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 23 Ultrabeat 307
Modulation
Ultrabeat was developed with special attention paid to dynamic sound shaping
possibilities. To this end, almost every sound parameter can be modulated. Ultrabeat
provides two powerful LFOs, four new types of envelope generators (Env 1–4), velocity,
and four freely-definable MIDI controllers as modulation sources.
The settings for the LFOs and envelope generators are represented graphically. They
are located above and below Ultrabeat’s output section.
Each modulation routing is set at the desired destination (at the sound parameter
itself). Ultrabeat distinguishes between two types of modulation: Mod (standard
modulation) und Via (indirect modulation).
Mod and Via Modulations
You can modulate a sound parameter using an adjustable modulation value (called
modulation depth) with Mod. You can choose between two LFOs, four envelope
generators and the Max source, as sources for this modulation.
Via allows you to further tailor the modulation effect. To explain, the modulation depth
of the first modulation (Mod) can be modulated by a separate, independent source. The
intensity of this effect is set with the Via parameter. The sources for Via modulations
include velocity and four freely definable MIDI controllers.
A typical application for Via function usage is; increasing a pitch sweep as you play at
higher velocities, for example. To this end, an envelope (Env) is chosen as the Mod
source for the Pitch of an oscillator, and velocity (Vel) is chosen as the Via source. The
firmer the key is played, the higher (in pitch) it will sound—this is typical of synthesizer
tom tom sounds.
Exceptional Modulation Features
The design of the Mod and Via modulation options afford substantial differences
between Ultrabeat and other, more traditional, synthesizer designs. Ultrabeat’s Mod
and Via are given a target value that can be reached by modulation of the respective
target parameters, rather than indicating a modulation or effect intensity as a
percentage. The result of such modulation routing—its minimum and maximum effect
on the modulated parameter—can be set simply, and grasped at a glance, making the
complex subject of primary and secondary modulations an intuitive task.
As this method differs greatly from earlier approaches used in synthesis, we
recommend that you carefully read the “Modulation” section, on page 325, to fully
benefit from this innovative new functionality.