10.6

276Logic Pro Instruments
Set Envelope1 decay time for this short push by moving the wave selectors for all
oscillators. (Although it makes no sense to do this on the synced sawtooth oscillator,
Osc2, use the envelope trick regardless.) This allows you to vary the punchiness of the
content between:
• Envelope1 contribution to the overall attack noise and changing decay length—a short
decay results in a peak, a long decay results in a growl, as Envelope1 reads a couple of
waves from the wavetable.
• Modulation destination—you can always assign this to each of the oscillators separately.
• Start point—you vary the wave window start with minimum and maximum control of
EG1/Osc. waves modulation:negative values for a start wave before the selected wave,
positive values for a start wave from a position behind the selected wave that rolls the
table back.
Feel free to experiment with this wavetable-driving trick. The growl effect works well for
brass sounds, and some organs absolutely shine with a little click, courtesy of a wavetable
push.
Envelope2, which controls the filter, provides a slight attack when used for “slapped”
characteristics. Setting it to the fastest value eliminates the wah-like attack, while retaining
the punch.
For playing purposes, you’ll find that LFO2 is used as a real-time source for vibrato. It is
assigned to the mod wheel and aftertouch. Feel free to change the wheel and aftertouch
settings
Velocity is set up to be very responsive, because many synthesizer players don’t strike
keys like a piano player would with a weighted-action “punch.” Therefore, you should play
this patch softly, or you may find that the slap tends to sweep a little. Alternatively, you can
adjust the sensitivity of the filter modulation velocity value to match your personal touch.
If required, increase the Voices value to maximum—six strings should be enough for a
guitar, but for held or sustained notes, a few extra voices may come in handy.
Logic Pro ES2 Wheelrocker setting
This ordinary organ patch doesn’t hold any deep, high-end sound design secrets—it is just
a combination of three oscillators with mixed wave levels. You’ll probably find a different
combination that more closely matches your vision of what an organ sounds like. Check out
the Digiwaves.
Focus your attention on the modwheel response—hold a chord, and bring the wheel in
by moving it slowly upward until you reach the top (maximum). The intention behind the
programming of this mod wheel modulation is to simulate an accelerating Leslie rotor
speaker.
The modulation routings do the following:
• Modulation routing 1 assigns envelope 2 to Filter1—the only one used for this patch—
and produces a little organ key click with the envelope. The filter is opened slightly
(with Keyboard as via) when you play in the higher keyboard range, with the maximum
value.
• Modulation routings 2 and 3 bring in LFO1 vibrato, and both oscillators are modulated
out of phase.