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
30 Chapter 3 Equalizer
Bands 2 and 7 are defined as shelving equalizers.
Note: When the Q parameter of band 2 and 7 is set to an extremely high value (to 100,
for example), the equalizers only apply to a very narrow band, and can work in a
fashion that is similar to notch filters.
Bands 3to 6 are bandpass filters.
You can set the band parameters either in the parameter area or directly in the central
EQ display. Move the mouse horizontally over the display. When your mouse cursor is in
the access area of a band, its individual curve and parameter area will be highlighted
and a pivot point appears. When you click-hold the mouse button directly on the
(illuminated) pivot point of a band, vertical movements (up/down) will change its Q
value. Horizontal movements (left/right) change the Frequency of the band. When you
click-hold the mouse button on the display background, horizontal movements will
again change the Frequency of the band. Vertical mouse movements will change the
Gain of band 2 to 7. The slope values of the highpass and lowpass filters (bands 1 and
8) can only be changed in the parameter area below the graphic display. Click-hold on
the parameter: Moving up increases, and down decreases, the value.
After boosting or cutting frequency bands, you can use the Master Gain fader to
readjust the output level of the Channel EQ.
Channel EQ—Analyzer
The precision analyzer of the Channel EQ uses Fast Fourier Transformation (FFT) to
show the energy of all frequency components of the signal. The central display of the
Channel EQ fulfills multiple display functions: it shows both the curve of the FFT
analyzer and the EQ curve. An identically scaled frequency axis is shown for both. This
allows you to easily recognize unwanted frequencies in the analyzer curve, while using
the EQ to edit them accordingly.
A click on the Analyzer button activates/deactivates the FFT analyzer. The display
directly under the button determines the location of the Analyzer. You can switch the
Analyzer pre EQ or post EQ (default) in order to compare the original signal with your
edits.
Click into the display to open a pull-down menu that defines the resolution of the FFT
analyzer—or more accurately, the number of frequency bands. The higher the precision
of measurements, the more CPU power is needed.
High resolutions are necessary whenever you need reliable results in the very low bass
frequency area. The bands derived from FFT analysis are divided in accordance with the
frequency linear principle—non-technically, this means that there are far more bands
in the highest octave than in the lowest.