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
178 Chapter 14 The EVOC 20 PS
As you can see, there are some subtle differences between the two modes. We will look
at the common parameters first, and will then look at the mode-specific options.
Wave 1 Parameters
The footages below the Wave 1 label in both modes harks back to the days of pipe
organs. The longer the pipe, the deeper the tone. This also applies to Wave 1. Simply
click on the 16, 8 or 4 foot value to select the range in which Wave (oscillator) 1
functions. Your selection will be illuminated.
The numerical value beside the Wave 1 label (shown as 41 in the diagrams) indicates
the currently selected waveform type. The EVOC 20 PS features 50 waveforms with
different sonic characteristics. To switch between them, simply click-hold on the
numerical field and drag up or down. When the desired waveform number is visible,
release the mouse button.
Note: When in FM mode, the waveform of Wave 1 is a fixed sine wave. The waveform
parameter of Wave 1 does not have an effect in this mode.
Wave 2 Parameters
The numerical value beside the Wave 2 label (shown as 41 in the diagrams) indicates
the currently selected waveform type. The EVOC 20 PS features 50 single-cycle digital
waveforms with different sonic characteristics. To switch between them, simply click-
hold on the numerical field and drag your mouse up or down. When the desired
waveform number is visible, release the mouse button.
Noise Parameters
The Noise generator provides a further sound source which can be used in addition to
the two oscillators (Wave 1 and Wave 2).
The Level knob controls the amount of noise added to the signals of the two oscillators,
and the Color knob controls the timbre of the noise signal. When the Color knob is
turned fully-left, the Noise generator creates a pure white noise. When turned fully-right,
it generates blue noise (high-passed noise). White noise has always been used to create
wind and rain sound effects. It has the same energy in each frequency interval. Blue
noise sounds brighter, because its bass portion is suppressed by a high pass filter.
It is important to note that the Noise generator in the Oscillator section is independent
of the Noise generator in the U/V Detection section. For further information on voiced
and unvoiced signals, refer to “Analyzing Speech Signals”, from page 169 onwards.