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
The ES2 provides ten modulation routings—in columns. Although it looks somewhat
intimidating at first, each routing column is quite similar to the modulation controls found
in the ES1. Note the first routing, at the left in the figure below:
The modulation target is Pitch123. The pitch—the Frequency parameter—of oscillators
one, two, and three is affected (by LFO2, the modulation source).
LFO2 is the modulation source. The two arrows to the right of the column indicate the
modulation amount. To make the modulation more intense, drag the upper and/or lower
arrows up or down, thereby increasing the range of the modulation amount. The upper
arrow determines the maximum amount of modulation, and the lower arrow determines
the minimum amount of modulation.
The Via control is the ModWhl. The amount of modulation—the range of which is
determined by the sliders to the right of the channel—is directly controlled via the
modulation wheel of your keyboard. When the modulation wheel is at the minimum
setting, at the bottom of its travel, the amount of oscillator pitch modulation is minimal
—or off/no modulation at all. As you move the modulation wheel upward, the frequency
of all three oscillators is directly controlled by the LFO within the range determined by
the sliders.
Common Modulation Sources
This section outlines modulation sources that you typically find on most synthesizers.
Modulation Controllers
Modulation sources can be—and often are—triggered by something you’ve done, such
as played a note on the keyboard, or moved the modulation wheel.
Thus, the modulation wheel, pitch bend ribbons, foot pedals, keyboard, and other input
options are referred to as modulation controllers, or simply controllers.
Perhaps the best example of a modulation controller in action would be the use of a
velocity-sensitive keyboard, set up to control the filter and level envelopes. The harder
you strike the notes, the louder and brighter the sound is. See Using Envelopes for
Modulation.
364 Appendix Synthesizer Basics