10.6

269Logic Pro Instruments
Create FMsounds with wavetables in ES2
You can program the most vivid FMsounds when the modulation source morphs between
different Digiwaves. The morphing in the FMDigiwave setting is controlled by LFO2. The
tempo of LFO2, and therefore the morph, depends on the Logic Pro tempo—here, two
bars.
In Logic Pro, do the following:
• Set LFO2 to different waveforms. Lag S/H (smooth random), in particular, should be
fun.
• Check out different FMintensities and oscillator frequencies.
• Alter the modulation intensity of the first modulation routing (LFO2 modulates Osc2
Wave) and the LFO2 rate.
Create distorted FMsounds with monophonic unison in ES2
The FMMegafat setting is well-suited for distorted basses and guitar-like sounds. This
sound gets rather “rude” in the upper key range. This cannot be compensated for with key
scaling, but not every sound has to be “nice” across the entire keyboard range!
In Logic Pro, do the following:
• Check out extreme detunings by adjusting the Analog parameter.
• Check out the Flanger with this sound.
• Engage the filter envelope by lowering the Cutoff Frequency of Filter2 down to 0.
• Add some Glide to lead sounds.
• As always when it comes to FM, you can dramatically alter the sound by varying the
frequencies of the oscillators. Make sure you check out the odd intervals, as well.
Create FMsounds with unusual spectra in ES2
If you’re unconcerned with the pitch of your sound, you can get the weirdest spectra out of
odd frequency ratios—oscillator intervals.
The FMOut of Tune setting offers a bell-like sound, reminiscent of a ring modulator. It
was achieved through a setting of 30s 0c, with the modulator set to a value of 0s 0c.
Sounds like this were commonly used in the electronic music of the eighties and have had a
resurgence in popularity in ambient and trance music styles.
You can further develop the sound by applying filtering, envelope modulations, and effects.
There is, however, one small problem—the sound is out of tune.
In Logic Pro, do the following:
• Use oscillator3 as a reference for the tuning of the FMsound by dragging the pointer in
the Triangle.
• You’ll notice that the sound is fivesemitones too high (or sevensemitones too low,
conversely).
• Transpose both oscillators 1 and 2 five semitones (500 ct) lower. Transposing them
upward is not practical, as you’d need to select 37s 0c for oscillator1, which has a
maximum value of 36s 0c.
• It’s important to maintain the frequency ratio (interval) between oscillators 1 and 2. This
means that oscillator1 sounds at 25s Oc and oscillator2 at −5s 0c.