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 259
 Following such drastic augmentations to the modulation range, the sound will
become uneven across the keyboard. In the lower and middle ranges, it sounds nice,
but in the upper key range the FM intensity appears to be too severe. You can
compensate for this effect by modulating the Osc 1 Wave target by keyboard
position (kybd)—in modulation channels 5 and 6. This results in a keyboard scaling
of the FM intensity.
 As the sound range is so vast (due to the 4 modulations), two modulation channels
are required to compensate for this. Set the lower slider halves to their lowest
positions. Good keyboard scaling is essential for any FM sound.
FM With Drive and Filter-FM
The FM Drive setting illustrates how dramatically the character of FM sounds can be
altered by applying Drive and Filter FM. The results are reminiscent of the feedback
circuits of classic FM synthesizers.
 Check out different Drive and Filter FM settings.
 Lower the Cutoff Frequency of Filter 2 to 0. Envelope 2 modulates Filter 2. This
modulation routing is already present in the setting.
FM With Digiwaves
In the FM Digiwave setting, a Digiwave is used as an FM modulator. This results in a
bell-like spectra from only two operators. Using traditional FM synthesis, this type of
timbre could normally only be produced with a larger number of sine oscillators.
In order to create a fatter, undulating, and atmospheric quality to the sound, the
polyphonic Unison mode has been engaged. Filter and amplitude envelopes have
been preset to shape the sound.
 Check out the variety of Digiwaves, as FM modulation sources.
 Check out different Analog parameter values.
FM With Wavetables
You can program the most vivid FM sounds when the modulation source morphs
between different Digiwaves. The morphing in the FM Digiwave setting is controlled by
LFO 2. The tempo of LFO 2 (and therefore the morph) depends on the sequencer
tempo (here: 2 bars).
 Set LFO 2 to different waveforms. Lag S/H (smooth random), in particular, should be
fun.
 Check out different FM intensities and oscillator frequencies.
 Alter the modulation intensity of the first modulation channel (LFO2 modulates Osc2
Wave) and the LFO 2 rate.