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
182 Chapter 14 The EVOC 20 PS
Freeze
The Freeze button holds the current Analysis sound spectrum infinitely.
The frozen Analysis signal can capture a particular characteristic of the source signal
which is then imposed as a complex sustained filter shape on the Synthesis section.
Using a spoken word pattern as a source, for example, the Freeze parameter could
capture the attack or tail phase of an individual word within the pattern—the vowel a,
for example.
With Freeze engaged, the Analysis filter bank ignores the input source until it is
disengaged.
Another use of the Freeze parameter (which can be automated) could be to
compensate for people’s inability to sustain sung notes for a long period, without
taking a breath. If the Synthesis signal needs to be sustained, when the Analysis source
signal (a vocal part) isn’t, Freeze can be used to lock the current formant levels (of a
sung note)—even during gaps in the vocal part—between words in a vocal phrase.
Note: When the Freeze parameter is used, the Attack and Release parameters have no
effect.
Bands
The Bands window determines the number of frequency bands used by the
EVOC 20 PS. It ranges from 5 to 20.
The greater the number of bands, the more precisely the sound can be reshaped. As
the number of bands is reduced, the source signal’s frequency range is divided up into
fewer bands—and the resulting sound will be formed with less precision by the
Synthesis engine.
Note: Increasing the number of Bands also increases the processor overhead.
You may find that a good compromise between sonic precision—allowing incoming
signals (speech and vocals, in particular) to remain intelligible—and resource usage, is
around 10 to 15 bands.