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
206 Chapter 20 ES2
The Waveforms of Oscillators 2 and 3
Basically, Oscillators 2 and 3 supply the same selection of analog waveforms as
Oscillator 1: sine, triangular, sawtooth, and rectangular waves. The pulse width can be
scaled steplessly between 50% and the thinnest of pulses, and can be modulated in a
number of ways (see the “Pulse Width Modulation” section, on page 206).
Oscillators 2 and 3 also offer the selection of:
 A rectangular wave, synchronized to Oscillator 1
 A sawtooth wave, synchronized to Oscillator 1
 A ring modulator, which is fed by the output of Oscillator 1 and a square wave from
Oscillator 2.
 Colored noise for Oscillator 3
Synchronization and ring modulation facilitate the creation of very complex and
flexible harmonic spectra. The principle of Oscillator synchronization is described on
page 207, and ring modulation on page 207.
Pulse Width Modulation
Oscillators 2 and 3 allow you to scale the width of the pulses to any value. The
spectrum and tone color generated by these oscillators depends on the pulse width.
The pulse width can be modulated. You can even modulate the pulse width of the
square and pulse wave of Oscillator 1, the pulse width of the synchronized pulse waves
of Oscillator 2 and 3, and the square wave of Oscillator 2’s ring modulator.
This width modulation is controlled in the Router (the Modulation Matrix). The pulse
width is defined by the waveform rotary control. The graphic below shows a pulse
wave, with the pulse width modulated by an LFO. You can clearly see how the width of
the pulses change over time.
Note: A pulse wave (with its width modulation controlled by an LFO set to a sine wave)
makes a single oscillator sound vivid, undulating, and rich with overtones. Sonically,
this is somewhat like the sound of two slightly detuned, phasing oscillators. The effect
sounds great with sustained bass and pad sounds. Select the intensity and speed of the
modulation with care, as the overall volume (and level of the first partial) decreases,
and slight detuning occurs, when the pulses become very thin (below 10%). Pulse
width modulations via velocity sensitive envelope generators sound very dynamic—a
great effect that is especially suitable for percussive bass sounds.