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
232 Chapter 22 ES2
During a Fourier transformation, complex oscillations can be divided into their basic
sine components. In additive synthesis, complex oscillation forms can be re-
synthesized. The most simple additive synthesizer is the drawbar organ (the Hammond
organ, for example). With such an organ, you can mix nine sine choirs with drawbars.
Try selecting sine waves for all three oscillators and the following semitone
settings: −12 (16'), 0 (8') and +7 (5 1/3'), and set all oscillators to the same level. Select
an organ envelope, and voila—a classic organ sound!
Screenshot of the ES2’s triangular wave, created and shown as above. The triangular
wave only contains odd harmonics (no octaves), the amplitudes of which decrease
square-proportionately to their number. This means that its sound has few overtones.
This corresponds with its appearance, which is reminiscent of a sine wave.
Classic synthesizer literature encourages the use of the triangular wave for the creation
of flute-like sounds. In the age of sampling, however, it’s pretty hard to sell a triangular
wave as a flute sound to anyone.
Screenshot of the ES2’s sawtooth wave. The sawtooth wave contains all harmonics, the
amplitudes of which decrease proportionately with their number.