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 20 ES2 223
This leads to the following rules of thumb for modulation intensity settings.
 Modulation intensity of 8 equals a pitch shift of 10 cents.
 Modulation intensity of 20 equals a pitch shift of 50 cents, or one quarter tone.
 Modulation intensity of 28 equals a pitch shift of 100 cents, or one semitone.
 Modulation intensity of 36 equals a pitch shift of 200 cents, or two semitones.
 Modulation intensity of 76 equals a pitch shift of 1,200 cents, or one octave.
 Modulation intensity of 100 equals a pitch shift of 3,600 cents, or three octaves.
OscWaves
Dependent on the Waveforms set in the three oscillators, this target can be used to
modulate:
 The pulse width of rectangular and pulse waves
 The amount of frequency modulation (Oscillator 1 only)
 Noise color (Oscillator 3 only)
 The position of the Digiwaves
OscWaves affects all oscillators simultaneously. The Osc1Wave, Osc2Wave, and
Osc3Wave targets only affect the specified Oscillator. Check out the ensuing
paragraphs to see what wave modulation does in the three oscillators.
For further information on the effects of these modulations, please read the “Pulse
Width Modulation” section, on page 206. Also take a look at the “Linear Frequency
Modulation” section, on page 205, “White and Colored Noise (Oscillator 3 Only)”, on
page 208, and the “Digiwaves” section, on page 204.
Osc1Wave
Dependent on the waveform selected, you can control the pulse width of rectangular
and pulse waves of Oscillator 1, the amount of frequency modulation (with Oscillator 1
being the carrier and Oscillator 2 being the modulator), or the position of the Digiwave.
The pulse width of the rectangular and pulse waves is not restricted to two fixed values
in Oscillator 1.
Note: In classic FM synthesizers, the amount of FM is controlled in real time by velocity
sensitive envelope generators. Select one of the ENVs as the source for such sounds.
Osc2Wave
As per Osc1Wave, except that Oscillator 2 does not feature FM. Please note that pulse
width modulation also works with both the synchronized rectangular and ring
modulated rectangular waves.
Osc3Wave
Oscillator 3 is as per Osc1Wave and Osc2Wave, but it does not feature FM or ring
modulation. Oscillator 3 features Noise, the color of which can be modulated with this
parameter.