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
250 Chapter 20 ES2
Effect Processor
The ES2 is equipped with an integrated effect processor. Any changes to this
processor’s effects settings are saved as an integral part of each sound program.
Despite the inclusion of this integrated effects processor, please feel free to process the
ES2 with the other effect plug-ins included in Logic Express. The sound and parameter
set of the integrated effects unit is reminiscent of classic pedal effects, designed for the
electric guitar. The use of guitar pedal effects on classic analog synthesizers was a
standard practice amongst gigging musicians.
Distortion
At its Soft setting, the distortion circuit is somewhat like a tube overdrive, whilst Hard
sounds like a fully-transistorized fuzz box. The Distortion control defines the amount of
distortion, and Tone controls the treble portion of the output of the distortion process.
Chorus, Phaser, Flanger
These classic modulation effects and their parameters (Intensity and Speed) simulate
the sound of analog effects of this kind, with one exception: They don’t produce as
much noise.
 A chorus effect is based on a delay line, the output of which is mixed with the
original, dry signal. The short delay time is modulated periodically, resulting in pitch
deviations. The modulated deviations, in conjunction with the original signal’s pitch,
produce the chorus effect.
 A flanger works in a fashion similar to that of a chorus, but with even shorter delay
times, and the output signal being fed back into the input of the delay line. This
feedback results in the creation of harmonic resonances which wander cyclically
through the spectrum, giving the signal a metallic sound.
 A phaser is based on a mix of a delayed and an original signal. The delayed element
is derived from an all-pass filter, which applies a frequency-dependent delay to the
signal. This is expressed as a phase angle. The effect is based on a comb filter, which
is basically an array of inharmonic notches (rather than resonances, as with the
flanger), which also wander through the frequency spectrum.