Apple Logic Pro - X User Manual

Logic Pro X Instruments

For OS X

K Apple Inc.

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14 Chapter 1: Drum Kit Designer 14 Drum Kit Designer overview 15 Drum Kit Designer Edit panel 16 Use Drum Kit Designer 18 Drum Kit Designer extended parameters 19 Drum Kit Designer mappings

20 Chapter 2: ES1 20 ES1 overview 21 ES1 oscillator parameters 21 ES1 oscillator parameters overview 22 ES1 oscillator waveforms 22 Use the ES1 sub-oscillator 23 ES1 global parameters 24 ES1 lter parameters 24 ES1 lter parameters overview 25 Drive the ES1 lter to self-oscillate 26 ES1 amplier parameters 27 ES1 envelope parameters 27 ES1 envelope parameters overview 27 ES1 lter cuto envelope modulation 28 ES1 amplier envelope modulation 29 ES1 modulation 29 ES1 modulation parameters overview 29 Use the ES1 router 30 Use the ES1 LFO 31 Use the ES1 modulation envelope 32 ES1 MIDI controllers

33 Chapter 3: ES2 33 ES2 overview 34 ES2 interface 36 ES2 sound sources 36 ES2 oscillator parameters overview 37 ES2 basic oscillator waveforms 38 Use pulse width modulation in ES2 38 Use frequency modulation in ES2 40 Use ring modulation in ES2 41 Use ES2 Digiwaves 41 Use the ES2 noise generator 42 ES2 emulation of detuned analog oscillators 43 Stretch tuning in ES2

44 Balance ES2 oscillator levels 44 ES2 oscillator start points 45 Synchronize ES2 oscillators 46 ES2 global parameters 46 Global parameters overview 47 Set the ES2 keyboard mode 47 Use unison and voices in ES2 48 Set the ES2 glide time 48 Set the ES2 pitch bend range 49 ES2 lter parameters 49 ES2 lter overview 50 ES2 lter conguration 50 Cross-fade between ES2 lters 52 ES2 Filter 1 modes 52 ES2 Filter 2 slopes 53 ES2 lter cuto and resonance 55 Overdrive ES2 lters 56 Modulate ES2’s Filter 2 Frequency 57 ES2 amplier parameters 57 Use ES2’s dynamic stage 57 Sine Level enhanced ES2 sounds 58 ES2 modulation 58 ES2 modulation overview 59 ES2 modulation router 63 ES2 LFOs 65 Use ES2 LFOs 66 ES2 envelopes 69 Use the Vector Envelope 70 Vector Envelope points, times, and loops 76 Use the Planar Pad 77 ES2 modulation target reference 83 ES2 modulation source reference 85 ES2 via modulation source reference 87 ES2 integrated eects processor 89 ES2 macro controls and controller assignments 89 ES2 macro and controller assignment overview 89 ES2 macro controls 90 Make ES2 controller assignments 91 ES2 Surround mode 91 ES2 extended parameters 92 Create random ES2 sound variations 92 Use ES2’s randomization parameters 92 Restriction of ES2 randomization 94 ES2 tutorials 94 Create ES2 sounds from scratch 103 Create ES2 sounds with templates

Contents 4

108 Chapter 4: EFM1 108 EFM1 overview 110 EFM1 modulator and carrier parameters 110 Modulator and carrier overview 112 Set the EFM1 tuning ratio 112 Choose a dierent EFM1 modulator waveform 113 EFM1 modulation parameters 114 EFM1 global parameters 115 EFM1 output parameters 116 Create random EFM1 sounds 116 EFM1 extended parameters 117 EFM1 MIDI controller assignments

118 Chapter 5: ES E 118 ES E overview 119 ES E oscillator parameters 120 ES E LFO parameters 121 ES E lter parameters 122 ES E envelope parameters 122 ES E output parameters 123 Extended ES E parameters

124 Chapter 6: ES M 124 ES M overview 125 ES M oscillator parameters 126 ES M lter and lter envelope 127 ES M level envelope and output controls 127 Extended ES M parameters

128 Chapter 7: ES P 128 ES P overview 129 ES P oscillator parameters 130 ES P LFO parameters 131 ES P lter parameters 132 ES P envelope and level controls 133 Integrated ES P eects processor 133 Extended ES P parameters

Contents 5

134 Chapter 8: EVOC 20 PolySynth 134 EVOC 20 PolySynth and vocoding 134 EVOC 20 PolySynth overview 135 Vocoder basics 136 EVOC 20 PolySynth interface 137 EVOC 20 PolySynth analysis parameters 138 EVOC 20 PolySynth (U/V) detection parameters 140 EVOC 20 PolySynth synthesis parameters 140 EVOC 20 PolySynth synthesis parameters overview 141 EVOC 20 PolySynth oscillator parameters 143 EVOC 20 PolySynth tuning and pitch parameters 144 EVOC 20 PolySynth lter parameters 144 EVOC 20 PolySynth envelope parameters 145 EVOC 20 PolySynth global parameters 146 EVOC 20 PolySynth formant lter 148 EVOC 20 PolySynth modulation parameters 149 EVOC 20 PolySynth output parameters 150 EVOC 20 PolySynth performance tips 150 Level and frequency tips 150 Tips to avoid sonic artifacts 151 Tips to enhance speech intelligibility 152 Vocoder history 153 EVOC 20 block diagram

154 Chapter 9: EXS24 mkII 154 EXS24 mkII overview 156 Sampler instruments 156 Sampler instruments overview 156 Sample storage locations 157 Manage sampler instruments 158 Use sampler instruments and settings 159 Import SoundFont2, DLS, and Gigasampler les 161 Convert audio regions to sampler instruments 162 Convert ReCycle les to sampler instruments 164 EXS24 mkII Parameter window 164 EXS24 mkII Parameter window overview 165 Sampler Instruments pop-up menu 168 EXS24 mkII global parameters 171 EXS24 mkII pitch parameters 173 EXS24 mkII lter parameters 175 EXS24 mkII output parameters 176 EXS24 mkII extended parameters 176 EXS24 mkII modulation overview 177 EXS24 mkII modulation router 181 EXS24 mkII LFOs 184 EXS24 mkII envelope overview 185 EXS24 mkII modulation reference

Contents 6

189 EXS24 mkII Instrument Editor window 189 EXS24 mkII Instrument Editor overview 190 EXS24 mkII Zones and Groups view 192 Create instruments, zones, and groups 196 Edit EXS24 mkII zones and groups 208 Save, rename, and export EXS24 mkII instruments 209 Edit samples in the Logic Pro Audio File Editor 210 Use an external instrument editor with EXS24 mkII 211 EXS24 mkII preferences 214 EXS24 mkII memory management

216 Chapter 10: External Instrument 216 External Instrument overview 217 Use the External Instrument

218 Chapter 11: Klopfgeist 218 Klopfgeist parameters

220 Chapter 12: Retro Synth 220 Retro Synth overview 221 Retro Synth Analog oscillator controls 222 Retro Synth Sync oscillator controls 223 Retro Synth Table oscillator controls 224 Retro Synth FM oscillator controls 226 Retro Synth lter controls 228 Retro Synth amp and eect controls 229 Retro Synth modulation controls 229 Use Retro Synth modulation 230 Retro Synth Glide and Autobend 231 Retro Synth LFO and Vibrato 232 Retro Synth envelopes 233 Retro Synth global and controller settings 234 Retro Synth extended parameters

235 Chapter 13: Sculpture 235 Sculpture overview 237 Sculpture interface 238 Sculpture string parameters 238 Sculpture string overview 239 Sculpture Hide, Keyscale, and Release view 240 Sculpture’s basic Material Pad parameters 241 Use Sculpture’s Material Pad in Keyscale or Release view 242 Use Sculpture’s string parameter sliders 244 Sculpture objects parameters 244 Sculpture objects overview 246 Sculpture excite table (objects 1 and 2) 247 Sculpture disturb and damp table (objects 2 and 3) 249 Sculpture pickups parameters 249 Use Sculpture pickup parameters 250 Sculpture’s spread controls 251 Sculpture global parameters

Contents 7

252 Sculpture amplitude envelope parameters 253 Use Sculpture’s Waveshaper 254 Sculpture lter parameters 255 Sculpture delay eect parameters 255 Sculpture delay eect overview 256 Sculpture’s Groove Pad (stereo) 257 Sculpture’s Groove Pad (surround) 258 Sculpture Body EQ parameters 258 Sculpture Body EQ overview 259 Use Sculpture’s Basic EQ model 260 Use Sculpture’s Body EQ models 261 Sculpture output parameters 261 Sculpture surround range and diversity 262 Sculpture modulation controls 262 Sculpture modulation overview 263 Sculpture LFOs 267 Sculpture Vibrato parameters 268 Sculpture Jitter generators 269 Sculpture note-on random modulators 270 Sculpture velocity modulators 271 Use Controller A and B in Sculpture 272 Sculpture envelope parameters 278 Sculpture morph parameters 278 Sculpture morph overview 279 Use Sculpture’s Morph Pad 282 Use Sculpture’s Morph Envelope 287 Dene Sculpture MIDI controllers 288 Sculpture tutorials 288 Explore Sculpture 293 Create basic sounds in Sculpture 303 Advanced Sculpture tutorial: electric bass 321 Advanced Sculpture tutorial: synthesizer sounds

326 Chapter 14: Ultrabeat 326 Ultrabeat overview 327 Ultrabeat interface 328 Ultrabeat Assignment section 328 Ultrabeat Assignment section overview 329 Play and select Ultrabeat drum sounds 331 Name, swap, and copy Ultrabeat drum sounds 333 Import sounds and EXS instruments into Ultrabeat 335 Ultrabeat settings 336 Ultrabeat Synthesizer section overview 338 Ultrabeat sound sources 338 Ultrabeat oscillator overview 339 Ultrabeat oscillator 1 phase oscillator mode 340 Use Ultrabeat oscillator 1 FM mode 341 Use Ultrabeat oscillator 1 side chain mode 342 Use Ultrabeat oscillator 2 phase oscillator mode 343 Basic waveform characteristics 343 Use Ultrabeat oscillator 2 sample mode

Contents 8

345 Use Ultrabeat oscillator 2 model mode 347 Ultrabeat ring modulator 348 Ultrabeat noise generator 349 Use Ultrabeat’s lter section 352 Ultrabeat distortion circuit 353 Ultrabeat Output section 353 Ultrabeat Output section overview 354 Adjust Ultrabeat’s two-band EQ 355 Ultrabeat pan and stereo spread 356 Ultrabeat voice volume control 357 Change Ultrabeat’s trigger mode 358 Ultrabeat modulation 358 Ultrabeat modulation overview 358 Mod and via modulations in Ultrabeat 360 Create a modulation routing in Ultrabeat 361 Assign Ultrabeat MIDI controllers A–D 362 Use Ultrabeat LFOs 365 Ultrabeat envelope overview 366 Ultrabeat envelope parameters 367 Use Ultrabeat’s modulation target display 368 Ultrabeat step sequencer 368 Ultrabeat step sequencer overview 368 Step sequencer basics 369 Ultrabeat step sequencer interface 370 Ultrabeat global sequencer controls 370 Ultrabeat pattern controls 372 Use Ultrabeat’s swing function 373 Ultrabeat Step grid 377 Automate parameters in Ultrabeat’s step sequencer 379 Export Ultrabeat patterns as MIDI regions 380 MIDI control of Ultrabeat’s step sequencer 381 Ultrabeat tutorials 381 Ultrabeat sound programming overview 382 Create Ultrabeat kick drums 386 Create Ultrabeat snare drums 391 Create Ultrabeat tonal percussion 391 Create Ultrabeat hi-hats and cymbals 392 Create metallic Ultrabeat sounds 392 Tips for extreme Ultrabeat sounds

Contents 9

393 Chapter 15: Vintage B3 393 Vintage B3 overview 394 Vintage B3 Main window 394 Vintage B3 Main window overview 395 Vintage B3 draw bar controls 396 Vintage B3 Scanner Vibrato and Chorus 397 Vintage B3 Percussion eect 398 Use Vintage B3 preset keys 400 Set up Vintage B3 for your MIDI equipment 403 Vintage B3 Rotor Cabinet window 403 Vintage B3 Rotor Cabinet window overview 404 Advanced Cabinet parameters 405 Advanced Motor parameters 406 Advanced Brake parameters 407 Vintage B3 Microphone types 408 Vintage B3 Microphone parameters 409 Vintage B3 Options window 409 Vintage B3 Options window overview 409 Vintage B3 Master and Click controls 410 Vintage B3 Morph parameters 411 Use Vintage B3 Morph controls 412 Vintage B3 Eects window 412 Use Vintage B3 eects 413 Vintage B3 EQ 413 Vintage B3 Wah eect 415 Vintage B3 Distortion eect 415 Vintage B3 Reverb eect 416 Vintage B3 Expert window 416 Vintage B3 Expert window overview 417 Vintage B3 Pitch controls 418 Vintage B3 Sustain controls 418 Vintage B3 Condition controls 420 Vintage B3 Organ Model controls 421 Use a MIDI controller with Vintage B3 421 Choose a Vintage B3 MIDI control mode 421 Vintage B3 MIDI mode: Roland VK or Korg CX 423 Vintage B3 MIDI mode: Hammond Suzuki 424 Vintage B3 MIDI mode: Native Instruments B4D 426 Vintage B3 MIDI mode: Nord Electro 427 B3 and Leslie information 427 Additive synthesis with draw bars 428 The residual eect 428 Tonewheel sound generation 429 A brief Hammond history 430 The Leslie cabinet

Contents 10

431 Chapter 16: Vintage Clav 431 Vintage Clav overview 432 Vintage Clav interface 433 Vintage Clav Main window 433 Vintage Clav Main window overview 434 Vintage Clav models 435 Vintage Clav model characteristics 436 Use Vintage Clav Pickup parameters 437 Use Vintage Clav Stereo Spread parameters 438 Vintage Clav Eects window 438 Vintage Clav Eects window overview 439 Vintage Clav Compressor eect 439 Vintage Clav Distortion eect 440 Vintage Clav Modulation eect 441 Vintage Clav Wah eect 442 Vintage Clav Details window 442 Vintage Clav Details window overview 442 Vintage Clav Excite and Click parameters 443 Vintage Clav String parameters 444 Vintage Clav Pitch parameters 445 Vintage Clav Misc parameters 446 Vintage Clav extended parameters 447 D6 Clavinet information 447 D6 Clavinet history 448 D6 Clavinet mechanical details

449 Chapter 17: Vintage Electric Piano 449 Vintage Electric Piano overview 450 Vintage Electric Piano interface 451 Vintage Electric Piano Eects window 451 Vintage Electric Piano EQ 452 Vintage Electric Piano Drive eect 452 Vintage Electric Piano Chorus eect 453 Vintage Electric Piano Phaser eect 454 Vintage Electric Piano Tremolo eect 455 Vintage Electric Piano Details window 455 Vintage Electric Piano model parameters 456 Vintage Electric Piano pitch parameters 457 Vintage Electric Piano extended parameters 458 Vintage Electric Piano emulations 458 Rhodes models 459 Hohner and Wurlitzer models 460 Vintage Electric Piano MIDI controllers

Contents 11

461 Appendix A: Legacy instruments 461 Legacy instruments overview 461 Emulated instruments 461 Bass 461 Church Organ 462 Drum Kits 462 Electric Clav(inet) 462 Electric Piano 463 Guitar 463 Horns 463 Piano 463 Sound Eects 463 Strings 464 Tuned Percussion 464 Voice 464 Woodwind 464 Tonewheel Organ 465 Synthesizers 465 Analog Basic 465 Analog Mono 466 Analog Pad 466 Analog Swirl 467 Analog Sync 467 Digital Basic 468 Digital Mono 468 Digital Stepper 469 Hybrid Basic 470 Hybrid Morph

471 Appendix B: Synthesizer Basics 471 Synthesizer basics overview 472 Sound basics 472 Sound basics overview 473 Tones, overtones, harmonics, and partials 473 The frequency spectrum 474 Other waveform properties 475 Synthesizer fundamentals 477 Subtractive synthesizers 477 How subtractive synthesizers work 478 Subtractive synthesizer components 479 Oscillators 482 Filters 485 Envelopes in the amplier 487 Modulation 490 Global controls

Contents 12

491 Other synthesis methods 491 Other synthesis methods overview 491 Sample-based synthesis 492 Frequency modulation (FM) synthesis 493 Component modeling synthesis 494 Wavetable, Vector, and Linear Arithmetic synthesis 495 Additive synthesis 496 Phase distortion synthesis 496 Granular synthesis 497 A brief synthesizer history 497 Precursors to the synthesizer 498 Early voltage-controlled synthesizers 499 The Minimoog 500 Storage and polyphony 501 Digital synthesizers

Contents 13

Edit panelExchange panel

Drum Kit Designer

Drum Kit Designer overview

Drum Kit Designer lets you build c ustom drum kits from a wide selection of drum and percussion sounds. It also provides controls that change sound characteristics and the level of each piece in your kit.

Further settings allow you to use dierent microphones and rooms to enhance Producer kits. Producer kits are identied in the Library by a “+” at the end of the patch name. See “Add

drummers to a project” in Logic Pro Help for information on Producer kits.

Drum kit

Drum Kit Designer’s interface is divided into the following main areas.

•

Drum kit: Click a drum kit piece to preview its sound and to open the Edit panel and the Exchange panel if exchange pieces are available for that drum type.

•

Exchange panel: Shows all drums that are available for exchange (you may need to scroll).

•

Edit panel: Shows settings that change sound characteristics.

Drum Kit Designer Edit panel

The Edit panel is used to change sound characteristics and the level of each piece in your kit.

Edit panel parameters

•

Tune knob and eld: Rotate to adjust the pitch.

•

Dampen knob and eld: Rotate to adjust the sustain.

•

Gain knob and eld: Rotate to adjust the volume.

•

Leak switch (Producer kits only): Drag to On to include the sound in the mic of the other kit pieces.

•

Overheads switch (Producer kits only): Drag to On to include the drum kit’s overhead mic in the sound.

•

Room switch (Producer kits only): Drag to choose between rooms A and B or to turn o the

room emulation.

Chapter 1 Drum Kit Designer 15

Use Drum Kit Designer

Drum Kit Designer shows a 3D representation of the drum kit for the currently loaded patch.

For all kits, you can preview the drums, edit the pitch, sustain, and volume of each drum kit piece, and exchange the kick and snare drums. When working with Producer kits, you can additionally

exchange toms, cymbals, and hi-hat. Producer kits let you turn dierent microphones, such as overheads or room mics, on or o.

Note: Producer kits and some drums are only available after you download additional content.

Drum Kit Designer also has additional parameters for adjusting the gain of other instrument pieces, such as shaker, cowbell, and so on. See Drum Kit Designer extended parameters.

Preview a drum or percussion piece

m Click a drum or percussion piece.

The rst time you click any drum or percussion piece after opening the plug-in, one or two

panes open. You can exchange individual sounds in the Exchange panel to the left and can edit individual drum or percussion piece settings in the Edit panel to the right.

Adjust kit piece settings (all kits)

1 Click a drum or percussion piece.

The Edit panel opens to the right.

•

Toms: Click the tab for the tom you want to edit, or click the All tab to adjust the tone of all toms.

•

Cymbals: Click the tab for the crash cymbal you want to edit, or click the All tab to adjust the tone of both crash cymbals. The ride cymbal can be edited directly.

•

Kicks and snares: There are no tabs, so make your adjustments with the controls.

Chapter 1 Drum Kit Designer 16

2 To adjust settings, do any of the following:

•

To adjust the pitch: Drag the Tune control vertically, or double-click the eld and enter a

new value.

•

To adjust the sustain: Drag the Dampen control vertically, or double-click the eld and enter a

new value.

•

To adjust the volume: Drag the Gain control vertically, or double-click the eld and enter a

new value.

3 To close open panels, click anywhere in the plug-in window background.

Exchange a kit piece

For all kits, you can exchange kick and snare. When working with Producer kits, you can additionally exchange toms, cymbals, and hi-hat.

Note: Producer kits and some drums are only available after you download additional content.

1 Click a drum or percussion piece.

The Exchange panel opens to the left if exchange pieces are available for that kit piece.

2 Click the Info button of a selected piece to view its description.

3 Click the kit piece that you want to exchange in the Exchange panel. You may need to scroll in

order to nd the piece you want to use.

The piece is exchanged and the respective drum sound is loaded.

Note: The toms and the crash cymbals can only be exchanged as a group.

4 To close the panels, click anywhere in the plug-in window background.

Chapter 1 Drum Kit Designer 17

Adjust mic settings (Producer kits only)

In the Edit panel, do any of the following:

m To include the sound in the mic of the other kit pieces: Turn on the Leak switch.

This turns microphone bleed on or o, where the sound of a kit piece is picked up by the dierent mics from other kit pieces.

m To include the kit piece’s overhead mic in the sound: Turn on the Overheads switch.

This turns the overhead mic for the selected kit piece on or o.

m To choose a room emulation to use with the sound: Choose between rooms A and B. You can also

turn o the room microphones.

Rooms A and B determine which room mic setup is used with the kit piece.

Drum Kit Designer extended parameters

Drum Kit Designer provides additional parameters that are accessed by clicking the disclosure triangle at the lower left.

The Input Mapping pop-up menu lets you choose dierent mappings that provide enhanced

control of HiHats. The maps also change the way Drum Kit Designer sounds are assigned across the MIDI note range. See Drum Kit Designer mappings.

Extended parameters

•

Input Mapping pop-up menu: Choose a keyboard mapping mode.

•

GM: Drums are mapped to the GM standard.

•

GM + ModWheel controls HiHat opening level: The keyboard Mod Wheel is mapped for hi-hat control. Additional sounds are also mapped to keyboard zones above and below the standard GM note mapping range.

•

V-Drum: Drums are mapped to work with V-Drum hi-hat, cymbal, and drum triggers.

•

Gain sliders: Drag the slider (or drag vertically in the eld) to adjust the level of the

corresponding sound (if available in the kit).

•

Shaker Gain

•

Tambourine Gain

•

Claps Gain

•

Cowbell Gain

•

Sticks Gain

Chapter 1 Drum Kit Designer 18

Drum Kit Designer mappings

GM Standard GM + ModWheel

Drum Kit Designer is compatible with the GM standard. You can also choose GM+, which maps

the keyboard ModWheel for hi-hat control. This means that you can use the keyboard ModWheel to adjust the degree to which the hi-hat opens and closes during the drum performance.

Drum Kit Designer is also compatible with the V-Drum standard.

The image shows how drum sounds are remapped when dierent modes are chosen with the

Input Mapping pop-up menu in the extended parameters.

Note: A number of alias drums sounds are included for GM compatibility purposes.

Shaker

Ride In

Cowbell

Tambourine

Ride Out

Crash Left

Hi-Hat Open Edge

Hi-Hat Foot

Hi-Hat Closed Tip

Claps

Snare Sidestick

Snare Edge

Rimshot Edge

Crash Right

Ride Bell

Ride Edge

High Tom

High Mid Tom

Low Mid Tom

Low Tom

Snare Rimshot

Snare Center

Kick

Hi-Hat Foot Close

Hi-Hat Foot Splash

Shaker

Cowbell

Tambourine

Ride Out

Crash Left

Hi-Hat Edge

Hi-Hat Shank

Hi-Hat Tip

Claps

Snare Sidestick

Snare Edge

Rimshot Edge

Ride In

Crash Right

Ride Bell

Ride Edge

High Tom

High Mid Tom

Low Mid Tom

Low Tom

Snare Rimshot

Snare Center

Kick

Hi-Hat Foot Close

Hi-Hat Foot Splash

Crash Right Stop

Crash Left Stop

Crash Right Stop

Crash Left Stop

Chapter 1 Drum Kit Designer 19

Amplifier parameters

Filter parameters

Oscillator parameters

ES1

ES1 overview

ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface.

ES1 produces sounds using subtractive synthesis. It provides an oscillator and sub-oscillator that generate harmonically rich waveforms. You subtract (cut, or lter out) portions of these waveforms and reshape them to create new sounds. The ES1’s tone-generation system also

provides exible modulation options that make it easy to create punchy basses, atmospheric

pads, biting leads, and sharp percussion.

If you’re new to synthesizers, see Synthesizer basics overview on page 471, which will introduce

you to the terminology and give you an overview of dierent synthesis systems and how

they work.

Modulation parameters

Envelope parameters Global parameters

ES1 is divided into six main areas.

•

Oscillator parameters: Located in the upper left, the oscillators generate the basic waveforms that form the basis of your sound. See ES1 oscillator parameters overview on page 21.

•

Global parameters: Located in the bottom green/gray strip, global sound control parameters are used to assign and adjust global tuning, activate the in-built chorus, and so on. You can use the chorus to color or thicken the sound. See ES1 global parameters on page 23.

•

Filter parameters: Located in the upper-middle section with the circular Filter area as well as the

Drive and Key scaling parameters, the lter is used to contour the waveforms sent from the

oscillators. See ES1 lter parameters overview on page 24.

•

Amplier parameters: Located in the upper right, the amplier parameters allow you to ne-

tune the behavior of your sound’s level. See ES1 amplier parameters on page 26.

•

Envelope parameters: Located to the right in the dark green/gray area, the ADSR sliders

are used to control both lter cuto and the amplier level over time. See ES1 envelope

parameters overview on page 27.

•

Modulation parameters: Located to the left and middle in the dark green/gray area, the modulation sources, modulation router, modulation envelope, and amplitude envelope are used to modulate the sound in a number of ways. See ES1 modulation parameters

overview on page 29.

ES1 oscillator parameters

ES1 oscillator parameters overview

ES1 includes a primary oscillator and a sub-oscillator. The primary oscillator generates a waveform that is sent to other parts of the synthesizer for processing or manipulation. The sub-oscillator generates a secondary waveform one or two octaves below that of the primary oscillator.

Oscillator parameters

•

Wave knob: Rotate to select the waveform of the primary oscillator, which is responsible for the basic color of the tone. See ES1 oscillator waveforms on page 22.

•

Mix slider: Drag to set the level relationship between the primary and sub-oscillator signals.

(When the sub-oscillator is switched o, its output is completely removed from the signal

path.)

•

Sub knob: Rotate to generate square, pulse, and white-noise waveforms with the sub-oscillator. The sub-oscillator also allows you to route a side-chain signal through the ES1 synthesizer engine. See Use the ES1 sub-oscillator on page 22.

•

2’, 4’, 8’, 16’, and 32’ buttons: Click to transpose the pitch of the oscillators up or down by octaves. The lowest setting is 32 feet and the highest is 2 feet. The use of the term feet to determine octaves comes from the measurements of organ pipe lengths. The longer and wider the pipe, the deeper the tone.

Modulate ES1 pulse width

m Rotate the Wave knob to a position between the square wave and pulse wave symbols.

The pulse width can also be automatically modulated in the modulation section (see Use the ES1

router on page 29). Modulating the pulse width with a slowly cycling LFO, for example, allows

periodically mutating, fat bass sounds.

Chapter 2 ES1 21

ES1 oscillator waveforms

The table outlines the basic tones of the oscillator waveforms—how they aect your

synthesizer sound.

Waveform Basic tone Comments

Sawtooth Warm and even Useful for strings, pads, bass, and

brass sounds

Triangle Sweet sounding, softer than

sawtooth

Square Hollow and “woody” sounding Useful for basses, clarinets, and

Pulse “Nasal” sounding Great for reed instruments, synth

Useful for utes, pads

oboes

blips, basses

Use the ES1 sub-oscillator

The ES1 sub-oscillator is used to make your sound richer. Its pitch matches the frequency of the main oscillator. You can choose from the following sub-oscillator waveform options:

•

A square wave that plays one or two octaves below the frequency of the primary oscillator

•

A pulse wave that plays two octaves below the frequency of the primary oscillator

•

Variations of these waveforms, with dierent mixes and phase relationships, resulting in

various sounds

•

White noise, which is useful for creating percussion sounds as well as wind, surf, and rain sounds

•

OFF, which allows you to disable the sub-oscillator

•

EXT, which allows you to run an external channel strip signal through the ES1 synthesizer engine, by using a side chain

Process a channel strip signal through the ES1 synthesizer engine

1 Set the Sub knob to EXT.

2 Choose the side-chain source channel strip from the Side Chain pop-up menu in the upper-right

corner of ES1.

Chapter 2 ES1 22

ES1 global parameters

The global parameters aect the overall sound, or behavior, of the ES1 and are found primarily in

the strip that spans the lower edge of the ES1 interface. The Glide slider is displayed above the left end of the strip.

Global parameters

•

Glide slider: Drag to set the amount of time it takes to slide between the pitches of each

triggered note. The Glide trigger behavior depends on the value set in the Voices eld (see

below).

•

Tune eld: Drag to tune the instrument in cents. One cent is 1/100th of a semitone.

•

Analog eld: Drag to slightly, and randomly, change the pitch of each note and the cuto frequency. This emulates the oscillator detuning and lter uctuations of polyphonic analog

synthesizers, due to heat and age.

If you set the Analog parameter to 0%, the oscillator cycle start points of all triggered voices are synchronized. This can be useful for percussive sounds, when you want to achieve a sharper attack characteristic.

If you set the Analog parameter higher than 0%, the oscillators of all triggered voices can cycle freely. Use higher values if you want a warm, analog type of sound—where subtle sonic variations occur for each triggered voice.

•

Bender Range eld: Drag to set the sensitivity of the pitch bender, in semitone steps.

•

Neg Bender Range slider (Extended Parameters area): Drag to set the negative (downward) pitch bend range in semitone steps. The default value is Pos PB (positive pitch bend), which essentially means that there is no downward pitch bend available. (Click the disclosure triangle at the lower left of the ES1 interface to access the Extended Parameters area.)

•

Out Level eld: Drag to set the ES1 master volume.

•

Voices eld: Drag to set the maximum number of notes that can be played simultaneously—up to 16 voices.

When Voices is set to Legato, the ES1 behaves like a monophonic synthesizer—with single

trigger and ngered portamento engaged. This means that if you play legato, a portamento—

glide from one note to the next—will happen. If you release each key before pressing a new one, the envelope is not triggered by the new note, and there is no portamento. Use

this feature to create pitch bend eects, without touching your keyboard’s pitch bender, by

choosing a high Glide parameter value when using the Legato setting.

•

Chorus eld: Click to choose a classic stereo chorus eect, an ensemble eect, or to disable the eects processor.

•

O disables the built-in chorus circuit.

•

C1 is a typical chorus eect.

•

C2 is a variation of C1 and is characterized by a stronger modulation.

•

Ens(emble) uses a more complex modulation routing, creating a fuller and richer sound.

Chapter 2 ES1 23

ES1 lter parameters

ES1 lter parameters overview

This section outlines the lter parameters of the ES1.

Filter parameters

•

Cuto slider: Drag to set the cuto frequency of the ES1’s lowpass lter.

•

Resonance slider: Drag to cut or boost the portions of the signal that surround the frequency

dened by the Cuto parameter. Boost can be set so intensively that the lter begins to

oscillate by itself (see Drive the ES1 lter to self-oscillate on page 25).

Tip: You can simultaneously adjust the cuto frequency and resonance parameters by dragging vertically (cuto) or horizontally (resonance) on the word Filter, found in the center

of the black circle.

•

Slope buttons: The lowpass lter oers four dierent slopes of band rejection above the cuto

frequency. Click one of the buttons to choose a slope (amount of rejection, expressed in decibels (dB) per octave):

•

24 dB classic: Mimics the behavior of a Moog lter. Turning up the resonance results in a

reduction of the low end of the signal.

•

24 dB fat: Compensates for the reduction of low frequency content caused by high

Resonance values. This resembles the behavior of an Oberheim lter.

•

12 dB: Provides a soft, smooth sound that is reminiscent of the early Oberheim SEM synthesizer.

•

18 dB: Resembles the lter sound of Roland’s TB-303.

•

Drive slider: Drag to change the behavior of the Resonance parameter, which eventually distorts the sound of the waveform. Drive is actually an input level control, which allows you

to overdrive the lter.

Chapter 2 ES1 24

•

Key slider: Drag to set the eect that keyboard pitch (the note number) has on lter cuto

frequency modulation.

•

If Key is set to zero, the cuto frequency does not change, no matter which key you strike.

This makes the lower notes sound comparatively brighter than higher notes.

•

If Key is set to maximum, the lter follows the pitch, resulting in a constant relationship between cuto frequency and pitch. This mirrors the properties of many acoustic

instruments, where higher notes sound both brighter in tone and higher in pitch.

•

ADSR via Vel sliders: Drag to determine how note velocity aects modulation of the lter cuto

frequency with the envelope generator. See ES1 envelope parameters overview on page 27.

•

Filter Boost button (Extended Parameters area): Turn on to increase the output of the lter by approximately 10 decibels. The lter input has a corresponding decrease of approximately 10

decibels, maintaining the overall level. This parameter is particularly useful when applying high Resonance values. See Drive the ES1 lter to self-oscillate. (Click the disclosure triangle at the lower left of the ES1 interface to access the Extended Parameters area.)

Drive the ES1 lter to self-oscillate

If you increase the lter Resonance parameter to higher values, the lter begins to internally

feed back and, as a consequence, begins to self-oscillate. This results in a sine oscillation—a sine wave—that is actually audible.

You can make the ES1 lter output a sine wave by following the steps below. This lets you play the lter-generated sine wave with the keyboard.

Output a sine wave from the lter

1 Switch the Sub knob to O.

2 Drag the Mix slider to the very bottom (Sub).

3 Drag the Resonance slider to the maximum position (full).

4 If you want, click the disclosure triangle at the lower left to open the extended parameters, then

click the Filter Boost button.

Filter Boost increases the output of the lter by approximately 10 decibels, making the self-

oscillation signal much louder.

Chapter 2 ES1 25

ES1 amplier parameters

The parameters in the ES1 Amplier section allow you to ne-tune the behavior of your sound’s

level. These are separate from the global Out Level parameter, which acts as the ES1’s master volume control. See ES1 global parameters on page 23.

Amplier parameters

•

Level via Vel slider: Drag to determine how note velocity aects the synthesizer level. The

greater the distance between the arrows (indicated by the blue bar), the more the volume is

aected by incoming velocity messages.

•

Drag the upper arrow to set the level when you play hard (velocity=127).

•

Drag the lower arrow to set the level when you play softly (velocity=1).

•

To simultaneously adjust the modulation range and intensity, drag the blue bar—between the arrows—and move both arrows at once.

•

Amplier envelope selector buttons: Click one of the buttons—AGateR, ADSR, or GateR—to

determine the ADSR envelope generator used for control of the amplier envelope. See ES1

envelope parameters overview on page 27.

Chapter 2 ES1 26

ES1 envelope parameters

ES1 envelope parameters overview

ES1 provides an attack, decay, sustain, and release (ADSR) envelope that can shape lter cuto

and the level of the sound over time.

Envelope Parameters

•

A(ttack) slider: Drag to set the time it takes for the envelope to reach the initial desired level.

•

D(ecay) slider: Drag to set the time it takes for the envelope to fall to the sustain level, following the initial attack time.

•

S(ustain) slider: Drag to set the sustain level, which is held until the key is released.

•

R(elease) slider: Drag to set the time it takes the envelope to fall from the sustain level to a level of 0.

ES1 lter cuto envelope modulation

The envelope generator modulates the lter cuto frequency over the course of a note’s

duration. The modulation intensity—and response to velocity information—is set by the arrows on the ADSR via Vel slider in the Filter section.

ADSR via Vel slider

The modulation range is determined by the two arrows.

•

The lower arrow indicates the minimum amount of modulation.

•

The upper arrow indicates the maximum amount of modulation.

•

The blue bar between the arrows shows the dynamic range of this modulation. You can simultaneously adjust the modulation range and intensity by dragging the blue bar.

Tip: If you’re unfamiliar with these parameters, set the Cuto parameter to a low value,

Resonance to a high value, and move both ADSR via Vel arrows upward. Constantly strike a note on the keyboard while changing the arrows to learn how these parameters work.

Chapter 2 ES1 27

ES1 amplier envelope modulation

The AGateR, ADSR, and GateR buttons in the Amplier section determine which of the ADSR envelope controls aect the amplier envelope. All ADSR parameters remain active for the lter.

The letters A, D, S, and R refer to the attack, decay, sustain, and release phases of the envelope (see ES1 envelope parameters overview on page 27).

Gate refers to a control signal used in analog synthesizers that is sent to an envelope generator when a key is pressed. As long as an analog synthesizer key is pressed, the gate signal maintains

a constant voltage. When Gate is used as a modulation source in the voltage-controlled amplier

(instead of the envelope), it creates an organ-type envelope without any attack, decay, or release phase—in other words, an even, sustained sound.

Amplifier Envelope Selector buttons

The ES1 amplier envelope selector buttons have the following eect on played notes:

•

AGateR: The Attack and Release sliders of the ADSR envelope control the attack and release phases of the sound. In-between these phases, the Gate control signal is used to maintain a constant level while a note is held. As soon as you release the key, the release phase begins. The Decay and Sustain sliders of the ADSR Envelope have no impact on the sound’s level.

•

ADSR: The standard operating mode of most synthesizers, where the level of the sound over time is controlled by the ADSR Envelope.

•

GateR: The Gate control signal is used to maintain a constant level while a note is held. As soon as you release the key, the release phase begins. The Attack, Decay, and Sustain sliders of the ADSR Envelope have no impact on the sound’s level.

Chapter 2 ES1 28

ES1 modulation

ES1 modulation parameters overview

ES1 oers a number of simple yet exible modulation routing options. You use modulation to

add animation to your sound over time, making it more interesting, lively, or realistic. A good example of this type of sonic animation is the vibrato used by orchestral string players.

Modulation EnvelopeRouterLFO parameters

Modulation parameters

•

LFO parameters: Used to modulate other ES1 parameters. See Use the ES1 LFO on page 30.

•

Router: Enables you to choose the ES1 parameters that are modulated. See Use the ES1

router on page 29.

•

Modulation Envelope: A dedicated modulation control source that can be used to control various ES1 parameters, or it can be used to control the LFO level. See Use the ES1 modulation

envelope on page 31.

Use the ES1 router

The router determines the ES1 parameters (targets) that are modulated by the LFO and by the modulation envelope. The buttons in the left column set the target for LFO modulation. The buttons in the right column set the target for the modulation envelope.

Parameter target buttons

Router parameters

•

Pitch buttons: Click to modulate the pitch—the frequency—of the oscillators.

•

Pulse Width buttons: Click to modulate the pulse width of the pulse wave.

•

Mix buttons: Click to modulate the mix between the primary oscillator and the sub-oscillator.

•

Cuto buttons: Click to modulate the cuto frequency of the lter.

•

Resonance buttons: Click to modulate the resonance of the lter.

•

Volume buttons: Click to modulate the main volume.

•

Filter FM button (modulation envelope only): Click to use the triangle wave of the oscillator

to modulate lter cuto frequency. This modulation can result in a pseudo-distortion of the

sound, or it can create metallic, FM-style sounds. The latter occurs when the only signal you

can hear is the self-oscillation of the resonating lter (see Drive the ES1 lter to self-oscillate on

page 25).

•

LFO Amp (modulation envelope only): Click to modulate the overall amount of LFO modulation.

Chapter 2 ES1 29

Use the ES1 LFO

The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can use to modulate other ES1 parameters.

LFO parameters

•

Wave knob: Rotate to set the LFO waveform. Each waveform has its own shape, providing

dierent types of modulation.

•

You can choose the following waveforms: triangle; ascending and descending sawtooth; square wave; sample & hold (random); and a lagged, smoothly changing random wave.

•

You can also choose EXT to assign a side-chain signal as a modulation source. Choose the side-chain source channel strip from the Side Chain pop-up menu in the upper-right corner of ES1.

•

Rate slider and eld: Drag to set the speed—the frequency—of the LFO waveform cycles.

•

If you set values to the right of 0, the LFO phase runs freely.

•

If you set values to the left of 0, the LFO phase is synchronized with the tempo of the host application—with phase lengths adjustable between 1/96 bar and 32 bars.

•

When set to 0, the LFO outputs at a constant, full level, which allows you to manually control the LFO speed with your keyboard’s modulation wheel. This can be useful, for example, if you want to change the pulse width by moving your keyboard’s modulation wheel. You would choose the pulse width as the LFO modulation target, using a button in the left router column, and set the modulation intensity range using the Int via Whl slider.

•

Int via Whl slider: The upper arrow denes the intensity of LFO modulation if the modulation wheel is set to maximum. The lower arrow denes the amount of LFO modulation if the

modulation wheel is set to 0. The distance between the arrows—shown as a green bar— indicates the range of your keyboard’s modulation wheel.

You can simultaneously adjust the modulation range and intensity by dragging the green bar, thus moving both arrows at once. Note that as you do so, the arrows retain their relative distance from each other.

Chapter 2 ES1 30

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