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 28 EVP88 509
Stretch and Warmth
The EVP88 is tuned to an equal-tempered scale. As a deviation from this standard
tuning, you can stretch the tuning in the bass and treble ranges, much like acoustic
pianos (especially upright pianos). You can also modulate the tuning of each note
randomly. The main tuning parameter is Tune.
Note: The tones of upright pianos, and—due to their longer strings, less so—grand
pianos have inharmonicities in their harmonic structure. The frequencies of the
harmonics are not exact, even multiples of the base frequency as dictated by
Pythagorean theory. They are only approximate and are, in fact, a little higher. The
harmonics of lower (tuned) notes, therefore, are more closely related to the main
frequencies of the upper notes. Due to the lack of strings, this inharmonic relationship
is not true of electric pianos, nor the EVP88. The stretch feature was included for
situations where you may wish to use the EVP88 in an arrangement alongside an
acoustic piano. When arranged in conjunction with an orchestra or synthesizers, the
stretched tuning facility should not be used.
Lower Stretch
Deviation from the equal-tempered scale in the bass end of the sound. The higher the
value, the further down the low notes are tuned. At a setting of 0, the EVP88 is tuned to
an equal-tempered scale, with each octave down exactly halving the frequency.
Upper Stretch
Deviation from the equal-tempered scale in the treble end of the sound. The higher the
value, the further up the high notes are tuned. At a setting of 0, the EVP88 is tuned to
an equal-tempered scale, with each octave up exactly doubling the frequency.
Warmth
Amount of random deviation from an equal-tempered scale. High values add “life” to
sounds.
Note: When applying Warmth and Stretch, you should consider that these parameters
may result in a detuned sound, which is similar to the overuse of a chorus effect.