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 53
Multipressor Parameters
Bands
This parameter (on the right side) determines the number of independently
compressible frequency bands, and has a crucial impact on the amount of computing
power needed for the effect. Classic multi-band compressors use three Bands.
Lookahead
Lookahead (just below the Bands parameter) determines how far the processor looks
into the future, in order to react earlier (thus better) to peak volumes.
Set Lookahead to higher values, when the Peak/RMS control (see below) is set further
towards RMS.
Peak/RMS
Adjusting the control between Peak (full left) and RMS (Root Meantime Square; full
right) is dependent on the type of signal you would like to compress. An extremely
short Peak detection setting is suitable for compression of short and high peaks of low
power, which do not typically occur in music. The RMS detection method measures the
power of the audio material over time and thus works much more musically. This is
because human hearing is more responsive to the overall power of the signal than to
single peaks. As a basic setting for most applications, the centered position is
recommended.
Attack
Allows you to define the time (in milliseconds) required before compression is faded in.
Release
Sets the time required by the compressor (after compression) to release the effect. Just
as with the other values, the best setting for this parameter depends greatly on the
material to be compressed.
Multi-band Graphic
The graphic editor to the left of the Multipressor displays several settings, both
graphically and numerically.
• Crossover Frequencies
The crossover frequencies (vertical borders) between the bands are variable. To
change a band’s crossover point, grab the borders directly within the graphic and
move them to the left or to the right. The frequency is displayed numerically at the
bottom of the graphic.
• Absolute Volume
The horizontal line in the middle of each band displays its current level
(default: 0 dB). By grabbing the area below this line and moving it up and down, you
can set the absolute volume level of the corresponding band. The level is displayed
numerically at the bottom of the graphic. This ability allows the Multipressor to serve
as a basic equalization tool, dependent on how the crossover frequencies are set.