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
298 Chapter 22 ES2
Oscillator 3 generates a DigiWave, which we considered “brassy” enough within the
overall wave mix. As an alternative to the DigiWave, we could have used another
modulated pulse wave to support the ensemble, or another sawtooth wave to achieve
more “fatness” when detuning it with Oscillator 1’s sawtooth wave.
What we were after, however, was to have a little bit of growl, achieved through a short
wavetable “push”, as described for the Stratocaster patch, on page 294. This
configuration is set up in Modulation 3 (Oscillator 3 Wave moved by Envelope 1’s
Decay).
Other controls
Envelope 1 also effects the pitch of Oscillator 2 against Oscillator 3. This results in the
clash of both pitches against each other and also against the stable pitch of Oscillator
1, in the attack phase of the sound.
The filter envelope’s design closes with a short stab in the attack phase and then opens
again for a slower crescendo phase.
We’ve assigned another real-time crescendo to the mod wheel, which also brings in an
overall pitch modulation, controlled by LFO 2.
In addition to all of this, we programmed a sort of “contradictory” real-time modulation
(by pressure) which closes the filters. This allows you to play with an additional
decrescendo, remotely controlled by touch. Try to get a “feel” for the patch’s response.
You’ll find that it offers quite a few controls for “expression”: velocity, pressure after
note on, and pressure in advance. Listen to what happens when pressing with the left
hand before hitting a new chord with the right hand, and allowing the swell come in.
-4- … making our job redundant …? (MW-Pad-Creator 3)
This is an attempt to create a patch which is able to create patches by itself—actually
we are still working on the question of how we can get it to save its own results …
The Basics
Again, Oscillator 2 is used for a pulse width modulation to create a strong ensemble
component (please refer to “-3- Something Horny (Crescendo Brass)” section, on page
297, for further information).
Oscillators 1 and 3 are set to an initial start wave combination within their respective
DigiWave tables. You can modify these and start with a different combination of
DigiWaves from the outset.
On Modulation 3, we assigned a wavetable “drive” to all three Oscillators via the mod
wheel. What this actually means is that you scroll through Oscillator 1 and 3’s
wavetables, and change Oscillator 2’s pulse width by moving the mod wheel.