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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 1 Amps and pedals 19
Choose an Amp Designer cabinet
Cabinets have a huge impact on the character of a guitar sound (see Amp Designer cabinets on
page 16).
Whereas certain amplier and cabinet pairings have been popular for decades, departing
from them can be an eective way to create fresh-sounding tones. For example, most players
automatically associate British heads with 4 x 12" cabinets. Amp Designer lets you drive a small
speaker with a powerful head, or pair a tiny amp with a 4 x 12" cabinet. You can experiment with
random amplier and cabinet combinations, but you can also make an educated guess about
nontraditional combinations by considering the variables that determine a cabinet’s “sound.”
m Choose a cabinet from the Cabinet pop-up menu in the black bar at the bottom of the
Amp Designer interface. Use the following considerations to guide your decision:
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Combos or Stacks: Combo amps include both an amplier and speakers in a single enclosure.
These usually have an open back, so the sound resonates in multiple directions. The resulting
sound is open—with bright, airy highs and a spacious sound. Amplier stacks consist of
an amplier head, with the speakers in a separate cabinet. These cabinets generally have
a closed back and project the sound forward in a tight, focused beam. They tend to sound
more powerful than open-back cabinets, and typically have a tighter low-end response at the
expense of some high-end transparency.
•
Old or New Speakers: Amp Designer models based on vintage cabinets capture the character
of aged speakers. These may be a bit looser and duller sounding than new speakers, but many
players prefer them for their smoothness and musicality. Sounds based on new cabinets tend
to have more snap and bite.
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Large Speakers or Small Speakers: A larger speaker doesn’t guarantee a larger sound. In fact, the
most popular bass guitar cabinet in history uses 8" speakers. You can often get a deeper, richer
tone from a 10" speaker than from a large 4 x 12" cabinet. Try several sizes and choose the one
that works best for your music.
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Single Speakers or Multiple Speakers: Guitarists typically choose cabinets with multiple speakers
for their big sound. The number of speakers is less important than it may appear. Phase
cancelations occur between the speakers, adding texture and interest to the tone. Much of
the “classic rock” sound, for example, is due to tonal peaks and dips caused by interactions
between the speakers in a 4 x 12" cabinet.