Apple LOGIC EXPRESS 8 Instruments And Effects
Logic Express 8
Instruments
and Effects
Apple Inc.
© 2007 Apple Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple. Your rights to the software are governed by
the accompanying software licence agreement.
The Apple logo is a trademark of Apple Inc., registered
in the U.S. and other countries. Use of the “keyboard”
Apple logo (Option-Shift-K) for commercial purposes
without the prior written consent of Apple may
constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the
information in this manual is accurate. Apple Inc. is not
responsible for printing or clerical errors.
Note: Because Apple frequently releases new versions
and updates to its system software, applications, and
Internet sites, images shown in this book may be slightly
different from what you see on your screen.
Apple Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, FireWire, Jam Pack, Logic, Mac,
Mac OS, Macintosh, QuickTime, and Ultrabeat are
trademarks of Apple Inc., registered in the U.S. and other
countries.
Finder and GarageBand are trademarks of Apple Inc.
Other company and product names mentioned herein
are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
recommendation. Apple assumes no responsibility with
regard to the performance or use of these products.
15
22
23
24
29
30
31
32
33
41
43
45
47
48
49
52
53
54
1
Contents
Preface 9 Introduction to the Logic Express Plug-ins
9 Logic Express Effects and Instruments
Chapter 1 13 Amp Modeling
13 Bass Amp
Guitar Amp Pro
Chapter 2 21 Delay
22 Echo
Sample Delay
Stereo Delay
Tape Delay
Chapter 3 27 Distortion
28 Bitcrusher
Clip Distortion
Distortion
Distortion II
Overdrive
Phase Distortion
Chapter 4 35 Dynamics
37 Compressor
DeEsser
Ducker
Enveloper
Expander
Limiter
Noise Gate
Preset Multipressor
Silver Compressor
Silver Gate
3
4
60
61
Chapter 5 55 EQ
57 Channel EQ
DJ EQ
Fat EQ
Single Band EQs
Silver EQ
Frequency Ranges Used With EQ
Chapter 6 65 Filter
66 AutoFilter
EVOC 20 Filterbank
EVOC 20 TrackOscillator
Fuzz-Wah
Spectral Gate
Chapter 7 91 Imaging
91 Direction Mixer
Stereo Spread
Chapter 8 95 Metering
96 BPM Counter
Correlation Meter
Level Meter
Tuner
62
63
64
70
75
85
88
94
97
97
98
Chapter 9 99 Modulation
10 0 Chorus
10 0 Ensemble
101 Flanger
10 2 Microphaser
10 2 Modulation Delay
Phaser
10 3
10 5
Ringshifter
11 0
Rotor Cabinet
112
Scanner Vibrato
113
Spreader
11 4
Tremolo
Chapter 10 115 Pitch
11 5
Pitch Correction
11 9
Pitch Shifter II
121
Vocal Transformer
Contents
Chapter 11 123 Reverb
12 4 AVerb
12 5 EnVerb
12 6 GoldVerb
12 9 PlatinumVerb
13 2 SilverVerb
Chapter 12 133 Specialized
13 4 Denoiser
13 6 Enhance Timing
13 7 Exciter
13 8 Grooveshifter
13 9 Speech Enhancer
14 0 SubBass
Chapter 13 143 Utility
14 4 Gain
14 5 I/O
14 6 Test Oscillator
Chapter 14 149 EVOC 20 PolySynth
15 0 Vocoder Basics
15 0 What Is a Vocoder?
15 0 How Does a Vocoder Work?
151 How Does a Filter Bank Work?
15 2 Using the EVOC 20 PolySynth
15 3 EVOC 20 PolySynth Parameters
15 4 Synthesis Parameters
15 9 Sidechain Analysis Parameters
161 Formant Filter Parameters
163
Modulation Parameters
165
Unvoiced/Voiced (U/V) Detection
167
Output Parameters
168
Block Diagram
169
Tips for Better Speech Intelligibility
169
Editing the Analysis and Synthesis Signals
17 0
Avoiding Sonic Artifacts
171
Achieving the Best Analysis and Synthesis Signals
17 2
Vocoder History
Contents
5
Chapter 15 175 EFM1
17 6 Global Parameters
17 7 Modulator and Carrier
17 8 FM Parameters
17 9 The Output Section
18 0 MIDI Controller Assignments
Chapter 16 181 ES E
Chapter 17 183 ES M
Chapter 18 185 ES P
Chapter 19 187 ES1
187 The ES1 Parameters
19 5 MIDI Controller List
Chapter 20 197 ES2
19 8 The ES2 Parameters
19 9 Global Parameters
203 Oscillator Parameters
210 Filters
218 Dynamic Stage (Amplifier)
220 The Router
233 The LFOs
236 The Envelopes (ENV 1 to ENV 3)
241 The Square
242 The Vector Envelope
250 Effect Processor
251 Using Controls and Assigning Controllers
252 Random Sound Variations
255 Tutorials
255 Sound Workshop
268 Templates for the ES2
6
Contents
Chapter 21 275 EXS24 mkII
277 Learning About Sampler Instruments
279 Loading Sampler Instruments
281 Working With Sampler Instrument Settings
282 Managing Sampler Instruments
283 Searching for Sampler Instruments
284 Importing Sampler Instruments
294 Parameters Window
312 The Instrument Editor
334 Setting Sampler Preferences
337 Configuring Virtual Memory
338 Using the VSL Performance Tool
Chapter 22 339 External Instrument
339 External Instrument Parameters
340 Using the External Instrument
Chapter 23 341 Klopfgeist
Chapter 24 343 Ultrabeat
344 The Structure of Ultrabeat
345 Overview of Ultrabeat
346 Loading and Saving Sounds
347 The Assignment Section
353 The Synthesizer Section
373 Modulation
382 The Step Sequencer
396 Creating Drum Sounds in Ultrabeat
Chapter 25 411 GarageBand Instruments
412 GarageBand Instrument Parameters
Appendix 417 Synthesizer Basics
417 Analog and Subtractive
418 What Is Synthesis?
419 Subtractive Synthesis
Glossary 425
Index 447
Contents 7
Introduction to the
Logic Express Plug-ins
The Logic Express music and audio production software
features a comprehensive collection of powerful plug-ins.
These include innovative synthesizers, high quality effect plug-ins, and a powerful
software sampler.
This manual will introduce you to the individual effects and instruments—and their
parameters. All plug-in parameters are discussed in detail. The instrument chapters
include a number of tutorials that will help you to make the most of your new
instruments. Using plug-ins is much easier if you are familiar with the basic functions of
Logic Express. Information about these can be found in the Logic Express 8 User Manual.
Logic Express Effects and Instruments
The following tables outline the effects and instruments included with Logic Express.
Preface
Effect category Included effects
Amp Modeling  Bass Amp (p. 13)
 Guitar Amp Pro (p. 15)
Delay  Echo (p. 22)
 Sample Delay (p. 22)
 Stereo Delay (p. 23)
 Tape Delay (p. 24)
Distortion  Bitcrusher (p. 28)
 Clip Distortion (p. 29)
 Distortion (p. 30)
 Distortion II (p. 31)
 Overdrive (p. 32)
 Phase Distortion (p. 33)
9
Effect category Included effects
Dynamic  Compressor (p. 37)
 DeEsser (p. 41)
 Ducker (p. 43)
 Enveloper (p. 45)
 Expander (p. 47)
 Limiter (p. 48)
 Noise Gate (p. 49)
 Preset Multipressor (p. 52)
 Silver Compressor (p. 53)
 Silver Gate (p. 54)
EQ Â Channel EQ (p. 57)
 DJ EQ (p. 60)
 Fat EQ (p. 61)
 Single Band EQs (p. 62)
 Silver EQ (p. 63)
Filter  AutoFilter (p. 66)
 EVOC 20 Filterbank (p. 70)
 EVOC 20 TrackOscillator (p. 75)
 Fuzz-Wah (p. 85)
 Spectral Gate (p. 88)
Imaging  Direction Mixer (p. 91)
 Stereo Spread (p. 94)
Metering  BPM Counter (p. 96)
 Correlation Meter (p. 97)
 Level Meter (p. 97)
 Tuner (p. 98)
Modulation  Chorus (p. 100)
 Ensemble (p. 100)
 Flanger (p. 101)
 Microphaser (p. 102)
 Modulation Delay (p. 102)
(p. 103)
 Phaser
 Ringshifter (p. 105)
 Rotor Cabinet (p. 110)
 Scanner Vibrato (p. 112)
 Spreader (p. 113)
 Tremolo (p. 114)
Pitch  Pitch Correction (p. 115)
 Pitch Shifter II (p. 119)
 Vocal Transformer (p. 121)
Reverb  AVerb (p. 124)
 EnVerb (p. 125)
 GoldVerb (p. 126)
 PlatinumVerb (p. 129)
 SilverVerb (p. 132)
10 Preface Introduction to the Logic Express Plug-ins
Effect category Included effects
Specialized  Denoiser (p. 134)
 Enhance Timing (p. 136)
 Exciter (p. 137)
 Grooveshifter (p. 138)
 Speech Enhancer (p. 139)
 SubBass (p. 140)
Utility  Gain (p. 144)
 I/O (p. 145)
 Test Oscillator (p. 146)
The following table outlines the instruments included with Logic Express.
Instrument category Included instruments
Synthesizer  EFM1 (p. 175)
 ES E (p. 181)
 ES M (p. 183)
 ES P (p. 185)
 ES1 (p. 187)
 ES2 (p. 197)
 Klopfgeist (p. 341)
Drum synthesizer Ultrabeat (p. 343)
Software sampler EXS24 mkII (p. 275)
Vocoder synthesizer EVOC 20 PolySynth (p. 149)
Utility External Instrument (p. 339)
GarageBand instruments Analog Basic, Analog Mono, Analog Pad, Analog Swirl, Analog Sync,
Bass, Digital Basic, Digital Mono, Digital Stepper, Drum Kits, Electric
Clavinet, Electric Piano, Guitar, Horns, Hybrid Basic, Hybrid Morph,
Piano, Sound Effects, Strings, Tonewheel Organ, Tuned Percussion,
Voice, Woodwind (see “GarageBand Instruments” on page 411)
Preface Introduction to the Logic Express Plug-ins 11
1 Amp Modeling
1
You can add the sound of a guitar and bass amplifier to your
audio recordings and software instruments.
Using a method known as component modeling, both the sound and functionality of
musical instrument amplifiers, particularly those used with electric guitar and bass, can
be emulated as an effect. These effects recreate the sound of both tube and solid state
amplifiers, and feature a full set of controls, including pre-gain and tone controls for
bass, midrange, and treble, as well as output level. They allow you to select from a
variety of familiar amp models.
The following sections describe the individual plug-ins included with Logic Express.
 “Bass Amp” on page 13
 “Guitar Amp Pro” on page 15
Bass Amp
The Bass Amp simulates the sound of several famous bass amplifiers. You can process
bass guitar signals directly within Logic Express and reproduce the sound of highquality bass guitar amplification systems.
You can also use the Bass Amp for experimental sound design. You may freely use the
plug-in on other instruments, as desired—applying the sonic character of a bass amp
to a vocal or drum part, for example.
13
Bass Amp Parameters
 Model pop-up menu: Choose from among nine different amplifier models. The
choices are:
Model Description
American Basic 1970s-era American bass amp, equipped with eight 10-inch speakers. Well
suited for blues and rock recordings.
American Deep Based on the American Basic amp, but with strong lower-mid frequency
(from 500 Hz on) emphasis. Well suited for reggae and pop recordings.
American Scoop Based on American Basic amp, but combines the frequency characteristics
of the American Deep and American Bright, with both low mid (from
500 Hz) and upper mid (from 4.5 kHz) frequencies emphasized. Well suited
for funk and fusion recordings.
American Bright Based on the American Basic amp, this model massively emphasizes the
upper-mids (from 4.5 kHz upwards).
New American Basic 1980s-era American bass amp, well suited for blues and rock recordings.
New American Bright Based on the New American Basic amp, this model strongly emphasizes
the frequency range above 2 kHz. Well suited for rock and heavy metal.
Top Class DI Warm Famous DI box simulation, well suited for reggae and pop recordings.
Mids, in the broad frequency range between 500 and 5000 Hz, are deemphasized.
Top Class DI Deep Based on the Top Class DI Warm amp, this model is well suited for funk
and fusion its mid frequency range is strongest around 700 Hz.
Top Class DI Mid Based on the Top Class DI Warm amp, this model features a more or less
linear frequency range, with no frequencies emphasized. It is suitable for
blues, rock, and jazz recordings.
 Pre Gain slider: Sets the pre-amplification level of the input signal.
 Bass, Mid, and Treble sliders: Adjusts the bass, mid, and treble levels.
14 Chapter 1 Amp Modeling
 Mid Frequency slider: Sets the center frequency of the mid band (between 200 Hz
and 3000 Hz).
 Output Level slider: Sets the final output level for the Bass Amp.
Guitar Amp Pro
The Guitar Amp Pro can emulate the sound of a variety famous guitar amplifiers and
the cabinets/speakers used with them. You can process guitar signals directly within
Logic Express, allowing you to reproduce the sound of high-quality guitar amp
systems.
Guitar Amp Pro can also be used for experimental sound design and processing. You
can freely use the plug-in on other instruments, as desired—applying the sonic
character of a guitar amp to a trumpet or vocal part, for example!
Guitar Amp Pro offers a range of Amplifier, Speaker, and EQ models that can be
combined in a number of ways. The EQ models are equipped with the Bass, Mid, and
Treble controls typical of guitar amplifiers. Miking can be switched between two
different microphone types and positions. To round out the complement of
parameters, Guitar Amp Pro also integrates classic guitar effects, including Reverb,
Vibrato, and Tremolo.
The Guitar Amp Pro window is organized into four main sections.
Amp section
Effects section
Microphone Position section
 The Amp section has parameters for choosing the Amp, Speaker, and EQ model, and
 The Effects (FX) section is where you control the built-in guitar effects. Below the FX
Microphone Type section
a set of tone, gain, and level controls.
section is the final output control.
Chapter 1 Amp Modeling 15
 The Microphone Position section is where you set the position of the microphone on
the speaker.
 The Microphone Type section is where you choose which type of microphone
captures the amp’s sound.
Amp Section
 Amp pop-up menu: Choose the amp model you want to use. The choices are:
Model Description
UK Combo 30W Neutral sounding amp, well suited for clean or crunchy rhythm parts.
UK Top 50W Quite aggressive in the high frequency range, well suited for classical rock
sounds.
US Combo 40W Clean sounding Amp model, well suited for funk and jazz sounds.
US Hot Combo 40W Emphasizes the high mids of the frequency range, making this model ideal
for solo sounds.
US Hot Top 100W This Amp produces very fat sounds, even at low Master settings, than result
in broad sounds with a lot of “oomph.”
Custom 50W With the Presence parameter set to 0, this Amp model is well suited for
smooth fusion lead sounds.
British Clean Simulates the classic British Class A combos used continuously since the
1960s for rock music, without any significant modification. This model is
ideally suited for clean or crunchy rhythm parts.
British Gain Emulates the sound of a British tube head, and is synonymous with rocking,
powerful rhythm parts and lead guitars with a rich sustain.
American Clean Emulates the traditional full tube combos used for clean and crunchy
sounds.
American Gain Emulates a modern Hi-Gain head, making it suitable for distorted rhythm
and lead parts.
Clean Tube Amp Emulates a tube amp model with very low gain (distortion only when using
very high input levels or Gain/Master settings).
16 Chapter 1 Amp Modeling
 Speaker pop-up menu: Choose one of the 15 speaker models. The choices are:
Speaker type Description
UK 1x12 open back Classic open enclosure with one 12" speaker, neutral, well-balanced,
multifunctional.
UK 2x12 open back Classic open enclosure with two 12" speaker, neutral, well-balanced,
multifunctional.
UK 2x12 closed Loads of resonance in the low frequency range, therefore well suited for
Combos: crunchy sounds are also possible with low Bass control settings.
UK 4x12 closed slanted when used in combination with off-center miking, you will get an
interesting mid frequency range; therefore this model works well when
combined with High Gain amps.
US 1x10 open back Not much resonance in the low frequency range. Suitable for use with
(blues) harmonicas.
US 1x12 open back 1 Open enclosure of an American lead combo with a single 12" speaker.
US 1x12 open back 2 Open enclosure of an American clean/crunch combo with a single
12" speaker.
US 1x12 open back 3 Open enclosure of another American clean/crunch combo with a single
12" speaker.
US broad range Cabinet simulation of a classic electric piano speaker.
Analog simulation Internal speaker simulation of a well-known British 19" tube preamplifier.
UK 1x12 A British Class A tube open back with a single 12" speaker.
UK 4x12 Classic closed enclosure with four 12" speakers (black series), suitable for
Rock.
US 1x12 open back Open enclosure of an American lead combo with a single 12" speaker.
US 1x12 bass reflex Closed bass reflex cabinet with a single 12" speaker.
DI Box This option allows you to bypass the speaker simulation section.
 EQ pop-up menu: Choose one of the four EQ models. The choices are:
British 1, British 2, American, and Modern EQ.
 Amp–Speaker Link button: Links the Amp and Speaker menus so that when you
change the amp model, the speaker associated with that amp is loaded
automatically.
 Amp–EQ Link button: Links the Amp and EQ menus so that when you change the
amp model, the EQ model associated with that amp is loaded automatically.
Each amp model has a speaker and EQ model associated with it. Together, the amp,
speaker, and EQ combined recreate a well-known guitar sound. However, you can
freely combine any speaker or EQ model with any amp by turning off the two Link
buttons.
Chapter 1 Amp Modeling 17
 Gain knob: Sets the amount of pre-amplification applied to the input signal. This
control has different effects, dependent on which Amp model is selected. For
example, when using the British Clean amp model, the maximum Gain setting
produces a powerful crunch sound. When using the British Gain or Modern Gain
amps, the same Gain setting produces heavy distortion, suitable for lead solos.
 Bass, Mids, and Treble knobs: Adjusts the frequency ranges of the EQ models, similar
to the tone knobs on a hardware guitar amplifier.
 Presence knob: Adjusts the high frequency range. The Presence parameter affects
only the output (Master) stage of Guitar Amp Pro.
 Master knob: Sets the output volume of the amplifier (going to the speaker).
Typically, for tube amplifiers, increasing the Master level produces a more
compressed and saturated sound, resulting in a more distorted and powerful (louder)
signal. High settings can produce an extremely loud output. In Guitar Amp Pro, the
Master parameter modifies the sonic character, and the final output level is set using
the Output parameter below the FX section. (see below for information).
Effects Section
The Effects section contains Reverb, Tremolo, and Vibrato effects. You can choose either
Tremolo (which modulates the amplitude or volume of the sound) or Vibrato (which
modulates the pitch), and use Reverb together with either one, or separately.
Before you can use or adjust an effect, you must first turn it on by clicking its On button
(with a power on icon). The On button lights when the effect is turned on. The FX and
Reverb On buttons are located to the left of the controls for each effect.
Note: The Effects section is placed before the Master control in the signal flow, and
therefore receives the pre-amplified (pre-Master) signal.
FX Parameters
 FX pop-up menu: Choose either Tremolo or Vibrato from the menu.
 Depth knob: Sets the intensity of the modulation.
 Speed knob: Sets the speed of the modulation (in Hz). Lower settings produce a
smooth and floating sound, while higher settings produce a rotor-like effect.
 Sync button: When turned on, the Speed is synchronized to the project tempo. When
Sync is activate, adjusting the Speed parameter lets you select different musical note
values. Set the Speed parameter to the desired value, and whichever effect you have
chosen will be perfectly synchronized to the project tempo.
Reverb Parameters
 Reverb pop-up menu: Choose one of the three types of spring reverb.
 Level knob: Sets the amount of reverb applied to the pre-amplified amp signal.
18 Chapter 1 Amp Modeling
Microphone Position and Microphone Type Sections
After choosing a speaker from the Speaker menu, you can set the type of microphone
emulated, and where the microphone is placed in relation to the speaker.
Microphone Position Parameters
 Centered button: When selected, places the microphone in the center of the speaker
cone, also called on-axis. This placement produces a fuller, more powerful sound,
suitable for blues or jazz guitar tones.
 Off-Center button: When selected, places the microphone on the edge of the speaker,
also referred to as off-axis. This placement produces signal a tone that is brighter and
sharper, but also thinner, suitable for cutting rock or rhythm and blues guitar tones.
When you select either button, the graphic speaker display reflects the current setting.
Microphone Type Parameters
 Condenser button: When selected, emulates the sound of a studio condenser
microphone. The sound of condenser microphones is fine, transparent, and well
balanced.
 Dynamic button: When selected, emulates the sound of a dynamic cardioid
microphone. This microphone type sounds brighter and more cutting, compared to
the Condenser model. At the same time, the lower Mids are less pronounced, making
this model more suitable for miking rock guitar tones.
Note: In practice, combining both microphone types can sound very interesting.
Duplicate the guitar track, and insert Guitar Amp Pro as an insert effect on both
tracks. Select different microphones in both Guitar Amp Pro instances, while
retaining identical settings for all other parameters, and mix the track signal levels.
You can, of course, choose to vary any other parameters, as desired.
Output
Below the Effects section is the Output slider, which serves as the final level control for
Guitar Amp Pro output. The Output parameter can be thought of as a “behind the
cabinet” volume control, and is used to set the level that is fed into the following plugin slots on the channel or into the channel output.
Note: This parameter is distinct from the Master control, which serves a dual purpose—
for sound design, as well as controlling the level of the Amp section.
Chapter 1 Amp Modeling 19
2 Delay
2
Delay effects store the input signal—and hold it for a short
time—before sending it to the effect input or output.
Most delays allow you to feed a percentage of the delayed signal back to the input,
creating a repeating echo effect. Each subsequent repeat is a little quieter than the
previous one.
The delay time can often be synchronized to the project tempo by matching the grid
resolution of the project, usually in note values or milliseconds.
You can use delays for:
 Doubling individual sounds, making it sound like a group of instruments playing the
same melody.
 Creating echo effects, placing the sound in a large “space.”
 Enhancing the stereo position of tracks in a mix.
Delay effects are generally used as channel insert or bussed effects. They are rarely
used on an overall mix (in an output channel), unless you’re trying to achieve a special
effect, such as an “other worldly” mix.
This chapter describes the delay effects included with Logic Express:
 Echo (see below).
 Sample Delay (see “Sample Delay” on page 22).
 Stereo Delay (see “Stereo Delay” on page 23).
 Tape Delay (see “Tape Delay” on page 24).
21
Echo
This simple echo effect always synchronizes the delay time to the project tempo,
allowing you to quickly create echo effects that run in time with your composition.
Echo Parameters
 Time: Sets the grid resolution of the delay time in musical note durations—based on
the project tempo. “T” values represent triplets, “.” values represent dotted notes.
 Repeat: Determines how often the delay effect is repeated.
 Color: Sets the harmonic content (color) of the delay signal.
 Wet and Dry: These individually control the amount of original and effect signal.
Sample Delay
The Sample Delay is not so much an effect as a tool: You can use it to delay a channel
by single sample values. When used in conjunction with the phase inversion
capabilities of the Gain effect, the Sample Delay is well-suited to the correction of
timing problems that may occur with multi-channel microphones. It can also be used
creatively, to emulate stereo microphone channel separation.
The stereo version of the plug-in provides separate controls for each channel, and also
offers a Link L & R option that moves both channels by the same number of samples.
Every sample (at a frequency of 44.1 kHz) is equivalent to the time taken for a sound
wave to travel 7.76 millimeters. Looked at differently: If you delay one channel of a
stereo microphone by 13 samples, this will emulate an acoustic (microphone)
separation of 10 centimeters.
22 Chapter 2 Delay
Stereo Delay
The Stereo Delay works much like the Tape Delay (see below), but allows you to set the
Delay, Feedback, and Mix parameters separately for the left and right channel.
The effect also features a Crossfeed knob for each stereo side. It determines the
feedback intensity—or the level at which each signal is routed to the opposite stereo
side.
You can freely use the Stereo Delay on mono tracks or busses, when you want to create
independent delays for the two stereo sides.
Note: If you do use the effect on mono channel strips, the track or bus will have two
channels from the point of insertion (all Insert slots after the chosen slot will be stereo).
This section only covers the additional features offered by the Stereo Delay. For more
information about the parameters shared with the Tape Delay, see the Tape Delay
section below.
 Left Input and Right Input: Use these to choose the input signal for the two stereo
sides. Options include Off, Left, Right, L+R, L-R.
 Feedback Phase button: Use to invert the phase of the corresponding channel’s
feedback signal.
 Crossfeed Left to Right and Crossfeed Right to Left: Use to transfer the feedback signal
of the left channel to the right channel, and vice versa.
 Crossfeed Phase buttons: Use to invert the phase of the crossfed feedback signals.
Chapter 2 Delay 23
Tape Delay
The Tape Delay simulates the warm sound of vintage tape echo machines, with the
convenience of easy delay time synchronization to your project tempo.
The Tape Delay is equipped with a highpass and lowpass filter in the feedback loop,
making it easy to create authentic dub echo effects, and also includes an LFO for delay
time modulation. The LFO produces a triangular wave, with adjustable speed and
modulation intensity. You can use it to produce pleasant or unusual chorus effects,
even on long delays.
 Feedback: Determines the amount of delayed and filtered signal that is routed back
to the input of the Tape Delay.
 Freeze: Captures the current delay repeats and sustains them until the Freeze
parameter is released.
 Delay: Sets the current delay time in milliseconds (this parameter is dimmed when
you synchronize the delay time to the project tempo).
 Tempo: Sets the current delay time in beats per minute (this parameter is dimmed
when you synchronize the delay time to the project tempo).
 Sync button: Switch this on to synchronize delay repeats to the project tempo
(including tempo changes).
 Note buttons: Click to set the grid resolution for the delay time, in note durations.
 Groove slider: Determines the proximity of every second delay repeat to the absolute
grid position (how close every second delay repeat is, in other words).
 Distortion Level (extended parameter): Determines the level of the distorted (tape
saturation) signal.
 Low Cut and High Cut: Frequencies below the Low Cut value, and above the High Cut
value are filtered out of the source signal.
 LFO Speed: Sets the frequency (speed) of the LFO.
 LFO Depth: Sets the amount of LFO modulation. A value of 0 turns delay modulation
off.
 Flutter parameters: Simulates the speed irregularities of the tape transports used in
analog tape delay units. Flutter Rate adjusts the speed, and Flutter Intensity
determines how pronounced the effect is.
24 Chapter 2 Delay
 Smooth: Evens out the LFO and flutter effect.
 Dry and Wet: These individually control the amount of original and effect signal.
Setting the Feedback
When you set the Feedback slider to the lowest possible value, the Tape Delay
generates a single echo. If Feedback is turned all the way up, the echoes are repeated
ad infinitum.
Note: The levels of the original signal and its taps (echo repeats) tend to accumulate,
and may cause distortion. This is where the internal tape saturation circuit comes to the
rescue—it can be used to ensure that these overdriven signals continue to sound
good.
Setting the Groove Value
The Groove value determines the proximity (how close) of every second delay repeat to
the absolute grid position. A Groove setting of 50% means that every delay will have
the same delay time. Settings below 50% result in every second delay being played
earlier in time. Settings above 50% result in every second delay being played later in
time. When you want to create dotted note values, move the Groove slider all the way
to the right (to 75%); for triplets, select the 33.33% setting.
Filtering the Delay Effect
You can shape the sound of the echoes, using the on-board highpass and lowpass
filters. The filters are located in the feedback circuit, meaning that the filtering effect
increases in intensity with each delay repeat. If you’re after an increasingly “muddy”
tone, move the High Cut filter slider towards the left. For ever “thinner” echoes, move
the Low Cut filter slider towards the right.
Note: If you’re unable to hear the effect, even though you seem to have a suitable
configuration, be sure to check out both the Dry/Wet controls and the filter
settings: Move the High Cut filter slider to the far right, and the Low Cut filter slider to
the far left.
Chapter 2 Delay 25
3 Distortion
3
You can use Distortion effects to recreate the sound of analog
or digital distortion, and to radically transform your audio.
Distortion effects simulate the distortion created by vacuum tubes, transistors, or
digital circuits. Vacuum tubes were used in audio amplifiers before the development of
digital audio technology, and are still used in musical instrument amps today. When
overdriven, they produce a type of distortion which many people find musically
pleasing, and which has become a familiar part of the sound of rock and pop music.
Analog tube distortion adds a distinctive warmth and bite to the signal.
There are also distortion effects which intentionally cause clipping and digital
distortion of the signal. These can be used to modify vocal, music, and other tracks to
produce an intense, unnatural effect, or for creating sound effects.
Distortion effects include parameters for tone, which let you shape the way the
distortion alters the signal (often as a frequency-based filter), and for gain, which let
you control how much the distortion alters the output level of the signal.
Warning: When set to high output levels, distortion effects can damage your hearing
(and speakers). When adjusting effect settings, it is recommended that you lower the
output level of the track, and raise the level gradually when you are finished.
The following sections describe the individual effects included with Logic Express.
 “Bitcrusher” on page 28
 “Clip Distortion” on page 29
 “Distortion” on page 30
 “Distortion II” on page 31
 “Overdrive” on page 32
 “Phase Distortion” on page 33
27
Bitcrusher
The Bitcrusher is a low resolution digital distortion effect. You can use it to emulate the
sound of early digital audio, create artificial aliasing by dividing the sample rate, or
distort signals until they are unrecognizable.
Bitcrusher Parameters
 Drive slider and field: Sets the amount of gain (in decibels) applied to the input signal.
 Resolution slider and field: Sets the bit rate (between 1 and 24 bits).
 Downsampling slider and field: Sets the amount by which the sample rate is reduced.
A value of 1x leaves the signal unchanged, a value of 2x halves the sample rate, and a
value of 10x reduces the sample rate to one-tenth of the original signal. (For example,
if you set Downsampling to 10x, a 44.1 kHz signal is sampled at just 4.41 kHz.)
 Mode buttons: Click one of the buttons to set the distortion mode to Folded, Cut, or
Displaced (each of which is described in the following section).
 Clip Level slider and field: Sets the point below the normal threshold at which the
signal starts clipping.
 Mix slider and field (extended parameter): Determines the balance of dry and wet
signals.
Using the Bitcrusher
Setting the Resolution parameter to a value lower than the bit rate of the original
signal degrades the signal, introducing digital distortion. Lowering the value increases
the number of sampling errors, generating more distortion. At extremely low bit rates,
the amount of distortion can be greater than the level of the usable signal.
The Mode buttons determine whether signal peaks that exceed the clip level are
Folded, Cut, or Displaced (as displayed on the button icons and the resulting waveform
in the display). The kind of clipping that occurs in digital systems is usually closest to
that of the center mode (Cut). Internal distortion may generate clipping similar to the
types generated by the other two modes.
Raising the Drive level tends to increase the amount of clipping at the output of the
Bitcrusher as well.
28 Chapter 3 Distortion
Clip Distortion
Clip Distortion is a nonlinear distortion effect that produces unpredictable spectra. You
can use it to simulate warm, overdriven tube sounds, and also to create drastic distortion.
Clip Distortion features an unusual combination of serially connected filters. After being
amplified by the Drive value, the signal passes through a highpass filter, and is then
subjected to nonlinear distortion, as controlled by the Symmetry parameter. After the
distortion, the signal passes through a lowpass filter. The effected signal is mixed with
the original signal, after which the mixed signal is sent through another lowpass filter.
All three filters have a slope of 6 dB/octave.
This unique combination of filters allows for gaps in the frequency spectra that can
sound quite good with this sort of nonlinear distortion. The clip circuit graphic visually
depicts every parameter except for the High Shelving filter parameters.
Clip Distortion Parameters
 Drive slider and field: Sets the amount of gain applied to the input signal. After being
amplified by the Drive value, the signal passes through a highpass filter.
 Tone slider and field: Sets the cutoff frequency (in Hertz) of the highpass filter.
 Symmetry slider and field: Sets the amount of nonlinear (asymmetrical) distortion
applied to the signal.
 Clip Filter slider and field: Sets the cutoff frequency (in Hertz) of the first lowpass filter
through which the signal passes after distortion.
 Mix slider: Sets the ratio of the effected (wet) signal to the non-effected (dry) signal
following the Clip Filter.
 Sum LPF circular slider and field: Sets the cutoff frequency (in Hertz) of the lowpass
filter through which the mixed signal passes.
 High Shelving Frequency knob and field: Sets the frequency (in Hertz) of the high
shelving filter.
 High Shelving Gain knob and field: Sets the amount of gain applied to the output
signal.
Chapter 3 Distortion 29
 Input Gain field and slider (extended parameter): Sets the amount of gain applied to
the input signal.
 Output Gain field and slider (extended parameter): Sets the amount of gain applied to
the output signal.
Using Clip Distortion
If you set the High Shelving Frequency to around 12 kHz, you can use it like the treble
control on a mixer channel strip or a stereo hi-fi amplifier. Unlike those types of treble
controls, however, you can boost or cut the signal by up to ±30 dB using the Gain
parameter.
Distortion
This Distortion effect simulates the lo-fi, dirty distortion generated by a bipolar
transistor. You can use it to simulate playing a musical instrument through a highly
overdriven amplifier, or to create unique distorted sounds.
Distortion Parameters
 Drive slider and field: Sets the amount of saturation applied to the signal.
 Tone slider and field: Sets the frequency at which the signal is filtered by a high cut
filter. Filtering the harmonically-rich distorted signal produces a somewhat less
grating, softer tone.
 Output slider and field: Sets the output volume level. This allows you to compensate
for increases in loudness caused by adding distortion.
30 Chapter 3 Distortion
Loading...