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 29 EXS24 mkII 549
LFO Parameters
LFO 1 EG
This knob allows LFO 1 to be faded out (Decay area) or faded in (Delay area). In the
centered position (which can be set by clicking on the small 0 button), the LFO
intensity is constant.
LFO 1 Rate
This is the frequency of LFO 1. It can be set in note values (left area), or in Hertz (right
area). In the centered position (which can be set by clicking on the small 0 button), the
LFO is halted and generates a constant modulation value at full level (DC = Direct
Current).
This allows you to perform a nice trick: Set up an LFO to modulate, say, Cutoff, with the
modulation wheel controlling the LFO’s intensity. Then set the LFO’s rate to DC. As the
LFO’s modulation intensity is controlled via the modulation wheel, you can now make
use of the modulation wheel to manually open the filter.
Waveform for LFO 1 and LFO 2
These two switches allow the selection of the waveform type used by LFO 1 and LFO 2.
A selection of Triangle, falling and rising Sawtooth, Square up and Square down, a
random stepped waveform, and a smoothed random waveform is available for each
LFO.
LFO 1 is a polyphonic LFO with key synchronization. This means that when LFO 1 is
used, each voice of the EXS24 has its own discrete LFO. When a note is played, the LFO
corresponding to that voice starts its cycle. This scheme means that the LFO cycles of
each voice played are not synchronous, and operate independently of each other. This
opens up a range of modulation possibilities. As an example—the LFO of one voice
could generate the maximum modulation value, while the LFO assigned to another
voice could output its minimum value. This extremely flexible approach can result in
some very lively modulations.
In contrast, LFO 2 is a monophonic LFO without key synchronization. This means that
LFO 2 runs continuously, and is not restarted by the triggering of a new note. All voices
are modulated by the sole LFO, so the degree of modulation at any given time is the
same for all voices. This results in a rather synthetic-sounding modulation.
Use these different characteristics to tailor the sound to your needs.