X
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 13 Space Designer convolution reverb 254
m Click the Latency Compensation button to turn it on, which delays the direct signal in the Output
section so that it matches the processing delay of the eect signal.
Space Designer’s processing latency is 128 samples at the original sample rate, and it doubles at
each lower sample rate division. The processing latency increases to 256 samples if you set Space
Designer’s sample rate slider to “/2.” Processing latency does not increase in surround mode or at
sample rates above 44.1 kHz.
Use Space Designer’s Denition parameter
The Denition parameter emulates the diusion of natural reverb patterns. When used at values
of less than 100% it also reduces CPU processing requirements.
Natural reverbs contain most of their spatial information in the rst few milliseconds. Toward
the end of the reverb, the pattern of reections—signals bouncing o walls, and so on—
becomes more diuse. In other words, the reected signals become quieter and increasingly
nondirectional, containing far less spatial information. To emulate this phenomenon, use the
full impulse response resolution only at the onset of the reverb, then use a reduced impulse
response resolution toward the end of the reverb.
m Drag either of the Denition elds vertically to set the crossover point—where the switch to the
reduced impulse response resolution occurs.
The rst Denition eld is shown as a percentage, where 100% is equal to the length of the full
resolution impulse response. The second eld is shown in milliseconds, which indicate the exact
crossover point position. (These two elds are linked, so making a change in one automatically
changes the other.)
Note: The Denition elds are visible below the main display only when you have loaded CPU-
intensive synthesized impulse responses.
Use Space Designer’s reverb volume compensation feature
The reverb volume compensation feature attempts to match the perceived—not the actual—
volume dierences between impulse response les. The rev vol compensation button is turned
on by default and should generally be left in this mode, although it may not work with all types
of impulse responses.
m If you have an impulse response that is of a dierent level, turn o reverb volume compensation
and adjust input and output levels accordingly.