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
96 Chapter 7 Delay
Stereo Delay
The Stereo Delay works much like the Tape Delay, which is why we’ll skip the general
info, and take a closer look at the differences between the two. There is just one Stereo
Delay (s/s), hence the stereo input and output. You are free to use the Stereo Delay for
monaural tracks or busses, when you want to create independent delays for the two
stereo sides. Please bear in mind that if you use this option, the track or bus has two
channels from the point of insertion forward. Unlike the Tape Delay, the Stereo Delay
does not feature a circuit that replicates tape saturation.
You can set the Delay (using Note buttons and Groove sliders), Feedback, and Mix
values separately for the two sides. The High Cut and Low Cut sliders, however, apply
equally to both sides. In addition, the plug-in features a Crossfeed knob for each stereo
side. It determines the feedback intensity—or the level at which each signal is routed
to the opposite stereo side.
There are ten additional parameters in the Stereo Delay’s Controls view.
If you would like to adjust the delay time independently of the song tempo, select ms
in the Delay Unit pull-down menu. You can use the Left Delay and Right Delay sliders just
above the Delay Unit pull-down menu to set the delay time in milliseconds. Left Input
and Right Input determine the input signal for the two stereo sides. You can choose
between Off, Left, Right, L+R, L−R.
Selecting the Inv option in the Phase Left FB and Phase Right FB pull-down menus allows
you to invert the phase of the corresponding channel’s feedback signal. The inv option
is also available in the Phase L
→
R FB and Phase R
→
L FB pull-down menus, where it can
be used to transfer the inverted feedback signal of the left/right channel to the right/
left channel. The Tempo Freeze parameter captures the current delay time and sustains
it until the Freeze parameter is released.