Instruments and Effects
Table Of Contents
- Logic Studio Instruments and Effects
- Contents
- Introduction to the Logic Studio Plugins
- Amp Modeling
- Delay
- Distortion
- Dynamics
- EQ
- Filter
- Imaging
- Metering
- Modulation
- Pitch
- Reverb
- Convolution Reverb: Space Designer
- Specialized
- Utility
- EVOC 20 PolySynth
- EFM1
- ES E
- ES M
- ES P
- ES1
- ES2
- The ES2 Parameters
- Tutorials
- Sound Workshop
- Sound Design From Scratch, Filter Settings, Digiwaves
- Three Detuned Sawtooth Oscillators and Unison Mode
- Extremely Detuned Monophonic Analog Sounds, Effects
- Clean Bass Settings With One Oscillator Only
- Distorted Analog Basses
- FM Intensity and Frequency
- Controlling FM Intensity by an Envelope and FM Scaling
- FM With Drive and Filter-FM
- FM With Digiwaves
- FM With Wavetables
- Distorted FM in Monophonic Unison
- FM With Unusual Spectra
- Slow and Fast Pulse Width Modulations With Oscillator 2
- Pulse Width Modulation With Two Oscillators, PWM Strings
- Ring Modulation
- Oscillator Synchronization
- First Steps in Vector Synthesis
- Vector Synthesis—XY Pad
- Vector Synthesis Loops
- Bass Drum With Self-Oscillating Filter and Vector Envelope
- Percussive Synthesizers and Basses With Two Filter Decay Phases
- Templates for the ES2
- Sound Workshop
- EVB3
- EVD6
- EVP88
- EXS24 mkII
- Learning About Sampler Instruments
- Loading Sampler Instruments
- Working With Sampler Instrument Settings
- Managing Sampler Instruments
- Searching for Sampler Instruments
- Importing Sampler Instruments
- Parameters Window
- The Instrument Editor
- Setting Sampler Preferences
- Configuring Virtual Memory
- Using the VSL Performance Tool
- External Instrument
- Klopfgeist
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Programming: Quick Start Guide
- Programming: In Depth
- Ultrabeat
- GarageBand Instruments
- Synthesizer Basics
- Glossary
- Index
Chapter 11 Reverb 167
Setting the Reverb Time and Level of the Low Frequency Band
You can use the Low Ratio control to offset the reverb time of the low frequency band.
At 100%, the reverb times for the two bands are identical. At lower values, the reverb
time of the frequencies below the crossover frequency is shorter. At values greater than
100%, the reverb time for low frequencies is longer.
Both of these phenomena occur in nature. In most mixes, a shorter reverb time for bass
frequencies is preferable. As an example, if you’re using the PlatinumVerb on a kick and
snare drum loop, a short reverb time for the kick drum allows you to set a substantially
higher wet signal.
The Low Freq Level slider allows you to boost or attenuate the level of the low
frequency band. In the vast majority of mixes, your best bet is to set a lower level for
the low frequency reverb signal. This enables you to turn up the level of the bass
instrument—making it sound punchier. This also helps to counter bottom-end masking
effects.
SilverVerb
The SilverVerb is similar to the AVerb, but provides an additional LFO that you can use
to modulate the reverberated signal. It also includes a high and a low cut filter,
allowing you to filter frequencies from the reverb signal. High frequencies usually
sound somewhat unpleasant, hamper speech intelligibility, or mask the overtones of
the original signals. Long reverb tails with a lot of bottom end generally makes for a
flabby mix.
 Predelay: Determines the time between the original signal and the reverb signal.
 Reflectivity: Defines how reflective the imaginary walls, ceiling, and floor are.
 Room Size: Defines the dimensions of simulated rooms.
 Density/Time: Determines both the density and duration of the reverb.
 High Cut: Frequencies above the set value are filtered out of the reverb signal. Note
that this only affects the tone of the reverb, not the source signal.
 Low Cut: Frequencies below the set value are filtered out of the reverb tail. As above,
it only affects the reverb signal.
 Mod Rate: Sets the frequency (speed) of the LFO.