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
Chapter 1 Amp Modeling 19
Microphone Position and Microphone Type Sections
After choosing a speaker from the Speaker menu, you can set the type of microphone
emulated, and where the microphone is placed in relation to the speaker.
Microphone Position Parameters
 Centered button: When selected, places the microphone in the center of the speaker
cone, also called on-axis. This placement produces a fuller, more powerful sound,
suitable for blues or jazz guitar tones.
 Off-Center button: When selected, places the microphone on the edge of the speaker,
also referred to as off-axis. This placement produces signal a tone that is brighter and
sharper, but also thinner, suitable for cutting rock or rhythm and blues guitar tones.
When you select either button, the graphic speaker display reflects the current setting.
Microphone Type Parameters
 Condenser button: When selected, emulates the sound of a studio condenser
microphone. The sound of condenser microphones is fine, transparent, and well
balanced.
 Dynamic button: When selected, emulates the sound of a dynamic cardioid
microphone. This microphone type sounds brighter and more cutting, compared to
the Condenser model. At the same time, the lower Mids are less pronounced, making
this model more suitable for miking rock guitar tones.
Note: In practice, combining both microphone types can sound very interesting.
Duplicate the guitar track, and insert Guitar Amp Pro as an insert effect on both
tracks. Select different microphones in both Guitar Amp Pro instances, while
retaining identical settings for all other parameters, and mix the track signal levels.
You can, of course, choose to vary any other parameters, as desired.
Output
Below the Effects section is the Output slider, which serves as the final level control for
Guitar Amp Pro output. The Output parameter can be thought of as a “behind the
cabinet” volume control, and is used to set the level that is fed into the following plug-
in slots on the channel or into the channel output.
Note: This parameter is distinct from the Master control, which serves a dual purpose—
for sound design, as well as controlling the level of the Amp section.