2009
Table Of Contents
- Logic Studio Instruments
- Contents
- An Introduction to the Logic Studio Instruments
- ES E
- ES M
- ES P
- ES1
- ES2
- Getting to Know the ES2 interface
- Using the ES2 Oscillators
- Getting to Know the ES2 Oscillators
- Using the ES2’s Basic Oscillator Waveforms
- Using Pulse Width Modulation in the ES2
- Using Frequency Modulation in the ES2
- Using Ring Modulation in the ES2
- Using Digiwaves in the ES2
- Using Noise in the ES2 (Oscillator 3 Only)
- Emulating Detuned Analog Synthesizer Oscillators in the ES2
- Emulating Stretch Tuning in the ES2
- Setting the Oscillator Level Balance in the ES2
- Adjusting the ES2 Oscillator Start Point
- Synchronizing the ES2 Oscillators
- Using the ES2’s Global Parameters
- Using the ES2 Filters
- Choosing a Series or Parallel Filter Configuration in the ES2
- Filter Blend: Cross-Fading Between the ES2 Filters
- The Impact of Filter Blend on the ES2 Signal Flow
- Choosing Filter 1’s Mode in the ES2 (Lo, Hi, Peak, BR, BP)
- Setting Filter 2’s Slope in the ES2
- Using the ES2 Filter Cutoff and Resonance Parameters
- Overdriving the ES2 Filters
- Modulating Filter 2’s Frequency in the ES2
- Using the ES2 Amplifier Parameters
- Working with Modulation in the ES2
- Getting to Know the ES2’s Modulation Router
- Creating and Bypassing ES2 Modulation Routings
- Using Via Sources to Control ES2 Modulation Intensity
- An ES2 Modulation Example
- Getting to Know the ES2 LFOs
- Using ES2 LFO Waveforms
- Using LFO 1’s Envelope Generator in the ES2
- Setting LFO 2’s Rate in the ES2
- Getting to Know the ES2 Envelopes (ENV 1 to ENV 3)
- Getting to Know ENV 1 in the ES2
- Setting Envelope 1 Decay or Release in the ES2
- Getting to Know ENV 2 and ENV 3 in the ES2
- Using the Envelope 2 and 3 Sustain Parameters in the ES2
- Getting to Know the ES2’s Vector Envelope
- Vector Envelope Control of the ES2’s Planar Pad and Triangle
- An Overview of ES2 Vector Envelope Points, Times, and Loops
- Selecting, Creating, and Deleting ES2 Vector Envelope Points
- Reverting to Default ES2 Vector Envelope Point Values
- Setting the ES2 Vector Envelope Solo Point
- Setting the ES2 Vector Envelope Sustain Point
- Setting Up ES2 Vector Envelope Loops
- Setting the ES2 Vector Envelope Release Phase Behavior
- Choosing ES2 Vector Envelope Point Transition Shapes
- Setting ES2 Vector Envelope Times
- Time Scaling the ES2’s Vector Envelope
- Using the ES2 Vector Envelope Shortcut Menu
- Using the ES2’s Planar Pad
- ES2 Modulation Target Reference
- ES2 Modulation Source Reference
- ES2 Modulation Via Source Reference
- Using the ES2’s Integrated Effect Processing Section
- Creating Random ES2 Sound Variations
- Using Macro Controls and Assigning Controllers in the ES2
- Using the ES2 in Surround Mode
- ES2 Tutorial: Creating Sounds
- ES2 Sound Design from Scratch, Filter Settings, Digiwaves
- Creating Fat ES2 Sounds with Oscillator Detuning and Unison Mode
- Creating Detuned Monophonic Sounds and Effects with the ES2
- Creating Clean Single-Oscillator Bass Sounds with the ES2
- Creating Distorted Analog Basses with the ES2
- Using FM Intensity and Frequency to Create ES2 Sounds
- Controlling ES2 FM Intensity with an Envelope and FM Scaling
- Using FM Drive and Filter FM to Change the Color of ES2 Sounds
- Creating FM Sounds with Digiwaves in the ES2
- Creating FM Sounds with Wavetables in the ES2
- Creating Distorted ES2 FM Sounds with Monophonic Unison
- Creating FM Sounds with Unusual Spectra in the ES2
- Setting Pulse Width Modulations with Oscillator 2 in the ES2
- Creating ES2 String Sounds with Pulse Width Modulation
- Creating Sounds with Ring Modulation in the ES2
- Creating Sounds with Oscillator Synchronization in the ES2
- Getting Started with Vector Synthesis in the ES2
- Using the Planar Pad for Vector Synthesis in the ES2
- Using Vector Synthesis Loops in the ES2
- Creating ES2 Bass Drum Sounds with a Self-Oscillating Filter and the Vector Envelope
- Creating Percussive ES2 Synthesizer and Bass Sounds with Two Filter Decay Phases
- ES2 Tutorial: Using Templates to Create Sounds
- EFM1
- EVB3
- Getting to Know the EVB3 Interface
- Using the EVB3 Drawbar Controls
- Using the EVB3 Preset Keys
- Morphing in the EVB3
- Using the Integrated EVB3 Scanner Vibrato
- Using the EVB3 Percussion Effect
- Using the EVB3 Global Tone Parameters
- Using the EVB3 Model Parameters
- Using the Integrated EVB3 Effects
- Using the EVB3’s Integrated Rotor Cabinet Emulation
- Setting Up the EVB3 for Your MIDI Equipment
- EVB3 MIDI Controller Assignments
- Additive Synthesis with Drawbars
- The Residual Effect
- Tonewheel Sound Generation
- A Brief Hammond History
- The Leslie Cabinet
- EVD6
- Getting to Know the EVD6 Interface
- Working with EVD6 Model Parameters
- Working with Global EVD6 Parameters
- Working with EVD6 Filter and Damper Parameters
- Working with EVD6 Pickup Parameters
- Working with the EVD6 Integrated Effects
- Working with EVD6 Output Parameters
- Working with EVD6 MIDI Control Parameters
- A Brief History of the Clavinet
- EVP88
- EVOC 20 PolySynth
- What Is a Vocoder?
- How Does a Vocoder Work?
- Setting Up Your EVOC 20 PolySynth Host Application
- Getting to Know the EVOC 20 PolySynth Interface
- EVOC 20 PolySynth Sidechain Analysis Parameters
- EVOC 20 PolySynth (U/V) Detection Parameters
- EVOC 20 PolySynth Synthesis Section Parameters
- EVOC 20 PolySynth Formant Filter Parameters
- EVOC 20 PolySynth Modulation Parameters
- EVOC 20 PolySynth Output Parameters
- Getting the Best Results with the EVOC 20 PolySynth
- A Brief Vocoder History
- EVOC20 Block Diagram
- External Instrument
- EXS24 mkII
- Getting to Know the EXS24 mkII Interface
- About EXS24 Sampler Instruments
- Getting to Know the EXS24 mkII Parameter Window
- Using the EXS24 mkII Sampler Instruments Pop-Up Menu
- Adjusting EXS24 mkII Global Parameters
- Using the EXS24 mkII Pitch Parameters
- Working with EXS24 mkII Filter Parameters
- EXS24 mkII Output Parameters
- Working with EXS24 mkII Modulation
- Getting to Know the EXS24 mkII Modulation Router
- Creating and Bypassing EXS24 mkII Modulation Routings
- Using EXS24 mkII Via Sources to Control Modulation Intensity
- An EXS24 mkII Modulation Example
- Getting to Know the EXS24 mkII LFOs
- Using EXS24 mkII LFO Waveforms
- Using the EXS24 mkII Envelope Generator of LFO 1
- Setting the EXS24 mkII LFO Rate
- Getting to Know the EXS24 mkII Envelopes (ENV 1 and ENV 2)
- EXS24 mkII Modulation Destination Reference
- EXS24 mkII Modulation Source Reference
- EXS24 mkII Modulation Via Source Reference
- An Overview of the EXS24 mkII Instrument Editor
- Creating EXS24 mkII Instruments, Zones, and Groups
- Editing EXS24 mkII Zones and Groups
- Setting EXS24 mkII Zone Parameters
- Using the EXS24 mkII Zone Loop Parameters
- Setting EXS24 mkII Group Parameters
- Using the EXS24 mkII Advanced Group Selection Parameters
- Graphical Editing of EXS24 mkII Zones and Groups
- Saving, Renaming, and Exporting EXS24 mkII Instruments
- Editing Samples in the EXS24 mkII Sample Editor
- Using an External Instrument Editor with the EXS24 mkII
- Importing EXS24 mkII Sampler Instruments
- Managing EXS24 Sampler Instruments
- Setting EXS24 mkII Sampler Preferences
- Configuring EXS24 mkII Virtual Memory
- Advanced EXS24 mkII RAM Management
- Using the VSL Performance Tool in EXS24 mkII
- Klopfgeist
- Sculpture
- Getting to Know the Sculpture Interface
- Getting to Know the Sculpture Synthesis Core
- Getting to Know the Sculpture String
- Working with the Sculpture String Parameters
- Working with Sculpture’s Objects
- Working with Sculpture’s Pickups
- Using Sculpture’s Global Parameters
- Using Sculpture’s Amplitude Envelope Parameters
- Using Sculpture’s Waveshaper
- Working with Sculpture’s Filter Parameters
- Using Sculpture’s Integrated Delay
- Using Sculpture’s Body EQ
- Using Sculpture’s Output Parameters
- Controlling Sculpture’s Surround Range and Diversity
- Working with Sculpture’s Modulation
- Working with Sculpture’s Modulation Routings
- Getting to Know Sculpture’s LFOs
- Using the Sculpture LFO 1 and 2 Parameters
- Choosing Sculpture LFO Modulation Targets and Via Sources
- Using Sculpture’s LFO Waveforms
- Using the Sculpture LFO Envelope Generator
- Setting the Sculpture LFO Rate
- Using Sculpture’s Vibrato
- Creating Random Modulations in Sculpture: Jitter
- Creating Random Modulations in Sculpture: Note-On Random
- Assigning Additional Velocity Modulations in Sculpture
- Using Controller A and B in Sculpture
- Getting to Know Sculpture’s Control Envelopes
- Getting to Know Sculpture’s Morph Section
- Sculpture Morph Position Display
- Selecting Morph Points in Sculpture’s Morph Pad
- Randomizing Morph Points in Sculpture’s Morph Pad
- Sculpture Morph Pad Menu Commands
- Getting to Know Sculpture’s Morph Envelope Display
- Using the Sculpture Morph Envelope Parameters
- Choosing Sculpture’s Morph Envelope Mode
- Choosing Morph Envelope Sustain or Loop Mode in Sculpture
- Recording Morph Envelopes in Sculpture
- Assigning MIDI Controllers in Sculpture
- Sculpture Tutorial: Getting Started with Sound Creation
- Sculpture Tutorial: Creating Basic Sounds
- Creating Bass Sounds with Sculpture
- Creating Bell Sounds with Sculpture
- Creating Brass Sounds with Sculpture
- Creating Flute-Like Sounds with Sculpture
- Creating Guitar Sounds with Sculpture
- Creating Organ Sounds with Sculpture
- Creating Percussion Sounds with Sculpture
- Creating Solo String Sounds with Sculpture
- Creating Classic Synthesizer Sounds with Sculpture
- Sculpture Tutorial: Modulations
- Advanced Sculpture Tutorial: Programming Electric Basses
- The Most Important Aspects of Electric Basses in Sculpture
- Programming a Basic Bass Sound with Sculpture
- Changing the String Properties of the Basic Bass Sound
- Emulating String and Fret Vibrations in the Basic Bass Sound
- Setting the Range for the Basic Bass Sound
- Controlling Overtones in the Basic Bass Sound
- Setting Sustain Levels for the Basic Bass Sound
- Modifying the Spectrum of Your Basic Bass in Sculpture
- Programming a Picked-Bass Sound with Sculpture
- Emulating Bass Guitar Damping in Sculpture
- Emulating Guitar Harmonics with Sculpture
- Emulating a Vintage Flat Wound Pick Bass with Sculpture
- Emulating a Slap Bass Sound with Sculpture
- Emulating a Fretless Bass Sound with Sculpture
- Using Modulation and Detuning Effects with Sculpture
- Adding Reverb and Reflections with Sculpture’s Delay
- Advanced Sculpture Tutorial: Programming Synthesized Sounds
- Ultrabeat
- Getting to Know the Structure of Ultrabeat
- Loading and Saving Ultrabeat Settings
- Getting to Know the Ultrabeat Interface
- Getting to Know Ultrabeat’s Assignment Section
- Importing Sounds and EXS Instruments into Ultrabeat
- Getting to Know the Ultrabeat Synthesizer Section
- Getting to Know the Ultrabeat Oscillators
- Getting to Know the Ultrabeat Oscillator Parameters
- Using Oscillator 1 in Ultrabeat
- Using Oscillator 2 in Ultrabeat
- Using the Ultrabeat Ring Modulator
- Using the Ultrabeat Noise Generator
- Getting to Know the Ultrabeat Filter and Distortion Section
- Using Ultrabeat’s Multimode Filter
- Using Ultrabeat’s Distortion Circuit
- Using the Ultrabeat Output Section
- Working with Modulation in Ultrabeat
- Mod and Via Modulations in Ultrabeat
- Ultrabeat Modulation Examples
- Creating an Ultrabeat Modulation Routing
- Using Ultrabeat MIDI Controllers A-D
- Getting to Know the Ultrabeat LFOs
- Using Ultrabeat’s LFO Waveforms
- Using Ultrabeat’s LFO Waveform Cycles Parameter
- Getting to Know the Ultrabeat Envelopes (Env 1 to Env 4)
- Editing Ultrabeat’s Envelopes Graphically
- Using Ultrabeat’s Envelope Parameters
- Modulation Target Display of Ultrabeat LFOs and Envelopes
- Working with the Ultrabeat Step Sequencer
- How Step Sequencers Work
- Getting to Know Ultrabeat’s Step Sequencer
- Using Ultrabeat’s Global Sequencer Parameters
- Using Ultrabeat’s Pattern Parameters
- Copying and Reorganizing Ultrabeat Patterns
- Using Ultrabeat’s Swing Function
- Getting to Know the Ultrabeat Step Grid
- Creating and Removing Steps in the Ultrabeat Trigger Row
- Using the Ultrabeat Trigger Shortcut Menu Commands
- Setting Step Lengths and Velocities in Ultrabeat’s Velocity/Gate Row
- Using Ultrabeat’s Velocity/Gate Shortcut Menu Commands
- Using Accents in Ultrabeat
- Switching the Ultrabeat Step Grid to Full View
- Automating Parameter Values in Ultrabeat’s Step Sequencer
- Exporting Ultrabeat Patterns as MIDI Regions
- Using MIDI to Control Ultrabeat’s Sequencer
- Ultrabeat Tutorial: Introduction
- Ultrabeat Tutorial: Creating Kick Drums
- Ultrabeat Tutorial: Creating Snare Drums
- Ultrabeat Tutorial: Creating Toms and Tonal Percussion
- Ultrabeat Tutorial: Creating Hi-Hats and Cymbals
- Ultrabeat Tutorial: Creating Metallic Sounds
- Ultrabeat Tutorial: Creating Extreme Sounds
- Ultrabeat Tutorial: Programming in Building Blocks
- GarageBand Instruments
- GarageBand Analog Basic
- GarageBand Analog Mono
- GarageBand Analog Pad
- GarageBand Analog Swirl
- GarageBand Analog Sync
- GarageBand Bass
- GarageBand Church Organ
- GarageBand Digital Basic
- GarageBand Digital Mono
- GarageBand Digital Stepper
- GarageBand Drum Kits
- GarageBand Electric Clav(inet)
- GarageBand Electric Piano
- GarageBand Guitar
- GarageBand Horns
- GarageBand Hybrid Basic
- GarageBand Hybrid Morph
- GarageBand Piano
- GarageBand Sound Effects
- GarageBand Strings
- GarageBand Tonewheel Organ
- GarageBand Tuned Percussion
- GarageBand Voice
- GarageBand Woodwind
- Appendix
Using the EVB3’s Integrated Wah Wah
The name Wah Wah comes from the sound it produces. It has been a popular effect
(usually a pedal effect) with electric guitarists since the days of Jimi Hendrix. The pedal
controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass
filter. The wah wah pedal is also used extensively with the Hammond organ.
• Mode pop-up menu: Use to enable or disable the Wah Wah effect. If you choose Off,
the effect is disabled. There are six different filter types available:
• ResoLP: (Resonating Lowpass Filter): In this mode, the Wah Wah will work as a
resonance-capable lowpass filter. At the minimum pedal position, only low frequencies
can pass.
• ResoHP: (Resonating Highpass Filter): In this mode, the Wah Wah will work as a
resonance-capable highpass filter. At the maximum pedal position, only high
frequencies can pass.
• Peak: In this mode, the Wah Wah will work as a peak (bell) filter. Frequencies close
to the cutoff frequency will be emphasized.
• CryB: This setting mimics the sound of a famous wah wah pedal.
• Morl: This setting mimics the sound of a popular wah pedal with a slight peak
characteristic.
• Morl2: This setting mimics the sound of a popular distortion wah pedal. It has a
constant Q (quality) Factor setting.
• CC pop-up menu: Use to assign a MIDI controller to the Wah Wah effect. See MIDI Control
of the EVB3 Wah Wah Effect.
• Range knob: Controls the sensitivity of the Wah Wah effect to incoming MIDI controller
data. See MIDI Control of the EVB3 Wah Wah Effect below.
• Bite knob: Boosts the signal around the cutoff frequency. The Bite parameter is effectively
a filter resonance parameter, so high values will make the Wah Wah sound more
aggressive.
163Chapter 7 EVB3