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 273
MW-Pad-Creator 3
This is an attempt to create a patch which is able to automatically generate new
patches.
The Basics
Again, Oscillator 2 is used for a pulse width modulation—which creates a strong
ensemble component (please refer to “Something Horny (Crescendo Brass)” section, on
page 271, for further information).
Oscillators 1 and 3 are set to an initial start wave combination within their respective
Digiwave tables. You can modify these if you wish, and start with a different
combination of Digiwaves from the outset.
Modulation 3 “drives” the wavetables of all three Oscillators, via the mod wheel. Put
simply: you can simultaneously scroll through the Oscillator 1 and Oscillator 3
wavetables, and change Oscillator 2’s pulse width—by moving the mod wheel.
Try a careful, very slow movement of the mod wheel, and you’ll hear drastic changes
within the wave configuration. Each incremental position of the wheel offers a different
digital pad sound. Avoid rapid movements, or this will sound like an AM radio.
Another potential modification procedure is hidden in the modulation intensity of the
Oscillator 1, 2, and 3 wave parameters. As mentioned for the Stratocaster patch, the
value of this intensity parameter assigns both the step width, and direction, through
the wavetables. You may try modifications to the amount, using positive or negative
values.
An interesting side-effect of FM assignment to Filter 2 (Modulation 4/Lowpass Filter FM)
occurs when the mod wheel is moved to higher positions: the frequency modulation
of the filter is increased, causing all cyclical beats (vibrating pitches, detunes, pulse
width) to be emphasized. This also adds a rough, “hissing” quality to the overall sound
character.
FM offers vast scope for experimentation, and you can decide between:
 An initial FM, using Filter 2’s FM parameter, which you can redraw (set a negative
modulation amount for Modulation 4’s maximum) by moving the mod wheel to its
top position.
 Or you may have permanent FM (and another modulation setup, saved for a different
assignment). You can also switch off FM, if you consider its effect too dirty sounding.
Real-time control is via pressure for a vibrato (Modulation 10), and also for a slight
opening of the Cutoff to emphasize the modulation (Modulation 9).