2009
Table Of Contents
- Logic Studio Effects
- Contents
- An Introduction to the Logic Studio Effects
- Amps and Pedals
- Amp Designer
- Choosing an Amp Designer Model
- Tweed Combos
- Classic American Combos
- British Stacks
- British Combos
- British Alternatives
- Metal Stacks
- Additional Combos
- Building a Customized Amp Designer Combo
- Choosing an Amp Designer Amplifier
- Choosing an Amp Designer Cabinet
- Amp Designer Cabinet Reference Table
- Using Amp Designer’s Equalizer
- Amp Designer Equalizer Type Reference Table
- Using Amp Designer’s Gain, Presence, and Master Controls
- Getting to Know Amp Designer’s Effects Parameters
- Using Amp Designer’s Reverb Effect
- Amp Designer Reverb Type Reference Table
- Using Amp Designer’s Tremolo and Vibrato Effects
- Setting Amp Designer Microphone Parameters
- Setting Amp Designer’s Output Level
- Bass Amp
- Guitar Amp Pro
- Building Your Guitar Amp Pro Model
- Choosing a Guitar Amp Pro Amplifier
- Choosing a Guitar Amp Pro Speaker Cabinet
- Choosing a Guitar Amp Pro Equalizer
- Using Guitar Amp Pro’s Gain, Tone, Presence, and Master Controls
- Getting to Know Guitar Amp Pro’s Effects Section
- Using Guitar Amp Pro’s Tremolo and Vibrato Effects
- Using Guitar Amp Pro’s Reverb Effect
- Setting Guitar Amp Pro Microphone Parameters
- Setting the Guitar Amp Pro Output Level
- Pedalboard
- Amp Designer
- Delay Effects
- Delay Designer
- Getting to Know the Delay Designer Interface
- Getting to Know Delay Designer’s Main Display
- Using Delay Designer’s View Buttons
- Zooming and Navigating Delay Designer’s Tap Display
- Creating Taps in Delay Designer
- Selecting Taps in Delay Designer
- Moving and Deleting Taps in Delay Designer
- Using Delay Designer’s Tap Toggle Buttons
- Editing Parameters in Delay Designer’s Tap Display
- Aligning Delay Designer Tap Values
- Editing Filter Cutoff in Delay Designer’s Tap Display
- Editing Pan in Delay Designer’s Tap Display
- Editing Taps in Delay Designer’s Tap Parameter Bar
- Editing Delay Designer Taps with the Shortcut Menu
- Resetting Delay Designer Tap Values
- Synchronizing Taps in Delay Designer
- Using Delay Designer’s Master Section
- Working with Delay Designer in Surround
- Echo
- Sample Delay
- Stereo Delay
- Tape Delay
- Delay Designer
- Distortion Effects
- Dynamics Processors
- Equalizers
- Filter Effects
- AutoFilter
- EVOC 20 Filterbank
- EVOC 20 TrackOscillator
- What Is a Vocoder?
- How Does a Vocoder Work?
- Getting to Know the EVOC 20 TrackOscillator Interface
- EVOC 20 TrackOscillator Analysis In Parameters
- Using EVOC 20 TrackOscillator Analysis In Parameters
- EVOC 20 TrackOscillator U/V Detection Parameters
- EVOC 20 TrackOscillator Synthesis In Parameters
- Basic Tracking Oscillator Parameters
- Tracking Oscillator Pitch Correction Parameters
- Quantizing the Pitch of the Tracking Oscillator
- EVOC 20 TrackOscillator Formant Filter Parameters
- Using Formant Stretch and Formant Shift
- EVOC 20 TrackOscillator Modulation Parameters
- EVOC 20 TrackOscillator Output Parameters
- Fuzz-Wah
- Spectral Gate
- Imaging Processors
- Metering Tools
- Modulation Effects
- Pitch Effects
- Reverb Effects
- Space Designer Convolution Reverb
- Getting to Know the Space Designer Interface
- Working with Space Designer’s Impulse Response Parameters
- Working with Space Designer’s Envelope and EQ Parameters
- Working with Space Designer’s Filter
- Working with Space Designer’s Global Parameters
- Using Space Designer’s Input Slider
- Using Space Designer’s Latency Compensation Feature
- Using Space Designer’s Definition Parameter
- Using Space Designer’s Rev Vol Compensation
- Using Space Designer’s Output Sliders
- Working with Pre-Dly (Predelay) in Space Designer
- Using Space Designer’s IR Start Parameter
- Using Space Designer’s Spread Parameters
- Automating Space Designer
- Specialized Effects and Utilities
- Utilities and Tools
• Pitch Quantize Glide slider: Sets the amount of time the pitch correction takes, allowing
sliding transitions to quantized pitches.
• Root/Scale keyboard and pop-up menu: Define the pitch or pitches that the tracking
oscillator is quantized to.
• Max Track value field: Sets the highest frequency. All frequencies above this threshold
are cut, making pitch detection more robust. If pitch detection produces unstable
results, reduce this parameter to the lowest possible setting that allows all appropriate
input signals to be heard or processed.
Quantizing the Pitch of the Tracking Oscillator
You can use the Root/Scale keyboard and pop-up menu to define the pitch or pitches
that the tracking oscillator is quantized to.
To choose a root or scale
1 Click the green value field below the Root/Scale label to open the pop-up menu.
2 Choose the scale or chord that you want to use as the basis for pitch correction.
Note: You can also set the root key of the respective scale or chord by vertically dragging
the Root value field, or by double-clicking it and entering a root between C and B. The
Root parameter is not available when the Root/Scale value is set to “chromatic” or “user.”
To add notes to, or remove notes from, the chosen scale or chord
µ
Click unused keys on the small keyboard to add them to the scale or chord.
µ
Click selected notes (illuminated) to remove them.
Tip: Your last edit is remembered. If you choose a new scale or chord but do not make
any changes, you can revert to the previously set scale by choosing “user” in the pop-up
menu.
EVOC 20 TrackOscillator Formant Filter Parameters
The EVOC 20 TrackOscillator features two formant filter banks—one for the Analysis In
section and one for the Synthesis In section. In essence, the entire frequency spectrum
of an incoming signal is analyzed (Analysis section), and equally divided into a number
of frequency bands. Each filter bank can control up to 20 of these frequency bands. For
more information, see How Does a Vocoder Work?.
151Chapter 6 Filter Effects










