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
Tip: While these amps tend toward a clean and tight sound, you can use a Pedalboard
distortion stompbox to attain hard-edged crunch sounds with a biting treble and extended
low-end definition. See Distortion Pedals and Pedalboard.
British Stacks
The British Stack models are based on the 50- and 100-watt amplifier heads that have
largely defined the sound of heavy rock, especially when paired with their signature
4 x 12" cabinets. At medium gain settings, these amps are great for chunky chords and
riffs. Raising the gain yields lyrical solo tones and powerful rhythm guitar parts. Complex
peaks and dips across the tonal spectrum keep the tones clear and appealing, even when
heavy distortion is used.
DescriptionModel
Captures the sound of a late 1960s 50-watt amp famed for its
powerful, smooth distortion. Notes retain clarity, even at maximum
gain. After four decades this remains a definitive rock tone.
Vintage British Stack
1980s and 1990s descendants of the Vintage British amplifier head,
which were optimized for hard rock and metal styles of the time.
The tones are deeper on the bottom, brighter on top, and more
“scooped” in the middle than the Vintage British amp.
Modern British Stack
Unique tones can be coaxed from a British head by running it at
lower voltages than its designers intended. The resulting “brown”
sound—often more distorted and loose than the standard
tone—can add interesting thickness to a guitar sound.
Brown Stack
This 2 x 12" combo has a loud, aggressive tone that is cleaner than
the British heads, yet delivers fat distortion tones at high-gain
settings.
British Blues Combo
Tip: You’ll rarely go wrong combining a British head, a 4 x 12" cabinet, and a great riff at
high levels. But don’t hesitate to break that mold. These heads can sound stunning
through small cabinets, or at clean, low-gain settings. If the British Blues Combo is too
clean for your needs, combine it with Pedalboard’s Hi Drive stompbox for an aggressive
blues tone, or the Candy Fuzz stompbox for an explosive rock tone. See Distortion Pedals
and Pedalboard.
British Combos
The British Combos capture the brash, treble-rich sound that will forever be associated
with 1960s British rock and pop. The sonic signature of these amps is characterized by
their high-end response, yet they are rarely harsh-sounding due to a sweet distortion
and smooth natural compression.
DescriptionModel
A 2 x 12" combo based on the early 1960s amps that powered the
British Invasion. Perfect for chiming chords and stabbing solos.
British Combo
17Chapter 1 Amps and Pedals










