X
Table Of Contents
- Logic Pro X Instruments
- Contents
- Chapter 1: Drum Kit Designer
- Chapter 2: ES1
- Chapter 3: ES2
- ES2 overview
- ES2 interface
- ES2 sound sources
- ES2 oscillator parameters overview
- ES2 basic oscillator waveforms
- Use pulse width modulation in ES2
- Use frequency modulation in ES2
- Use ring modulation in ES2
- Use ES2 Digiwaves
- Use the ES2 noise generator
- ES2 emulation of detuned analog oscillators
- Stretch tuning in ES2
- Balance ES2 oscillator levels
- ES2 oscillator start points
- Synchronize ES2 oscillators
- ES2 global parameters
- ES2 filter parameters
- ES2 amplifier parameters
- ES2 modulation
- ES2 integrated effects processor
- ES2 macro controls and controller assignments
- ES2 Surround mode
- ES2 extended parameters
- Create random ES2 sound variations
- ES2 tutorials
- Chapter 4: EFM1
- Chapter 5: ES E
- Chapter 6: ES M
- Chapter 7: ES P
- Chapter 8: EVOC 20 PolySynth
- EVOC 20 PolySynth and vocoding
- EVOC 20 PolySynth interface
- EVOC 20 PolySynth analysis parameters
- EVOC 20 PolySynth (U/V) detection parameters
- EVOC 20 PolySynth synthesis parameters
- EVOC 20 PolySynth formant filter
- EVOC 20 PolySynth modulation parameters
- EVOC 20 PolySynth output parameters
- EVOC 20 PolySynth performance tips
- Vocoder history
- EVOC 20 block diagram
- Chapter 9: EXS24 mkII
- EXS24 mkII overview
- Sampler instruments
- EXS24 mkII Parameter window
- EXS24 mkII Parameter window overview
- Sampler Instruments pop-up menu
- EXS24 mkII global parameters
- EXS24 mkII pitch parameters
- EXS24 mkII filter parameters
- EXS24 mkII output parameters
- EXS24 mkII extended parameters
- EXS24 mkII modulation overview
- EXS24 mkII modulation router
- EXS24 mkII LFOs
- EXS24 mkII envelope overview
- EXS24 mkII modulation reference
- EXS24 mkII Instrument Editor window
- EXS24 mkII preferences
- EXS24 mkII memory management
- Chapter 10: External Instrument
- Chapter 11: Klopfgeist
- Chapter 12: Retro Synth
- Retro Synth overview
- Retro Synth Analog oscillator controls
- Retro Synth Sync oscillator controls
- Retro Synth Table oscillator controls
- Retro Synth FM oscillator controls
- Retro Synth filter controls
- Retro Synth amp and effect controls
- Retro Synth modulation controls
- Retro Synth global and controller settings
- Retro Synth extended parameters
- Chapter 13: Sculpture
- Sculpture overview
- Sculpture interface
- Sculpture string parameters
- Sculpture objects parameters
- Sculpture pickups parameters
- Sculpture global parameters
- Sculpture amplitude envelope parameters
- Use Sculpture’s Waveshaper
- Sculpture filter parameters
- Sculpture delay effect parameters
- Sculpture Body EQ parameters
- Sculpture output parameters
- Sculpture surround range and diversity
- Sculpture modulation controls
- Sculpture morph parameters
- Define Sculpture MIDI controllers
- Sculpture tutorials
- Chapter 14: Ultrabeat
- Ultrabeat overview
- Ultrabeat interface
- Ultrabeat Assignment section
- Ultrabeat Synthesizer section overview
- Ultrabeat sound sources
- Ultrabeat oscillator overview
- Ultrabeat oscillator 1 phase oscillator mode
- Use Ultrabeat oscillator 1 FM mode
- Use Ultrabeat oscillator 1 side chain mode
- Use Ultrabeat oscillator 2 phase oscillator mode
- Basic waveform characteristics
- Use Ultrabeat oscillator 2 sample mode
- Use Ultrabeat oscillator 2 model mode
- Ultrabeat ring modulator
- Ultrabeat noise generator
- Use Ultrabeat’s filter section
- Ultrabeat distortion circuit
- Ultrabeat Output section
- Ultrabeat modulation
- Ultrabeat step sequencer
- Ultrabeat step sequencer overview
- Step sequencer basics
- Ultrabeat step sequencer interface
- Ultrabeat global sequencer controls
- Ultrabeat pattern controls
- Use Ultrabeat’s swing function
- Ultrabeat Step grid
- Automate parameters in Ultrabeat’s step sequencer
- Export Ultrabeat patterns as MIDI regions
- MIDI control of Ultrabeat’s step sequencer
- Ultrabeat tutorials
- Chapter 15: Vintage B3
- Chapter 16: Vintage Clav
- Chapter 17: Vintage Electric Piano
- Appendix A: Legacy instruments
- Appendix B: Synthesizer Basics
Chapter 15 Vintage B3 428
The residual eect
The residual eect is a psychoacoustic phenomenon. Human beings can perceive the pitch of
a note, even when the fundamental tone is completely missing. If you pull out all registers of a
draw bar organ, except for the fundamental—16'—you’ll still perceive the same pitch. The sound
becomes thinner, with less bass and less warmth, but the pitch remains the same.
If human beings didn’t hear this way, it would make listening to music on a small transistor radio
impossible. The tiny speaker of a small radio can’t accurately play back the fundamental tone of
the bass line because this frequency is far below the range that the speaker can reproduce.
Setting draw bar registrations often involves this psychoacoustic phenomenon. In the lower
octaves, mixing the 8' and 5 1/3' sine draw bars creates the illusion of a 16' sound, although the
lower frequency is missing.
Old pipe organs also make use of the residual eect, by combining two smaller pipes, thus
eliminating the need for long, heavy, and expensive giant pipes. This tradition is continued in
modern organs and is the reason for arranging the 5 1/3' under 8': the 5 1/3' tends to create the
illusion of a pitch that is one octave lower than 8'.
Tonewheel sound generation
Tonewheel sound generation resembles that of an air horn, or a siren. Of course, there’s no air
being blown through the holes of a revolving wheel. Rather, an electromagnetic pickup, much
like a guitar pickup, is used to capture the sound.
A notched metal wheel, called a tonewheel, revolves at the end of a magnetized rod. The teeth of
the wheel cause variations in the magnetic eld, inducing an electrical voltage. This voltage/tone
is then ltered, has vibrato and expression applied to it, and is then amplied.
An AC synchronous motor drives a long drive shaft. Twenty-four driving gears with 12 dierent
gear sizes are attached to the shaft. These gears drive the tonewheels. The frequency depends on
the gear ratios and the number of notches in the wheels. The Hammond is tuned to an (almost
exact) equal-tempered scale.
As with pipe organs that feature multiplexed registers, the Hammond organ uses certain
generators for more than one purpose. Some high frequency wheels serve as the fundamental
for high notes and provide harmonics for lower notes. This has a positive impact on the overall
organ sound, avoids detuning, and stabilizes levels between octaves.