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
Chapter 11 Special 149
Bypass
Use of the small bypass buttons (byp) above the green (black) and below the blue
(white) keys excludes notes from correction. This is useful for blue notes. Blue notes are
notes that slide between pitches, making the major and minor status of the keys diffi-
cult to identify. As you may know, one of the major differences between C minor and C
major is the e flat and the b flat, instead of the e and the b. Blues singers glide between
these notes, creating an uncertainty or tension between the scales. Use of the bypass
switches allows you to exclude particular keys from changes, leaving them as they
were.
Bypass All
With Bypass All active, the input signal is passed through unprocessed and uncorrected.
The Bypass All function is useful for spot corrections to pitch through use of Logic’s
automation system. Bypass All is optimized for seamless bypass switching in all
situations.
Note: You’ll often find that it’s best to only correct notes with the most harmonic gra-
vity. As an example, select a Scale of sus 4 and the Root note of the song’s key. This will
limit correction to the root note, the fourth and the fifth of the key scale. Switch all
other notes to Bypass, and only the most important and sensitive notes will be correc-
ted, while all other singing remains untouched.
Reference Tuning
The File > Song Settings > Tuning settings determine the tuning reference for all soft-
ware instruments. If you engage Use Global Tuning in the Pitch Correction Plug-in win-
dow, the Global Tuning settings will be used for the pitch correction process. If this
parameter is switched off, you can use this section to freely set the desired reference
tuning in cents.
Note: Tunings that differ from software instrument tuning can be interesting, when you
want to individually correct the notes of singers in a choir. If all voices were individually
and perfectly corrected to the same pitch, the choir effect would be partially lost. You
can avoid this by (de)tuning the pitch corrections individually.
Response
Response determines how quickly the voice reaches the corrected destination pitch.
Singers use portamenti and other gliding techniques. If you choose a Response that’s
too high, seamless portamenti turn into semitone-stepped glissandi, but the intona-
tion will be perfect. If the Response is too slow, the pitch of the output signal won’t
change quickly enough. The Response of pitch changes is indicated in milliseconds.
The optimum setting for this parameter depends on the singing style, tempo, vibrato,
and quality of the original performance.