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Note the removal of most of the unwanted low frequencies, although some still remain at or around the filter cutoff point. The application of a high‑pass filter set at 50Hz. Although the filter has been applied, the Analyser is set to pre‑EQ and you can clearly see the low‑end information that needs to be removed. It also has an Analyser mode that shows the real‑time effect of your actions on the waveform being processed (when the mode is set to 'post EQ'). I'll be using Logic Pro's Channel EQ for all examples in this section, not because it's simple to use (actually, it's one of the most complex EQs available in Logic) but because it has a visual display of choices made that really helps you understand what's going on.
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This month I'll extend the discussion of vocal manipulation into the areas of equalisation and ambience control. Last month, we looked at various options for fine‑tuning a vocal recording, covering basic pitch correction, vocoding techniques for applying varying levels of disguise to the natural imperfections of the human voice, and dynamics control without using compressors. Your toolkit for producing polished, contemporary‑sounding vocals should include appropriate EQ techniques and subtle ambience processing.