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
614 Chapter 29 Ultrabeat
3 In the Material Pad of the Model oscillator, choose a setting with plenty of overtones as
in the graphic below.
4 Set the volume of each oscillator to a value of –60 dB and turn the ring modulator on
by clicking on its name.
You’ve just created a bell-like sound that you can filter (with a high resonance value) if
required.
Note: You can find a similar sound called Ring Bell at a pitch of A2 in the Tutorial Kit.
Creating Clicks and Cuts
Ultrabeat features extremely fast envelopes and uncommonly powerful LFOs. Use these
modulation sources to perform extreme modulations of the oscillator and filter
parameters. The key to creating “out of the ordinary” sounds is to try modulating as
many targets as possible, and not to be afraid of using extreme settings: use a quick
envelope to drive the filter to self oscillation for a fraction of a second, use a few LFO
cycles at a much higher rate than other cycles, or experiment with the Dirt parameter
or the bit crusher.
Programming in Building Blocks
As you become familiar with drum sound programming, you may begin thinking in
building blocks, realizing that drum sounds usually consist of different components.
Once you’ve mentally, or physically, written down your list of components, you should
try to emulate each component that contributes to the sound’s character—making use
of the different sound generators available in Ultrabeat. Assigning dedicated
(amplitude) envelopes to the different components allows you to control their
temporal behavior individually. As an example: You can emulate the body of a drum
with Oscillator 1, the sound of the stick hitting the skin (or first transient) with the noise
generator, additional overtones and harmonics can be provided by Oscillator 2 or the
ring modulator. Once you begin thinking that drum sounds consist of several building
blocks or layers, the design of the Volume controls in the individual sound generators
might make more sense to you, as this is the place where the blocks are combined,
balanced, and controlled.