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
The Residual Effect
The residual effect 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 drawbar 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, as this frequency is far below the range that the speaker
can reproduce.
Setting drawbar registrations often involves this psychoacoustic phenomenon. In the
lower octaves, mixing the 8' and 5 1/3' sine drawbars creates the illusion of a 16' sound,
although the lower frequency is missing.
Old pipe organs also make use of the residual effect, 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 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 field, inducing an electrical voltage.
This voltage/tone is then filtered, has vibrato and expression applied to it, and is then
amplified.
An AC synchronous motor drives a long drive shaft. Twenty-four driving gears with 12
different 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.
180 Chapter 7 EVB3