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 24 Sculpture 377
Filter Parameters
These parameters offer further timbral/spectral control over your sound. They should
be pretty familiar to you if you have any experience with synthesizers.
On/Off
The Filter button activates/deactivates the filter.
Filter Type Buttons
The five buttons at the bottom of the filter section determine the filter mode. Choices
are:
• Hipass—Allows frequencies above the Cutoff Frequency to “pass”. As frequencies
below the Cutoff Frequency are suppressed, it’s also known as a Low Cut Filter. The
slope of the filter is 12 dB/octave in Highpass mode.
• Lowpass—Allows frequencies which fall below the Cutoff Frequency to “pass”. As
frequencies above the Cutoff Frequency are suppressed, it’s also known as a High Cut
Filter. The slope of the filter is 12 dB/octave in Lowpass mode.
• Peak—This mode allows for an increase in level of a frequency band, the width of
which is controlled by the Resonance parameter.
• Bandpass—In this mode, only the frequency band directly surrounding the Cutoff
Frequency can pass. All other frequencies are cut. The Resonance parameter controls
the width of the frequency band that can pass. The band pass filter is a two-pole
filter with a slope of 6 dB/octave on each side of the band.
• Notch—In this mode, the frequency band directly surrounding the Cutoff Frequency
is cut. All other frequencies are allowed to pass. The Resonance parameter controls
the width of the frequency band that is cut.
Cutoff (morphable)
Determines the filter cutoff frequency. As an example of its use: In a low pass filter, all
frequency portions above the Cutoff Frequency are suppressed, or “cut off”, hence the
name. The Cutoff Frequency controls the brilliance of the signal. The higher the Cutoff
Frequency is set, the higher the frequencies of signals that are allowed to “pass”
through the low pass filter.