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
16
181
16 ES E
This chapter discusses the eight-voice polyphonic ES E
synthesizer.
The ES E (ES Ensemble) is designed for pad and ensemble sounds. It is great for adding
atmospheric beds to your music, with minimal CPU overhead. All ES E parameters are
discussed in the following section.
 4, 8, 16 buttons: Determine the ES E’s octave transposition.
 Wave knob: The left-most setting of the Wave parameter causes the oscillators to
output sawtooth signals—which can be frequency modulated by the integrated LFO.
Across the remaining range, the oscillators output pulse waves, with the average
pulse width being defined by the Wave parameter.
 Vib/PWM knob: If Wave is set to sawtooth, this parameter defines the amount of
frequency modulation, resulting in a vibrato or siren effect—depending on the LFO
speed and intensity. If Wave has been set to a pulse wave, this parameter controls the
amount of pulse width modulation (PWM). When the pulse width becomes very
narrow, the sound sounds like it is being interrupted (“breaking up”). Given this
potential artifact, set the PWM intensity with care, and select the Wave parameter’s
12 o’clock-position (50% rectangular) for the pulse width, if you want to achieve the
maximum modulation range.
 Speed knob: Controls the frequency of the pitch (sawtooth), or pulse width
modulation.
 Cutoff knob: Sets the cutoff frequency of the resonance-capable, dynamic lowpass
filter.