Apple LOGIC STUDIO Instruments And Effects
Logic Studio
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
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without the prior written consent of Apple may
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Apple Inc.
1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, Bonjour, Final Cut, Final Cut Pro,
FireWire, iMovie, iPod, Jam Pack, Logic, Mac, Mac OS,
Macintosh, PowerBook, QuickTime, Soundtrack, and
Ultrabeat are trademarks of Apple Inc., registered in the
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trademarks of Apple Inc.
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Other company and product names mentioned herein
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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.
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1
Contents
Preface 11 Introduction to the Logic Studio Plug-ins
11 Logic Pro Effects and Instruments
Soundtrack Pro Effects
WaveBurner Effects
MainStage Instruments and Effects
Chapter 1 19 Amp Modeling
19 Bass Amp
Guitar Amp Pro
Chapter 2 27 Delay
28 Delay Designer
Echo
Sample Delay
Stereo Delay
Tape Delay
Chapter 3 51 Distortion
52 Bitcrusher
Clip Distortion
Distortion
Distortion II
Overdrive
Phase Distortion
Chapter 4 59 Dynamics
61 Adaptive Limiter
Compressor
DeEsser
Ducker
Enveloper
Expander
71
Limiter
72
Multipressor
3
Noise Gate
Silver Compressor
Silver Gate
Surround Compressor
Chapter 5 83 EQ
84 Channel EQ
DJ EQ
Fat EQ
Linear Phase EQ
Match EQ
Single Band EQs
Silver EQ
Frequency Ranges Used With EQ
Chapter 6 99 Filter
10 0 AutoFilter
10 3 EVOC 20 Filterbank
10 7 EVOC 20 TrackOscillator
11 6 Fuzz-Wah
11 8 Spectral Gate
12 0 Soundtrack Pro Autofilter
4
76
78
79
79
88
88
90
91
96
97
98
Chapter 7 121 Imaging
121 Binaural Post-Processing Plug-in
12 3 Direction Mixer
12 5 Stereo Spread
Chapter 8 127 Metering
12 8 BPM Counter
12 8 Correlation Meter
12 9
Level Meter
12 9
MultiMeter
13 3
Surround MultiMeter
13 4
Tuner
Chapter 9 135 Modulation
13 6
Chorus
13 6
Ensemble
13 7
Flanger
13 8
Microphaser
13 8
Modulation Delay
14 0
Phaser
14 2
Ringshifter
Contents
14 7 Rotor Cabinet
14 8 Scanner Vibrato
14 9 Spreader
15 0 Tremolo
Chapter 10 151 Pitch
151 Pitch Correction
15 5 Pitch Shifter II
15 6 Vocal Transformer
Chapter 11 159 Reverb
160 AVerb
161 EnVerb
162 GoldVerb
164 PlatinumVerb
167 SilverVerb
168 Soundtrack Pro Reverb
Chapter 12 169 Convolution Reverb: Space Designer
171 Impulse Response Parameters
174 Global Parameters
17 8 Output Parameters
18 0 Envelope and EQ Display
183 Volume Envelope Parameters
18 4 Filter Parameters
18 6 Synthesizer Impulse Response Parameters
18 8 EQ Parameters
18 9 Automating Space Designer
Chapter 13 191 Specialized
19 2 Denoiser
19 3
Enhance Timing
19 4
Exciter
19 5
Grooveshifter
19 6
Speech Enhancer
19 7
SubBass
Chapter 14 199 Utility
19 9
Down Mixer
200
Gain
201
I/O
202
Multichannel Gain
202
Test Oscillator
Contents
5
Chapter 15 205 EVOC 20 PolySynth
206 Vocoder Basics
206 What Is a Vocoder?
206 How Does a Vocoder Work?
207 How Does a Filter Bank Work?
208 Using the EVOC 20 PolySynth
209 EVOC 20 PolySynth Parameters
210 Synthesis Parameters
215 Sidechain Analysis Parameters
217 Formant Filter Parameters
219 Modulation Parameters
221 Unvoiced/Voiced (U/V) Detection
223 Output Parameters
224 Block Diagram
224 Tips for Better Speech Intelligibility
225 Editing the Analysis and Synthesis Signals
225 Avoiding Sonic Artifacts
226 Achieving the Best Analysis and Synthesis Signals
227 Vocoder History
6
Chapter 16 229 EFM1
230 Global Parameters
231 Modulator and Carrier
232 FM Parameters
233 The Output Section
234 MIDI Controller Assignments
Chapter 17 235 ES E
Chapter 18 237 ES M
Chapter 19 239 ES P
Chapter 20 241 ES1
241 The ES1 Parameters
248 MIDI Controller List
Chapter 21 249 ES2
250 The ES2 Parameters
251 Global Parameters
254 Oscillator Parameters
262 Filters
270 Dynamic Stage (Amplifier)
271 The Router
Contents
285 The LFOs
287 The Envelopes (ENV 1 to ENV 3)
291 The Square
293 The Vector Envelope
300 Effect Processor
301 Using Controls and Assigning Controllers
302 Random Sound Variations
305 Tutorials
305 Sound Workshop
315 Templates for the ES2
Chapter 22 323 EVB3
324 MIDI Setup
324 Playing Both Manuals and the Pedals Live
326 Keyboard Split
326 Transposition (Octave Range)
327 MIDI Mode
328 The EVB3 Parameters
329 Drawbars
329 Volume
330 Tune
331 Scanner Vibrato
332 Percussion
333 Preset Keys and Morphing
335 Organ Parameters
336 Condition Parameters
337 Click Parameters
338 Pitch Parameters
340 Sustain
340 Effects
347 Extended Parameters
348 MIDI Controller Assignments
349 MIDI Mode: RK
351 MIDI Mode: HS
352 MIDI Mode: NI
353 MIDI Mode: NE
355 Additive Synthesis With Drawbars
356 Residual Effect
357 A Short Hammond Organ Story
358 Tonewheel Sound Generation
358 The Leslie
Contents 7
Chapter 23 359 EVD6
359 About the EVD6
360 The EVD6 Parameters
376 Controlling the EVD6 via MIDI
377 A Brief History of the Clavinet
Chapter 24 379 EVP88
379 About the EVP88
380 The EVP88 Parameters
387 Emulated Electric Piano Models
390 EVP88 and MIDI
Chapter 25 391 EXS24 mkII
392 Learning About Sampler Instruments
394 Loading Sampler Instruments
396 Working With Sampler Instrument Settings
397 Managing Sampler Instruments
398 Searching for Sampler Instruments
399 Importing Sampler Instruments
408 Parameters Window
425 The Instrument Editor
446 Setting Sampler Preferences
449 Configuring Virtual Memory
450 Using the VSL Performance Tool
Chapter 26 451 External Instrument
451 External Instrument Parameters
452 Using the External Instrument
Chapter 27 453 Klopfgeist
Chapter 28 455 Sculpture
456 The Synthesis Core of Sculpture
457 The String as a Synthesis Element
458 Sculpture’s Parameters
460 Global Parameters
462 String and Object Parameters
472 Processing Parameters
478 Post Processing
485 Modulation Generators
493 The Control Envelopes
500 Morphing
509 MIDI Controller Assignments
8 Contents
511 Programming: Quick Start Guide
511 Approaches to Programming
511 Basics
512 The Core Engine
516 Creating Basic Sounds
526 Modulations
527 Programming: In Depth
527 Programming Electric Basses With Sculpture
545 Synthesized Sounds
Chapter 29 553 Ultrabeat
554 The Structure of Ultrabeat
555 Overview of Ultrabeat
556 Loading and Saving Sounds
557 The Assignment Section
563 The Synthesizer Section
581 Modulation
590 The Step Sequencer
603 Creating Drum Sounds in Ultrabeat
Chapter 30 615 GarageBand Instruments
616 GarageBand Instrument Parameters
Appendix 621 Synthesizer Basics
621 Analog and Subtractive
622 What Is Synthesis?
623 Subtractive Synthesis
Glossary 629
Index 651
Contents 9
Introduction to the
Logic Studio Plug-ins
The Logic Studio music and audio production suite features a
comprehensive collection of powerful plug-ins.
These include innovative synthesizers, high quality effect plug-ins, a powerful sampler,
and authentic recreations of vintage instruments.
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
the individual applications included in Logic Studio. Information about these can be
found in the respective user manuals.
This manual covers all plug-ins available in the Logic Studio applications. Not all of
them are available in all individual applications, however. Please refer to the following
tables to see which plug-ins are available in each application.
Preface
Logic Pro Effects and Instruments
The following tables outline the effects and instruments included with Logic Pro.
Effect category Included effects
Amp Modeling  Bass Amp (p. 19)
 Guitar Amp Pro (p. 21)
Delay  Delay Designer (p. 28)
 Echo (p. 46)
 Sample Delay (p. 46)
 Stereo Delay (p. 47)
 Tape Delay (p. 48)
Distortion  Bitcrusher (p. 52)
 Clip Distortion (p. 53)
 Distortion (p. 54)
 Distortion II (p. 55)
 Overdrive (p. 56)
 Phase Distortion (p. 57)
11
Effect category Included effects
Dynamic  Adaptive Limiter (p. 61)
 Compressor (p. 62)
 DeEsser (p. 65)
 Ducker (p. 67)
 Enveloper (p. 68)
 Expander (p. 70)
 Limiter (p. 71)
 Multipressor (p. 72)
 Noise Gate (p. 76)
 Silver Compressor (p. 78)
 Silver Gate (p. 79)
 Surround Compressor (p. 79)
EQ Â Channel EQ (p. 84)
 DJ EQ (p. 88)
 Fat EQ (p. 88)
 Linear Phase EQ (p. 90)
 Match EQ (p. 91)
 Single Band EQs (p. 96)
 Silver EQ (p. 97)
Filter  AutoFilter (p. 100)
 EVOC 20 Filterbank (p. 103)
 EVOC 20 TrackOscillator (p. 107)
 Fuzz-Wah (p. 116)
 Spectral Gate (p. 118)
Imaging  Binaural Post-Processing Plug-in (p. 121)
 Direction Mixer (p. 123)
 Stereo Spread (p. 125)
Metering  BPM Counter (p. 128)
 Correlation Meter (p. 128)
 Level Meter (p. 129)
 MultiMeter (p. 129)
 Surround MultiMeter (p. 133)
 Tuner (p. 134)
Modulation  Chorus (p. 136)
 Ensemble (p. 136)
 Flanger (p. 137)
 Microphaser (p. 138)
 Modulation Delay (p. 138)
 Phaser (p. 140)
 Ringshifter (p. 142)
 Rotor Cabinet (p. 147)
 Scanner Vibrato (p. 148)
 Spreader (p. 149)
 Tremolo (p. 150)
Pitch  Pitch Correction ( p . 151 )
 Pitch Shifter II (p. 155)
 Vocal Transformer (p. 156)
12 Preface Introduction to the Logic Studio Plug-ins
Effect category Included effects
Reverb  AVerb (p. 160)
 EnVerb (p. 161)
 GoldVerb (p. 162)
 PlatinumVerb (p. 164)
 SilverVerb (p. 167)
 Convolution Reverb: Space Designer (p. 169)
Specialized  Denoiser (p. 192)
 Enhance Timing (p. 193)
 Exciter (p. 194)
 Grooveshifter (p. 195)
 Speech Enhancer (p. 196)
 SubBass (p. 197)
Utility  Down Mixer (p. 199)
 Gain (p. 200)
 I/O (p. 201)
 Test Oscillator (p. 202)
The following table outlines the instruments included with Logic Pro.
Instrument category Included instruments
Synthesizer  EFM1 (p. 229)
 ES E (p. 235)
 ES M (p. 237)
 ES P (p. 239)
 ES1 (p. 241)
 ES2 (p. 249)
 Klopfgeist (p. 453)
 Sculpture (p. 455)
Drum synthesizer Ultrabeat (p. 553)
Software sampler EXS24 mkII (p. 391)
Vocoder synthesizer EVOC 20 PolySynth (p. 205)
Vintage instruments  EVB3 (p. 323)
 EVD6 (p. 359)
 EVP88 (p. 379)
Utility External Instrument (p. 451)
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 615)
Preface Introduction to the Logic Studio Plug-ins 13
Soundtrack Pro Effects
The following table outlines the effects included with Soundtrack Pro.
Note: Effects included in Soundtrack Pro do not feature the extended parameters that
are covered in this document.
Effect category Included effects
Delay  Stereo Delay (p. 47)
 Tape Delay (p. 48)
Distortion  Bitcrusher (p. 52)
 Clip Distortion (p. 53)
 Distortion (p. 54)
 Distortion II (p. 55)
 Overdrive (p. 56)
 Phase Distortion (p. 57)
Dynamic  Adaptive Limiter (p. 61)
 Compressor (p. 62)
 DeEsser (p. 65)
 Enveloper (p. 68)
 Expander (p. 70)
 Limiter (p. 71)
 Multipressor (p. 72)
 Noise Gate (p. 76)
 Surround Compressor (p. 79)
EQ Â Channel EQ (p. 84)
 Fat EQ (p. 88)
 Linear Phase EQ (p. 90)
 Match EQ (p. 91)
 Single Band EQs (p. 96)
Filter  AutoFilter (p. 100)
 Spectral Gate (p. 118)
Imaging  Direction Mixer (p. 123)
 Stereo Spread (p. 125)
Metering  Correlation Meter (p. 128)
 MultiMeter (p. 129)
 Surround MultiMeter (p. 133)
 Tuner (p. 134)
Modulation  Chorus
Pitch  Pitch Shifter II (p. 155)
(p. 136)
 Ensemble (p. 136)
 Flanger (p. 137)
 Modulation Delay (p. 138)
 Phaser (p. 140)
 Ringshifter (p. 142)
 Scanner Vibrato (p. 148)
 Tremolo (p. 150)
 Vocal Transformer (p. 156)
14 Preface Introduction to the Logic Studio Plug-ins
Effect category Included effects
Reverb  PlatinumVerb (p. 164)
 Soundtrack Pro Reverb (p. 168)
 Convolution Reverb: Space Designer (p. 169)
Specialized  Denoiser (p. 192)
 Exciter (p. 194)
 SubBass (p. 197)
Utility  Gain (p. 200)
 Multichannel Gain (p. 202)
 Test Oscillator (p. 202)
WaveBurner Effects
The following table outlines the effects included with WaveBurner.
Note: WaveBurner does not provide a project tempo, and therefore, does not support
tempo-based effect parameters (such as sync).
Effect category Included effects
Amp Modeling  Bass Amp (p. 19)
 Guitar Amp Pro (p. 21)
Delay  Delay Designer (p. 28)
 Sample Delay (p. 46)
 Stereo Delay (p. 47)
 Tape Delay (p. 48)
Distortion  Bitcrusher (p. 52)
 Clip Distortion (p. 53)
 Distortion (p. 54)
 Distortion II (p. 55)
 Overdrive (p. 56)
 Phase Distortion (p. 57)
Dynamic  Adaptive Limiter (p. 61)
 Compressor (p. 62)
 DeEsser (p. 65)
 Enveloper (p. 68)
 Expander (p. 70)
 Limiter (p. 71)
 Multipressor (p. 72)
 Noise Gate (p. 76)
 Silver Compressor (p. 78)
 Silver Gate (p. 79)
EQ Â Channel EQ (p. 84)
 DJ EQ (p. 88)
 Fat EQ (p. 88)
 Linear Phase EQ (p. 90)
 Match EQ (p. 91)
 Single Band EQs (p. 96)
 Silver EQ (p. 97)
Preface Introduction to the Logic Studio Plug-ins 15
Effect category Included effects
Filter  AutoFilter (p. 100)
 EVOC 20 Filterbank (p. 103)
 Fuzz-Wah (p. 116)
 Spectral Gate (p. 118)
Imaging  Direction Mixer (p. 123)
 Stereo Spread (p. 125)
Metering  BPM Counter (p. 128)
 Correlation Meter (p. 128)
 Level Meter (p. 129)
 MultiMeter (p. 129)
 Tuner (p. 134)
Modulation  Chorus (p. 136)
 Ensemble (p. 136)
 Flanger (p. 137)
 Microphaser (p. 138)
 Modulation Delay (p. 138)
 Phaser (p. 140)
 Ringshifter (p. 142)
 Rotor Cabinet (p. 147)
 Scanner Vibrato (p. 148)
 Spreader (p. 149)
 Tremolo (p. 150)
Pitch  Pitch Correction ( p . 151 )
 Pitch Shifter II (p. 155)
 Vocal Transformer (p. 156)
Reverb  AVerb (p. 160)
 EnVerb (p. 161)
 GoldVerb (p. 162)
 PlatinumVerb (p. 164)
 SilverVerb (p. 167)
 Convolution Reverb: Space Designer (p. 169)
Specialized Â
Utility Gain (p. 200)
Denoiser (p. 192)
 Exciter (p. 194)
 Speech Enhancer (p. 196)
 SubBass (p. 197)
16 Preface Introduction to the Logic Studio Plug-ins
MainStage Instruments and Effects
The following tables outline the effects and instruments included with MainStage.
Note: MainStage is a live application, and therefore, does not include effect plug-ins
that introduce a noticeable amount of latency. A further exclusion is the EXS24 mkII
Instrument Editor.
Effect category Included effects
Amp Modeling  Bass Amp (p. 19)
 Guitar Amp Pro (p. 21)
Delay  Delay Designer (p. 28)
 Echo (p. 46)
 Sample Delay (p. 46)
 Stereo Delay (p. 47)
 Tape Delay (p. 48)
Distortion  Bitcrusher (p. 52)
 Clip Distortion (p. 53)
 Distortion (p. 54)
 Distortion II (p. 55)
 Overdrive (p. 56)
 Phase Distortion (p. 57)
Dynamic  Compressor (p. 62)
 DeEsser (p. 65)
 Ducker (p. 67)
 Enveloper (p. 68)
 Expander (p. 70)
 Limiter (p. 71)
 Multipressor (p. 72)
 Noise Gate (p. 76)
 Silver Compressor (p. 78)
 Silver Gate (p. 79)
EQ Â Channel EQ (p. 84)
 DJ EQ (p. 88)
 Fat EQ (p. 88)
 Single Band EQs (p. 96)
 Silver EQ (p. 97)
Filter  AutoFilter (p. 100)
 EVOC 20 Filterbank (p. 103)
 EVOC 20 TrackOscillator (p. 107)
Fuzz-Wah (p. 116)
Â
Imaging  Direction Mixer (p. 123)
 Stereo Spread (p. 125)
Metering  BPM Counter (p. 128)
 Correlation Meter (p. 128)
 Level Meter (p. 129)
 MultiMeter (p. 129)
 Tuner (p. 134)
Preface Introduction to the Logic Studio Plug-ins 17
Effect category Included effects
Modulation  Chorus (p. 136)
 Ensemble (p. 136)
 Flanger (p. 137)
 Microphaser (p. 138)
 Modulation Delay (p. 138)
 Phaser (p. 140)
 Ringshifter (p. 142)
 Rotor Cabinet (p. 147)
 Scanner Vibrato (p. 148)
 Spreader (p. 149)
 Tremolo (p. 150)
Pitch Pitch Shifter II (p. 155)
Reverb  AVerb (p. 160)
 EnVerb (p. 161)
 GoldVerb (p. 162)
 PlatinumVerb (p. 164)
 SilverVerb (p. 167)
 Convolution Reverb: Space Designer (p. 169)
Specialized  Exciter (p. 194)
 SubBass (p. 197)
Utility  Gain (p. 200)
 Test Oscillator (p. 202)
The following table outlines the instruments included with MainStage.
Instrument category Included instruments
Synthesizer  EFM1 (p. 229)
 ES E (p. 235)
 ES M (p. 237)
 ES P (p. 239)
 ES1 (p. 241)
 ES2 (p. 249)
 Klopfgeist (p. 453)
 Sculpture (p. 455)
Drum synthesizer Ultrabeat (p. 553)
Software sampler EXS24 mkII (p. 391)
Vocoder synthesizer EVOC 20 PolySynth (p. 205)
Vintage instruments  EVB3 (p. 323)
 EVD6 (p. 359)
 EVP88 (p. 379)
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 615)
18 Preface Introduction to the Logic Studio Plug-ins
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 Studio.
 “Bass Amp” on page 19
 “Guitar Amp Pro” on page 21
Bass Amp
The Bass Amp simulates the sound of several famous bass amplifiers. You can process
bass guitar signals directly within Logic Pro and reproduce the sound of high-quality
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.
19
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.
20 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 Pro, 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
Chapter 1 Amp Modeling 21
Microphone Type section
a set of tone, gain, and level controls.
section is the final output control.
 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).
 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,
UK 2x12 open back Classic open enclosure with two 12" speaker, neutral, well-balanced,
UK 2x12 closed Loads of resonance in the low frequency range, therefore well suited for
UK 4x12 closed slanted when used in combination with off-center miking, you will get an
22 Chapter 1 Amp Modeling
multifunctional.
multifunctional.
Combos: crunchy sounds are also possible with low Bass control settings.
interesting mid frequency range; therefore this model works well when
combined with High Gain amps.
Speaker type Description
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.
 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.
Chapter 1 Amp Modeling 23
 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 preamplified (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.
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.
24 Chapter 1 Amp Modeling
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 25
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 Studio:
 Delay Designer (see below).
 Echo (see “Echo” on page 46).
 Sample Delay (see “Sample Delay” on page 46).
 Stereo Delay (see “Stereo Delay” on page 47).
 Tape Delay (see “Tape Delay” on page 48).
27
Delay Designer
Delay Designer is a multi-tap delay. Each tap is an independent delay. Unlike simple
delay effects that only offer one or two delays (or taps), Delay Designer offers you up to
26 individual taps. In other words, you can think of Delay Designer as 26 separate delay
processors—in one effect unit.
Delay Designer provides control over the following aspects of each tap:
 Level and pan position
 Highpass and lowpass filters
 Pitch transposition (up or down)
Further effect-wide parameters include synchronization, quantization, feedback, and so
on.
As the name implies, Delay Designer offers significant sound design potential. You can
use it for everything from a basic echo effect, through to an audio pattern sequencer.
You can create complex, evolving, moving rhythms by synchronizing the placement of
taps—coupled with judicious use of pitch transposing and filtering. Alternately, you
can set up numerous taps as “repeats” of other taps, much as you would use the
feedback control of a simple delay—but with individual control over each repeat.
You can use Delay Designer on channels with mono, stereo, or surround inputs and/or
outputs. See “Working With Delay Designer in Surround” for details on using it in
surround channels.
The Delay Designer interface consists of five main sections:
Sync section
Tap pads
28 Chapter 2 Delay
Tap display
Master section
Tap parameter bar
 Tap display: This blue “view screen” display features a graphic representation of all
taps. You can see, and edit, the parameters of each tap in this area. See “The Tap
Display” section of this chapter for a more detailed look.
 Tap parameter bar: Offers a numeric overview of the current parameter settings for
the selected tap. You can view and edit the parameters of each tap in this area. See
“The Tap Parameter Bar” later in this chapter.
 Sync section: You can set all Delay Designer synchronization and quantization
parameters in this section. See “Syncing Delay Taps” for more information.
 Tap pads: You can use these two pads to create taps in Delay Designer. See “Creating
and Deleting Taps”.
 Master section: This area contains the global Mix and Feedback parameters. See “The
Master Section” for details.
The Tap Display
You can see—and interact with—taps in the Tap display. The display is divided into a
number of sections:
 View buttons: Determine the parameter or parameters represented in the Tap display.
 Autozoom: When engaged, the main display is zoomed out, making all taps visible.
Turn Autozoom off, if you want to zoom the display (by dragging vertically on the
overview display) to view specific taps.
 Overview display: Shows all the taps in the time range.
 Toggle buttons: Click to toggle (switch) the parameters of a particular tap. The
parameter being toggled is chosen with the view buttons. The label at the left of the
toggle bar always indicates the parameter being toggled. See “Using the Toggle
Buttons to Edit Tap Parameters” for more information.
 Main display: Offers a visual representation of each tap as a shaded line. Each tap
contains a bright bar (or dot for stereo panning) that indicates the value of the
parameter. You can directly edit tap parameters with the mouse in the main display
area. See “Editing Taps” for more details.
Chapter 2 Delay 29
 Identification bar: Includes an identification letter for each tap, along with handles
that allow you to move the selected tap backwards or forwards in time.
The View Buttons
The view buttons determine which parameter is represented in the main display.
 Cutoff: When clicked, the taps in the main display will show the highpass and
lowpass filter cutoff frequencies.
 Reso: When clicked, the main display shows the filter resonance value of each tap.
 Transp: Click to show the pitch transposition of each tap in the main display area.
 Pan: Click to show the pan parameter of each tap in the main display.
 For mono to stereo channels, each tap will contain a line showing its pan position.
 For stereo to stereo channels, each tap will contain a dot showing its stereo
balance. A line (extending outwards from the dot) indicates its stereo spread.
 For surround channels, each tap will contain a line representing its surround angle
(see “Working With Delay Designer in Surround” for details).
 Level: Click to show the relative volume level of each tap in the main display.
The Overview Display
You can use the Overview display to zoom and navigate the main display area:
To zoom the main display, do one of the following:
m Click-hold on the highlighted section (bright rectangle) of the overview display, and
drag up or down.
m Click-hold on the highlighted bars—to the left or right of the bright rectangle—and
drag to the left or right.
30 Chapter 2 Delay
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