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
154 Chapter 11 Special
The cutoff frequency parameter of the high pass filter is called Frequency. The graphic
displays the frequency range that is used as the source signal for the process.
Harmonics controls the level of the effect signal mixed to the original signal. If you
disable Input, the original signal won’t be fed through. This should be your approach
when using the Exciter plug-in on a Bus channel, being fed by Sends from several
channel strips simultaneously, or should you wish to listen to the soloed effect signal.
The lower you tune the filter, the more harmonics the effect will produce, the lower the
frequencies of the artificial harmonics will be, and the less natural they will sound.
You can choose between two sound characteristics for the distortion. Color 1 is less
dense in spectrum than Color 2. The effect of Color 2 is more intense, but it also
introduces more unwanted intermodulation distortion.
Basically, higher settings for Frequency and Harmonics are preferable, because we
cannot easily distinguish between artificial and original high frequencies. Exciters add
life to digital recordings. They are especially well suited to audio tracks where the treble
is weak. Exciters are also popular for guitar tracks.
Stereo Spread
The Stereo Spread plug-in is a standard effect for mastering. There are several ways to
extend the stereo base, including complex algorithms of the Ghetto blaster type
(“wide” or “space”), or tampering with the signal’s phase. They all sound great, but most
of them could be very dangerous to your mix, ruining the transient response, for
example.
The Stereo Spread follows a sure and simple method: it extends the stereo base by
alternately distributing a (selectable) number of frequency bands from the middle
frequency range to the left and right channels. This greatly increases the perception of
stereo width, especially when applying a stereo effect to monaural recordings—
without making them sound totally alien.