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 17 EFM 1 205
Modulator Wave
In classic FM synthesis, sine waves are use as Modulator and Carrier waveforms. To
extend its sonic capabilities, the EFM 1 Modulator provides a number of additional
digital waveforms.
When turned completely counter clockwise the Modulator produces a sine wave.
Turning the Wave parameter clockwise will step/fade through a series of complex
digital waveforms. These digital waveforms add a new level of harmonic richness to the
resulting FM sounds.
The Output Section
Sub Osc Level
For added bass response, the EFM 1 features a sine wave sub oscillator. This operates
one octave below the FM engine (as determined by the Transpose parameter). Turning
up the Sub Osc Level control mixes the sub oscillator sine wave with the EFM 1’s FM
engine output.
Vol(ume) Envelope
The Volume Envelope shapes the overall volume contour. The Volume Envelope consists
of four sliders: Attack time, Decay time, Sustain level, and Release time. The Volume
Envelope is triggered every time a MIDI note is received. The Attack slider defines the
time needed to reach the maximum volume level. The Decay slider sets the time
needed to reach the Sustain level (as determined by the Sustain slider). The Sustain
level is held until the MIDI note is released. The Release slider controls the time needed
to reach a volume level of zero, after the MIDI note has been released.
Stereo Detune
Stereo Detune adds a rich and diverse chorus-like effect to the sound of the EFM 1. This
is achieved by doubling the EFM 1 voice with a detuned second FM engine. The
amount of detune is adjusted using the Stereo Detune dial. A wide stereo effect is also
added, increasing the “space” and “width” of your sound.
Velocity
The EFM 1 is able to respond to MIDI velocity, and reacts with dynamic sound and
volume changes—harder playing will result in a brighter and louder sound. The
sensitivity of the EFM 1 in response to incoming velocity information is determined by
the Velocity parameter.
Set the Velocity control all the way to the left (counter-clockwise) if you don’t want the
EFM 1 to respond to velocity. Turning the control clockwise will increase velocity
sensitivity, and with it, dynamic changes to the sound that the EFM 1 is able to
produce.