Apple Logic Studio - 2009 User Manual

Logic Studio

Instruments

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An Introduction to the Logic Studio Instruments9Preface

About the Logic Studio Instruments9 About the Logic Studio Documentation11 Additional Resources12

ES E13Chapter 1

Getting to Know the ES E Interface14 Using the ES E Oscillators15 Using the ES E LFO15 Using the ES E Filter16 Using the ES E Envelope17 Using the ES E Output Parameters17 Extended ES E Parameters18

ES M19Chapter 2

Getting to Know the ES M Interface20 Using the ES M Oscillator21 Using the ES M Filter and Filter Envelope22 Using the ES M Level Envelope and Output Controls23 Extended ES M Parameters23

ES P25Chapter 3

Getting to Know the ES P Interface26 Using the ES P Oscillators27 Using the ES P LFO27 Using the ES P Filter28 Using the ES P Envelope and Level Controls29 Using the Integrated ES P Effects30 Extended ES P Parameters30

ES133Chapter 4

Getting to Know the ES1 Interface34 Using the ES1 Oscillators35 Using the ES1 Filter Parameters37

Using the ES1 Amplifier Parameters38 Using the ES1 Envelope Parameters39 Modulating the Sound of the ES141 Adjusting Global ES1 Parameters44 ES1 MIDI Controller List45

ES247Chapter 5

Getting to Know the ES2 interface48 Using the ES2 Oscillators49 Using the ES2’s Global Parameters61 Using the ES2 Filters63 Using the ES2 Amplifier Parameters73 Working with Modulation in the ES275 Using the ES2’s Integrated Effect Processing Section106 Creating Random ES2 Sound Variations108 Using Macro Controls and Assigning Controllers in the ES2110 Using the ES2 in Surround Mode113 ES2 Tutorial: Creating Sounds113 ES2 Tutorial: Using Templates to Create Sounds123

EFM1131Chapter 6

Getting to Know the EFM1 Interface132 Working with the EFM1 Modulator and Carrier Parameters133 Working with the EFM1 Modulation Parameters135 Adjusting Global EFM1 Parameters136 Setting EFM1 Output Parameters137 Creating EFM1 Random Sound Variations138 Assigning EFM1 MIDI Controllers139

EVB3141Chapter 7

Getting to Know the EVB3 Interface143 Using the EVB3 Drawbar Controls145 Using the EVB3 Preset Keys146 Morphing in the EVB3149 Using the Integrated EVB3 Scanner Vibrato150 Using the EVB3 Percussion Effect152 Using the EVB3 Global Tone Parameters153 Using the EVB3 Model Parameters154 Using the Integrated EVB3 Effects160 Using the EVB3’s Integrated Rotor Cabinet Emulation165 Setting Up the EVB3 for Your MIDI Equipment169 EVB3 MIDI Controller Assignments172 Additive Synthesis with Drawbars179

4 Contents

The Residual Effect180 Tonewheel Sound Generation180 A Brief Hammond History181 The Leslie Cabinet182

EVD6183Chapter 8

Getting to Know the EVD6 Interface184 Working with EVD6 Model Parameters185 Working with Global EVD6 Parameters190 Working with EVD6 Filter and Damper Parameters191 Working with EVD6 Pickup Parameters192 Working with the EVD6 Integrated Effects194 Working with EVD6 Output Parameters198 Working with EVD6 MIDI Control Parameters199 A Brief History of the Clavinet201

EVP88203Chapter 9

Getting to Know the EVP88 Interface204 Using the EVP88 Global Parameters205 Using the EVP88 Model Parameters206 Using the EVP88 Stretch Parameters207 Using the Integrated EVP88 Effects208 Using the EVP88 Extended Parameters212 EVP88 MIDI Controller List212 Electric Piano Models Emulated by the EVP88213

EVOC 20 PolySynth217Chapter 10

What Is a Vocoder?218 How Does a Vocoder Work?218 Setting Up Your EVOC 20 PolySynth Host Application219 Getting to Know the EVOC 20 PolySynth Interface220 EVOC 20 PolySynth Sidechain Analysis Parameters221 EVOC 20 PolySynth (U/V) Detection Parameters223 EVOC 20 PolySynth Synthesis Section Parameters224 EVOC 20 PolySynth Formant Filter Parameters229 EVOC 20 PolySynth Modulation Parameters232 EVOC 20 PolySynth Output Parameters233 Getting the Best Results with the EVOC 20 PolySynth234 A Brief Vocoder History236 EVOC20 Block Diagram239

External Instrument241Chapter 11 Getting to Know the External Instrument Interface241

5Contents

Using the External Instrument242

EXS24 mkII243Chapter 12

Getting to Know the EXS24 mkII Interface245 About EXS24 Sampler Instruments246 Getting to Know the EXS24 mkII Parameter Window248 Using the EXS24 mkII Sampler Instruments Pop-Up Menu249 Adjusting EXS24 mkII Global Parameters254 Using the EXS24 mkII Pitch Parameters258 Working with EXS24 mkII Filter Parameters260 EXS24 mkII Output Parameters263 Working with EXS24 mkII Modulation264 An Overview of the EXS24 mkII Instrument Editor278 Creating EXS24 mkII Instruments, Zones, and Groups281 Editing EXS24 mkII Zones and Groups286 Setting EXS24 mkII Zone Parameters289 Using the EXS24 mkII Zone Loop Parameters291 Setting EXS24 mkII Group Parameters292 Using the EXS24 mkII Advanced Group Selection Parameters294 Graphical Editing of EXS24 mkII Zones and Groups295 Saving, Renaming, and Exporting EXS24 mkII Instruments297 Editing Samples in the EXS24 mkII Sample Editor298 Using an External Instrument Editor with the EXS24 mkII299 Importing EXS24 mkII Sampler Instruments300 Managing EXS24 Sampler Instruments309 Setting EXS24 mkII Sampler Preferences310 Configuring EXS24 mkII Virtual Memory313 Advanced EXS24 mkII RAM Management315 Using the VSL Performance Tool in EXS24 mkII315

Klopfgeist317Chapter 13 Using the Klopfgeist Parameters318

Sculpture319Chapter 14

Getting to Know the Sculpture Interface320 Getting to Know the Sculpture Synthesis Core321 Getting to Know the Sculpture String323 Working with the Sculpture String Parameters324 Working with Sculpture’s Objects331 Working with Sculpture’s Pickups336 Using Sculpture’s Global Parameters339 Using Sculpture’s Amplitude Envelope Parameters341 Using Sculpture’s Waveshaper342

6 Contents

Working with Sculpture’s Filter Parameters343 Using Sculpture’s Integrated Delay345 Using Sculpture’s Body EQ347 Using Sculpture’s Output Parameters350 Controlling Sculpture’s Surround Range and Diversity351 Working with Sculpture’s Modulation351 Getting to Know Sculpture’s Control Envelopes362 Getting to Know Sculpture’s Morph Section369 Assigning MIDI Controllers in Sculpture379 Sculpture Tutorial: Getting Started with Sound Creation380 Sculpture Tutorial: Creating Basic Sounds385 Sculpture Tutorial: Modulations396 Advanced Sculpture Tutorial: Programming Electric Basses396 Advanced Sculpture Tutorial: Programming Synthesized Sounds416

Ultrabeat425Chapter 15

Getting to Know the Structure of Ultrabeat426 Loading and Saving Ultrabeat Settings428 Getting to Know the Ultrabeat Interface429 Getting to Know Ultrabeat’s Assignment Section429 Importing Sounds and EXS Instruments into Ultrabeat433 Getting to Know the Ultrabeat Synthesizer Section436 Getting to Know the Ultrabeat Oscillators438 Getting to Know the Ultrabeat Oscillator Parameters439 Using Oscillator 1 in Ultrabeat440 Using Oscillator 2 in Ultrabeat444 Using the Ultrabeat Ring Modulator449 Using the Ultrabeat Noise Generator450 Getting to Know the Ultrabeat Filter and Distortion Section451 Using Ultrabeat’s Multimode Filter452 Using Ultrabeat’s Distortion Circuit454 Using the Ultrabeat Output Section455 Working with Modulation in Ultrabeat461 Working with the Ultrabeat Step Sequencer472 Automating Parameter Values in Ultrabeat’s Step Sequencer481 Exporting Ultrabeat Patterns as MIDI Regions485 Using MIDI to Control Ultrabeat’s Sequencer486 Ultrabeat Tutorial: Introduction487 Ultrabeat Tutorial: Creating Kick Drums487 Ultrabeat Tutorial: Creating Snare Drums492 Ultrabeat Tutorial: Creating Toms and Tonal Percussion498 Ultrabeat Tutorial: Creating Hi-Hats and Cymbals498 Ultrabeat Tutorial: Creating Metallic Sounds499

7Contents

Ultrabeat Tutorial: Creating Extreme Sounds500 Ultrabeat Tutorial: Programming in Building Blocks500

GarageBand Instruments503Chapter 16

GarageBand Analog Basic505 GarageBand Analog Mono506 GarageBand Analog Pad507 GarageBand Analog Swirl508 GarageBand Analog Sync510 GarageBand Bass511 GarageBand Church Organ512 GarageBand Digital Basic513 GarageBand Digital Mono514 GarageBand Digital Stepper515 GarageBand Drum Kits516 GarageBand Electric Clav(inet)517 GarageBand Electric Piano517 GarageBand Guitar518 GarageBand Horns519 GarageBand Hybrid Basic520 GarageBand Hybrid Morph522 GarageBand Piano524 GarageBand Sound Effects525 GarageBand Strings526 GarageBand Tonewheel Organ527 GarageBand Tuned Percussion528 GarageBand Voice529 GarageBand Woodwind530

Synthesizer Basics531Appendix

Sound Basics531 What Is a Synthesizer?535 How Subtractive Synthesizers Work537 Other Synthesis Methods551 A Brief History of the Synthesizer555

8 Contents

An Introduction to the Logic Studio Instruments

Logic Studio provides a number of software-based instruments that include: innovative synthesizers, a powerful sampler, and authentic recreations of vintage instruments. You can use these instruments for real time playback in Logic Pro and MainStage.

The Logic Studio instruments cover almost every sound generation need you will encounter in your day to day work with Logic Pro and MainStage. All instruments feature intuitive interfaces that provide access to all functions and parameters. Pristine audio quality is assured when needed, or—at the other end of the spectrum—extremely harsh and dirty sounds can be created with many of the included instruments. All instruments are highly optimized for efficient CPU usage, maximizing the real time playback potential of your computer.

This preface covers the following:

• About the Logic Studio Instruments (p. 9)

• About the Logic Studio Documentation (p. 11)

• Additional Resources (p. 12)

Preface

About the Logic Studio Instruments

Logic Pro and MainStage are purpose-built for particular types of work. Given these unique properties, not all Logic Studio instrument features are available in MainStage, and vice versa. The tables in this section indicate the instrument facilities available in each application.

Logic Pro Instruments

The following table outlines the instruments and utilities included with Logic Pro.

Synthesizer

Included instrumentsInstrument category

• EFM1

• ES E

• ES M

• ES P

• ES1

• ES2

• Klopfgeist

• Sculpture

• UltrabeatDrum synthesizer

• EXS24 mkIISoftware sampler

• EVOC 20 PolySynthVocoder synthesizer

Vintage instruments

GarageBand instruments

• EVB3

• EVD6

• EVP88

• External InstrumentUtility

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)

MainStage Instruments

The following table outlines the instruments and utilities included with MainStage.

10 Preface An Introduction to the Logic Studio Instruments

Synthesizer

Included instrumentsInstrument category

• EFM1

• ES E

• ES M

• ES P

• ES1

• ES2

• Klopfgeist

• Sculpture

• UltrabeatDrum synthesizer

• EXS24 mkIISoftware sampler

• EVOC 20 PolySynthVocoder synthesizer

Vintage instruments

GarageBand instruments

• EVB3

• EVD6

• EVP88

About the Logic Studio Documentation

Logic Studio comes with various documents that will help you get started as well as provide detailed information about the included applications.

• Logic Pro User Manual: This onscreen manual provides comprehensive instructions for using Logic to set up a recording system, compose music, edit audio and MIDI files, and output audio for CD productions.

• Exploring Logic Pro: This booklet provides a fast-paced introduction to the main features and tasks in Logic Pro, encouraging hands-on exploration for new users.

• Logic Pro Control Surfaces Support: This onscreen manual describes the configuration and use of control surfaces with Logic Pro.

• Logic Studio Instruments: This onscreen manual provides comprehensive instructions for using the powerful collection of instruments included with Logic Pro and MainStage.

• Logic Studio Effects: This onscreen manual provides comprehensive instructions for using the powerful collection of effects included with Logic Pro, MainStage, and WaveBurner.

• Logic Studio Working with Apogee Hardware: This onscreen manual describes the use of Apogee hardware with Logic Pro and MainStage.

• Logic Pro TDM Guide: This onscreen manual describes the essential aspects of using TDM in Logic Pro.

11Preface An Introduction to the Logic Studio Instruments

• MainStage User Manual: This onscreen manual provides comprehensive instructions for creating MainStage concerts and using MainStage with your instruments, microphones, and other music gear when you perform live.

• Exploring MainStage: This booklet provides a fast-paced introduction to the main features and tasks in MainStage, encouraging hands-on exploration for new users.

• Waveburner User Manual: This onscreen manual provides comprehensive instructions for using WaveBurner to create professional-quality audio CDs.

• Impulse Response Utility User Manual: This onscreen document provides comprehensive instructions for using Impulse Response Utility to create your own mono, stereo, and surround impulse responses for Space Designer, the Logic Studio convolution-based reverb effect.

Additional Resources

Along with the documentation that comes with Logic Studio, there are a variety of other resources you can use to find out more.

Release Notes and New Features Documents

Each application offers detailed documentation that covers new or changed features and functions. This documentation can be accessed in the following location:

• Click the Release Notes and New Features links in the application Help menu.

Logic Studio Website

For general information and updates, as well as the latest news on Logic Studio, go to:

• http://www.apple.com/logicstudio

Apple Service and Support Websites

For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles.

• http://www.apple.com/support

For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Logic Studio, go to:

• http://www.apple.com/support/logicstudio

For discussion forums for all Apple products from around the world, where you can search for an answer, post your question, or answer other users’ questions, go to:

• http://discussions.apple.com

12 Preface An Introduction to the Logic Studio Instruments

ES E

The ES E synthesizer is ideal for quickly creating pad and ensemble sounds.

The 8-voice ES E (ES Ensemble) is great for adding atmospheric beds to your music, with minimal CPU overhead. While it may look simple, it is more than capable of producing rich and warm pad sounds.

The ES E produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms. You subtract (cut, or filter out) portions of these waveforms, and reshape them, to create new sounds.

If you’re totally new to synthesizers, it might be best to start off with Synthesizer Basics, which will introduce you to the terminology, and give you a great overview of different synthesis methods and how they work.

This chapter covers the following:

• Getting to Know the ES E Interface (p. 14)

• Using the ES E Oscillators (p. 15)

• Using the ES E LFO (p. 15)

• Using the ES E Filter (p. 16)

• Using the ES E Envelope (p. 17)

• Using the ES E Output Parameters (p. 17)

• Extended ES E Parameters (p. 18)

Filter parameters Output parameters

Envelope parametersLFO parameters

Oscillator parameters

Getting to Know the ES E Interface

Before you take a look at the individual parameters of the ES E, this section will familiarize you with the various elements in the ES E graphical interface.

• Oscillator parameters: The oscillator Wave and Octave parameters are shown in the area to the left. The oscillator generates the waveforms that form the basis of your sound. See Using the ES E Oscillators.

• LFO parameters: The LFO parameters (below the oscillator Wave parameter knob) are used to modulate the sound. See Using the ES E LFO.

• Filter parameters: The section to the right of the Oscillator parameters includes the Cutoff (Frequency) and Resonance knobs. You use the filter to contour the waveforms sent from the oscillator. See Using the ES E Filter.

• Envelope parameters: The area to the right of the Filter parameters containsthe Envelope parameters, which control the level ofthe sound over time. See Using the ES E Envelope.

• Output parameters: The areaat the extreme right houses the Volume knob, responsible for the main output level, and the Effect parameters. The effects can be used to color or thicken the sound. See Using the ES E Output Parameters.

• Extended parameters: Not shown in the image, the extended parameters are accessed by clicking the triangle at the lower left of the interface. These parameters include bend and tuning functions. See Extended ES E Parameters.

14 Chapter 1 ES E

Using the ES E Oscillators

The synthesizer oscillator generates a waveform, which is then sent to other portions of the synthesizer engine for processing or manipulation.

• Wave knob: Selects the waveform of the oscillator, which is responsible for the basic color of the tone. The leftmost setting of the Wave parameter causes the oscillators to output sawtooth signals. Across the remaining range, the oscillators output pulse waves, with the average pulse width being defined by the Wave parameter position.

• 4, 8, 16 buttons: Allow you to switch the pitch in octaves (transpose it up or down). The lowest setting is 16 feet, and the highest is 4 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.

Using the ES E LFO

The LFO (low frequency oscillator) generates a cyclic waveform that is used to modulate the ES E waveform. The behavior and effect of the LFO depend on whether a sawtooth or pulse wave is selected.

• If Wave is set to sawtooth, the LFO modulates the frequency of the waveform, resulting in a vibrato or siren effect—depending on the LFO speed and intensity.

• If Wave is set to a pulse wave, the LFO modulates the waveform’s pulse width (PWM).

• Vib/PWM knob: Defines the intensity of the LFO modulation.

• Speed knob: Sets the frequency of the LFO modulation.

15Chapter 1 ES E

Note: When the pulse width becomes very narrow, the signal sounds as if it is being interrupted (“breaking up”). Given this potential artifact, set the PWM intensity with care, and select the Wave parameter’s 12 o’clock position (50% rectangular) for the pulse width, if you want to achieve the maximum modulation range.

Using the ES E Filter

The ES E includes a lowpass filter that lets you contour the output from the oscillator.

• Cutoff knob: Controls the cutoff frequency of the ES E filter.

• Resonance knob: Boosts or cuts portions of the signal that surround the frequency defined by the Cutoff parameter.

Note: Increasing the Resonance value results in a rejection of bass (low frequency energy) when using lowpass filters.

• AR Int knob: The ES E features one simple envelope generator per voice-offering an Attack and a Release parameter (see Using the ES E Envelope). The AR Int knob defines the amount (depth) of cutoff frequency modulation applied by the envelope generator.

• VeloFilter knob: Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator.

Note: This parameter has no effect if AR Int is set to 0.

16 Chapter 1 ES E

Using the ES E Envelope

The AR (Attack and Release) envelope affects both the filter cutoff (AR Int) and the level of the sound over time.

• Attack slider: Determines the time that it takes for the signal to reach the initial, desired signal level (the sustain level).

• Release slider: Determines the time that it takes for the signal to fall from the sustain level to a level of zero.

Using the ES E Output Parameters

The ES E output stage consists of the Volume section and the Chorus/Ensemble buttons.

• Volume knob: Sets the overall output level of the ES E.

• Velo Volume knob: Sets the amount (depth) of velocity sensitivity to incoming MIDI note events. When it is set to higher values, each note is louder, if struck more firmly. At lower values, the dynamic response is reduced, so that there is little difference when you play a note pianissimo (soft) or forte (loud/hard).

17Chapter 1 ES E

• Chorus I, Chorus II, and Ensemble buttons: Click to switch any of these effect variations on or off.

• Chorus I and Chorus II are typical chorus effects.

• Chorus II is characterized by a stronger modulation.

• The Ensemble effect employs a more complex modulation routing, creating a fuller

and richer sound.

• If none of the buttons is active, the effects processor is turned off.

Extended ES E Parameters

The ES E offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface.

• Pos.Bender Range: Changes the positive (upwards) pitch bend range in semitone steps. This allows you to use the pitch bend controller of your keyboard to bend the ES E pitch.

• Neg. Bender Range: The default Neg. Bender Range value is Pos PB (Positive Pitch Bend). In essence, this means that only positive pitch bend is available. You can adjust the negative (downwards) pitch bend range in semitone steps-up to 2 octaves (a value of

24).

• Tune: Tunes the entire instrument in cents. A cent is 1/100th of a semitone.

18 Chapter 1 ES E

ES M

The monophonic ES M is a good starting point if you’re looking for bass sounds that punch through your mix.

The ES M (ES Mono) synthesizer features an automatic fingered portamento mode, making bass slides easy. It also provides an automatic filter compensation circuit that delivers rich, creamy basses, even when using higher resonance values.

The ES M produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms. You subtract (cut, or filter out) portions of these waveforms, and reshape them, to create new sounds.

This chapter covers the following:

• Getting to Know the ES M Interface (p. 20)

• Using the ES M Oscillator (p. 21)

• Using the ES M Filter and Filter Envelope (p. 22)

• Using the ES M Level Envelope and Output Controls (p. 23)

• Extended ES M Parameters (p. 23)

Getting to Know the ES M Interface

Oscillator parameters Output parameters

Filter and Filter Envelope parameters

Overdrive

Before you take a look at the individual parameters of the ES M, this section will familiarize you with the various elements in the ES M graphical interface.

• Oscillator parameters: The oscillator Mix and Octave parameters are shown in the area to the left. The oscillator generates the basic waveforms that form the basis of your sound. See Using the ES M Oscillator.

• Filter and Filter Envelope parameters: The section to the right of the Oscillator parameters includes the (Cutoff) Frequency and Resonance knobs. The filter is used to contour the waveforms sent from the oscillators. The Filter Envelope parameters are found towards the upper right. These control the filter cutoff over time. See Using the ES M Filter and

Filter Envelope.

• Output parameters: The angle-shaped area to the lower right containsthe Level Envelope and Output parameters, which control the level of the sound over time. The Overdrive knob is located near the right edge of the interface, halfway up. The Overdrive can be used to color or add bite to the sound. See Using the ES M Level Envelope and Output

Controls.

20 Chapter 2 ES M

Using the ES M Oscillator

The synthesizer oscillator is used to generate a waveform, which is then sent to other portions of the synthesizer engine for processing or manipulation.

• Mix knob: Sets the waveform of the oscillator, which is responsible for the basic color of the tone.

• Setting the Wave parameter all the way to the left causes the oscillators to output

sawtooth signals.

• Setting the Wave parameter all the way to the right outputs a 50% rectangular

wave—which is heard one octave below the sawtooth.

• For any Wave setting between these extreme positions, the oscillator outputs a

crossfaded mix of the two waveforms.

• 8, 16, 32 buttons: Allow you to switch the pitch in octaves (transpose it up or down). The lowest setting is 32 feet, and the highest is 8 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.

• Glide knob: Determines the speed of the glide (the time it takes to slide between note pitches). At a value of 0, no glide effect occurs.

Note: The ES M always works in a fingered portamento mode, with notes played in a legato style resulting in a glide (portamento) from pitch to pitch.

21Chapter 2 ES M

Using the ES M Filter and Filter Envelope

Filter Envelope parameters

The ES M includes a lowpass filter that lets you contour the output from the oscillator. The filter features a dedicated envelope.

• Cutoff knob: Controls the cutoff frequency of the ES M filter. Its slope is 24 dB/octave.

• Resonance knob: Boosts or cuts portions of the signal that surround the frequency defined by the Cutoff parameter.

Note: Increasing the Resonance value results in a rejection of bass (low frequency energy) when using lowpass filters. The ES M compensates for this side-effect internally, resulting in a more bassy sound.

• Int knob: Defines the amount (the intensity or depth) of cutoff frequency modulation applied by the envelope generator.

• Decay knob: Defines the decay time of the filter envelope.

• Velo knob: Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator.

Note: The Decay and Velo parameters have no effect if Int is set to 0.

22 Chapter 2 ES M

Using the ES M Level Envelope and Output Controls

Level parameters

The output stage of the ES M offers the following parameters.

• Decay knob: Sets the decay time of the dynamic stage. The attack, release, and sustain times of the synthesizer are internally set to 0.

• Velo knob: Determines the velocity sensitivity of the dynamic stage.

• Vol knob: Sets the master output level of the ES M.

• Overdrive knob: Controls the level of the integrated overdrive effect.

Important: To avoid hurting your ears or damaging your speakers, consider turning

down the Volume level before setting Overdrive to a high value; then turn it up gradually.

Extended ES M Parameters

The ES M offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface.

• Pos.Bender Range: Changes the positive (upwards) pitch bend range in semitone steps. This allows you to use the pitch bend controller of your keyboard to bend the ES P pitch.

24).

• Tune: Tunes the entire instrument in cents. A cent is 1/100th of a semitone.

23Chapter 2 ES M

ES P

The ES P emulates classic polyphonic synthesizers of the 1980s.

The 8-voice ES P (ES Poly) is a versatile instrument that is capable of producing a huge variety of useful musical sounds. The creation of classic analog synthesizer brass sounds is just one of its many strengths.

The ES P produces sounds using subtractive synthesis. It features an oscillator that generates harmonically rich waveforms. You subtract (cut, or filter out) portions of these waveforms, and reshape them, to create new sounds.

This chapter covers the following:

• Getting to Know the ES P Interface (p. 26)

• Using the ES P Oscillators (p. 27)

• Using the ES P LFO (p. 27)

• Using the ES P Filter (p. 28)

• Using the ES P Envelope and Level Controls (p. 29)

• Using the Integrated ES P Effects (p. 30)

• Extended ES P Parameters (p. 30)

Filter parameters

Effect parameters

Envelope parameters

Level parametersLFO parameters

Oscillator parameters

Getting to Know the ES P Interface

Before you take a look at the individual parameters of the ES P, this section will familiarize you with the various elements in the ES P graphical interface.

• Oscillator parameters: The Oscillator sliders are shown in the area to the left. The Octave parameters are also found in this section. The oscillators generate the basic waveforms that form the basis of your sound. See Using the ES P Oscillators.

• LFO parameters: The LFO parameters (to the right of the Oscillator parameters) are used to modulate the sound. See Using the ES P LFO.

• Filter parameters: The vertical column in the center includes the (Cutoff) Frequency and Resonance knobs and the Key Follow buttons. The filter is used to contour the waveforms sent from the oscillators. See Using the ES P LFO.

• Envelope and Level parameters: The area to the right of the Filter parameters contains the Envelope and Level parameters, which control the level of the sound over time. See Using the ES P Envelope and Level Controls.

• Effect parameters: The area at the extreme right contains the Chorus and Overdrive parameters. These can be used to color or thicken the sound. See Using the Integrated

ES P Effects.

26 Chapter 3 ES P

Using the ES P Oscillators

The ES P features several oscillators that output different waveforms. These signals can be mixed together—at different levels—providing countless variations of the raw material used for your sounds.

• Oscillator sliders: Set the level of the waveforms output by the oscillators.

• In addition to triangular, sawtooth, and rectangular waves, the rectangular waves of

two sub-oscillators are also available. The left sub-oscillator fader is one octave lower than the main oscillators, and the right sub-oscillator fader is two octaves lower. Use these to fatten up the sound.

• The pulse width of all rectangular waves is fixed at 50%.

• The rightmost fader adds white noise to the mix. This is the raw material for classic

synthesizer sound effects, such as ocean waves, wind, and helicopters.

Using the ES P LFO

The ES P features an LFO (low frequency oscillator), which can do either of the following:

• Modulate the frequency of the oscillators, resulting in a vibrato.

27Chapter 3 ES P

• Modulate the cutoff frequency of the dynamic lowpass filter, resulting in a wah wah effect.

• Vib/Wah knob: Turn to the left to set a vibrato; turn to the right to cyclically modulate the filter.

• Speed knob: Sets the rate of the vibrato or cutoff frequency modulation.

Using the ES P Filter

The ES P includes a lowpass filter that lets you contour the output from the oscillator.

• Frequency knob: Controls the cutoff frequency of the ES P’s lowpass filter.

• Resonance knob: Boosts/cuts portions of the signal that surround the frequency defined by the Frequency knob.

28 Chapter 3 ES P

Note: Increasing the Resonance value results in a rejection of bass (low frequency energy) when using lowpass filters. The ES P compensates for this side-effect internally, resulting in a more bassy sound.

• 1/3, 2/3, 3/3 (Key Follow) buttons: The cutoff frequency can be modulated by MIDI note number (keyboard position); you may know this parameter as keyboard follow on other synthesizers. Enable one of the 1/3, 2/3, 3/3 buttons to choose one-third, two-thirds, or full-keyboard follow. If no button is active, the key you strike won’t affect the cutoff frequency. This makes the lower notes sound relatively brighter than the higher ones. If 3/3 is chosen, the filter follows the pitch, resulting in a constant relationship between cutoff frequency and pitch. This is typical of many acoustic instruments where higher notes sound both brighter in tone and higher in pitch.

• ADSR Int knob: Defines the amount (depth) of cutoff frequency modulation applied by the envelope generator (see Using the ES P Envelope and Level Controls).

• VeloFilter knob: Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator. The main envelope generator (ADSR) modulates the cutoff frequency over the duration of a note. The intensity of this modulation can respond to velocity information. If you play pianissimo (velocity = 1), the modulation is minimal. If you strike with the hardest fortissimo (velocity = 127), the modulation is more intense.

Using the ES P Envelope and Level Controls

The ES P features an ADSR envelope that affects both the filter cutoff (ADSR Int) and the level of the sound over time. This section also covers the master level control parameters.

• Attack slider: Determines the time it takes for the signal to reach the initial, desired signal level (the sustain level).

• Decay slider: Determines the time it takes for the signal to fall from the attack level to the sustain level.

29Chapter 3 ES P

• Sustain slider: Determines the desired signal level (the sustain level).

• Release slider: Determines the time it takes for the signal to fall from the sustain level to a level of zero.

• Volume knob: Sets the overall output level of the ES P.

• Velo Volume knob: Sets the amount (depth) of velocity sensitivity to incoming MIDI note events. When set to higher values, each note is louder if struck more firmly. At lower values, the dynamic response is reduced, so that there is little difference when you play a note pianissimo (soft) or forte (loud/hard).

Using the Integrated ES P Effects

The ES P offers integrated stereo chorus and overdrive effects. These are based on similar effects processors found in the affordable Japanese synthesizers of the 1980s—which the ES P, itself, emulates.

• Chorus knob: Sets the intensity (depth) of the integrated chorus effect.

• Overdrive knob: Determines the overdrive/distortion level of the ES P output.

Important: To avoid hurting your ears or damaging your speakers, consider turning

down the Volume level before setting Overdrive to a high value; then turn it up gradually.

Extended ES P Parameters

The ES P offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface.

• Pos.Bender Range: Changes the positive (upwards) pitch bend range in semitone steps. This allows you to use the pitch bend controller of your keyboard to bend the ES P pitch.

30 Chapter 3 ES P

+ 532 hidden pages

Apple Logic Studio - 2009 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

An Introduction to the Logic Studio Instruments

About the Logic Studio Instruments

About the Logic Studio Documentation

Additional Resources

ES E

Getting to Know the ES E Interface

Using the ES E Oscillators

Using the ES E LFO

Using the ES E Filter

Using the ES E Envelope

Using the ES E Output Parameters

Extended ES E Parameters

ES M

Getting to Know the ES M Interface

Using the ES M Oscillator

Using the ES M Filter and Filter Envelope

Using the ES M Level Envelope and Output Controls

Extended ES M Parameters

ES P

Getting to Know the ES P Interface

Using the ES P Oscillators

Using the ES P LFO

Using the ES P Filter

Using the ES P Envelope and Level Controls

Using the Integrated ES P Effects

Extended ES P Parameters