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 4 Dynamic 41
When you have configured a compressor so that it dampens the signal at or above the
Threshold value by the predetermined Ratio, while the level just below the Threshold is
routed through at a 1:1 Ratio, an audio engineer would term the compression as hard
knee. In many cases, however, you’ll come up with a better sounding track by using a
more gradual transition from the 1:1 Ratio below the Threshold, to the Ratio that you
entered for levels above the Threshold. In this scenario, the characteristic curve is not as
radical—it rises gradually from the bottom left to the top right, as seen in the graphic
display. This type of compression is called soft knee. The Knee slider lets you
incrementally select anything from hard to soft knee. This wide range of options
provides you with the tools you need to shape the sound as you like; whether you
want to radically maximize loudness with absolutely no regard for the original
dynamics (hard), or are going for the more musical compression that acoustic
recordings typically require (soft). Keep in mind that Knee only controls the shape of
the compression, not its intensity; use the Threshold and Ratio sliders for this purpose.
Incidentally, the Gain Reduction Meter indicates the intensity of compression used to
tighten up the original signal. This feature is a great help, particularly if you’re not
experienced with using compression. Keep an eye on it to make sure that you’re not
overly compressing your tracks.
When the compressor has to decide whether or not the level exceeds the Threshold (or
if the level is getting close to the Threshold, for soft knee compression), it can analyze
either the peak or RMS level. The latter value is a better indication of how humans
perceive loudness. When you use the compressor primarily as a limiter, select the Peak
button. When you’re compressing individual signals, use of the RMS button will often
deliver better, more musical results.
If you activate Auto Gain and RMS simultaneously, the signal may be saturated. If you
hear any distortion, switch Auto Gain off, and enter a suitable gain level manually.
The Output Clip parameter limits (clips) the output to 0 dB, via the OFF/SOFT/HARD
settings. This setting is only available in the Controls view.
Note: Despite all of these handy tips for tweaking sounds, you should always keep one
thing in mind—there are no hard and fast rules. Use your own taste and ears. If it
sounds good, it is good.