9
Table Of Contents
- Logic Express 9 Instruments
- Contents
- An Introduction to the Logic Express Instruments
- ES E
- ES M
- ES P
- ES1
- ES2
- Getting to Know the ES2 interface
- Using the ES2 Oscillators
- Getting to Know the ES2 Oscillators
- Using the ES2’s Basic Oscillator Waveforms
- Using Pulse Width Modulation in the ES2
- Using Frequency Modulation in the ES2
- Using Ring Modulation in the ES2
- Using Digiwaves in the ES2
- Using Noise in the ES2 (Oscillator 3 Only)
- Emulating Detuned Analog Synthesizer Oscillators in the ES2
- Emulating Stretch Tuning in the ES2
- Setting the Oscillator Level Balance in the ES2
- Adjusting the ES2 Oscillator Start Point
- Synchronizing the ES2 Oscillators
- Using the ES2’s Global Parameters
- Using the ES2 Filters
- Choosing a Series or Parallel Filter Configuration in the ES2
- Filter Blend: Cross-Fading Between the ES2 Filters
- The Impact of Filter Blend on the ES2 Signal Flow
- Choosing Filter 1’s Mode in the ES2 (Lo, Hi, Peak, BR, BP)
- Setting Filter 2’s Slope in the ES2
- Using the ES2 Filter Cutoff and Resonance Parameters
- Overdriving the ES2 Filters
- Modulating Filter 2’s Frequency in the ES2
- Using the ES2 Amplifier Parameters
- Working with Modulation in the ES2
- Getting to Know the ES2’s Modulation Router
- Creating and Bypassing ES2 Modulation Routings
- Using Via Sources to Control ES2 Modulation Intensity
- An ES2 Modulation Example
- Getting to Know the ES2 LFOs
- Using ES2 LFO Waveforms
- Using LFO 1’s Envelope Generator in the ES2
- Setting LFO 2’s Rate in the ES2
- Getting to Know the ES2 Envelopes (ENV 1 to ENV 3)
- Getting to Know ENV 1 in the ES2
- Setting Envelope 1 Decay or Release in the ES2
- Getting to Know ENV 2 and ENV 3 in the ES2
- Using the Envelope 2 and 3 Sustain Parameters in the ES2
- Getting to Know the ES2’s Vector Envelope
- Vector Envelope Control of the ES2’s Planar Pad and Triangle
- An Overview of ES2 Vector Envelope Points, Times, and Loops
- Selecting, Creating, and Deleting ES2 Vector Envelope Points
- Reverting to Default ES2 Vector Envelope Point Values
- Setting the ES2 Vector Envelope Solo Point
- Setting the ES2 Vector Envelope Sustain Point
- Setting Up ES2 Vector Envelope Loops
- Setting the ES2 Vector Envelope Release Phase Behavior
- Choosing ES2 Vector Envelope Point Transition Shapes
- Setting ES2 Vector Envelope Times
- Time Scaling the ES2’s Vector Envelope
- Using the ES2 Vector Envelope Shortcut Menu
- Using the ES2’s Planar Pad
- ES2 Modulation Target Reference
- ES2 Modulation Source Reference
- ES2 Modulation Via Source Reference
- Using the ES2’s Integrated Effect Processing Section
- Creating Random ES2 Sound Variations
- Using Macro Controls and Assigning Controllers in the ES2
- ES2 Tutorial: Creating Sounds
- ES2 Sound Design from Scratch, Filter Settings, Digiwaves
- Creating Fat ES2 Sounds with Oscillator Detuning and Unison Mode
- Creating Detuned Monophonic Sounds and Effects with the ES2
- Creating Clean Single-Oscillator Bass Sounds with the ES2
- Creating Distorted Analog Basses with the ES2
- Using FM Intensity and Frequency to Create ES2 Sounds
- Controlling ES2 FM Intensity with an Envelope and FM Scaling
- Using FM Drive and Filter FM to Change the Color of ES2 Sounds
- Creating FM Sounds with Digiwaves in the ES2
- Creating FM Sounds with Wavetables in the ES2
- Creating Distorted ES2 FM Sounds with Monophonic Unison
- Creating FM Sounds with Unusual Spectra in the ES2
- Setting Pulse Width Modulations with Oscillator 2 in the ES2
- Creating ES2 String Sounds with Pulse Width Modulation
- Creating Sounds with Ring Modulation in the ES2
- Creating Sounds with Oscillator Synchronization in the ES2
- Getting Started with Vector Synthesis in the ES2
- Using the Planar Pad for Vector Synthesis in the ES2
- Using Vector Synthesis Loops in the ES2
- Creating ES2 Bass Drum Sounds with a Self-Oscillating Filter and the Vector Envelope
- Creating Percussive ES2 Synthesizer and Bass Sounds with Two Filter Decay Phases
- ES2 Tutorial: Using Templates to Create Sounds
- EFM1
- EVOC 20 PolySynth
- What Is a Vocoder?
- How Does a Vocoder Work?
- Setting Up Your EVOC 20 PolySynth Host Application
- Getting to Know the EVOC 20 PolySynth Interface
- EVOC 20 PolySynth Sidechain Analysis Parameters
- EVOC 20 PolySynth (U/V) Detection Parameters
- EVOC 20 PolySynth Synthesis Section Parameters
- EVOC 20 PolySynth Formant Filter Parameters
- EVOC 20 PolySynth Modulation Parameters
- EVOC 20 PolySynth Output Parameters
- Getting the Best Results with the EVOC 20 PolySynth
- A Brief Vocoder History
- EVOC20 Block Diagram
- External Instrument
- EXS24 mkII
- Getting to Know the EXS24 mkII Interface
- About EXS24 Sampler Instruments
- Getting to Know the EXS24 mkII Parameter Window
- Using the EXS24 mkII Sampler Instruments Pop-Up Menu
- Adjusting EXS24 mkII Global Parameters
- Using the EXS24 mkII Pitch Parameters
- Working with EXS24 mkII Filter Parameters
- EXS24 mkII Output Parameters
- Working with EXS24 mkII Modulation
- Getting to Know the EXS24 mkII Modulation Router
- Creating and Bypassing EXS24 mkII Modulation Routings
- Using EXS24 mkII Via Sources to Control Modulation Intensity
- An EXS24 mkII Modulation Example
- Getting to Know the EXS24 mkII LFOs
- Using EXS24 mkII LFO Waveforms
- Using the EXS24 mkII Envelope Generator of LFO 1
- Setting the EXS24 mkII LFO Rate
- Getting to Know the EXS24 mkII Envelopes (ENV 1 and ENV 2)
- EXS24 mkII Modulation Destination Reference
- EXS24 mkII Modulation Source Reference
- EXS24 mkII Modulation Via Source Reference
- An Overview of the EXS24 mkII Instrument Editor
- Creating EXS24 mkII Instruments, Zones, and Groups
- Editing EXS24 mkII Zones and Groups
- Setting EXS24 mkII Zone Parameters
- Using the EXS24 mkII Zone Loop Parameters
- Setting EXS24 mkII Group Parameters
- Using the EXS24 mkII Advanced Group Selection Parameters
- Graphical Editing of EXS24 mkII Zones and Groups
- Saving, Renaming, and Exporting EXS24 mkII Instruments
- Editing Samples in the EXS24 mkII Sample Editor
- Using an External Instrument Editor with the EXS24 mkII
- Importing EXS24 mkII Sampler Instruments
- Managing EXS24 Sampler Instruments
- Setting EXS24 mkII Sampler Preferences
- Configuring EXS24 mkII Virtual Memory
- Advanced EXS24 mkII RAM Management
- Using the VSL Performance Tool in EXS24 mkII
- Klopfgeist
- Ultrabeat
- Getting to Know the Structure of Ultrabeat
- Loading and Saving Ultrabeat Settings
- Getting to Know the Ultrabeat Interface
- Getting to Know Ultrabeat’s Assignment Section
- Importing Sounds and EXS Instruments into Ultrabeat
- Getting to Know the Ultrabeat Synthesizer Section
- Getting to Know the Ultrabeat Oscillators
- Getting to Know the Ultrabeat Oscillator Parameters
- Using Oscillator 1 in Ultrabeat
- Using Oscillator 2 in Ultrabeat
- Using the Ultrabeat Ring Modulator
- Using the Ultrabeat Noise Generator
- Getting to Know the Ultrabeat Filter and Distortion Section
- Using Ultrabeat’s Multimode Filter
- Using Ultrabeat’s Distortion Circuit
- Using the Ultrabeat Output Section
- Working with Modulation in Ultrabeat
- Mod and Via Modulations in Ultrabeat
- Ultrabeat Modulation Examples
- Creating an Ultrabeat Modulation Routing
- Using Ultrabeat MIDI Controllers A-D
- Getting to Know the Ultrabeat LFOs
- Using Ultrabeat’s LFO Waveforms
- Using Ultrabeat’s LFO Waveform Cycles Parameter
- Getting to Know the Ultrabeat Envelopes (Env 1 to Env 4)
- Editing Ultrabeat’s Envelopes Graphically
- Using Ultrabeat’s Envelope Parameters
- Modulation Target Display of Ultrabeat LFOs and Envelopes
- Working with the Ultrabeat Step Sequencer
- How Step Sequencers Work
- Getting to Know Ultrabeat’s Step Sequencer
- Using Ultrabeat’s Global Sequencer Parameters
- Using Ultrabeat’s Pattern Parameters
- Copying and Reorganizing Ultrabeat Patterns
- Using Ultrabeat’s Swing Function
- Getting to Know the Ultrabeat Step Grid
- Creating and Removing Steps in the Ultrabeat Trigger Row
- Using the Ultrabeat Trigger Shortcut Menu Commands
- Setting Step Lengths and Velocities in Ultrabeat’s Velocity/Gate Row
- Using Ultrabeat’s Velocity/Gate Shortcut Menu Commands
- Using Accents in Ultrabeat
- Switching the Ultrabeat Step Grid to Full View
- Automating Parameter Values in Ultrabeat’s Step Sequencer
- Exporting Ultrabeat Patterns as MIDI Regions
- Using MIDI to Control Ultrabeat’s Sequencer
- Ultrabeat Tutorial: Introduction
- Ultrabeat Tutorial: Creating Kick Drums
- Ultrabeat Tutorial: Creating Snare Drums
- Ultrabeat Tutorial: Creating Toms and Tonal Percussion
- Ultrabeat Tutorial: Creating Hi-Hats and Cymbals
- Ultrabeat Tutorial: Creating Metallic Sounds
- Ultrabeat Tutorial: Creating Extreme Sounds
- Ultrabeat Tutorial: Programming in Building Blocks
- GarageBand Instruments
- GarageBand Analog Basic
- GarageBand Analog Mono
- GarageBand Analog Pad
- GarageBand Analog Swirl
- GarageBand Analog Sync
- GarageBand Bass
- GarageBand Church Organ
- GarageBand Digital Basic
- GarageBand Digital Mono
- GarageBand Digital Stepper
- GarageBand Drum Kits
- GarageBand Electric Clav(inet)
- GarageBand Electric Piano
- GarageBand Guitar
- GarageBand Horns
- GarageBand Hybrid Basic
- GarageBand Hybrid Morph
- GarageBand Piano
- GarageBand Sound Effects
- GarageBand Strings
- GarageBand Tonewheel Organ
- GarageBand Tuned Percussion
- GarageBand Voice
- GarageBand Woodwind
- Appendix
ES2 Sound Design from Scratch, Filter Settings, Digiwaves
The Analog Saw Init tutorial setting is designed to be used as a starting point when you
are programming new sounds from “scratch.” When programming entirely new sounds,
professional sound designers like to use this type of setting, which has an unfiltered
sawtooth wave sound without envelopes, modulations, or any gimmicks. This type of
setting is also useful when you are getting to know a new synthesizer. It allows you to
access all parameters without having to consider any preset values.
• Start with the filters, the heart of any subtractive synthesizer. Check out the four lowpass
filter types—12 dB, 18 dB, 24 dB, and fat (Filter 2)—with different values for Cut (Cutoff
Frequency) and Res (Resonance). Define Env 2 as the filter envelope. This modulation
wiring is preset in the Router.
• Set Filter Blend to its leftmost position, which will allow you to listen to Filter 1 in
isolation. In many circumstances, you’ll probably prefer Filter 2, but Filter 1 has its
advantages. In addition to the lowpass filter with 12 dB/octave slope (Lo), Filter 2 also
offers a highpass, peak, bandpass (BP), and band rejection (BR) mode. Filter 1’s lowpass
sounds “softer” when compared with Filter 2. It is best-suited to sounds where the filter
effect is or should be less audible, such as with Strings and FM sounds. Distorted
TB-303-style sounds are more easily achieved with Filter 1.
• This setting is also ideal for checking out the oscillator waveforms. The analog waveforms
can be set in the Editor view. To select the Digiwaves, set Osc 1 Wave to Digiwave.
Creating Fat ES2 Sounds with Oscillator Detuning and Unison Mode
“Fat” synthesizer sounds have always been popular and are likely to remain so, given their
use in modern trance, techno, R & B, and other styles. The Analog Saw 3 Osc setting features
three detuned oscillators, and sounds fat as it is. The following will introduce you to some
additional tools to fatten the sound even more.
• Check out the 3-oscillator basic sound with different filter and envelope settings.
• Check out the chorus effect at different Intensities and speeds.
• Engage Unison mode and select a higher setting for Analog. Because the sound is
polyphonic, each note is doubled. The number of notes that can be played
simultaneously will be reduced from 10 to 5. This makes the sound rich and broad.
Combining Unison and higher values for Analog spreads the sound across the stereo
spectrum.
In many factory settings, the Unison mode is active. This demands a lot of processing
power. If your computer isn’t fast enough, you can switch off the Unison mode and insert
an Ensemble effect in a bus, for use with several plug-ins. This will save processing power.
You can also save CPU resources by freezing or bouncing several software instrument
tracks.
112 Chapter 5 ES2