7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
124 Chapter 10 Convolution Reverb: Space Designer
Rev Vol Compensation
Rev Vol Compensation (Reverb Volume Compensation) attempts to match the
perceived (not actual) volume differences of Impulse Response files. It is set to on by
default, and should generally be left in this mode, although you may find that it isn’t
successful with all types of Impulse Responses. In such situations, switch it off and
adjust the Input and Output levels accordingly.
Pre-Delay
Pre-delay is the amount of time that elapses between the original signal, and the arrival
of the early reflections. Put another way, it represents the time the effected signal is
delayed in relation to the unprocessed direct signal.
In any given room size and shape, pre-delay determines the distance between the
listener and the walls, ceiling, and floor. When used with artificially generated reverb, it
has proven advantageous to allow this parameter to be manipulated separately from,
and over a greater range than what is considered natural for pre-delay. In practice, too
short a Pre-Delay tends to make it difficult to pinpoint the position of the signal. It can
also color the sound of the original signal.
On the other hand, too long a Pre-Delay can be perceived as an unnatural echo. It can
also divorce the original signal from its early reflections, leaving an audible gap
between the signals. The ideal Pre-Delay setting depends on the properties or, more
accurately, the envelope of the original signal. Percussive signals generally require
shorter Pre-Delays than signals where the attack fades in gradually. A good rule of
thumb is to use the longest Pre-Delay possible before undesirable side effects, such as
an audible echo, begin materializing. More information on the general principles of
reverberation can be found in “So, Just What Is Reverberation?” on page 139.
IR Start
This parameter enables you to shift the playback point into the IR, which will effectively
cut off the beginning of the IR.