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Table Of Contents
- Logic Pro X Effects
- Contents
- Chapter 1: Amps and pedals
- Chapter 2: Delay effects
- Chapter 3: Distortion effects
- Chapter 4: Dynamics processors
- Chapter 5: Equalizers
- Chapter 6: Filter effects
- Filter effects overview
- AutoFilter
- EVOC 20 Filterbank
- EVOC 20 TrackOscillator
- EVOC 20 TrackOscillator overview
- Vocoder overview
- EVOC 20 TrackOscillator interface
- EVOC 20 TrackOscillator analysis in parameters
- Use EVOC 20 TrackOscillator analysis in
- EVOC 20 TrackOscillator U/V detection parameters
- EVOC 20 TrackOscillator synthesis in parameters
- EVOC 20 TrackOscillator oscillators
- EVOC 20 TrackOscillator formant filter
- EVOC 20 TrackOscillator modulation
- EVOC 20 TrackOscillator output parameters
- Fuzz-Wah
- Spectral Gate
- Chapter 7: Imaging processors
- Chapter 8: Metering tools
- Chapter 9: MIDI plug-ins
- Chapter 10: Modulation effects
- Chapter 11: Pitch effects
- Chapter 12: Reverb effects
- Chapter 13: Space Designer convolution reverb
- Chapter 14: Specialized effects and utilities
- Chapter 15: Utilities and tools
- Appendix: Legacy effects
Chapter 6 Filter eects 133
EVOC 20 TrackOscillator formant lter
EVOC 20 TrackOscillator features two formant lter banks—one for the Analysis In section and
one for the Synthesis In section. The entire frequency spectrum of an incoming signal is analyzed
by the Analysis section and is divided equally into a number of frequency bands. Each lter bank
can control up to 20 of these frequency bands.
The Formant Filter display is divided in two by a horizontal line. The upper half applies to the
analysis section and the lower half to the synthesis section. Parameter changes are reected in
the Formant Filter display, thus providing feedback on what is happening to the signal as it is
routed through the two formant lter banks.
Formant lter parameters
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Low and High Frequency parameters: Drag to determine the lowest and highest frequencies
allowed to pass by the lter section. Frequencies that fall outside these boundaries are cut.
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The length of the horizontal blue bar at the top represents the frequency range for both
analysis and synthesis—unless Formant Stretch or Formant Shift is used. You can move the
entire frequency range by dragging the blue bar. The silver handles on either end of the blue
bar set the Low Frequency and High Frequency values, respectively.
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You can also drag in the numeric elds to adjust the frequency values separately.
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Lowest button: Click to switch the lowest lter band between bandpass or highpass lter
operation. In bandpass mode, the frequencies above and below the lowest band are ignored.
In highpass mode, all frequencies below the lowest band are ltered.
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Highest button: Click to switch the highest lter band between bandpass or lowpass lter
operation. In bandpass mode, the frequencies above and below the highest band are ignored.
In lowpass mode, all frequencies above the highest band are ltered.
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Formant Stretch knob: Rotate to change the width and distribution of all bands in the synthesis
lter bank. This can be a broader or narrower frequency range than that dened by the High
and Low Frequency parameters.
When Formant Stretch is set to 0, the width and distribution of the bands in the synthesis lter
bank at the bottom match the width of the bands in the analysis lter bank at the top. Low
values narrow the width of each band in the synthesis bank, whereas high values widen the
bands. The control range is expressed as a ratio of the overall bandwidth.
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Formant Shift knob: Rotate to move all bands in the synthesis lter bank up or down the
frequency spectrum.
When Formant Shift is set to 0, the positions of the bands in the synthesis lter bank match
the positions of the bands in the analysis lter bank. Positive values move the synthesis lter
bank bands up in frequency, whereas negative values move them down—in relation to the
analysis lter bank band positions.