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 28 Sculpture 483
Other EQ Models
For all other Body EQ models you have the following parameters:
Formant—Intensity
Scales the intensity of the model’s formants. In other words, any formants (harmonics)
in the model will become louder, or will be inverted, dependent on how this parameter
is used.
 A value of 0.0 results in a flat response.
 A value of 1.0 results in strong formants.
 Negative values invert the formants.
Formant—Shift
This parameter shifts the formants logarithmically. A value of –0.3, for example, shifts all
formants one octave downwards, and a value of +0.3 shifts the formants up one
octave. A value of +1.0 shifts up by a factor of 10—from 500 Hz to 5000 Hz, for example.
Formant—Stretch
Stretches the formant frequencies, relative to each other. In other words, this parameter
alters the width of all bands being processed by the Body EQ, extending or narrowing
the frequency range.
Low Formant Stretch values move the formants closer together (centered around
1 kHz) while high values move the formants further apart from each other. The control
range is expressed as a ratio of the overall bandwidth.
When combined, Formant Stretch and Formant Shift alter the formant structure of the
sound, and can result in some interesting timbral changes.
Fine Structure
This parameter enhances the spectral (harmonic) fine structure, making the overall
harmonic makeup of the sound more precise. This results in a more detailed sound that
is harmonically richer and—dependent on the model selected—more guitar or violin-
like, for example. Put another way, the resonant cavities of the instrument become
more resonant—somewhat like the increased depth of tone provided by a large-
bodied guitar.
 A value of 0.0 denotes no fine structure.
 A value of 1.0 results in enhanced/full fine structure of the selected model.