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 5 EQ 59
Using the Channel EQ
How you use the Channel EQ depends on your audio and what you intend to do, but a
useful workflow for many situations is as follows: with the Channel EQ set to a flat
response (no frequencies boosted or cut), turn on the Analyzer and play the audio,
observing the graphic display to see which parts of the frequency spectrum have
frequent peaks and which parts stay at a low level. Notice particular places where the
signal distorts or clips. Then, using the graphic display or the Parameter controls, adjust
the frequency bands as desired to obtain the sound you want.
You can attenuate the frequencies that clip to reduce or eliminate the distortion, and
raise the quiet areas to make them more pronounced. You can adjust the center
frequency for bands 2 through 7 to affect a specific frequency (either one you want to
emphasize, such as the root note of the music, or one you want to eliminate, such as
hum or other noise), and narrow the Q so that only a narrow range of frequencies are
affected, or widen it to alter a broad area.
In the graphic display, each EQ band appears as a different color. You can graphically
adjust the frequency of a band by dragging horizontally in the area of the band. Drag
vertically to adjust the amount of gain for the band (For bands 1 and 8, the slope
values can only be changed in the parameter area below the graphic display). Each
band has a pivot point, which appears as a small circle on the curve (at the location of
the band’s frequency); you can adjust the Q or width of the band by dragging the pivot
point vertically.
You can also adjust the decibel scale of the graphic display by vertically dragging either
the left or right edge of the display (where the dB numbers appear) when the Analyzer
is not active. When the Analyzer is active, dragging the left edge adjusts the linear dB
scale, and dragging the right edge adjusts the Analyzer dB scale.
To increase the resolution of the EQ curve display in the most interesting area around
the zero line, drag the dB scale on the left side of the graphic display upward. Drag
downward to decrease the resolution. The overall range is always ±30, but small values
are easier to recognize.
When you work with the Channel EQ, you can turn off any bands you are not using to
shape the sound. Inactive bands do not use any computer resources.