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 22 EVB3 343
 Peak: In this mode, the wah wah will work as a peak (bell) filter. Frequencies inside
the center frequency, which is controlled by the selected MIDI controller, will be
emphasized.
 CryB: This setting mimics the sound of the popular Cry Baby wah.
 Morley 1: This setting mimics the sound of a popular wah pedal, manufactured by
Morley. It features a slight peak characteristic.
 Morley 2: This setting mimics the sound of the Morley distortion wah pedal. It has a
constant Q.
Range
Controls the sensitivity of the wah to controller movements. If you only intend to make
slight alterations to the cutoff frequency, choose a small value.
Bite
The resonance parameter of the wah filter. You’ll know the parameter’s meaning, if
you’re a synthesizer player. Anyway, check it out: The cutoff frequency is boosted. High
values make the wah sound more aggressive.
Distortion
The distortion effect simulates an overdriven two-stage tube amplifier. Its primary role
is to simulate the Leslie amplifier, or whatever amp might be used to feed the Leslie
speaker cabinet.
Type offers the choice between three different tube amp types: Growl, Bity, and Nasty.
Growl simulates a two-stage tube amplifier, resembling the Leslie 122 Model, the classic
partner for the Hammond B3 organ. Bity is reminiscent of a bluesy guitar amp. Nasty
delivers hard distortions, and is well suited for very aggressive sounds.
The Tone control only affects the distorted portion of the sound, while the dry signal
portion remains unaffected. This allows for very warm overdriven sounds that won’t
become scratchy if you try to get more treble out of the instrument.
Drive controls the amount of overdrive distortion. The output level is automatically
compensated for, so there’s no need for another master volume control adjustment
facility.