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 21 ES2 273
A Modulation Example
Say you’ve chosen these settings:
 Target: Pitch 123
 via: Wheel
 Source: LFO1
 Modulation intensity: Slider position, set as desired
In this configuration, the modulation source—LFO1—is used to modulate the
frequency (pitch) of all three Oscillators (Pitch 123). (Pitch 123) is the modulation target
in this example. You’ll hear a vibrato (a modulation of the pitch) at the speed of LFO 1’s
Rate. The modulation intensity is controlled by the (modulation) wheel, which is
determined by the via parameter. This provides you with control over the depth of
vibrato (pitch modulation) via the modulation wheel of your keyboard. This type of
configuration is well-known in countless sound settings (patches).
It does not matter which of the ten Router Channels you use.
You can select the same target in several Router Channels, in parallel. You can freely use
the same sources as often as you like, and the same via controllers can be set in one or
multiple Router channels.
Modulation Targets
The following targets are available for real-time modulation.
Note: These modulation targets are also available for the X and Y axes of the X/Y
modulator (the Square). See “The Square” on page 291.
Pitch 123
This target allows the parallel modulation of the frequencies (pitch) of all three
oscillators. If you select an LFO as the source, this target leads to siren or vibrato
sounds. Select one of the envelope generators with zero attack, short decay, zero
sustain, and short release as the source for tom and kick drum sounds.
Pitch 1
This target allows modulation of the frequency (pitch) of Oscillator 1. Slight envelope
modulations can make the amount of detuning change over time, when Oscillator 1 is
sounding in unison with another (unmodulated) Oscillator. This is useful for synthesizer
brass sounds.
Pitch 2
This target allows modulation of the frequency (pitch) of Oscillator 2.
Pitch 3
This target allows modulation of the frequency (pitch) of Oscillator 3.