically looped and remains tempo-
synchronized to your project. When you play back the sound, the Motion sequence you
recorded is visually replicated on the screen.

Add to your recording by making overdubs or manually setting the Loop Start and Loop End
points. If you’re unsatisfied with your recording, you can use the Clear button to erase the
motion recording and start over.

Tip: Instead of using Motion mode to record the movement of the handles, you
can record it directly to a region. After you record your performance, you can edit the
automation captured in the region to suit your project.

Motion mode parameters

• Record button: Click the Record button to start recording motion. The Record button
flashes until you touch the handles or a MIDI input is received. Recording when a
recording already exists will cause any additional touches to override that particular
section of the recording, in a similar manner to Touch automation.

• Clear button: Delete the motion recording. This button only appears after a motion
recording has been made.

• Timeline: Displays the playback position of the latest note, with beat markers as the axis.

• Loop Start: Set the motion playback loop start point in beats.

• Loop End: Set the motion playback loop end point in beats.

• Duration: Set the duration of the recording in beats. Changing this value will stretch the
motion recording and loop start and end positions accordingly.

Record a motion sequence

1. Click the Record button to enable the motion recorder (if necessary). The Record button
flashes until you touch the handles or a MIDI input is received.

2. Move the source handles as required for the duration of the recording.

3. Release the handles to automatically stop the recording, or click the Stop button.

Logic Pro Instruments for Mac 376

 4. Click Record again if you want to overdub the motion recording.

5. Play a MIDI note to listen to and visualize your motion recording. You can now switch to
Play mode if you want. Any movement of the handles shifts your motion recording up/
down/left/right.

Sample Alchemy Trim mode in Logic Pro for Mac

Trim mode lets you select the exact part of the sample you want to use. You can see the
current audio file in the waveform display and directly trim the sample using markers. You
can zoom in or out with pinch gestures or scroll using single or two-finger swipes. When
you zoom in, the scroll bar indicates the current position within the waveform.

When you click or drag markers and handles in the waveform display, you can trim the
waveform more accurately by choosing a Snap value, which allows you to snap the markers
to a transient or beat.

Trim mode parameters

• Start and end markers: Drag the start and end markers to set the sample start and end
points. Playback occurs between these markers.

• Snap pop-up menu: Choose a Snap value. In Play mode and Motion mode, this affects
the movement of source handles. In Trim mode, the Snap value affects edits to loop
start and end markers in the waveform display. The following options are available in the
Snap pop-up menu:

• Auto: The Snap value is automatically set to the best value based on the selected
mode and the sample.

• Off: Turn snap off.

• Transients: Snap to transients in the sample.

• Beat: Snap to beat values in the sample.

• Fixed: Set the Snap value to allow source handles to move only on the Y axis
(vertically) in play modes and Motion mode.

• Zoom in/out: Use the pinch gesture on your Trackpad to zoom in and out of the
waveform.

Logic Pro Instruments for Mac 377

 Set trim start and end markers
To set the start and end markers in Trim mode, do any of the following:

• Click the Snap menu and choose a Snap value.

• Click the start marker then, drag it left or right to set the start position of the sample.

• Click the end marker then, drag it left or right to set the end position of the sample.

Note: You can use the pinch gesture on your Trackpad to zoom in and out of the
waveform for more precise editing. If you zoom in close to the waveform, swipe to the
left or right to see the start or end markers.

Sample Alchemy More menu in Logic Pro for Mac

The More menu at the upper right contains a number of global, sample, and MIDI handling
options.

• More button: Open or close the More menu to choose a number of global, sample, and
MIDI handling options.

Global settings
• Volume: Set the volume level of the preset.

• Polyphony: Set the maximum polyphony of a preset (up to 16 voices). A value of 1

results in a monophonic preset or source.

• Glide: Set the portamento rate. Glide causes slides from one note pitch to the next.

• Play Mode: Determine how new notes are treated. This parameter interacts with the
Polyphony and Glide controls.

• Always: If the Polyphony value is 1, a trigger is generated at the start of each legato
group, and portamento occurs at the start of every note. For all other Polyphony
values, a trigger is generated at the start of every note, and portamento occurs at
the start of every note.

• Retrigger: A trigger is generated at the start of every note, and portamento occurs at
the start of every note.

• Legato: If the Polyphony value is 1, a trigger is generated at the start of each legato
group, and portamento occurs at the start of each legato group. For all other
Polyphony values, behavior is unchanged when you play single notes. When you play
a chord, each note of the chord is triggered individually.

• Pitch Bend: Set the maximum range for upward and downward pitch bend modulation,
typically performed with your keyboard pitch bend wheel.

• Output Limiter: Turn the output limiter on or off. The output limiter manages the
maximum output level of Sample Alchemy, preventing distortion and clipping.

Logic Pro Instruments for Mac 378

 Sample settings
• Preview Mode: Turn preview mode off or on (it’s on by default). In preview mode, a MIDI
note is generated when you click a handle. When you turn off preview mode, there is no
sound when you click the handles, and the preview MIDI note can't be recorded in Logic
Pro.

• Pitch Lock: Lock the pitch of the sample to the root key. If you import an audio file
containing notes with various pitches, Pitch Lock allows you to lock them all to a single
note. After this, you can play Sample Alchemy (for example, with a MIDI keyboard), and
it will play the notes you hold down, not the differing pitches within the sample.

• Reverse: Set the sample to play in reverse.

• Root Key: Adjust the pitch of the sound in semitones.

• Root Cents: Adjust the pitch of the sound in cents.

• Tempo: Set the tempo (shown in beats per minute) of the sample, or choose None if the
sample is not rhythmic.

• Derive Tempo from Loop Length: Calculate a tempo for the audio file based on the
length of the sample between trim handles.

MIDI settings
• MIDI Mono Mode (MPE): You can choose the settings for MIDI Mono Mode:

• MIDI Mono Mode: Choose Off, On (Common Base Channel 1), or On (Common Base
Channel 16). In either mode, each voice receives on a different MIDI channel. Per-
voice channels support pitch bend, aftertouch, modulation wheel, and controller
assignment messages.

• Pitch Bend Range: Set a value from 0 to 96. The chosen pitch bend range affects
individual note pitch bend messages received on all but the Common Base Channel.
The default is 48 semitones. When using a MIDI guitar, 24 semitones is the
preferable setting because most guitar-to-MIDI converters use this range by default.

• MIDI Assign: You can choose one of four different modulation sources from the MIDI
submenu. Ctrl A/B/C/D can be assigned to modulation targets in the Mod Matrix pane.
These are ideal for adding breath and foot controller modulations.

• Ctrl A–D: Set the MIDI continuous controller that is assigned to Ctrl A–D.

Create Alchemy track

• Create Alchemy track: Creates a new Alchemy track that contains the current Sample
Alchemy audio material.

Logic Pro Instruments for Mac 379

 Sampler

Sampler overview in Logic Pro for Mac

Sampler is a sophisticated software sampler with which you can quickly create multisample
instruments using drag-and-drop workflows.

Audio files, called samples, are combined into tuned, organized collections called sampler
instruments. A sampler instrument is the file type that is loaded into Sampler with the
plug-in Settings pop-up menu. When you choose a sampler instrument, the associated
audio files are automatically located on the hard disk (or disks) and are loaded into your
computer’s RAM. You play and record the loaded sampler instrument in the same way as
any software instrument.

Because sampler instruments are based on audio recordings, they are ideally suited to
emulating real instruments such as guitars, pianos, and drums. Sampler provides an
extensive library of sampler instruments that includes these and many other sounds.
Sampler is fully compatible with EXS instrument libraries.

You can also use Sampler to edit and create your own sampler instruments. You can quickly
assign samples to specific key and velocity ranges in existing or new sampler instruments
by dragging them into Sampler. You can graphically resize and move individual samples or
groups of samples, as well as assign a number of playback parameters to a single sample
or a group of samples.

Sampler is a flexible synthesizer in its own right. You can create expressive sounds by
using any sample as a basic synthesizer waveform, which you can then process with an
extensive collection of filters and modulators. If you’re new to the concepts and use of
synthesizers and samplers, see Synthesizer basics overview.

You can use Sampler as a mono, stereo, or surround instrument, and can route loaded
samples to multiple audio outputs. This lets you independently process individual drum
sounds in a drum kit, for example. If you want to play and edit a single sample instrument,
try using Quick Sampler.

Logic Pro Instruments for Mac 380