8
Table Of Contents
- Logic Express 8 Instruments and Effects
- Contents
- Introduction to the Logic Express Plugins
- Amp Modeling
- Delay
- Distortion
- Dynamics
- EQ
- Filter
- Imaging
- Metering
- Modulation
- Pitch
- Reverb
- Specialized
- Utility
- EVOC 20 PolySynth
- EFM1
- ES E
- ES M
- ES P
- ES1
- ES2
- The ES2 Parameters
- Tutorials
- Sound Workshop
- Sound Design From Scratch, Filter Settings, Digiwaves
- Three Detuned Sawtooth Oscillators and Unison Mode
- Extremely Detuned Monophonic Analog Sounds, Effects
- Clean Bass Settings With One Oscillator Only
- Distorted Analog Basses
- FM Intensity and Frequency
- Controlling FM Intensity by an Envelope and FM Scaling
- FM With Drive and Filter-FM
- FM With Digiwaves
- FM With Wavetables
- Distorted FM in Monophonic Unison
- FM With Unusual Spectra
- Slow and Fast Pulse Width Modulations With Oscillator 2
- Pulse Width Modulation With Two Oscillators, PWM Strings
- Ring Modulation
- Oscillator Synchronization
- First Steps in Vector Synthesis
- Vector Synthesis—XY Pad
- Vector Synthesis Loops
- Bass Drum With Self-Oscillating Filter and Vector Envelope
- Percussive Synthesizers and Basses With Two Filter Decay Phases
- Templates for the ES2
- Sound Workshop
- EXS24 mkII
- Learning About Sampler Instruments
- Loading Sampler Instruments
- Working With Sampler Instrument Settings
- Managing Sampler Instruments
- Searching for Sampler Instruments
- Importing Sampler Instruments
- Parameters Window
- The Instrument Editor
- Setting Sampler Preferences
- Configuring Virtual Memory
- Using the VSL Performance Tool
- External Instrument
- Klopfgeist
- Ultrabeat
- GarageBand Instruments
- Synthesizer Basics
- Glossary
- Index
130 Chapter 11 Reverb
 Stereo Base (only available in stereo instances): Defines the distance between the two
virtual microphones that you are using in the simulated room. Spacing the
microphones slightly further apart than the distance between two human ears
generally delivers the best results. More realistic results can be obtained if you
choose to use the distance between two ears located on opposite sides of the same
head.
 ER Scale (Extended Parameter): Scales the early reflections along the time axis,
influencing the Room Shape, Room Size, and Stereo Base parameters simultaneously.
Reverb Parameters
 Initial Delay: Sets the time between the original signal and the diffuse reverb tail.
 Spread: Controls the stereo image of the reverb. At 0%, the effect generates a
monaural reverb. At 200%, the stereo base is artificially expanded.
 Crossover: Defines the frequency at which the input signal is split into two frequency
bands, for separate processing.
 Low Ratio: Determines the reverb time of the bass band in relation to the reverb
time of the high band. It is expressed as a percentage, ranging from 0 to 200%.
 Low Freq Level: Sets the level of the bass reverb. At 0 dB, the volume of the two
bands is equal.
 High Cut: Frequencies above the set value are filtered from the reverb signal.
 Density: Controls the density of the diffuse reverb tail.
 Diffusion: Sets the diffusion of the reverb tail.
 Reverb Time: Determines the reverb time of the high band.
Output Parameters
 Dry: Controls the amount of the original signal.
 Wet: Controls the amount of the effect signal.
Setting Predelay and Initial Delay
In practice, too short a Predelay tends to make it difficult to pinpoint the position of the
signal. It can also color the sound of the original signal. On the other hand, too long a
Predelay can be perceived as an unnatural echo. It can also divorce the original signal
from its early reflections, which leaves an audible gap.
The optimum Predelay setting depends on the type (or envelope) of signal. Percussive
signals generally require shorter predelays than signals where the attack fades in
gradually. A good practice is to use the longest Predelay possible before you start to
hear undesirable side effects, such as an audible echo.