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
234 Chapter 20 ES2
EG (LFO1)
At its center position—which can be accessed by clicking the middle mark—the
modulation intensity is static: it won’t be faded in or out at all. At positive values, it is
faded in. The higher the value, the longer the delay time is. At negative values, it is
faded out. The lower (onscreen) the slider is positioned, the shorter the fade out time is.
The function is abbreviated as EG because the fading in or out is internally performed
by an ultra-simple envelope generator.
Most commonly, this is used for delayed vibrato—many instrumentalists and singers
intonate longer notes this way. To set up a delayed vibrato: Place the slider at a
position in the upper half (Delay) and modulate the Pitch123 target with the LFO1
source. Set a slight modulation intensity. Select a Rate of about 5 Hz and the triangular
wave as the LFO waveform.
∏ Tip: Chaotic and fast modulations of the oscillators frequencies (Pitch123) by LFO 1
with a delayed Sample&Hold selected as the waveform, a high Rate, and short fade out,
make the attack phase of the note sound Moog Rogue-ish—and quite similar to the
attack phase of brass instruments.
Rate
This parameter defines the frequency or speed of the modulation. The value is
displayed in Hertz (Hz) beneath the slider.
Wave
This is where you select the desired LFO waveform. Check out the waveforms while a
modulation of Pitch123 is engaged and running. You should find the symbols quite self-
evident.
Triangular Wave
The triangular wave is well suited for vibrato effects.
Sawtooth Wave and Inverted Sawtooth
The sawtooth is well suited for helicopter and space gun sounds. Intense modulations
of the oscillator frequencies with a negative (inverse) sawtooth wave leads to bubbling
and boiling, underwater sounds. Intense sawtooth modulations of lowpass filters (such
as Filter 2) create rhythmic effects.
Rectangular Waves
The rectangular waves make the LFO periodically switch between two values. The
upper rectangular wave switches between a positive value and zero. The lower wave
switches between a positive and a negative value set to the same amount above/
below zero.