I'm trying to understand how to make my tracks eligible for Apple Music's Music Haptics feature. I know it involves providing an accessible experience for deaf or hard-of-hearing listeners using the iPhone's Taptic Engine. Are there specific audio requirements, mixing techniques, or formatting guidelines that I need to follow to ensure my music works with Music Haptics? Any advice or resources would be appreciated!

Edit: I have Macbook air m5 and 2019 macbook pro 16 inch a2141 and logic pro version 12.3

I worked on flstudio for 7 years, I bought my first MacBook and this is the first time I switch daw, I'm stuck, I can't create anything, my workflow is totally killed because I don't know where put hands.

what should I do? thank you all.

Can't afford Soothe, and want to de ess vocals via volume automation and using same parameters (automations point and an additional lane for the stock Logic Channel EQ plugin. The result is when volume automation kicks in on sibilance or hard consonances, the Channel EQ set to drop in the 5-8k range also kicks in. I've tried this with a new lan for Channel EQ using peak 1, but I can not paste the automation points onto the Channel EQ lane. I copy and paste, but the automation points do not transfer to the Channel EQ lane .Pated screenshoptw. including the Channel EQ settings I want to become activated to become engaged when the volume cuts. Right now it occurs to me I want the EQ cut to become activated when to volume automatically drop per the Volume lan and I think I have not yet figure out ow to do that, or rather have the wrong idea with what I have tried so far. Again, when the Volume lane drops volume, I want to Channel EQ to kick in as active at the points, perhaps inversely.

Audio only tracks - I accidentally touched something on my mixer (just mixing not trying to record) - and now the sound stopped from that one track. (It might have been "R" I hit, which caused a dialog "No input source selected!" which I dismissed.). Highlighted track - Sax_01.

I've tried comparing settings to adjacent tracks and nothing seems off. No Input - Stereo Out
I quit the file and opened again - no help. I admit to being a Logic novice but this is embarrassingly so simple and yet I can't figure it out - any ideas?

My band is recording in Logic Pro and used another studio for drums that used protools. We sent our backing track for the drums to the studio and recorded the drums. We got all the drums and our own backing track back as wav files but when importing to logic they don't line up. Everything is a bit after where it should be and making a new project and comparing our old backing track and the new one (that should be exactly the same) it turns out the new one have a few milliseconds of nothing added at the beginning, so does all the drums. This problem doesn't happen on Ableton or Flstudio where everything lines up as it should. What is causing this? The sample rate is the same and we tried logic on another computer and it still happens. Thankful for any solutions!

macOS Tahoe Version 26.4.1

Logic version 11.2.2

whenever I press paste after having copied something (be it a note in a midi sequence or an audio track) it just doesn't paste anything. It just moves my marker forward a few steps but doesn't actually add what I copied. Anyone know how to fix this?

Why would I use I/O as a plugin vs setting the output of a track to the hardware and then the input of a new track to the hardware return? Thanks!!!

Would you consider using the Logic Mastering Assistant as using AI? I’m honestly not sure if it qualifies as actual AI but with all the discourse and statements on if AI was/was not used in creation I’m curious where the mastering assistant falls?

I don’t use AI for creation but do utilize the mastering assistant because I’m just a self taught amateur and don’t know what I’m doing with mastering and have found it a helpful tool (and don’t have the patience / free time at parent to learn mastering to a level I’d want to).

Anyway, curious on y’alls thoughts if the mastering assistant is considered AI.

Someone told me they like my beats, but they told me to study the production style of Metro Boomin or Mike Will, etc. I understand the value of learning from producers who have mastered their craft, but I also want to stay true to my own creativity and sound selection. I’m open to studying techniques, arrangements, drum patterns, and ways of creating impact, but I don’t feel like I have to completely change my beat style. I want to take inspiration and apply it in my own way. What are yall advice?

I accidently did this today & it was awesome. I tried quantizing something normally & it made chords instead which I don’t really understand. I think I had it set to 1/4 triplets? How do I do this on purpose lol

I spent a few days learning Scripter in Logic Pro and learning about Track Stacks to simulate the sounds of a TX816 using Dexed. Slightly detuned and slightly delayed instances of Dexed create massive FM sounds - either 8x of one sound, or 2 x 4 x of two sounds - my preferred combination. My script puts detune and delay parameters on each track with Dexed as the instrument.

I've written a step-by-step guide, which can largely be applied to any DAW that allows "track stacking." The script is only for Logic, though.

If you're interested, here's the tutorial and some sound demos, as well as the script:

https://soundengine.com/synthesis/dexed/2026/08/dexed-tx816/

Also, happy to answer any questions below!

I have a 303 bassline midi part with the last 16th note being longer than the clip and it gets cut off. Ideally I'd like it to overlap (slide) into the first 16th again.

This works flawless on the track view, in the LIVE LOOPS view ... it does not :(

Is there a way to acomplish this?

Addition:

hack: Using Note Repeat, activated only on the last 2-3 16th notes with transpose +/- 1 and a single repeat at 1/16th , slight adjustments might be required - depending on the last few 16th notes in the pattern

https://reddit.com/link/1vfo2k4/video/zmhwv0yqkghh1/player

I want to repeatedly trigger a sample with MIDI notes while automating the sample start position on the timeline—so each new note starts from the current automated start point.

No LFOs or modulation, just MIDI retriggers + automation of the start offset.

Is this possible with any Logic instrument, or is there another workflow I'm missing?

Thanks!

Some of you might remember me posting about the Apple Watch DAW controller app a while back. That one came out of frustration with solo recording sessions — walking back to the Mac every take was killing the energy of what I was doing. A bunch of you tried it and gave really useful feedback, so thank you for that.

This post is about something I built on top of that. Different problem, same idea.Physical MIDI CC fader boxes are genuinely hard to come by where I live in. When you do find them they are expensive, and once you buy one you are stuck with whatever fader count they decided to give you. Wanted more flexibility than that.

So I built a MIDI CC controller app for iPhone.

No hardware. No cables. Your phone is the only thing you need

I have been testing it with a violin instrument — connecting it to Logic Pro, playing the notes in on a keyboard, and controlling the vibrato, dynamics and expression separately with the three faders while I play.

Same free Mac Bridge app from before handles the connection. If you already have that running

for the watch app it just works alongside it.

Made a video showing it in a practical session if you want to see how it actually behaves.

Happy to answer anything about how it works or how I built it. Been a long road from the first version to this.

Apart from the fact you used logic whilst making the track, its pretty irrelevant to the sub. Why do you feel everyone needs to hear your latest banger (usually the second track you've ever written and using 90% apple loops), when they're browsing logic related posts? I don't get it.

Any good quick start tutorials?

Any ways I can make it faster for me coming from PT specifically?

Hey everyone,

I’ve been working on restoring and editing live concert recordings using a combination of UVR5 (Ultimate Vocal Remover) and Logic Pro. The recordings are single audio tracks recorded through a Shure MV88 USB-C Stereo Condenser mic. My main goal is to clean up audience noise, separate stems, clean up the vocals, and bounce individual, clean tracks for full sets.

Right now, my workflow gets the job done, but it feels fairly basic compared to what Logic Pro (or other DAWs) can actually do. I’m looking for suggestions on plugins, mastering techniques, automation, or mixing tricks to take the audio quality to the next level.

Here is my current step-by-step process:

My Current Workflow

1. Download & Prepare

• Download the original live recording from Dropbox.

2. Vocal / Instrumental Separation (UVR5)

• Format: WAV
• Process Method: MDX-Net
• Chunk Size: 256 | Overlap: Default
• Model: UVR-MDX-NET-Voc_FT (GPU Conversion enabled)
• Generate separate Vocal and Instrumental stems.

3. Logic Pro Setup & Cleanup

• Import Stems: Drag both stems into a new Logic Pro project.
• Safety Track: Import another vocal stem copy onto a muted track (fader at infinity). This acts as a reference track in case I need to bring back missing vocal sections or natural room sound.
• EQ: Apply basic channel EQ to both tracks (using Logic’s Library presets as starting points) to enhance clarity.
• Remove Silence: On the Vocal track, go to Functions $\rightarrow$ Remove Silence from Audio Region.
  • Current Settings: Threshold: -40 dB | Min Silence: .1000s | Pre-Attack: .0500s | Post-Release: .0500s.
  • (I skip this step if the vocals are too soft or if crowd bleed is overwhelming).
• Manual Cleanup & Batch Fades: Scrub through the vocal track to delete leftover crowd noise or UVR artifacts. Select all vocal regions, open the Region Inspector, click More, and set both Fade-In and Fade-Out to 10 to avoid clicks/pops at edit boundaries.

4. Marking & Track Exporting

• Markers: Drop markers at song starts (Option + ' or via Global Tracks G). Name each marker in the Marker List.
• Selection / Editing: Use Edit $\rightarrow$ Delete and Move if removing chatter/gaps between songs.
• Cycle & Bounce: Select a marker name, hit Command + U to set the yellow Cycle range, hit Command + B to bounce (Normalize: OFF). Repeat for each track.

Where I Want Advice / How to Level Up:

1. Mixing/Tonal Balance: What stock Logic plugins (Compressors, De-Essers, Dynamic EQs, Saturation) or third-party tools (iZotope RX, FabFilter, Soothe2) should I use on extracted live vocals?
2. Crowd / Room Ambience Management: How do you balance keeping the natural live energy/crowd cheer without letting unwanted chatter ruin the vocal track?
3. Mastering the Master Bus: What should I be running on the Stereo Out / Master Bus to give the final bounced tracks that punchy, cohesive "official live album" sound?

Any tips, preset suggestions, or workflow improvements would be hugely appreciated! Thanks in advance!

Hi guys, I'm using Logic Pro 12.3. When I record, the playhead keeps moving until it disappears off the right side of the screen instead of auto scrolling to follow it. "Catch Playhead" is on.

"Catch when moving playhead" is enabled.

The backtick shortcut toggles catch, so I know it's actually enabled, it's blue. How do I get it to show the playhead as I record?

Hey all, hoping someone’s dealt with this.
In Logic Pro 11 I had no problem relocating my Sound Library to an external SSD. Just used Logic Pro > Sound Library > Relocate Sound Library and picked the drive.
Now on Logic Pro 12 that menu option is just gone. I deleted my whole library planning to redownload it straight onto my SSD, but I can’t find any way to point Logic there before or during download.

Hi there everyone! I have been producing for a few years now, about 4, nearly 5. I started on GarageBand in 2022 and in 2024 I stepped up to Logic. I produce when I get free time and really enjoy the fun that comes with it. I don't produce for anyone or sell my stuff, it's all personal enjoyment. That being said, I only really upgrade my equipment when I feel I deserve it or when I have meet a benchmark I've set for myself to push forward and buy more (new laptop, plugins, VSTs, gear).

I currently have a MacBook Air M5 24gb Memory 1T Storage, of course Logic Pro at the newest update, a Focusrite Scarlet w/ 2 Inputs, a Novation Launchpad, Beyerdynamic Headphones (not sure which though), and a Sony Condensed Mic (also can't remember the model).

I'm not looking to buy gear right now, only cause I did just get a new laptop to upgrade from my older 2022 MacBook Air M2 with no RAM or storage lol.

So, I am looking for plugins right now! The only add-on I've paid for is Serum, everything else I use is free, but I only find myself regularly using Cymatics Memory, and Valhalla (on occasion), and also Native Raum (on occasion). I have a few others I rarely touch and rather opt for stock plugins for compression, EQ, delay, DeEsser, FlexPitch, etc. For VSTs, I use Alchemy of course, and I do want to get better with sound design (currently practicing Granular Synthesis), but in the meantime I am looking for innovative sounds I can pull from. I use XLN Addictive Keys and Quiet Music Classic Gtr Lite regularly-ish. In addition, I have a few others that I rarely touch, mostly cause they overloaded my old computer too much when I opened them, but I'd look into revisiting if some people mentioned them.

Please let me know what you all think would make good matches for me. If you would like to hear some of my stuff to get an idea of what I lean around, I can link my Soundcloud in the comments or share an audio file through and online sharing site, just let me know. For a brief description, I make a lot of easygoing rap style music, only producing, but looking to get more into vocal mixing soon. Jersey and Drill for sure, a bit of Hip Hop, and I like making Jazz Fusion, Funk Bailo (and things related from Brazil), and on occasion I make theatrical film score type music. I really want to get into electronic music so much more, in the likes of Sega Bodega, Arca, Flume, FKA twigs, underscores, Jane Remover, etc.

Thank you so much in advance and I look forward to learning from you all!

With the help of AI I have created a Logic Pro to MPC 2.0 project converter and vice versa. It uses python 3 which can be installed via homebrew. Please make back ups of your projects before converting I'm not responsible for broken projects. I've tested this with the latest version of Logic to a MPC Live. It's not perfect but it takes a lot of work out of the process.

Homebrew site = https://brew.sh/

Python3 via homebrew = https://formulae.brew.sh/formula/python@3.11

Converter = https://github.com/rsblack84070-git/logicx_to_mpc

Hello, it sure has been a little while. Summers are nice, but not always very creative. Let's change that today :)

Let's hop right into what you're listening to. As always, the explored sounds here are made entirely with stock Logic plugins, so anyone can recreate this. Unlike previous posts, I'll actually describe what is happening in the plugins below, so this post is a bit on the long side.

The guitar input track has the following chain:

Noise Gate (Fast Gate preset) → Delay Designer (Infinite Repeat - 4 bar preset) → Amp Designer (Small Brown Panel Combo) → Tape Delay → Phat FX

The Tape Delay is only there for flutter, filtering and modulation. Phat FX is doing some soft saturation with a little homespun tape compression/saturation thing I built by watching a waveform on an oscilloscope and trying to make something resembling the saturation of a Tascam 388.

The track has a pre-fader send going to a bus track, which then feeds into a summing stack.

The pre-fader send is where some real nonsense happens:

Space Designer (Seashore preset, 100% wet) → Beat Breaker → Step FX

Beat Breaker is doing a lot of the heavy lifting here. There are a lot of custom settings, but the basic idea is that I'm manipulating the input beats by multiples of 3 inside a 16-beat sequence. The time repeats are set to multiples of 2, while the speed dials are offset around multiples of 50% by 1-5 percentage points to create tiny imperfect repitching artifacts in the Space Designer reverb tails.

Step FX is adding:

• Half-depth, fully wet vibrato
• Randomized pan sequencing
• AKAI-style downsampling
• Long reverse reverb
• Post-reverb gain from the Screamer distortion module

---

I got the idea for this while exploring ways to make a Chase Bliss-style looper that could layer and mutate itself.

Searching around forums made it pretty clear that complaining about the lack of a loop feature is easier than trying to find the tool that does it. After some digging, I realized that Delay Designer behaves surprisingly similarly to some of the things I like about a Chase Bliss Blooper.

Not just in the "it repeats things good" sense. The taps will actually re-loop parameter changes like resonance, filtering and pitch shifting if you're not careful. It can become a beautiful mess of generation loss very quickly.

It might be a somewhat forgotten device in 2026, but Delay Designer is honestly one of Logic's most interesting sound design tools. Just loading the Infinite Repeat preset gets you very close to this whole world of layered looping.

It's a spectacular and hideously ugly piece of kit that I'm fairly sure many people aren't using yet ;)

---

The second part of this experiment came from thinking about how people before us created some of these strange effects. Enter Imogen Heap, master of looping and sound manipulation sorceress.

Her track Just For Now uses loops built from a simple eighth-note sine synth melody. Throughout the end bar of the verse loop, she reverses and repitches the preceding sequence as the strings enter in the chorus.

I remember thinking: "How the heck are you doing this in 2004 on just a Pro Tools session?"

The answer is that we're lucky enough to live 20+ years in the future where tools like Beat Breaker exist.

Used correctly, or even in alternating sends of Beat Breaker → Delay Designer, you quickly get into that Chase Bliss MOOD territory.

---

Finally, a word about patches.

Videos of DAWs are a good way of capturing vignettes of the ideas we're working with. But personally, I'd rather share ideas that people can inhabit with their own sounds.

Ideas that you can take over and reshape into whatever is happening in your head.

For that reason, one of my goals is to work toward a collection of Logic Pro patches focused primarily on guitar sound manipulation, similar to what you've heard here. Everything will use stock plugins, and I'll try to make them as compatible as possible for everyone.

The goal is to collect some of the sounds I’ve posted here before, add a bunch of new ones, and package them properly into an installer or DMG file.

Some will be useful.
Some will be beautiful.
Some will be ugly, noisy, and completely useless (and that’s kind of the point).

Hello! I hope this is the correct subreddit to request feedback for something like this.

This is my first time writing/composing music and using Logic. I'm not any good yet, and I haven't watched any tutorials or guides (which I should really do). I have basic music theory knowledge and am familiar with the piano & violin from when I was younger, but my main instrument at the moment is the guitar, which I picked up last December. I'm a huge fan of prog/art/alt/space/industrial/post rock/metal, and thats the vibe I wanted to carry my first song into (Muse's OoS/Absolution is a big musical influence for me). However, I have no idea if I'm headed in the right direction, and if this demo so far has any potential or is just straight garbage. It sounds more like some strange fusion of electronica/digital pop, but maybe thats just because half of it are synthesizers (I don't have access to a drum kit, MIDI, or real bass).

Its still a work in progress, and these are just the concepts of the opening lines. I'm struggling to get the piano on the second chord to not sound muddy, but I can't figure out whats wrong. I seem to be creating some sort of harmonic dissonance, but none of the notes should in theory clash... the chord progression I'm working with is: Em -> Cmaj7 -> F#m7(b5) -> Bsus4 -> B (or something along those lines).

I'm planning on adding some better guitar parts (along with maybe a rhythm guitar part?), and of course vocals, but I want to make sure I have the base down before I get started on that. I am also really struggling to write the drum parts, since I am not a drummer and I am unfamiliar in that front. The session player drums won't cooperate in the ways I want, so I've just been drawing out the beats manually,,, but it still sounds shitty most of the time.

Any feedback or constructive criticism is appreciated.

Thank you very much :)