9
Table Of Contents
- Logic Express 9 Effects
- Contents
- An Introduction to the Logic Express Effects
- Amps and Pedals
- Amp Designer
- Choosing an Amp Designer Model
- Tweed Combos
- Classic American Combos
- British Stacks
- British Combos
- British Alternatives
- Metal Stacks
- Additional Combos
- Building a Customized Amp Designer Combo
- Choosing an Amp Designer Amplifier
- Choosing an Amp Designer Cabinet
- Amp Designer Cabinet Reference Table
- Using Amp Designer’s Equalizer
- Amp Designer Equalizer Type Reference Table
- Using Amp Designer’s Gain, Presence, and Master Controls
- Getting to Know Amp Designer’s Effects Parameters
- Using Amp Designer’s Reverb Effect
- Amp Designer Reverb Type Reference Table
- Using Amp Designer’s Tremolo and Vibrato Effects
- Setting Amp Designer Microphone Parameters
- Setting Amp Designer’s Output Level
- Bass Amp
- Guitar Amp Pro
- Building Your Guitar Amp Pro Model
- Choosing a Guitar Amp Pro Amplifier
- Choosing a Guitar Amp Pro Speaker Cabinet
- Choosing a Guitar Amp Pro Equalizer
- Using Guitar Amp Pro’s Gain, Tone, Presence, and Master Controls
- Getting to Know Guitar Amp Pro’s Effects Section
- Using Guitar Amp Pro’s Tremolo and Vibrato Effects
- Using Guitar Amp Pro’s Reverb Effect
- Setting Guitar Amp Pro Microphone Parameters
- Setting the Guitar Amp Pro Output Level
- Pedalboard
- Amp Designer
- Delay Effects
- Distortion Effects
- Dynamics Processors
- Equalizers
- Filter Effects
- AutoFilter
- EVOC 20 Filterbank
- EVOC 20 TrackOscillator
- What Is a Vocoder?
- How Does a Vocoder Work?
- Getting to Know the EVOC 20 TrackOscillator Interface
- EVOC 20 TrackOscillator Analysis In Parameters
- Using EVOC 20 TrackOscillator Analysis In Parameters
- EVOC 20 TrackOscillator U/V Detection Parameters
- EVOC 20 TrackOscillator Synthesis In Parameters
- Basic Tracking Oscillator Parameters
- Tracking Oscillator Pitch Correction Parameters
- Quantizing the Pitch of the Tracking Oscillator
- EVOC 20 TrackOscillator Formant Filter Parameters
- Using Formant Stretch and Formant Shift
- EVOC 20 TrackOscillator Modulation Parameters
- EVOC 20 TrackOscillator Output Parameters
- Fuzz-Wah
- Spectral Gate
- Imaging Processors
- Metering Tools
- Modulation Effects
- Pitch Effects
- Reverb Effects
- Specialized Effects and Utilities
- Utilities and Tools
Phaser LFO Section
• LFO 1 and LFO 2 Rate knobs and fields: Set the speed for each LFO.
• LFO Mix slider and fields: Determines the ratio between the two LFOs.
• Env Follow slider and field: Determines the impact of incoming signal levels on the speed
of LFO 1.
• Phase knob and field: Available only in stereo instances. Controls the phase relationship
between the individual channel modulations.
At 0°, the extreme values of the modulation are achieved simultaneously for all channels.
180° or −180° is equal to the greatest possible distance between the modulation phases
of the channels.
Phaser Output Section
• Output Mix slider and field: Determines the balance of dry and wet signals. Negative
values result in a phase-inverted mix of the effect and direct (dry) signal.
• Warmth button: Enables a distortion circuit, suitable for warm overdrive effects.
Ringshifter
The Ringshifter effect combines a ring modulator with a frequency shifter effect. Both
effects were popular during the 1970s, and are currently experiencing something of a
renaissance.
The ring modulator modulates the amplitude of the input signal using either the internal
oscillator or a side-chain signal. The frequency spectrum of the resulting effect signal
equals the sum and difference of the frequency content in the two original signals. Its
sound is often described as metallic or clangorous. The ring modulator was used extensively
on jazz rock and fusion records in the early 1970s.
The frequency shifter moves the frequency content of the input signal by a fixed amount
and, in doing so, alters the frequency relationship of the original harmonics. The resulting
sounds range from sweet and spacious phasing effects to strange robotic timbres.
Note: Frequency shifting should not be confused with pitch shifting. Pitch shifting
transposes the original signal, leaving its harmonic frequency relationship intact.
144 Chapter 9 Modulation Effects