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
Note: If the noise floor of your recording is very high (more than −68 dB), reducing it
to a level of −83 to −78 dB should be sufficient, provided this doesn’t introduce any
audible side effects. This effectively reduces the noise by more than 10 dB, to less than
half of the original (noise) volume.
• Noise Type slider and field: Determines the type of noise that you want to reduce.
• A value of 0 equals white noise (equal frequency distribution).
• Positive values change the noise type to pink noise (harmonic noise; greater bass
response).
• Negative values change the noise type to blue noise (hissy tape noise).
• Graphic display: Shows how the lowest volume levels of your audio material—which
should be mostly, or entirely, noise—are reduced. Changes to parameters are instantly
reflected here, so keep an eye on it.
Denoiser Smoothing Parameters
The Denoiser offers the following smoothing parameters:
Time knob and field
Frequency knob and field
Transition knob and field
• Frequency knob and field: Adjusts how smoothing is applied to neighboring frequencies.
If the Denoiser recognizes that only noise is present on a certain frequency band, the
higher you set the Frequency parameter, the more it changes the neighboring frequency
bands to avoid glass noise.
• Time knob and field: Sets the time required by the Denoiser to reach (or release)
maximum reduction. This is the simplest form of smoothing.
• Transition knob and field: Adjusts how smoothing is applied to neighboring volume
levels. If the Denoiser recognizes that only noise is present in a certain volume range,
the higher you set the Transition parameter, the more similar-level values are changed,
in order to avoid glass noise.
Enhance Timing
Enhance Timing is designed to tighten up loose playing of recorded audio in a production.
It can be used on a variety of materials and works in real time.
183Chapter 12 Specialized Effects and Utilities