Apple Logic Express User Manual
Logic Express 7
Plug-In Reference
Apple Computer, Inc.
© 2004 Apple Computer, Inc. All rights reserved.
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information in this manual is accurate. Apple Computer,
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1
Contents
Preface 7 Introducing Logic’s Plug-ins
8 About This Manual
Chapter 1 11 Basics
11 Using Plug-ins
14 The Plug-in Window
16 Plug-in Settings
17 Plug-in Automation
17 Plug-ins From Other Manufacturers
Chapter 2 19 Instruments and Effects
19 Effect Plug-ins
20 Instrument Plug-ins
Chapter 3 23 Equalizer
23 Channel EQ
24 Silver EQ
24 DJ EQ
25 Individual EQs
Chapter 4 27 Dynamic
27 Compressor
30 Silver Compressor
30 Noise Gate
32 Silver Gate
33 Limiter
34 Preset Multipressor
Chapter 5 37 Distortion
37 Guitar Amp
39 Distortion
39 Overdrive
40 Bitcrusher
41 Clip Distortion
3
42 Phase Distortion
Chapter 6 43 Filter
43 AutoFilter
46 Fuzz-Wah
48 High Cut/Low Cut
48 High Pass/Low Pass Filter
Chapter 7 49 Delay
49 Sample Delay
50 Tape Delay
52 Stereo Delay
Chapter 8 53 Modulation
53 Modulation Delay
54 Chorus
55 Flanger
55 Phaser
57 Tremolo
57 Spreader
Chapter 9 59 Reverb
59 AVerb
60 SilverVerb
61 GoldVerb
64 PlatinumVerb
Chapter 10 67 Special
67 Pitch Shifter II
68 Denoiser
Chapter 11 71 Helper
71 Tuner
72 Gain
74 Levelmeter
Chapter 12 75 Synthesizer Basics
75 Analog and Subtractive
76 What Is Synthesis?
76 Subtractive Synthesis
Chapter 13 81 EFM 1
81 Concept and Function
82 Global Parameters
82 FM Parameters
4
Contents
84 Modulator and Carrier
85 The Output Section
Chapter 14 87 ES M
87 Parameters of the ES M
Chapter 15 89 ES P
89 Parameters of the ES P
Chapter 16 93 ES E
93 Parameters of the ES E
Chapter 17 95 ES1
95 Parameters of the ES1
Chapter 18 103 KlopfGeist
Chapter 19 105 EXSP24
106 Using Instruments
107 File Organization
111 Sample File Import
134 EXSP24 Key Commands
135 A Brief History of Sampling
136 MIDI Controller List
Chapter 20 139 GarageBand Instruments
139 About GarageBand Instruments
Glossary 141
Index 161
Contents
5
Introducing Logic’s Plug-ins
The professional Logic music and audio production
software features a comprehensive collection of powerful
plug-ins.
These include; innovative synthesizers, high quality effect plug-ins and authentic
recreations of vintage instruments. Logic also supports the use of Audio Unit plug-ins
in Mac OS X.
Given a fast enough computer, you could conceivably arrange and mix an entire song
using several software instruments, such as Logic’s ES1, or EXSP24, amongst others.
These instruments have the added benefits of superior sound quality and timing as the
audio signal never leaves the digital domain, and you can freely edit these software
instrument parts, change the tempo and more, right up to the final mix.
Preface
Don’t worry if you’re unfamiliar with the terminology used here—this manual will
explain everything. It covers all of the general things you need to know about plug-ins
and will introduce you to the individual effects and instruments and their parameters.
We’ve included a few tutorial chapters, which will explain how to program sounds
using several of Logic’s instrument plug-ins.
Using plug-ins is much easier if you are familiar with some of Logic’s basic functions.
You should be acquainted with Logic’s Audio Mixer before going further. Information
about it can be found in the Audio Mixer section of the Logic reference.
The
Bounce
buttons found on the Master Audio Objects allow you to write submixes of
plug-in tracks—as an audio file—to disk at any time. For details please refer to the
Logic reference.
Whatever you play on your instruments can be recorded by simply pressing Logic’s
Record button. Your performances can be freely edited in any of Logic’s MIDI editors.
Further details about this can be found in the Logic reference
7
Logic’s plug-ins include the following features:
•
Real-time processing of audio.
Support for sample rates up to 96 kHz.
•
Altivec optimizations for the Power Macintosh G4 and G5 processors which increase
•
the number of software effects and instruments that can be run simultaneously.
A sophisticated, intuitive, real-time graphical editing interface for most Logic plug-
•
ins.
A consistent window interface for Logic and Audio Unit plug-ins.
•
•
The ability to save and load individual plug-in effect and instrument settings or
entire channel strip configurations, including those from Apple’s
GarageBand
application.
•
Almost all plug-in parameters can be automated via Logic’s total recall mix
automation system.
About This Manual
This guide covers all areas of plug-in usage in Logic. All plug-in parameters are
discussed in detail.
The Basics section discusses the most essential aspects of plug-in usage, the Plug-in
window interface and global plug-in commands and menus.
The Instruments and Effects chapter covers the differences between effect and
instrument plug-ins.
Ensuing chapters discuss the parameters of individual plug-in effects and instruments.
The instrument chapters include a number of tutorials that will help you to make the
most of your new instrument.
The Onscreen Help system—accessible from Logic’s Help menu—is fundamentally the
Reference Manuals in electronic form. It has the advantage of being at your fingertips
when you need it, and is also searchable.
Even if you’re the type who just doesn’t like reading manuals, we ask that you read the
next section. It will provide you with essential information on the basic use of Logic’s
plug-ins.
Please note that all topics described herein were accurate at the date of printing. For
up to date information on changes or additions made after printing, please refer to the
Late Breaking News
on the Logic DVD, and/or to the
Update Info,
included with each
Logic update.
8 Preface
Introducing Logic’s Plug-ins
Conventions of This Guide…
Before moving on to the Basics section, we’d like to cover the following conventions
used in this manual.
Menu Functions
For functions that can be reached via hierarchical menus, the different menu levels are
described as follows:
Important Entries
Some text will be shown as follows:
Menu > Menu entry > Function
.
Important:
Information on function or parameter.
These entries discuss a key concept or technical information that should, or must, be
followed or taken into account. Please pay special attention to these entries.
Notes
Some sections provide additional information or tips that will assist your use of the
effect or instrument plug-in. These are displayed as shown below:
Note:
Information on function or parameter.
Key Commands
Several plug-in functions can be activated or accessed with key commands—computer
keyboard shortcuts. The key commands mentioned in this guide are based on the
standard Key Command Set, assigned by the Logic Setup Assistant. Where possible, we
have also included the standard Key Commands for PowerBook users. These are based
on the PowerBook Key Command Set, assigned in the Logic Setup Assistant.
Preface
Introducing Logic’s Plug-ins
9
1
Basics
1
This chapter covers all important steps required for plugin use in Logic.
The steps include:
Inserting, deleting, and bypassing plug-ins.
•
•
Operating plug-ins in the Plug-in window.
•
Managing plug-in settings.
Automating plug-ins.
•
Using Plug-ins
Inserting and Deleting Plug-ins
Plug-ins can be either; software instruments, which respond to MIDI note messages, or
audio effects, which do not respond to MIDI note messages.
All plug-ins can be added via the plug-in menu of an Audio Object.
•
•
Effect plug-ins can be inserted into the
Software-based instruments can only be inserted into special Audio Objects, called
•
Audio Instruments. These Audio Instrument Objects have a special
directly above their Output slots.
Insert
slots of all Audio Objects.
Instrument
slot,
11
To add a plug-in:
1
Click-hold on an Audio Object’s Insert/Instrument slot.
2
The plug-in-menu appears, showing all available plug-ins. Move the mouse through
the different levels of the hierarchical menu and choose a plug-in name, then release
the mouse button.
The Plug-in window is launched automatically. If you do not want the Plug-in window
to open automatically after insertion, uncheck the
Plug-in window on insertion
You can open a closed Plug-in window by double-clicking on an assigned Insert/
Instrument slot.
12 Chapter 1
Preferences > Audio > Display > Open
preference.
Basics
You can set all plug-in parameters in the Plug-in window. For further information
please read “The Plug-in Window” on page 14. Closing the Plug-in window leaves the
plug-in active.
To remove a plug-in:
1
Click-hold the corresponding Insert/Instrument slot.
2
The plug-in menu is opened. Select the
No Plug-In
menu option.
Inserting Mono/Stereo Plug-ins
You can insert mono and stereo effects into Logic’s mono objects. If you use a stereo
effect in a mono object, the plug-in menu is limited to stereo effects from this insert
point onwards.
Note:
In general, stereo effects require twice as much processing power as their mono
counterparts.
In stereo objects, the plug-in menu only shows effects with stereo inputs and stereo
outputs. If you hold the Option key while opening the plug-in menu on stereo objects,
you can also select mono effects.
Logic automatically inserts conversion modules (in the background) to handle stereo
→
mono and mono → stereo transitions. This enables you to use plug-ins in any order.
Please keep the following in mind when doing so:
•
These conversion modules require extra processing power.
During a stereo → mono conversion, all spatial information is lost.
•
•
During a mono → stereo conversion, no spatial information is added—the same
mono signal is sent to both outputs.
Bypassing Plug-ins
If you want to deactivate a plug-in, but don’t want to delete it, you can bypass it.
Bypassed plug-ins do not drain system resources.
To bypass a plug-in:
m
Option-click the appropriate plug-in insert/instrument slot on the desired Audio
Object.
The insert slot of the bypassed plug-in turns from blue to gray, indicating that the plugin is currently bypassed.
You can also use bypass a plug-in from within the Plug-in window. Further information
on this can be found in the following section.
Chapter 1
Basics
13
The Plug-in Window
Hands-on operation of plug-ins is performed in the Plug-in window. This window
allows access to all plug-in parameters. The Plug-in window can be opened by doubleclicking on the blue plug-in label on an Audio Object. Each instance of a plug-in has its
own Plug-in window, allowing each to have discrete settings.
Operation of Built-In Plug-ins
Adjusting Parameters
To toggle a Plug-in window’s buttons:
m
Click on the button. It toggles to the next/previous option, or will be enabled/disabled.
To adjust a slider:
m
Click-hold anywhere on the slider and drag up/down or left/right.
To adjust rotary knobs:
m
Click-hold on the center of the rotary knob and drag the mouse up and down. You can
also move the mouse in a circular motion. Fine-tuning of values is easier when using a
larger radius for this circular motion.
To adjust numerical panels:
m
Click-hold on the panel’s numerical value and drag up/down. If there are up/down
arrows alongside such panels, you can use them to increment/decrement the value by
one step.
Note:
You can reset any parameter to its default value by Option-clicking on it.
Note:
If you hold Shift before clicking and moving a control, its value can be fine-
tuned.
Common Plug-in Window Parameters
The gray area at the top of the Plug-in window is common to all Logic plug-ins. It offers
a number of important functions for plug-in use.
Link
The button to the extreme left (with a chain on it) is called the
button is switched on, a single Plug-in window will be used to display all opened plugins. Each time you launch a new plug-in, the window will update to reflect the new
selection. By default, the Link button is switched off, allowing you to open several Plugin windows simultaneously. This is handy if you want to compare the settings of two
plug-ins or adjust several plug-ins at the same time.
Link
button. If the Link
14 Chapter 1
Basics
When changing the Arrange track, an open Plug-in window will update to display the
corresponding slot’s plug-in on the newly-selected track. As an example, if the ES1 was
loaded on Audio Instrument channel 1, and an EXSP24 instance was loaded on Audio
Instrument channel 1, switching between these tracks would automatically update the
Plug-in window to show the ES1/EXSP24, respectively.
Bypass
The
Bypass
button allows a plug-in to be deactivated, but not removed from the insert/
instrument slot. You can also bypass the effect directly in the Audio Object by Optionclicking on the corresponding insert slot.
Settings Menu (Arrow)
Clicking the
Arrow
to the right of the
Bypass
button accesses the Settings menu.
Further information on this can be found in “Plug-in Settings” on page 16.
Switching the Contents of the Plug-in Window
ou can reassign any open Plug-in window—in two different ways—via the two pull-
Y
down menus to the right of the Settings menu (the Arrow):
Use the upper pull-down menu (
•
Track 1
in the diagram) to switch the Plug-in
window between all channels that use the same plug-in. If you have inserted the
EVB3 on tracks 1 and 6, for example, you can switch between these channels and
adjust the parameters of each EVB3 instance, respectively.
In the lower pull-down menu you can switch between the plug-in slots of the
•
selected channel. As an example, if a particular channel uses an Equalizer and an
EVB3 plug-in, you can switch the Plug-in window between these plug-ins.
001/ 011 Button
Some Logic plug-ins may have an additional
001/011
button next to the
Link
button.
Activate this button to reveal sliders for the extra parameters at the bottom of the Plugin window.
Chapter 1
Basics
15
Plug-in Settings
Logic’s plug-ins ship with a library of ready-to-play preset sounds, known as Settings.
These Settings can be found in the Logic > Plug-In Settings subfolder, following the
installation procedure.
Note:
It is strongly recommended that you do not attempt to change the Logic > Plugin Settings folder structure. Within the Plug-in Settings folder you are, however, free to
sort your settings into sub folders. This folder structure is reflected in a hierarchical
menu, shown each time you load a plug-in setting.
All current plug-in settings are stored with the song file, and are automatically recalled
the next time you load the song. You can also recall and save individual settings via the
Settings menu functions. The Settings pull-down menu can be opened by clicking on
the
Arrow
in the gray area at the top of the Plug-in window.
Functions of the Settings Menu
In the gray area at the top of each Plug-in window is an Arrow button. Clicking on it
opens the Settings menu, which features the following functions:
Copy Setting
Choose this entry to copy all parameter settings into a special Settings clipboard, which
is independent from the global Logic clipboard.
Paste Setting
If you have opened a plug-in of the same type (two SilverVerb instances, for example),
you can use this command to paste the parameter set from one to the other via the
Settings clipboard.
Save Setting
This allows you to name and save a setting.
Note:
If you save a Setting with the name of
be loaded as the default plug-in Setting.
16 Chapter 1
Basics
#default
in a plug-in’s Settings folder, it will
Load Setting
This function can be used to load a setting. The file selector box only shows settings for
compatible plug-in types. Each plug-in has its own set of parameters, and therefore its
own file format.
Note:
Proprietary plug-in-settings created in Logic for Windows can be read by Logic
for Mac OS, and vice versa. Plug-in settings files created on the Mac must be saved with
a .pst file extension in order for them to work in Logic for Windows.
Note:
Some plug-ins allow you to load Settings files by dragging and dropping them
from the Finder. This poses a problem as float windows will disappear once Logic is “in
the background”, and the Finder becomes the active application. To circumvent this
issue, you can hold Option when inserting a plug-in, making it a non-floating window.
Next/Previous Setting
These functions allow you to load the next/previous setting in the folder. You can also
make use of the
Instrument)
them. Once assigned, you can simply press the appropriate key command to step
forwards/backwards through your plug-in settings.
Next/Previous Plug-In Setting
key commands. These are not set by default, so you will need to assign
(or the
Next/Previous Plug-In Setting or EXS
Settings of Other Manufacturers
Logic can read the most common settings files used by Audio Unit plug-ins.
Loading and Saving Multiple Plug-ins
Logic’s Mixer windows allow you to save and load multiple plug-ins (inclusive of their
Settings files) via the arrow pull-down menu alongside the word Inserts on channel
strips. The entire channel strip can be stored and recalled for use on any suitable Audio
Object, allowing common chains of effects such as Reverb, Chorus, and Delay to be
loaded far more quickly than individually inserting each plug-in. Further details can be
found in the Logic reference.
Plug-in Automation
Almost all Logic plug-ins can be fully automated, which means that you can record,
edit, and play back almost any movement of any knob, switch or fader in any plug-in.
For more information, please read the Automation chapter in the Logic reference.
Plug-ins From Other Manufacturers
Audio Unit Support
Correctly installed third-party Audio Unit plug-ins (Effects and Instruments) can be
used in Logic. Clicking on an Audio object insert/instrument slot will launch the
hierarchical Plug-In menu. A separate Audio Units submenu displays all installed Audio
Unit plug-ins.
Chapter 1
Basics
17
2 Instruments and Effects
2
This chapter explains the difference between effect and
instrument plug-ins.
Instrument plug-ins respond to MIDI note messages, effect plug-ins do not. Therefore
instrument plug-ins can only be inserted into special Audio Objects, called Audio
Instruments.
Effect Plug-ins
Logic’s effects can be installed into all insert slots of all Audio Object types (See
“Inserting and Deleting Plug-ins” on page 11.). This allows processing of all audio and
instrument signals.
There are two ways of sending audio to effects: via an insert, or via a bus (also known
as an “aux send”).
Insert Effects
With insert effects, all of the signal is processed. This means that 100% of the signal
flows through the effect. This is suitable for equalizers or dynamic effects. This also
typically applies to pan knobs and faders.
If you have enough processing capacity, you can use up to 4 insert effects per audio
object. An extra blank insert is created, as soon as all the currently displayed inserts are
used, up to the maximum allowed.
19
Bus Effects
When you use bus effects, a controlled amount of the signal is sent to the effect. Buses
are typically used for effects that you want to apply to several signals at the same time.
Within Logic, the effect is placed in an insert slot of a bus object. The signals of the
individual tracks can each be sent to the bus, controlled by a Send knob.
The audio signal is then processed with the effect, and mixed with the stereo output.
The advantage of this “bussed” approach, over inserting effects on tracks, is efficiency.
This method allows as many tracks as you like to be processed by one inserted plug-in,
massively saving CPU power when compared to insertion of the same effect directly
into multiple tracks.
For computationally-intensive effects such as reverb, it’s always advisable to insert
them into a bus. Chorus, Flanger, and Delay effects should also always be inserted into
a bus, if they are going to be used on more than one track.
In some cases, it may make sense to patch an effect such as a delay, directly into the
insert of an individual track. There are no restrictions in Logic as to where effects may
be used.
Instrument Plug-ins
The Audio Instrument Object Type
Unlike effect plug-ins, instrument plug-ins respond to MIDI note messages. Instrument
plug-ins can only be inserted into special Audio Objects, called Audio Instruments.
Audio Instruments feature a special instrument slot, directly above their Output slot.
An Audio Instrument is an Audio Object with its Channel parameter switched to one of
the Instruments. Any audio object can be switched to operate as an Audio Instrument,
by changing this parameter (Channel) in the Object Parameter box.
To create an Audio Instrument Object:
1 Open Logic’s Audio Mixer, by choosing Audio > Audio Mixer.
2 In the Audio mixer window select New > Audio Object to create a new Audio Object.
20 Chapter 2 Instruments and Effects
3 Double click the newly-created Audio Object icon, so that the (grayed out) channel
strip appears.
4 Now, go to the Object Parameter box, and set the Channel parameter to an Instrument.
The generic Audio Object will now operate as an Audio Instrument, allowing you to
insert any Instrument plug-in into the instrument slot.
The default song—the song that opens if you move the Autoload Song away from the
Logic folder—features a number of ready-configured Instruments, that can be accessed
via the Track Mixer or Audio Mixer.
The output signal of a software instrument plug-in is fed into the input (the instrument
slot) of the Instrument channel strip, where it can be processed via inserted plug-ins
and/or sent to busses.
Logic supports up to 24 discrete Audio Instruments. The number of instrument
instances which can be run simultaneously is dependent on the availability of
computer processing resources.
Following the insertion of an instrument, the Audio Instrument Object can be used just
like a MIDI track in the Arrange window. The Audio Instrument Object can also receive
MIDI notes from standard MIDI instrument objects via Environment cables. This is
useful for creating layered sounds with “real” MIDI instruments and virtual instruments.
Please note that the Options > Preferences > MIDI > Use Unified Virtual and Classic MIDI
Engine setting needs to be switched on for these features to work.
When an Audio Instrument track is selected, it is ready to be played in real-time and
consequently produces some system load. Normally, Logic releases system resources
used by the Audio Engine when the sequencer is stopped. This is not the case,
however, if an Audio Instrument track is selected in the Arrange window, and is
therefore available for real-time playing. Selecting a MIDI track or a standard Audio
track exits this Audio Instrument “stand by” mode, and releases reserved system
resources when the sequencer is stopped.
Note: Muting an Audio Instrument track in the Arrange does not reduce system load.
Chapter 2 Instruments and Effects 21
Logic’s Bounce function allows the entire Audio Instrument track to be recorded as an
audio file. This “Bounced” audio file can then be assigned (as an audio region) to a
standard Audio track, allowing you to reassign the available processing (CPU) power for
further synthesizer tracks. For details, please refer to the Bounce chapter in the Logic
Reference manual.
You can also make use of the Freeze function to capture the output of an Audio
Instrument track, again saving processing power. For details please refer to the Freeze
section, in the Logic Reference manual.
Accessing Multiple Outputs
Logic supports the multiple outputs of the EXSP24 and all Audio Unit (AU) compatible
instruments. In addition to the Mono and Stereo submenus of the Audio Instrument
plug-in menu, a Multi Channel submenu lists all Instruments that offer multiple outputs.
A plug-in needs to be inserted from the Multi Channel submenu, in order to access its
individual outputs.
Note: Not all plug-ins (both Logic and third-party) are multi-output capable. If the
Instrument does not appear in the Multi Channel submenu, it is not equipped with
multiple output facilities.
The first two outputs of a multiple output instrument are always played back as a
stereo pair by the Instrument channel in which the plug-in is inserted. Additional
outputs (3 and 4, 5, and 6, and so on) are accessed via the Aux Objects.
Software Instrument Pitch
The Song Settings > Tuning > Software Instrument Pitch > Tune parameter remotely
controls the main tuning parameter for all software instruments (plug-in synthesizers,
such as the ES1 or EXSP24 sampler and others) by ±100 cents.
Note: Some instruments do not recognize this remote command.
22 Chapter 2 Instruments and Effects
3 Equalizer
This chapter covers all Logic equalization effects.
Equalizers allow you to increase or decrease the level of
selected components in the overall audio spectrum.
Logic’s built-in equalizers include the Channel EQ, Silver EQ, DJ EQ, High/Low Pass
Filters, High/Low Cut EQ, Parametric EQ and High/Low Shelving EQ plug-ins.
Channel EQ
3
The extremely high-quality Channel EQ offers four frequency bands.
EQ Parameters
The Band Type buttons above the display activate the Channel EQ’s bands individually;
inactive bands do not use any computer resources.
Band 1 is a lowpass filter and band 4 is a highpass filter.
Note: The Q-parameter of band 1 and band 4 will have no effect when using a slope of
6 dB/Oct.
Bands 2 and3 are bandpass filters.
23
You can set the band parameters either in the parameter area or directly in the central
EQ display. Move the mouse horizontally over the display. When your mouse cursor is in
the access area of a band, its individual curve and parameter area will be highlighted
and a pivot point appears. When you click-hold the mouse button directly on the
(illuminated) pivot point of a band, vertical movements (up/down) will change its Q
value. Horizontal movements (left/right) change the Frequency of the band. When you
click-hold the mouse button on the display background, horizontal movements will
again change the Frequency of the band. Vertical mouse movements will change the
Gain of band 1 to 4. Click-hold on the parameter: Moving up increases, and down
decreases, the value.
After boosting or cutting frequency bands, you can use the Master Gain fader to
readjust the output level of the Channel EQ.
Using the Channel EQ as the Default EQ
The Channel EQ replaces the Track EQ of older Logic versions. It is inserted into the first
available insert slot by double-clicking the EQ area on the upper portion of mixer
channel strips. This area will change to a thumbnail view of the Channel EQ display. The
thumbnails provide an overview of the EQ settings used in each individual channel.
Silver EQ
The Silver EQ contains one High Shelf, a Parametric and one Low Shelf filter with the
corresponding parameters. More on each of these is found in the Individual EQ’s
section below.
DJ EQ
The DJ EQ combines Low and High Shelving Filters with a fixed frequency, and one
Parametric EQ with its attendant parameters. More on each of these is found in the
Individual EQ’s section below.
The special feature of the DJ EQ is that it allows the gain of the filters to be reduced
down to −30 dB.
24 Chapter 3 Equalizer
Individual EQs
Parametric EQ
The Parametric EQ offers the following three parameters:
• Hz: Center frequency
• dB: Cut/Boost
• Q: Quality
A symmetrical frequency range on either side of the center frequency is boosted or cut.
You can adjust the width of this frequency range with the Q control.
High Shelving EQ/Low Shelving EQ
• The Low Shelving Equalizer only affects the frequency range below the selected
frequency.
• The High Shelving Equalizer only affects the frequency range above the selected
frequency.
Chapter 3 Equalizer 25
4 Dynamic
This chapter introduces Logic’s Dynamic plug-ins.
This includes the Compressor, Silver Compressor, Noise Gate, Silver Gate, Limiter, and
Preset Multipressor plug-ins.
Compressor
4
A compressor tightens up the dynamics of a signal. This means that the difference in
levels between loud and soft passages is reduced. This “evening out” of the loud and
soft passages means that the peak level remains pretty constant, and the overall
loudness—the perceived volume—of a track is increased. Next to an EQ, a compressor
is your most valuable sound-shaping tool when mixing. A compressor is a universal
effect, it has a virtually unlimited range of applications. You should definitely exploit it
for vocal tracks, but a compressor can also often work wonders for entire mixes. When
you use a compressor, be sure to route the entire signal through it, by inserting it
directly into channels. It should only be used in a bus when you want to compress a
group of tracks (a drum kit, for example) simultaneously, and by the same amount.
Again, these tracks (individual drums in a kit, for example) should be routed to the bus
in their entirety, as opposed to using Send knobs to route just parts of each signal to
the bus. You do this by selecting the appropriate bus as the output destination for the
tracks that you wish to compress.
27
Logic’s Compressor was designed to emulate the response of the finest analog
compressors. It follows the following principle: When a signal exceeds the defined
Threshold level, the compressor actually alters the response, so that it is no longer
linear. What happens is that all levels that exceed the Threshold are attenuated by the
value set with the Ratio slider. A ratio of 4:1 means that an incoming level that is 4 dB
louder than the Threshold level is dampened, so that it comes out the other end of the
compressor with a level that is just 1 dB above the Threshold level. On the flip side, if
you route in a signal that is loud enough to double the output level of the compressor
(+6 dB), the input signal would need to have a level 24 dB greater than the Threshold
level. This tells us that a compression ratio of 4:1 is a fairly drastic manipulation of the
original signal’s dynamics. Given that the compressor lowers levels, the volume of its
output signal is normally lower than that of the input signal.
To compensate for this decrease in levels, the output of the compressor is equipped
with a Gain slider. Auto Gain automatically sets the level of amplification to a value
equivalent to the “sum of the threshold value minus the threshold value divided by the
ratio” or put less confusingly T—(T/R). This function ensures that a normalized input
signal is amplified so that the output signal is also normalized, regardless of the values
set for Threshold and Ratio—provided you are dealing with relatively static signals. Use
the Attack and Release knobs to shape the dynamic response of the compressor. Attack
determines the amount of time it takes for the compressor to react to signals that
exceed the Threshold. At higher values, the compressor does not fully dampen a signal
until it runs through its Attack phase. This type of setting ensures the original attack, for
example the sound of a pick or finger striking a guitar string, remains intact or clearly
audible. If, on the other hand, you want to maximize the level of a master signal, set the
Attack knob to low values, ensuring that the compressor responds more swiftly. Release
determines the amount of time it takes for the compressor to stop dampening louder
passages, once the signal level falls below the Threshold level. If the compressor
generates an ugly pumping sound, adjust the Release knob accordingly.
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When you have configured a compressor so that it dampens the signal at or above the
Threshold value by the predetermined Ratio, while the level just below the Threshold is
routed through at a 1:1 Ratio, an audio engineer would term the compression as hard
knee. In many cases, however, you’ll come up with a better sounding track by using a
more gradual transition from the 1:1 Ratio below the Threshold, to the Ratio that you
entered for levels above the Threshold. In this scenario, the characteristic curve is not as
radical—it rises gradually from the bottom left to the top right, as seen in the graphic
display. This type of compression is called soft knee. The Knee slider lets you
incrementally select anything from hard to soft knee. This wide range of options
provides you with the tools you need to shape the sound as you like; whether you
want to radically maximize loudness with absolutely no regard for the original
dynamics (hard), or are going for the more musical compression that acoustic
recordings typically require (soft). Keep in mind that Knee only controls the shape of
the compression, not its intensity; use the Threshold and Ratio sliders for this purpose.
Incidentally, the Gain Reduction Meter indicates the intensity of compression used to
tighten up the original signal. This feature is a great help, particularly if you’re not
experienced with using compression. Keep an eye on it to make sure that you’re not
overly compressing your tracks.
When the compressor has to decide whether or not the level exceeds the Threshold (or
if the level is getting close to the Threshold, for soft knee compression), it can analyze
either the peak or RMS level. The latter value is a better indication of how humans
perceive loudness. When you use the compressor primarily as a limiter, select the Peak
button. When you’re compressing individual signals, use of the RMS button will often
deliver better, more musical results.
If you activate Auto Gain and RMS simultaneously, the signal may be saturated. If you
hear any distortion, switch Auto Gain off, and enter a suitable gain level manually.
The Output Clip parameter limits (clips) the output to 0 dB, via the OFF/SOFT/HARD
settings. This setting is only available if the 001/011 button is activated.
Note: Despite all of these handy tips for tweaking sounds, you should always keep one
thing in mind—there are no hard and fast rules. Use your own taste and ears. If it
sounds good, it is good.
Chapter 4 Dynamic 29
Silver Compressor
The Silver Compressor is a simplified version of the Compressor. It is limited to
Threshold, Attack, Release, and Ratio controls.
Noise Gate
Ordinarily, a noise gate suppresses unwanted noise that may become audible during a
lull in the signal. You can, however, also use it as a creative sound-sculpting tool.
Here’s the basic principle behind a noise gate: Signals that lie above the Threshold are
allowed to pass unimpeded (open gate). Anything below the defined Threshold
(background noise, crosstalk from other signal sources and so on) is fully muted (a
closed gate). In other words, the Threshold slider determines the lowest level that a
signal must be at, in order to open the gate—it separates the wanted or useful signal,
from the unwanted or noise signal.
The Reduction slider allows you to control the intensity of noise suppression. As a rule,
you should set it to the lowest possible value and leave it there, to ensure that the gate
closes completely. If you prefer, you can select other values, thus reducing the noise
signal less dramatically. As an alternative, you can actually boost the signal by up to
20 dB.
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