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
• Additional Combos
Choosing an Amp Designer Cabinet
Cabinets have a huge impact on the character of a guitar sound (see Amp Designer
Cabinet Reference Table). While certain amplifier and cabinet pairings have been popular
for decades, departing from them is an effective way to create fresh-sounding tones. For
example, most players automatically associate British heads with 4 x 12" cabinets.
Amp Designer allows you to drive a small speaker with a powerful head, or to pair a tiny
amp with a 4 x 12" cabinet.
There’s nothing wrong with trying random combinations. But if you consider the variables
that determine a cabinet’s sound, you’ll be able to make educated guesses about
non-traditional amplifier and cabinet combinations. Some factors to consider:
Combos or Stacks
Combo amps include both an amplifier and speakers in a single enclosure. These usually
have an open back, so the sound resonates in multiple directions. The resulting sound is
“open”—with bright, airy highs and a general feeling of spaciousness. Amplifier “stacks”
consist of an amplifier head, with the speakers in a separate cabinet. These cabinets
generally have a closed back, and project the sound forward in a tight, focused “beam.”
They tend to sound more powerful than open-back cabinets, and typically have a tighter
low-end response at the expense of some high-end transparency.
Old or New Speakers
Amp Designer models that are based on vintage cabinets capture the character of aged
speakers. These may be a bit looser and duller-sounding than new speakers, but many
players prefer them for their smoothness and musicality. Sounds based on new cabinets
tend to have more snap and bite.
Large Speakers or Small Speakers
A larger speaker doesn’t guarantee a larger sound. In fact, the most popular bass guitar
cabinet of all time uses only small 8" speakers. Don’t be surprised if you get a deeper,
richer tone from a 10" speaker than from a large 4 x 12" cabinet. Try several sizes and
choose the one that works best for your music.
Single Speakers or Multiple Speakers
Guitarists sometimes use cabinets with multiple speakers, and not only for the larger
sound they tend to provide. Phase cancellations occur between the speakers, adding
texture and interest to the tone. Much of the “classic rock” sound, for example, has to do
with the tonal peaks and dips caused by this interaction between the speakers in a 4 x 12"
cabinet.
21Chapter 1 Amps and Pedals










