Logic Studio Instruments
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Contents Preface 9 9 11 12 An Introduction to the Logic Studio Instruments About the Logic Studio Instruments About the Logic Studio Documentation Additional Resources Chapter 1 13 14 15 15 16 17 17 18 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 Chapter 2 19 20 21 22 23 23 ES M Getting to Know the ES M Interface Using the ES M Oscillator Using the ES M Fi
38 39 41 44 45 4 Using the ES1 Amplifier Parameters Using the ES1 Envelope Parameters Modulating the Sound of the ES1 Adjusting Global ES1 Parameters ES1 MIDI Controller List Chapter 5 47 48 49 61 63 73 75 106 108 110 113 113 123 ES2 Getting to Know the ES2 interface Using the ES2 Oscillators Using the ES2’s Global Parameters Using the ES2 Filters Using the ES2 Amplifier Parameters Working with Modulation in the ES2 Using the ES2’s Integrated Effect Processing Section Creating Random ES2 Sound Variatio
180 180 181 182 The Residual Effect Tonewheel Sound Generation A Brief Hammond History The Leslie Cabinet Chapter 8 183 184 185 190 191 192 194 198 199 201 EVD6 Getting to Know the EVD6 Interface Working with EVD6 Model Parameters Working with Global EVD6 Parameters Working with EVD6 Filter and Damper Parameters Working with EVD6 Pickup Parameters Working with the EVD6 Integrated Effects Working with EVD6 Output Parameters Working with EVD6 MIDI Control Parameters A Brief History of the Clavinet Chapte
242 Using the External Instrument 6 Chapter 12 243 245 246 248 249 254 258 260 263 264 278 281 286 289 291 292 294 295 297 298 299 300 309 310 313 315 315 EXS24 mkII Getting to Know the EXS24 mkII Interface About EXS24 Sampler Instruments Getting to Know the EXS24 mkII Parameter Window Using the EXS24 mkII Sampler Instruments Pop-Up Menu Adjusting EXS24 mkII Global Parameters Using the EXS24 mkII Pitch Parameters Working with EXS24 mkII Filter Parameters EXS24 mkII Output Parameters Working with EXS24 m
Chapter 15 343 345 347 350 351 351 362 369 379 380 385 396 396 416 Working with Sculpture’s Filter Parameters Using Sculpture’s Integrated Delay Using Sculpture’s Body EQ Using Sculpture’s Output Parameters Controlling Sculpture’s Surround Range and Diversity Working with Sculpture’s Modulation Getting to Know Sculpture’s Control Envelopes Getting to Know Sculpture’s Morph Section Assigning MIDI Controllers in Sculpture Sculpture Tutorial: Getting Started with Sound Creation Sculpture Tutorial: Creating B
500 Ultrabeat Tutorial: Creating Extreme Sounds 500 Ultrabeat Tutorial: Programming in Building Blocks 8 Chapter 16 503 505 506 507 508 510 511 512 513 514 515 516 517 517 518 519 520 522 524 525 526 527 528 529 530 GarageBand Instruments GarageBand Analog Basic GarageBand Analog Mono GarageBand Analog Pad GarageBand Analog Swirl GarageBand Analog Sync GarageBand Bass GarageBand Church Organ GarageBand Digital Basic GarageBand Digital Mono GarageBand Digital Stepper GarageBand Drum Kits GarageBand Elect
Preface 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.
Instrument category Included instruments Synthesizer • • • • • • • • Drum synthesizer • Ultrabeat Software sampler • EXS24 mkII Vocoder synthesizer • EVOC 20 PolySynth Vintage instruments • EVB3 • EVD6 • EVP88 Utility • External Instrument 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, Strin
Instrument category Included instruments Synthesizer • • • • • • • • Drum synthesizer • Ultrabeat Software sampler • EXS24 mkII Vocoder synthesizer • EVOC 20 PolySynth Vintage instruments • EVB3 • EVD6 • EVP88 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 Percu
• 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.
ES E 1 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.
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 Filter parameters LFO parameters Output parameters Envelope parameters Oscillator parameters • 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.
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.
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.
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.
• 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.
ES M 2 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.
Getting to Know the ES M Interface 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. Filter and Filter Envelope parameters Overdrive Oscillator parameters Output parameters • 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.
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.
Using the ES M Filter and Filter Envelope The ES M includes a lowpass filter that lets you contour the output from the oscillator. The filter features a dedicated envelope. Filter Envelope parameters • 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.
Using the ES M Level Envelope and Output Controls The output stage of the ES M offers the following parameters. Level 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.
ES P 3 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.
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 Filter parameters Effect parameters Envelope parameters LFO parameters Level parameters • Oscillator parameters: The Oscillator sliders are shown in the area to the left. The Octave parameters are also found in this section.
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.
• 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.
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.
• 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.
• 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 field: Tunes the entire instrument in cents. A cent is 1/100th of a semitone.
ES1 4 The ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface. The ES1 uses a method of synthesis called subtractive synthesis. It features an oscillator and sub-oscillator that generate harmonically rich waveforms. You subtract—cut, or filter out—portions of these waveforms and reshape them to create new sounds.
Getting to Know the ES1 Interface Before you take a look at the individual parameters of the ES1, this section will familiarize your with the various elements that constitute the ES1’s graphical interface, which is broken down into six main areas. Oscillator parameters Filter parameters Amplifier parameters Modulation parameters Envelope parameters Global parameters • Oscillator parameters: Shown to the left, the oscillators generate the basic waveforms that form the basis of your sound.
Using the ES1 Oscillators The ES1 features a primary oscillator and a sub-oscillator. The primary oscillator generates a waveform, which is then 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. • Wave knob: Selects the waveform of the primary oscillator, which is responsible for the basic color of the tone. See Setting ES1 Oscillator Waveforms.
Waveform Basic tone Comments Pulse “Nasal” sounding Great for reed instruments, synth blips, basses Using Pulse Width Modulation in the ES1 You can freely set any pulse width in-between the square wave and pulse wave symbols of the Wave knob. The pulse width can also be automatically modulated in the modulation section (see Using the ES1 Router). Modulating the pulse width with a slowly cycling LFO, for example, allows periodically mutating, fat bass sounds.
Using the ES1 Filter Parameters This section outlines the filter parameters of the ES1. • Cutoff slider: Controls the cutoff frequency of the ES1’s lowpass filter. • Resonance slider: Cuts or boosts the portions of the signal that surround the frequency defined by the Cutoff parameter. Boost can be set so intensively that the filter begins to oscillate by itself (see Driving the ES1 Filter to Self-Oscillation).
• If Key is set to maximum, the filter follows the pitch, resulting in a constant relationship between cutoff 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 slider: Determines how note velocity affects the filter cutoff frequency modulation—caused by the envelope generator (see Using the ES1 Envelope Parameters).
• Amplifier Envelope Selector buttons: The AGateR, ADSR, and GateR buttons define which of the ADSR envelope generator controls have an effect on the amplifier envelope (see Using the Envelope to Control the ES1 Amplifier). Using the ES1 Envelope Parameters The ES1 features an attack, decay, sustain, and release (ADSR) envelope that can shape the filter cutoff and the level of the sound over time.
The modulation range is determined by the two arrows. The minimum amount of modulation is indicated by the lower arrow. 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 and moving both arrows at once.
• GateR: The Gate control signal is used to maintain a constant level, while the 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. Modulating the Sound of the ES1 The ES1 offers a number of simple, yet flexible, modulation routing options. Modulation is used to add animation to your sound over time, making it more interesting, lively, or realistic.
• Mix buttons: Turn on to modulate the mix between the primary and sub-oscillators. • Cutoff buttons: Turn on to modulate the cutoff frequency of the filter. • Resonance buttons: Turn on to modulate the resonance of the filter. • Volume buttons: Turn on to modulate the main volume. • Filter FM button (modulation envelope only): Turn on to use the triangle wave of the oscillator to modulate the filter cutoff frequency.
• Int via Whl slider: The upper arrow defines the intensity of the LFO modulation if the modulation wheel (MIDI controller 1) is set to its maximum value. The lower arrow defines the amount of LFO modulation if the modulation wheel is set to zero. The distance between the arrows—shown by 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.
µ µ To fade the LFO modulation in or out Choose a positive Form value (towards attack) to fade in the LFO modulation. The higher the value, the longer it takes for you to hear the modulation. Choose a negative value (towards decay) to fade out the LFO modulation. The lower the value (closer to full), the shorter the fade out time is. LFO control with envelopes is most often used for delayed vibrato, which is a technique many instrumentalists and singers employ to intonate longer notes.
• Chorus field: The ES1 offers two classic stereo chorus effects and one ensemble effect. • Off deactivates the in-built chorus circuit. • C1 and C2 are typical chorus effects. C2 is a variation of C1 and is characterized by a stronger modulation. • Ens (Ensemble) employs a more complex modulation routing, creating a fuller and richer sound. • Out Level field: Controls the master volume of the ES1.
Controller number Parameter name 21 ADSR via Vel:upper slider 22 Attack slider 23 Decay slider 24 Sustain slider 25 Release slider 26 Key slider 27 Amplifier Envelope Selector buttons 28 Level via Velocity:lower slider 29 Level via Velocity:upper slider 30 Chorus parameter 31 Modulation envelope target 102 Modulation Envelope form slider 103 Modulation envelope:Int via Vel parameter:lower slider 104 Modulation envelope:Int via Vel parameter:upper slider 105 LFO rate 106
ES2 5 The ES2 synthesizer combines a powerful tone generation system with extensive modulation features. It seamlessly blends subtractive synthesis and elements of FM and wavetable synthesis methods to generate an extraordinary variety of sounds. This makes it the perfect synthesizer for the creation of powerful pads, evolving textures, rich basses, or synthetic brass.
Note: Within the parameter description sections, you will often find information about the use of parameters as modulation targets or sources. This underlines one of the ES2’s greatest strengths—namely, the vast modulation possibilities it offers. It is recommended that you read through the chapter, and return to these “modulation information” sections (see below) when, and if, you need to refer to them.
• Amplifier parameters: The area at the top right contains the output parameters, where you can set the overall volume of the ES2, and add a sine signal at the output stage. See Using the ES2 Amplifier Parameters. • Modulation router or Vector Envelope: The dark strip across the center of the ES2 interface is shared by the modulation router and the Vector Envelope. You can use the buttons at the right end of this section to switch between the two.
• Oscillators 2 and 3 can be synchronized to, or ring modulated with, Oscillator 1. They also have rectangular waves with either user-defined fixed-pulse widths or pulse width modulation (PWM) features. • You can use the modulation router to simultaneously change the pulse widths of the rectangular waves of Oscillator 1 and the synchronized and ring-modulated rectangular waves of Oscillators 2 and 3.
• (Fine) Frequency value field: Used to fine-tune the oscillator frequency (pitch). The value display works as follows: the left numbers show the semitone setting, the right numbers show the cent (1 cent = 1/100th semitone) setting. These are denoted by an s or c to the right of the value. You can adjust these two values independently. For example, an oscillator with the value 12 s 30 c sounds an octave (12 semitones) and 30 cents higher than an oscillator with the value 0 s 0 c.
Using Pulse Width Modulation in the ES2 You can alter the tonal color of rectangular waveforms by scaling the width of waveform pulses to any value. This is known as pulse width modulation. The pulse width modulation features of the ES2 are extensive. As an example, if rectangular waves are chosen for all oscillators, you can simultaneously modulate the pulse width of Oscillator 1 and the synchronized pulse waves of Oscillator 2 (or the square wave of Oscillator 2’s ring modulator) and Oscillator 3.
Modulating ES2 Oscillator Pulse Width with an LFO Pulse width modulation (PWM) can be automatically controlled with appropriate settings in the router. A pulse wave (with PWM controlled by an LFO set to a sine wave) makes a single oscillator sound vivid, undulating, and overtone-rich. Sonically, this is similar to the sound of two slightly detuned, phasing oscillators, which is great for sustained bass and pad sounds. The graphic below shows a pulse wave, with the pulse width modulated by an LFO.
How Frequency Modulation Works in the ES2 In the ES2, the frequency of Oscillator 1 (with a sine wave chosen—11 o’clock position for the Wave knob) can be modulated by the output signal of Oscillator 2. • When Oscillator 2 outputs a positive signal, the frequency of Oscillator 1 increases. • When Oscillator 2 outputs a negative signal, the frequency of Oscillator 1 decreases.
Tip: The type of modulation that occurs can vary significantly when different waveforms are chosen for Oscillator 2—the modulating oscillator—in particular. Using Ring Modulation in the ES2 Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds. The spectra resulting from its use are inharmonic at almost every frequency ratio. The ring modulator is a device that dates back to the early days of the synthesizer.
µ µ µ µ To choose a Digiwave Set the Wave knob to Sine (6 o’clock position), then do one of the following: Control-click or right-click the Sine label, and choose a waveform from the pop-up menu. Click-hold the Sine label and drag the mouse vertically. Shift-click the menu, and type in a value, to select the Digiwave numerically. ES2 Digiwave Modulation Options The number assigned to each Digiwave is a parameter that can be modulated.
Modulating the Noise Color Oscillator 3 has more up its sleeve than the output of neutral sounding white noise, however. You can modulate the tonal color of the noise signal in real time—without using the main filters of the ES2—by modulating the waveform of Oscillator 3. To change the noise color, set up a modulation routing as follows: modulation target Osc3Wave, source ModWhl. The modulation amount slider behaves somewhat differently with this routing, essentially acting like a filter.
Note: If the ES2 is set to Mono or Legato keyboard mode, the Analog parameter is effective only when Unison is active. In this situation, Analog sets the amount of detuning between the stacked (unison) voices. If the Voices parameter is set to 1 and/or Unison is not activated, the Analog parameter has no effect. For more information about these parameters, see Choosing the ES2 Keyboard Mode (Poly/Mono/Legato).
Setting the Oscillator Level Balance in the ES2 Dragging the square icon in the Triangle cross-fades—sets the level relationships—between the three oscillators. This is self-evident in use. If you move the square icon along one of the Triangle’s sides, it cross-fades between the two closest oscillators, and the third oscillator is muted. Click or click-drag in the Triangle to change the level balance between the oscillators.
Adjusting the ES2 Oscillator Start Point The oscillators can either run freely or begin at the same phase position of their respective waveform cycles—each time the ES2 receives a note on message. You can set the desired behavior using the Osc Start (Oscillator Start) pop-up menu, found at the upper-right corner of the ES2 interface. • When Osc Start is set to free: The initial oscillator phase start point is random for each played note. This adds life to the sound.
Every time Oscillator 1 starts a new oscillation phase, the synchronized oscillator (Oscillator 2 or 3) is also forced to restart its phase from the beginning. Between the waveform cycles of Oscillator 1, the waveform cycles of the synchronized oscillators run freely. Envelope Modulation of the Synchronized Oscillator Frequency Synchronized oscillator sounds are especially cool when the frequency of the synchronized oscillator is modulated by an envelope generator.
• Constant Beat Detuning (CBD) menu: See Emulating Stretch Tuning in the ES2. • Oscillator Start menu: See Adjusting the ES2 Oscillator Start Point. Choosing the ES2 Keyboard Mode (Poly/Mono/Legato) A polyphonic instrument allows several notes to be played simultaneously—an organ or piano, for example. Many older analog synthesizers are monophonic, which means that only one note can be played at a time, much like a brass or reed instrument.
In Poly/Unison mode, each played note is effectively doubled—or, more correctly, the polyphony value of the Voices parameter is halved. These two voices are then heard when you trigger the note. Activating Poly/Unison has the same effect as setting the ES2 to Mono/Unison (Voices = 2), but you can play polyphonically. Setting a Glide (Portamento) Time in the ES2 The Glide parameter controls the portamento time.
Details on all filter parameters are covered in the following sections. Filter 1 Resonance Filter 1 Cutoff Filter Blend Filter 2 Cutoff Filter 2 Resonance Filter 2 Slope Filter FM Filter Drive Filter button Click here to choose a parallel or series filter configuration. Filter 1 Mode • Filter button: Activates or deactivates the entire filter section of the ES2.
Choosing a Series or Parallel Filter Configuration in the ES2 Click the Parallel/Series button to switch between a parallel and series filter routing. When either is chosen, the entire circular filter element of the ES2 user interface rotates, and the positions and direction of the filter controls clearly indicate the signal flow. The button name also changes in each mode. Series filter signal flow Parallel filter signal flow In the figure to the left, the filters are cabled in series.
• In between these positions, the filters are cross-faded. You can also cross-fade the filters when they are cabled in series. In this scenario, the distortion—controlled by the Drive parameter—also needs to be considered, as this can be positioned either before or in-between the filters, depending on the Filter Blend setting you choose. Using the ES2 Router to Control Filter Blend The Filter Blend parameter is available as a modulation target in the router.
• If Drive is set to 0, no distortion occurs. +1: Filter 1 Drive Filter 2 +0,5: Filter 1 Drive Filter 2 0: Filter 1 Drive Filter 2 –0,5: Drive Filter 1 Drive Filter 2 –1: Drive Filter 1 Drive Filter 2 Filter Blend: Parallel Filter Configuration Information In a parallel configuration, the overdrive/distortion circuit—the Drive parameter—is always wired after the oscillator mix stage—the Triangle—and before the filters.
• BR: (band rejection):The frequency band directly surrounding the cutoff frequency is rejected, whereas the frequencies outside this band can pass. The Resonance parameter controls the width of the rejected frequency band. • BP (bandpass): The frequency band directly surrounding the cutoff frequency is allowed to pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band.
The Impact of Cutoff Frequency on the ES2 Signal The Cutoff Frequency (Cut) parameter controls the brilliance of the signal. • In a lowpass filter, the higher the cutoff frequency is set, the higher the frequencies of signals that are allowed to pass. • In a highpass filter, the cutoff frequency determines the point where lower frequencies are suppressed and only upper frequencies are allowed to pass.
µ To control two filter parameters at once Drag one of the three chain symbols in the ES2 filter section. Click here to simultaneously adjust the cutoff and resonance of Filter 1. Click here to simultaneously adjust the cutoff of both Filter 1 and Filter 2. Click here to simultaneously adjust the cutoff and resonance of Filter 2. • The chain between Cut and Res of Filter 1 controls both the resonance (drag horizontally) and cutoff frequency (drag vertically) simultaneously.
µ To drive the ES2 filter to self-resonance Turn on the Filter Reset button in the upper-right corner of the ES2 interface. When engaged, each note starts with a trigger that makes the filter resonate immediately. Using the ES2’s Fat Parameter to Compensate for High Resonance Values Increasing the Resonance value results in a rejection of bass—low frequency energy—when you are using lowpass filters.
Polyphonic Distortions in the Real World The ES2 features a dedicated distortion effect in the Effects section. Given the inclusion of this effect, you may be wondering what benefit the Drive function in the Filter section brings. The Distortion circuit in the Effects section affects the entire polyphonic output of the ES2. Every rock guitarist knows that more complex chords—other than major chords, parallel fifths, and octaves—sound “rough,” when using distortion.
Controlling Filter FM in the ES2 Router You can alter the value of the filter FM parameter with an appropriate modulation routing in the router. Choose LPF FM as the modulation target. A sine wave, at the frequency of Oscillator 1, is always used as the modulation source.
Thickening the ES2’s Sound with Sine Level The Sine Level knob, located next to the Filter 2 section, allows a sine wave at the frequency of Oscillator 1 to be mixed directly into the dynamic stage, independent of the filters. Even if you have filtered away the basic partial tone of Oscillator 1 with a highpass filter, you can reconstitute it with this parameter.
Working with Modulation in the ES2 The ES2 is equipped with a huge number of modulation sources and targets, making the ES2 a very flexible synthesizer that can generate extraordinary sounds that constantly evolve, sound like audio loops, or are just plain expressive to play. Reference tables that cover all modulation targets and sources are found at the end of this section. Modulation router Planar Pad Click here to display the Vector Envelope.
Getting to Know the ES2’s Modulation Router The modulation router—or router—spans the center of the ES2 interface. Click the Router button to view it if the Vector Envelope is displayed (these components share the same section of the interface). If you are new to synthesizer modulation routings, refer to the Synth Basics Modulation section. Via sources are shown in the middle of each modulation routing. Modulation targets are shown at the top of each modulation routing.
To create a basic modulation routing 1 Click in the Target field. A pop-up menu of all available targets appears. 2 Click in the Source field. A pop-up menu of all available sources appears. 3 Choose the parameter you want to modulate. Choose the parameter you want to use to modulate the target. 4 Vertically drag the arrowhead of the Intensity slider to the right of the modulation routing. This sets a fixed modulation intensity.
µ To bypass a modulation routing Click the “b/p” button at the top right of the modulation routing beside the Target label. The Bypass (b/p) parameter allows you to enable or disable individual modulation routings, without losing settings. Using Via Sources to Control ES2 Modulation Intensity In a basic modulation routing comprised of a target and source, you can set a fixed modulation intensity by vertically dragging the arrowhead of the Intensity slider to the right of the routing.
3 Click-hold in the via field to see a pop-up menu of all available sources. 4 Choose the source you want to use for control of the modulation intensity. 5 Vertically drag the upper arrowhead of the Intensity slider (to the right of the modulation routing) to set the maximum modulation intensity. 6 Vertically drag the lower arrowhead of the Intensity slider to set the minimum modulation intensity. µ To move the entire via range Drag the range area between the two slider halves vertically.
Both arrowheads will move simultaneously. If this area is too small to be dragged, just drag an unused section of the Intensity slider “track” to move the area. µ To set the modulation intensity to zero Click the little zero symbol beside the via label. µ To invert the effect of the via modulation source Click the via invert (inv) parameter to the right of the via label.
Getting to Know the ES2 LFOs The ES2 features two multiwaveform LFOs. Both are available as sources in the router. LFO 1 is polyphonic, which means that if it is used for any modulation of multiple voices, they will not be phase-locked. Furthermore, LFO 1 is key-synced: Each time you play a key, the LFO 1 modulation of this voice is started from zero. • To understand the nonphase-locked characteristic more fully, imagine a scenario where a chord is played on the keyboard.
A Brief LFO Overview LFO is an abbreviation for low frequency oscillator. As the name suggests, this is an oscillator, much like the three main oscillators of the ES2, but it differs in the following ways: • An LFO generates signals below the audio frequency range—in the bandwidth that falls between 0.1 and 20 Hz, but sometimes as high as 50 Hz. • Because it can’t be heard, an LFO only serves as a modulation source for periodic, cyclic modulation effects—rather than as part of the actual audio signal.
Using LFO 1’s Envelope Generator in the ES2 LFO 1 features a simple envelope generator, which is used to control the time it takes for the LFO modulation to fade in or fade out. At its center position, which can be accessed by clicking the middle mark, the modulation intensity is static—that is, no fade in or fade out will occur. µ To set the LFO 1 modulation fade time Choose a positive LFO 1 EG value to fade in the modulation. The higher the value, the longer the delay time.
Getting to Know the ES2 Envelopes (ENV 1 to ENV 3) The ES2 features three envelope generators per voice. They are abbreviated as ENV 1, ENV 2, and ENV 3, respectively, in the interface and router. In addition, the ES2 features the sophisticated Vector Envelope (see Getting to Know the ES2’s Vector Envelope). Note: To learn more about the roots of the term “envelope generator” and its basic functionality, see Synthesizer Basics. The parameters of ENV 2 and ENV 3 are identical.
Getting to Know ENV 1 in the ES2 Although ENV 1 might appear to be rather poorly equipped at first glance, its handful of parameters are useful for a vast range of synthesizer functions. Trigger Modes menu Decay/Release Mode button Attack via Velocity slider • Trigger Modes menu: You can define the trigger behavior of ENV 1 by choosing one of the following settings: • Poly: The envelope generator behaves as you would expect on any polyphonic synthesizer: Every voice has its own envelope.
Setting Envelope 1 Decay or Release in the ES2 ENV 1 can be set to act as an envelope generator with either of the following: an Attack time and Decay time parameter or an Attack time and Release time parameter. Click here to switch between Decay and Release modes. µ To switch between Attack/Decay and Attack/Release modes Click the D or the R above the right ENV 1 slider. The button label will change to reflect the mode that is activated.
ENV 3 is, however, also available for simultaneous use as a source in the router. The envelope time parameters can also be used as modulation targets in the router. Attack Time slider is divided into two halves that determine the attack time at maximum and minimum velocities. Click the center symbol to set the Sustain Time slider to its center value. Sustain Time and Sustain Level are set independently in the ES2.
Using the Envelope 2 and 3 Sustain Parameters in the ES2 When the Sustain Time (rise) slider is set to its center value, the Sustain (S) Level slider behaves like the sustain parameter of any synthesizer ADSR envelope. In this position, the Sustain (Level) slider defines the level that is sustained while the key remains depressed, following completion of the Attack time and Decay time phases.
Each voice is equipped with an independent Vector Envelope, which is triggered from its start point with every new keystrike (MIDI note-on message). Conceptually, the Vector Envelope—and Planar Pad and Triangle—may seem somewhat strange, and perhaps a little intimidating, but a little experimentation on your part will reveal how easy these features are to use. Combining these facilities with other ES2 synthesis options enables you to create some truly unique sounds that are—quite literally—moving.
An Overview of ES2 Vector Envelope Points, Times, and Loops The Vector Envelope time axis runs from left to right. Vector Envelope time axis Point 1 Sustain point is shown on row above time axis. Loop point is shown on row below time axis. Point time value shown in milliseconds (ms). Up to 16 points can be displayed on the time axis (10 are shown in the figure above).
The segment that previously existed between the two old points is divided at the clicked position. The sum of the two new segment times is equal to the time of the original undivided segment. This ensures that following points retain their absolute time positions. Existing square icon positions in the Triangle and Planar Pad are fixed, thus ensuring that newly created points don’t affect any previously defined movements. µ To delete a point Control-click it.
The Sustain point is indicated by an S between the point and its number shown on the turquoise strip. Setting Up ES2 Vector Envelope Loops The Vector Envelope can run in one-shot mode—as long as the note is sustained; it can be set to repeat a specific number of times; or it can repeat indefinitely—much like an LFO modulation. You can achieve repetitions by using the loop functions.
Setting the ES2 Vector Envelope Loop Mode You can choose from the following Vector Envelope Loop modes: Off, Forward, Backward, and Alternate. Click here to choose a Loop mode. • Off: When Loop Mode is set to Off, the Vector Envelope runs in one-shot mode from beginning to end—if the note is held long enough to complete all envelope phases. The other loop parameters are disabled.
• Free: You can also set a free Loop Rate by dragging the Loop Rate indicator towards the right half of the slider (free). The value indicates the number of cycles per second. Note: If Loop Rate is not switched to “as set,” and Loop Mode (Forward, Backward, or Alternate) is active, the times of points between the Loop and Sustain points and the Loop Smooth value are shown as a percentage of the loop duration, rather than in milliseconds.
Using the Finish ES2 Vector Envelope Mode If the Env Mode menu is set to Finish, the Vector Envelope does not immediately commence the release phase when you release the key. Rather, it plays all points for their full duration until the end point is reached, regardless of whether you hold the key or release it. The following behaviors apply: • If looping is turned off, the Sustain point is ignored.
µ To adjust a time value without affecting the absolute time positions of later points Control-drag the Time parameter to increase or decrease the time required to reach the following point. The time setting of the ensuing point is simultaneously adjusted—by a corresponding amount. This ensures that the adjacent and all following points retain their absolute time positions. Time Scaling the ES2’s Vector Envelope You can stretch and compress the entire Vector Envelope.
Using the ES2 Vector Envelope Shortcut Menu A number of Vector Envelope commands and functions can be accessed by right-clicking anywhere in the Vector Envelope. This will launch the pop-up menu shown below. Choose any item in the menu to perform the command or function. Using the ES2’s Planar Pad The Planar Pad has two axes—X and Y. The X axis is on the horizontal plane and the Y axis is on the vertical plane.
Choosing a Vector Target—Modulation Destinations The Vector X and Vector Y Target menus determine which parameter is modulated by square icon movements in the Planar Pad. The modulation targets are identical to those in the router. See ES2 Modulation Target Reference for descriptions. The position of the square icon in the Planar Pad is also available in the router, as the Pad-X and Pad-Y source and via options. See ES2 Modulation Source Reference and Using Via Sources to Control ES2 Modulation Intensity.
Target Comments Detune Controls the amount of detuning between all three oscillators. The sensitivity of all pitch modulation targets is determined by the modulation intensity. This is scaled as per the lists below, allowing you to create very delicate vibrati in the cent range (1/100 semitone), and huge pitch jumps by octaves. • Modulation intensity from 0 to 8: steps are 1.25 cents. • Modulation intensity from 8 to 20: steps are 3.33 cents. • Modulation intensity from 20 to 28: steps are 6.25 cents.
Target Comments OscWaveB The transitions between Digiwaves during a wavetable modulation (where you switch between different Digiwaves) are always smooth. You can use the OscWaveB target to continuously modulate the shape of the transitions from smooth to hard. This target applies to all oscillators. Osc1WaveB If wavetable modulation is active for a Digiwave (using the Osc1Wav target), you can use this target to modulate the shape of the transition.
Target Comments Cut1inv2 Cut1inv2 (Cutoff 1 normal and Cutoff 2 inverse) simultaneously modulates the cutoff frequencies of the first and second filters inversely (in opposite directions). Put another way, when the first filter’s cutoff frequency is rising, the cutoff of the second filter will fall—and vice versa. In cases where you have combined Filter 1, defined as a highpass filter, and Filter 2 in serial mode, both act as a bandpass filter.
Scaled ES2 Modulation Targets All of the following modulation targets result in a scaled modulation, which means that the target parameter value will be multiplied by the modulation value. This works as follows: a modulation value of 0.0 results in no change, a modulation value of +1.0 equals a 10x multiplication, and a modulation value of −1.0 equals a multiplication by 0.04. Target Comments LFO1Rate This target modulates the frequency (rate) of LFO 1.
Source Comment Pad-X, Pad-Y Define the axes of the Planar Pad as modulation sources for the selected modulation target. See Using the ES2’s Planar Pad and Getting to Know the ES2’s Vector Envelope. Max Max sets the value of this source to +1. This offers interesting options for controlling the modulation intensity with all possible via values. Kybd Kybd (Keyboard) outputs the keyboard position (the MIDI note number). The center point is C3 (an output value of 0).
Source Comment SideCh SideCh (Side Chain modulation) uses a side chain signal as a modulation (trigger) signal. The side chain source can be selected in the Side Chain menu in the upper gray area of the plug-in window. It is fed to the internal envelope follower, which creates a modulation value based on the current side chain input signal level. ES2 Modulation Via Source Reference The following sources may be used to control the modulation intensity.
Via source Comment MIDI Controllers A-F MIDI controllers available in the router are named Ctrl A–F, rather than Expression, Breath, and General Purpose 1–4 (MIDI Control Change Messages 16 to 19 are also known as General Purpose Slider 1/2/3/4). These can be assigned to arbitrary controller numbers via menus in the Controller Assignments section at the bottom of the interface (press the MIDI button to view menus A to F).
Using the ES2’s Integrated Effect Processing Section The ES2 is equipped with an integrated effect processor. Any changes to the parameters of these effects are saved with each sound setting. Click to choose a hard or soft type of Distortion effect. Use the Tone parameter to alter the tonal color of the Distortion effect. Adjust to set the level of Distortion. Click to choose Chorus, Flanger, or Phaser effect. Intensity and Speed parameters are shared by the Chorus, Flanger, and Phaser effects.
ES2 Chorus Effect A chorus effect is based on a delay line, the output of which is mixed with the original, dry signal. The short delay time is modulated periodically, resulting in pitch deviations. The modulated deviations, in conjunction with the original signal’s pitch, produce the chorus effect. µ To activate the Chorus effect Enable the Chorus button. • The Intensity parameter determines the depth of the effect (how “rich” the modulation is). Turn this knob to zero to disable the effect.
Creating Random ES2 Sound Variations The ES2 offers a unique feature that allows you to randomly vary the sound parameters. You can define the amount of random variation and restrict variations to specific sonic elements. The random sound variation feature will inspire and aid you when creating new sounds. It may also occasionally amuse you. Click here to randomize your sound settings. Adjust the slider to determine the amount of randomization.
Restricting Randomization to ES2 Parameter Groups Some aspects of your sound may already be ideal for the sound you had in mind. If so, it may not be desirable to alter them. For example, if your sound setting has a nice percussiveness, and you’d like to try a few sonic color variations—while retaining this percussive feel. To avoid the random variation of any attack times, you can restrict the variation to oscillator or filter parameters.
Parameter group Comments Vector Env XY Pad Options The Planar Pad square icon positions (the Vector Envelope points) are randomized. The X/Y routing, however, is not changed. The rhythm and tempo of the modulation (the time parameters of the points) are also left unaltered. You can specify a single direction for randomization by choosing either: • Vector Env XY Pad X only • Vector Env XY Pad Y only Vec Env Times Only the time parameters of the Vector Envelope points are altered.
Using the ES2 Macro Control Parameters The macro parameters provide quick access to several linked, related parameters. As you alter any of the macro controls, you will see one, two, or more parameters in the ES2 interface update. For example, adjusting the Detune macro control simultaneously affects the Analog parameter and the coarse and fine oscillator Frequency parameters. Important: The impact of each macro control is completely dependent on the parameter values of the current setting.
Nonassignable and 14-Bit Controller Information Controllers 0 and 32 are reserved for Bank Select messages, controller 1 is used as modulation source in the router, controllers 33 to 63 work as LSB for controllers 1 to 31, controllers 64 to 69 are reserved for pedal messages, controllers 120 to 127 are reserved for channel mode messages. In the MIDI specification, all controllers from 0 to 31 are known as Most Significant Byte (MSB) controller definitions.
Using the ES2 in Surround Mode In surround instances of the ES2, two additional global parameters are shown in the slide out Extended Parameters section at the bottom of the interface: Surround Range and Surround Diversity. • Surround Range: Determines the range of the surround angle. This can be from 0 to 360 degrees. Put another way, this determines the breadth of the surround field. You can modulate the movement of sounds—within the surround range—by using the Pan target in the router.
• Set Filter Blend to its leftmost position, which will allow you to listen to Filter 1 in isolation. In many circumstances, you’ll probably prefer Filter 2, but Filter 1 has its advantages. In addition to the lowpass filter with 12 dB/octave slope (Lo), Filter 2 also offers a highpass, peak, bandpass (BP), and band rejection (BR) mode. Filter 1’s lowpass sounds “softer” when compared with Filter 2.
• Set Env 2 to be velocity sensitive. This allows for velocity-sensitive filter modulations. • Insert a delay effect in the instrument channel strip of the ES2 (or a bus target). Creating Clean Single-Oscillator Bass Sounds with the ES2 Not every sound needs to consist of several oscillators. There are numerous simple, effective, sounds that make use of a single oscillator. This is especially true of synthesizer bass sounds, which can be created quickly and easily with the Analog Bass Clean setting.
• Alter the modulator frequency (Oscillator 2) by adjusting Fine Tune from 0 c to 50 c. You’ll hear a very slow frequency modulation, which can be compared to the effect of an LFO. The frequency modulation, however, takes place in the audio spectrum. It is adjusted in semitone steps by the frequency selector. Check out the entire range from −36 s to +36 s for Oscillator 2. You’ll hear a broad spectrum of FM sounds. Some settings will remind you of classic FM synthesizer sounds.
Creating FM Sounds with Digiwaves in the ES2 In the FM Digiwave setting, a Digiwave is used as an FM modulator. This results in bell-like spectra from only two operators. With traditional FM synthesis, this type of timbre could normally be produced only with a larger number of sine oscillators. To create a fatter, undulating, and atmospheric quality to the sound, the polyphonic Unison mode has been engaged. Filter and amplitude envelopes have been preset to shape the sound.
You can further develop the sound by applying filtering, envelope modulations, and effects. There is, however, one small problem—the sound is out of tune. • Use Oscillator 3 as a reference for the tuning of the FM sound by dragging the square icon in the Triangle. • You’ll notice that the sound is 5 semitones too high (or 7 semitones too low, conversely). • Transpose both Oscillators 1 and 2 five semitones (500 ct) lower.
• Program Envelope 3 according to your taste. You should, at the very least, raise the attack and release times. Define it to react to velocity, if you prefer. If you want to use the sound for something other than a simple pad, a shorter Decay Time and a lower Sustain Level of about 80 to 90% may be more appropriate. • Reduce the Cutoff Frequency and Resonance of Filter 1 to make the sound softer. • Save the new setting. • Compare the result with the original PWM 2 Osc setting.
Typical sync sounds feature dynamic frequency sweeps over wide frequency ranges. These frequency modulations (the sweeps) can be applied in various ways. • Try the pre-programmed pitch modulation, assigned to the modulation wheel first. • In the second router channel, an envelope pitch modulation has been preprogrammed (target = Pitch 2, Source = Env 1). Setting the minimum value to 1.0 results in a typical sync envelope. Also check out shorter Decay Times for Envelope 1.
• Click point 3, and drag its corresponding square icon in the Triangle to Oscillator 3. Listen to the three oscillators morphing from sawtooth to square to a triangular wave at the final Sustain point. • Click point 4 (the end point) and drag its corresponding square icon in the Triangle to Oscillator 1, if it’s not already there. Listen to how the sound returns to Oscillator 1’s sawtooth wave, following the release of the key.
These heterogeneous sound colors will be used as sound sources for the vector loop. A slow, forward loop is preset. It moves from Oscillator 3 (PWM sound, point 1) to Oscillator 1 (FM sound, point 2), then to Oscillator 3 again (PWM, point 3), then to Oscillator 2 (wavetable, point 4), and finally it returns to Oscillator 3 (PWM, point 5). Points 1 and 5 are identical, which prevents any transition from point 5 to point 1 in the forward loop.
By tweaking the Vector Kick setting you’ll be able to create any dance-floor kick drum sound your heart desires. These are the parameters that allow for the most efficient and significant variations: • Filter 2 slopes: 12 dB, 18 dB, 24 dB • Distortion: Intensity and Soft or Hard • Envelope 3’s Decay Time: (D) • Vector Envelope Time 1 > 2: preset to 9.
Nevertheless, this programming tour of the ES2 is included as a part of the toolbox to help you learn the ES2’s architecture through experimentation. You’ll find that this approach is fun. You’ll also discover, as you work through a number of simple operations, that results come quickly when you start to create your personal sound library. As you become more familiar with the ES2 and its myriad functions and parameters, you can create your own templates to use as starting points for designing new sounds.
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.
• Modulation routing 5 reduces the overall volume according to personal taste, but the organ’s level shouldn’t increase too drastically when all modulations are moved to their respective maximums. • Modulation routings 6 and 7 detune Oscillators 2 and 3 against each other, within symmetrical values—to avoid the sound getting out of tune, overall. Again, both work out of phase with modulation routings 2 and 3; Oscillator 1 remains at a stable pitch.
• Modulation routing 4 adjusts the modulation intensity—how far the range differs from fat to narrow when being pulse-width modulated. Set with the Minimum parameter. • The rate of LFO1 directly controls the speed of the movement of the pulse width modulation. For this patch, both LFOs are used, to achieve a stronger diffusion effect at different modulation speeds. Tip: You should use LFO1 for all permanent, automatic modulations, because you are able to delay its impact with its EG parameter.
Using the ES2 MW-Pad-Creator Setting This is an attempt to create a patch that is able to automatically generate new patches. Again, Oscillator 2 is used for a pulse width modulation—which creates a strong ensemble component (for more information, see Using the ES2 Crescendo Brass Setting. Oscillators 1 and 3 are set to an initial start wave combination within their respective Digiwave tables. You can modify these, if you wish, and start with a different combination of Digiwaves from the outset.
Wheelsyncer is a single-oscillator lead sound; all others are switched off. Although Oscillator 2 is the only one actively making any sound, it is directly dependent on Oscillator 1. If you change Oscillator 1’s pitch or tuning, the overall pitch of the sound will go out of tune or will be transposed. The pitch of Oscillator 2 provides the tone-color (or the harmonics) for the sync sound. Pitch changes are controlled by modulation routing 7—Oscillator 2 pitch is assigned to the mod wheel.
EFM1 6 The EFM1 is a simple, but powerful, frequency modulation synthesizer. The 16-voice EFM1 produces the rich bell and digital sounds that frequency modulation (FM) synthesis has become synonymous with. At the core of the EFM1 synthesis system, you’ll find a multi-wave modulator oscillator and a sine wave carrier oscillator. The basic sine wave (of the carrier oscillator) is a pure, characterless tone.
Getting to Know the EFM1 Interface Before you take a look at the individual parameters of the EFM1, this section will familiarize you with the various elements that constitute the EFM1 graphical interface. Modulator parameters Global parameters Modulation parameters Global parameters Carrier parameters Output parameters Randomize parameters Modulation parameters Output parameters Extended parameters The EFM1 is divided into several areas.
• Output parameters: The bottom section houses the Output section, which features the Sub Osc Level and Stereo Detune knobs, that can be used to thicken the sound. The volume envelope, Main Level, and Velocity controls are used to set the EFM1 level. See Setting EFM1 Output Parameters. • Randomize parameters: The Randomize field and button are shown to the lower right. They are used to create random variations of the current settings, resulting in new sounds. See Creating EFM1 Random Sound Variations.
• FM (Intensity) knob: Sets the amount of carrier oscillator frequency modulation by the modulator oscillator. As you adjust the FM knob, the intensity (and number) of newly generated overtones (harmonics) increases-making the sound brighter. Note: Although the technology behind it is very different, you could compare the FM (Intensity) parameter with the Filter Cutoff parameter of an analog synthesizer. • Wave knob (Modulator): Chooses a different waveform for the modulator oscillator.
Choosing a Different EFM1 Modulator Waveform In classic FM synthesis, sine waves are used as modulator and carrier waveforms. The EFM1 Modulator oscillator provides a number of additional digital waveforms, which extend its sonic capabilities significantly. These waveforms contain a number of additional harmonics which add a new level of richness to the resulting FM sounds. µ µ µ To choose a different waveform Turn the Wave parameter knob. At the full left position, the modulator produces a sine wave.
• Sustain slider: Sets a level that is held until the MIDI note is released. • Release slider: Sets the time it takes to reach a level of zero, after the MIDI note has been released. • Modulator Pitch knob: Determines the impact of the modulation envelope on the pitch of the modulator oscillator. • Turn the knob clockwise to increase the effect of the modulation envelope.
• Tune field: Used to fine-tune the pitch of the EFM1 by cents. A cent is 1/100th of a semitone. • Voices pop-up menu: Determines the number of simultaneously playable voices (polyphony). Click the pop-up menu to choose from mono (one voice), legato (one voice), or any number from 2 to 16 voices. Note: In the monophonic, legato mode, playing overlapping notes does not retrigger the EFM1 envelopes.
• Vol(ume) envelope: Shapes the level of the sound over time. The volume envelope is triggered every time a MIDI note is received. • Attack slider: Sets the time it takes to reach the maximum volume level. • Decay slider: Sets the time it takes to reach the Sustain level. • Sustain slider: Sets a level that is held until the MIDI note is released. • Release slider: Sets the time it takes to reach a level of zero, after the MIDI note has been released.
Assigning EFM1 MIDI Controllers The EFM1 Extended Parameters area allows you remotely control the EFM1 with your MIDI controller keyboard (or other MIDI device). You may assign any unused (and suitable) MIDI controller to the following parameters: • FM intensity • Vibrato µ To assign a controller Choose the desired controller in the Ctrl FM or Ctrl Vibrato menu, and set the modulation or vibrato amount with the slider below the menu.
EVB3 7 The EVB3 emulates the sound and features of the Hammond B3 organ and Leslie sound cabinet. The EVB3 simulates an organ with two manuals (keyboards) and a pedalboard—each of which can have its own registration (sound setting). A morphing feature allows seamless crossfades between two registrations. The EVB3 can be played with two manuals and a MIDI pedalboard, if you wish. It also offers functions that allow you to play all registers with a single-manual master keyboard.
• Using the EVB3 Model Parameters (p. 154) • Using the Integrated EVB3 Effects (p. 160) • Using the EVB3’s Integrated Rotor Cabinet Emulation (p. 165) • Setting Up the EVB3 for Your MIDI Equipment (p. 169) • EVB3 MIDI Controller Assignments (p. 172) • Additive Synthesis with Drawbars (p. 179) • The Residual Effect (p. 180) • Tonewheel Sound Generation (p. 180) • A Brief Hammond History (p. 181) • The Leslie Cabinet (p.
Getting to Know the EVB3 Interface You can open and close the EVB3’s “lid” by clicking the button below the Volume control. Click here to open the lid.
• Preset and Morph parameters: The section below the drawbars features the Preset (registration) and Morph parameters. See Using the EVB3 Preset Keys and Morphing in the EVB3. • Scanner Vibrato and Percussion parameters: The Scanner Vibrato and Percussion parameters are found at the top left and right of the interface, respectively. These add a vibrato effect or percussive element to your organ sound. See Using the Integrated EVB3 Scanner Vibrato and Using the EVB3 Percussion Effect.
Using the EVB3 Drawbar Controls The EVB3 provides 20 drawbars—nine each for the upper and lower manuals, and two for the pedalboard. The upper manual drawbars are on the left, the pedal drawbars are in the center, and the lower manual drawbars are shown to the right. Upper manual drawbars Lower manual drawbars Pedal drawbars The drawbars behave like reversed mixer faders—the farther down you drag the drawbars, the louder the selected sine choirs will be.
Deactivating Foldback of the EVB3’s 16' Drawbar The Bass pop-up menu (in the Extended Parameters area, accessed by clicking the disclosure triangle at the lower left of the EVB3 interface) allows you to imitate the non-foldback bass behavior of the first Hammond organ ever made, the model A. This model had no foldback for the 16' drawbar in the lowest octave, with the bottom 12 tone generator outputs available on the first drawbar of the manuals’ bottom octave.
Choosing Preset EVB3 Registrations The upper manual preset keys are located to the left of the Morph wheel, and the lower manual preset keys are found to the right of the Morph wheel. The current drawbar positions are indicated by small vertical lines on each preset key. These miniature drawbar representations update in real time. Important: The presets relate only to the registration (drawbar) settings of a single manual. The presets do not store vibrato or other parameter settings.
Initializing EVB3 Registrations The lowest preset key (shown as “C”) is the cancel key. The other 11 keys, from C# to B, recall registrations. Click here to initialize a registration for the upper manual. Click here to initialize a registration for the lower manual. To initialize a registration Do one of the following: µ µ Click the C key in the EVB3 interface. Play MIDI note number 24.
This feature allows you to prepare a new registration with the drawbars while playing, and then switch to the new registration as desired. To simulate the B and Bb switching behavior with the EVB3 1 Choose “only B & Bb Key” from the “Drawbar affects” pop-up menu. Drawbar affects menu This option enables the upper manual drawbars to change the registration of the Bb preset key, and the drawbars of the lower manual to affect the B preset key. 2 Change the drawbars of the Bb preset key as desired.
• Morph wheel: Drag to the left or right to control the switching or morphing. You can also use a MIDI controller that is assigned to the Morph wheel. As an example, your keyboard’s modulation wheel. • MIDI CC pop-up menu: Click to assign a MIDI controller to the Morph wheel. You can choose any MIDI controller number shown in the CC menu (or channel aftertouch) to control the Morph wheel. You can also click Learn to teach the Morph wheel to respond to any incoming message.
Note: The vibrato of the organ itself should not be confused with the Leslie effect, which is based on rotating speaker horns. The EVB3 simulates both. Use the chorus or vibrato on the upper, lower, or both manuals by clicking here. Sets the mix balance between chorus and original signals. Use the Rate parameter to set the chorus or vibrato speed. Choose the desired chorus or vibrato type by turning this knob.
Tip: Few organ players use the Scanner Vibrato, preferring to work with a Leslie in isolation. Others, like B3 virtuoso Brian Auger, prefer the integrated organ vibrato over the Leslie. Compare the Chorus and Vibrato effects with the sound of the rotor cabinet simulation to see which you prefer. Using the EVB3 Percussion Effect The EVB3 emulates the (Key) Percussion facilities of the original B3. The Percussion facility is available only for the upper manual—as per the original B3.
• Up Level wheel: Alters the balance between the upper (percussive) manual and the lower manual/pedals. On the B3, percussion is available only if the “B” preset key is selected (see Using the EVB3 Preset Keys). Note: Set the Perc parameter (found in the Organ section) to Only B, to simulate the B preset key restriction. If you want percussion to always be available, choose Always. EVB3 Percussion Time Paradise Setting The Time parameter has a maximum setting called Paradise.
Your master keyboard should transmit MIDI control change #11 when the pedal is moved. The EVB3 defaults to the use of CC #11 for Expression. • Volume knob: The Volume control sets the overall output level of the EVB3. Important: The Volume knob must be lowered whenever crackling or other digital distortion occurs. Volume levels over 0 dB can occur if you maximize the levels of all registers, play numerous notes, and make use of the Distortion effect.
• Lower Stretch slider: Controls the amount of deviation from the equal-tempered scale in the bass frequencies. The higher the value, the farther down the low notes are tuned. At a setting of 0, the EVB3 is tuned to an equal-tempered scale, with each octave below exactly halving the frequency. • Warmth slider: Controls the amount of random deviation from an equal-tempered scale.
EVB3 Click Parameters The key contacts of electromechanical tonewheel organs tend to saw a little on the busbar, thus introducing a short click sound. If any corrosion occurs to the key contacts or busbar, this will increase the length, and level, of this click. This aspect of the B3’s design causes irregular scratching noises (commonly referred to as key click) when striking and releasing keys. Hammond fans like these clicking noises, as they introduce a transient, percussive quality to the note.
EVB3 Condition Parameters Technical limitations of electromechanical drawbar organs, with tonewheels, can cause some strange tonal artifacts, such as crosstalk. These quirks form an integral part of the B3’s charm. You can adjust the following parameters to define the age of your EVB3. Condition parameters • Drawbar Leak slider: Determines the minimum output level of the drawbars, when they are set to their minimum positions.
• Filter Age slider: The high frequency output signals of the B3’s tonewheel generators are passed through bandpass filters. The center frequency of these filters varies as the capacitors (used for filtering) get older. You can use the Filter Age parameter to alter the center frequencies of the filters, thereby emulating aging capacitors. Note: This colors the sound of the jitter applied by Random FM and the background noise resulting from leakage.
• Bass Filter slider: The tone of the pedal drawbars often sounds somewhat brilliant, within the overall context of the combined upper/lower/pedal sound. To circumvent this issue, and to suppress the treble of the bass register, adjust the Bass Filter slider. At the maximum position you will only hear a solid bass organ fundamental in the bass register. • Ultra Bass button: When turned on, another low octave is added to the playable range of both the upper and lower manuals.
Note: Smart mode allows you to set long sustain times, even in the bass register, which would cause rumbling dissonances if you used “normal mode.” Using the Integrated EVB3 Effects The EVB3 features a three-band Equalizer, a Reverberation effect, a pedal-controllable Wah Wah effect, and a Distortion effect that simulates the sound of an overdriven tube amplifier. In addition, the signal can be routed through the Leslie rotor speaker emulation.
• EQ-Dist-Wah: The sound of the overdrive changes if the input signal is being filtered—be it by the EQ or the wah wah. Placing the EQ before the overdrive provides far more sonic flexibility. Although the output signal of the distortion effect always contains high frequency content, this content can be suppressed by positioning the wah wah as the final effect in the chain.
Using the EVB3’s Integrated Reverb The EVB3 Reverb is located at the extreme right of the silver section at the top of the interface. • Mode pop-up menu: Choose from six reverb algorithms: Box, Small, Medium, Large, Big, and Spring. Choose Bypass to disable the reverb without changing the reverb level. • Reverb knob: Defines the reverb level. A Reverb value of 0 turns the reverb off.
Using the EVB3’s Integrated Wah Wah The name Wah Wah comes from the sound it produces. It has been a popular effect (usually a pedal effect) with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass filter. The wah wah pedal is also used extensively with the Hammond organ. • Mode pop-up menu: Use to enable or disable the Wah Wah effect. If you choose Off, the effect is disabled.
MIDI Control of the EVB3 Wah Wah Effect You can choose any MIDI controller number shown in the CC pop-up menu (or channel aftertouch) to control the Wah Wah effect. You can also teach the Wah Wah to respond to any incoming message using the Learn function. See Learning EVB3 MIDI Controller Assignments. For the most dynamic and musical performance of the Wah Wah effect, consider attaching an expression pedal to your MIDI master keyboard.
• Tone knob: Alters the distorted portion of the sound. This has no effect on the dry signal portion. This allows for very warm overdriven sounds that won’t become scratchy if you try to get more treble out of the instrument. • Drive knob: Sets the amount of overdrive distortion. The output level is automatically compensated for, so there’s no need for another master volume control adjustment facility. A level of 0 effectively turns off the Distortion circuit.
• Brake: Stops the rotor. • Speed Control pop-up menu: This pop-up menu allows you to define controllers that are used to remotely switch the rotor speed buttons. See MIDI Control of the EVB3 Rotor Speaker Speed. • Cabinet pop-up menu: You can use this pop-up menu to choose from the following cabinet models: • Off: Use this option to switch off the rotor effect. • Wood: Mimics a Leslie with a wooden enclosure, and sounds like the Leslie 122 or 147 models.
• Touch Temp: Switches with aftertouch on messages. A second switch occurs with aftertouch release messages. • SusPdl Toggle: Switches when you press the sustain pedal. No switching occurs when the sustain pedal is released. • SusPdl Temp: Switches when you press the sustain pedal. A second switch occurs when you release the sustain pedal. • CC #18 and CC #19 Toggle: Switches when you press controller 18 or 19. No switching occurs when either controller is released.
• At the default position (1) the behavior is Leslie-like. • Horn Deflector field: A Leslie cabinet contains a double horn, with a deflector at the horn mouth. This deflector makes the Leslie sound. Some people remove the deflector to increase amplitude modulation and decrease frequency modulation. You can emulate this with the EVB3 by using the Horn Deflector field to switch the deflectors on and off.
Extended Leslie Parameters in the EVB3 The following Leslie parameters are found in the Extended Parameters area, accessible by clicking the disclosure triangle at the lower left of the EVB3 interface. • Dry Level slider: Adjusts the level of the dry signal, which can also be useful if the “Switches to dry sound” option is selected in the Brake pop-up menu (see below).
The EVB3 also emulates the B3’s preset keys—the lowest octave of attached MIDI keyboards can switch between EVB3 registrations. This is identical to the behavior of the original B3, which features a number of inverted (black) keys in the lowest octave of each manual. These inverted keys are used as buttons that recall preset registrations (a preset of your drawbar settings).
2 Change the Basic Midi Ch slider (in the General section at the lower right) as desired. Important: Basic Midi Ch works only if the Keyboard Mode parameter (see the next section) is set to Multi. When Basic Midi Ch is set to 16, the lower manual receives on channel 1, and the pedal register on channel 2. When Basic MIDI Ch is set to 15, the lower manual receives on channel 16, and the pedal register receives on channel 1.
These transpositions are independent of the global Tune parameter or transposition features of the host application. They also have no impact on the preset keys. This facility is particularly important when you want to use preset switching (see Using the EVB3 Preset Keys) when using the Split keyboard mode. EVB3 MIDI Controller Assignments MIDI controller assignments allow you to control the EVB3 with an external MIDI controller or a host application such as Logic Pro.
Choosing the EVB3 MIDI Mode The MIDI Mode parameter determines the way the EVB3 drawbars respond to remote MIDI control change messages. Most users won’t need to change anything here. Click here to choose a MIDI mode. If you own a MIDI drawbar organ, you’ll want to use its hardware drawbars to control the EVB3. Most hardware drawbar organs use an independent MIDI control change number for each drawbar.
EVB3 MIDI Mode: RK This table describes the MIDI controller assignments when MIDI Mode is set to RK. Choose this setting if you use a Roland VK series or Korg CX-3 drawbar organ as a remote controller for the EVB3.
Controller Number MIDI Mode RK: Assigned Parameter 109 Wah Bite Distortion 110 Distortion Type 111 Distortion Drive 112 Distortion Tone Click Levels 113 Click On Level 114 Click Off Level Balance 115 Main Volume 116 Lower Volume 117 Pedal Volume Rotor Fast Rate 118 Rotor Fast Rate EVB3 MIDI Mode: HS This tables describes the MIDI controller assignments when MIDI Mode is set to HS. This setting matches the controller mapping of Hammond XB-series organs.
Controller Number MIDI Mode HS: Parameter Name Perc 2nd and Perc 3rd Percussion Harmonic, 3rd harmonic has priority over 2nd. Translation from XK buttons to EVB3 is as follows: • • • • 2nd off, 3rd off x EVB3: 2nd on, 3rd off x EVB3: 2nd off, 3rd on x EVB3: 2nd on, 3rd on x EVB3: Percussion off 2nd Harmonic 3rd Harmonic 3rd Harmonic Perc Fast Selects a preset decay time for fast or slow decay. Perc Soft Selects a preset level for either soft or normal percussion.
Controller Number MIDI Mode NI: Parameter Name Brightness Vibrato Attack Time Chorus Intensity Percussion Sostenuto Percussion on/off Release Time Percussion Harmonic (2nd/3rd) Sound Variation Percussion Volume Harmonic Content Percussion Time Equalizer 90 EQ Low 70 EQ Mid 5 EQ High Distortion/Click 76 Distortion Drive 78 Distortion Tone 75 Click On Level Leslie Pan MSB Microphone Angle 3 Microphone Distance GP 8 Leslie Accelerate/Decelerate GP 7 Leslie Fast ModWheel MSB L
Controller Number MIDI Mode NE: Parameter Name 22 Upper drawbar 1 3/5' 23 Upper drawbar 1 1/3' 24 Upper drawbar 1' 70 Lower drawbar 16' 71 Lower drawbar 5 1/3' 72 Lower drawbar 8' 73 Lower drawbar 4' 74 Lower drawbar 2 2/3' 75 Lower drawbar 2' 76 Lower drawbar 1 3/5' 77 Lower drawbar 1 1/3' 78 Lower drawbar 1' Chorus/Vibrato 85 Upper Vibrato on/off 86 Lower Vibrato on/off 84 Vibrato mode (selection goes from V1 to C3, C0 is excluded) Percussion 87 Percussion on/off 88 Perc
Additive Synthesis with Drawbars The Hammond B3 is the classic drawbar organ. As with an air-driven pipe organ, the registers (drawbars, or “stops” on a pipe organ) can be pulled out, in order to engage them. In contrast to a pipe organ, however, the B3 allows seamless mixing of any drawbar registers. The closer toward you that the drawbars are dragged, the louder the corresponding tones.
The Residual Effect The residual effect is a psychoacoustic phenomenon. Human beings can perceive the pitch of a note, even when the fundamental tone is completely missing. If you pull out all registers of a drawbar organ, except for the fundamental—16'—you’ll still perceive the same pitch. The sound becomes thinner, with less bass and less warmth, but the pitch remains the same. If human beings didn’t hear this way, it would make listening to music on a small transistor radio impossible.
A Brief Hammond History Three inventions inspired Laurens Hammond (1895–1973), a manufacturer of electric clocks, to construct and market a compact electromechanical organ with tonewheel sound generation. The Telharmonium by Thaddeus Cahill was the musical inspiration; Henry Ford’s mass production methods and the domestic synchron clock motor were the other factors. The Telharmonium (built around 1900) was the first musical instrument that made use of electromechanical sound generation techniques.
The Leslie Cabinet Don Leslie developed his rotor cabinets in 1937, and began marketing them in 1940. Laurens Hammond wasn’t keen on the concept of rotating speakers at all. Leslie’s approach was to simulate a variety of locations in the pipes (as in pipe organs), resulting in a new spatial perception for every note. The rotor speaker cabinets could simulate this effect, and the sense of space that they impart is incomparable, when placed side-by-side with any fixed speaker.
EVD6 8 The EVD6 emulates the classic Hohner D6 Clavinet. The sound of the Hohner Clavinet D6 is synonymous with funk, but it was also popularized in the rock, pop, and electric jazz of the 1970s by artists like Stevie Wonder, Herbie Hancock, Keith Emerson, Foreigner, and the Commodores.
• Working with EVD6 Filter and Damper Parameters (p. 191) • Working with EVD6 Pickup Parameters (p. 192) • Working with the EVD6 Integrated Effects (p. 194) • Working with EVD6 Output Parameters (p. 198) • Working with EVD6 MIDI Control Parameters (p. 199) • A Brief History of the Clavinet (p.
• MIDI Control parameters: This interface section is where you can assign MIDI controllers to various EVD6 parameters, and where you can adjust the keyboard velocity curve. See Working with EVD6 MIDI Control Parameters. Working with EVD6 Model Parameters The EVD6 is a physically modeled instrument—where individual aspects of the original D6 are analyzed and mathematically recreated. This includes the string materials and length, the age and condition of the hammers, and so on.
EVD6 Model Characteristics This section describes the characteristics of each clavinet model. 186 Model name Comments Classic D6 A near exact emulation of the original D6. It includes string noises on long decays and accurate behavior following the release of keys. Each D6 was unique in its way, so feel free to adjust the sound in order to match the tone of D6 clavinets that you have heard. Old D6 This model emulates a well-worn D6. Hammers and strings are a bit aged and worn.
Special Notes About the EVD6 Models You may note some spots on the keyboard where the sound changes significantly between adjacent keys. This is intentional and reflects the behavior of some of the real clavinet models emulated by the EVD6. The original D6 has some strong key-to-key timbral differences, the most obvious being between the highest, wound string, and the lowest, non-wound string.
• Tension Mod slider: Adds a slight upward pitch bend effect to the strings, immediately after being plucked, struck, or strummed. This type of modulation is common to all stringed instruments, like the D6, guitars, and so on. A predefined Tension Modulation characteristic is built into each model, but this can be altered with the Tension Mod parameter. The impact of this parameter can be significant, enabling you to obtain weird sound effects from the EVD6.
Setting EVD6 Click Parameters The rubber hammers of the original D6 age and decay, just like piano hammer felts. Well-loved, worn out, D6 units produce a distinctive “click” when a key is released. This is due to the string sticking to the rubber hammer before being released. The characteristics of this release click are part of each model and can be precisely adjusted with the following parameters. • Intensity slider: Controls the level of the release click. A negative value of −1.
Working with Global EVD6 Parameters The global parameters are found in the lower-left section of the EVD6 interface. They affect the entire EVD6 instrument, rather than an individual model. • Voices field: Determines the maximum number of voices that can be played simultaneously. Lowering the value of this parameter limits the polyphony and processing requirements of the EVD6. There are two monophonic settings: “mono” and “legato.” Each setting provides a single voice when playing the EVD6.
Stretch Tuning in Acoustic Instruments The tones of upright pianos—and to a lesser extent grand pianos, due to their longer strings—have inharmonicities in their harmonic structure. Although this also applies to other stringed instruments, it particularly affects pianos due to the length, density, and tension of the strings.
• Damper: The original D6 features a damper slider on the right side of the keyboard that mutes the strings. The EVD6’s Damper (wheel) parameter emulates this function. You can adjust the Damper parameter directly in the interface, or control it with a MIDI controller (see Using Wah Ctrl, Velo Curve, and Damper Ctrl in the EVD6).
Changing the EVD6 Pickup Positions and Angles In contrast to the fixed pickups of the original instrument, the EVD6 pickups can be set to arbitrary positions and angles. The numerical upper and lower value fields, at the top-left area of the pickup section, indicate the current position of each pickup—relative to the string. A value of 50 (percent) means that the end of the pickup is positioned above or below the center of the string, resulting in a full-bodied tone.
C/D switch A/B switch Pickup mode What it does Down (C) Down (A) Lower Neck pickup—warm sound Down (C) Up (B) Upper Bridge pickup—bright sound Up (D) Up (B) Lower+Upper Both pickups—full sound Up (D) Down (A) Lower-Upper Both pickups out of phase—thin sound Working with the EVD6 Integrated Effects No clavinet simulation would be complete without a selection of effect processors. The EVD6 incorporates three “classic” foot-pedal effect emulations: distortion, modulation, and wah wah.
Using the EVD6 Distortion Effect The Distortion effect integrates a Compressor effect, which always precedes the Distortion effect. This allows you to increase or decrease the perceived gain, thus providing the desired input level to the distortion circuit. • Comp(ression Ratio) field: Adjusts the slope of the compression. The additional gain offered by the Compressor allows you to create really crunchy distortions.
Using the EVD6 Modulation Effect The EVD6 features a choice of three modulation effect types: Phaser, Flanger, or Chorus. See the Modulation section of the Logic Studio Effects Help for further information on how these effects work. Modulation unit • Mode pop-up menu: Allows you to choose a Phaser, Flanger, or Chorus as the modulation effect. • Rate knob: Adjusts the speed of the phasing, flanging, or chorus effect. • Intensity knob: Adjusts the depth of the phasing, flanging, or chorus effect.
Using the EVD6 Wah Wah Effect The name wah wah comes from the sound it produces. It has been a popular effect (usually a pedal effect) with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, lowpass, or—less commonly—highpass filter. Wah wah pedals are also used extensively with the D6. The EVD6 offers simulations of several classic wah wah effects, as well as some basic filter types.
Working with EVD6 Output Parameters The parameters discussed in this section determine the overall level, and stereo behavior, of the EVD6. Drag here to set a keyboard position which will be used to control panning. Drag here to alter the panning position of the pickups. • Stereo Spread parameter: This two-part parameter alters the stereo imaging of the EVD6 output—controlled by key position. This parameter also provides control of the pickup panning position.
µ To adjust the pickup position in the stereo field Vertically drag in the lower (Pickup) half of the circular button. Higher Pickup values move the signals of both pickups away from the center position—one to the right, and the other to the left. Set this parameter to the maximum value for extreme left/right panning. µ To adjust the keyboard position Vertically drag in the upper (Key) half of the circular Stereo Spread button. The center position is MIDI note number 60 (C3).
Using Wah Ctrl, Velo Curve, and Damper Ctrl in the EVD6 These parameters allow you to choose a suitable controller or velocity curve for the EVD6. • Wah Ctrl pop-up menu: Defines a MIDI Controller (number/name) as a manual Wah Wah effect control. MIDI foot controllers, such as Expression pedals, are commonly used for this type of task, but you can freely assign any MIDI controller. You can also use MIDI velocity or aftertouch messages to control the wah effect. MIDI-control can be disabled by choosing Off.
A Brief History of the Clavinet The German company Hohner, manufacturer of the D6 Clavinet, was known mainly for its reed instruments (harmonicas, accordions, melodicas, and so on) but had made several classic keyboards prior to the first incarnation of the Clavinet, known as the Cembalet. Musician and inventor Ernst Zacharias designed the Cembalet in the 1950s. It was intended to be a portable version of the cembalo, or harpsichord—which could be amplified.
How the D6 Clavinet Works Each D6 keyboard key forms a single arm lever. When a key is depressed, a plunger below the key strikes the string and presses it onto an anvil. The string hits the anvil with a strength determined by key velocity, thus affecting both the dynamics and harmonics of the sounding string. The mechanical vibrations of the action are captured by magnetic pickups and converted into electrical signals, which are amplified and reproduced through speakers.
EVP88 9 The EVP88 virtual electric piano instrument simulates the sound of various Rhodes and Wurlitzer pianos, as well as the sound of the Hohner Electra piano. The unmistakable tones of Fender Rhodes pianos are some of the best-known keyboard instrument sounds used in the second half of the 20th century. The various Rhodes models have been popularized in a wide range of musical styles, encompassing pop, rock, jazz, and soul, as well as more recent genres such as house and hip-hop.
• Using the Integrated EVP88 Effects (p. 208) • Using the EVP88 Extended Parameters (p. 212) • EVP88 MIDI Controller List (p. 212) • Electric Piano Models Emulated by the EVP88 (p. 213) Getting to Know the EVP88 Interface Before you take a look at the individual parameters of the EVP88, this section will familiarize you with the various elements of the EVP88 interface, which is broken down into the following main areas.
• 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 volume, bend, and additional effect functions. See Using the EVP88 Extended Parameters. Using the EVP88 Global Parameters Global parameters affect the entire EVP88 instrument, rather than specific electric piano models. • Model dial: Drag vertically to choose among electric piano models.
Using the EVP88 Model Parameters The model parameters specifically affect the currently selected model. • Decay knob: Alters the decay time of the piano sound. The lower the value, the less the sound sustains—and the higher the level of damping applied to the vibration of the tines. When short values are used for this parameter, the main tone is more pronounced and is heard for a longer period than the transient harmonics.
Using the EVP88 Stretch Parameters The EVP88 is tuned to an equal-tempered scale. You can deviate from this, however, and stretch the tuning in the bass and treble ranges—much as you can do with acoustic pianos (especially upright pianos). You can also modulate the tuning of each note randomly. • Lower Stretch knob: Determines the amount of deviation from the equal-tempered scale—in the bass end of the sound. The higher the value, the farther down the low notes are tuned.
Stretch Tuning in Acoustic Instruments The tones of upright pianos, and to a lesser extent grand pianos (due to their longer strings), have inharmonicities in their harmonic structure. This also applies to other stringed instruments, but it particularly affects pianos due to the length, density, and tension of the strings.
Using the EVP88 Equalizer The Equalizer allows you to boost or cut the high and low frequency ranges of the EVP88 sound. The Equalizer is positioned after the overdrive circuit in the EVP88 effects chain. • Treble knob: Controls a conventional filter for the high frequency range. Either shelvingor peak-type filters are utilized—depending on the piano model selected. Optimized frequency ranges are preselected for each model. • Bass knob: Controls a conventional filter for the low frequency range.
• Tone knob: Equalizes the sound before it is amplified or distorted by the virtual tube amplifier circuit. You can use low Tone values to set a mellow tonal color. If you find that the sound is too soft, boost the treble portion of your sound with the Equalizer effect. If you prefer harsh distortion characteristics, typical of overdriven transistor stages, use higher Tone parameter values.
Using the EVP88 Tremolo Effect A periodic modulation of the amplitude (level) of the sound is known as a tremolo. The modulation is controlled via an LFO. The Fender Rhodes suitcase piano features a stereo tremolo, and many other electric pianos have a simple, but quite obtrusive, mono tremolo, which can introduce a strange kind of polyrhythmic feel to performances. • Rate knob: Sets the speed of the tremolo effect (LFO frequency). • Intensity knob: Determines the amount of amplitude modulation.
The single Chorus parameter regulates the intensity (the amount of delay time deviation). The LFO rate is fixed at 0.7 Hz, but it can be altered with the Chorus Rate parameter (see Using the EVP88 Extended Parameters below). Note: High values may result in the piano sounding detuned. Using the EVP88 Extended Parameters The EVP88 features a number of extended parameters that are accessible via the disclosure triangle at the bottom of the EVP88 window.
Controller number Parameter name 23 Phaser parameters: Color knob 24 Phaser parameters: Stereophase knob 25 Tremolo parameters: Rate knob 26 Tremolo parameters: Intensity knob 27 Tremolo parameters: Stereophase knob 28 Chorus parameters: Intensity knob Electric Piano Models Emulated by the EVP88 These sections provide some background information about the instruments emulated by the EVP88.
The Rhodes output signal is—like an electric guitar—rather weak, and needs significant pre-amplification. The Rhodes sound is not harmonically rich. This is why so many performers used a treble boost or an overdrive effect when playing the Rhodes piano. As mentioned earlier, the Rhodes sounds best when played through tube amplifiers. The Rhodes piano was also made available as a suitcase piano (with pre-amplifier and two-channel combo amplifier) and as a stage piano, without amplifier.
• Attack Piano The Metal Piano and Attack Piano models feature “idealized” sound qualities that could only be aimed at with the original Rhodes instruments. Although these models may not sound realistic, they have at least partially achieved the ideals that the Rhodes technicians might have had in mind when preparing their keyboards. Wurlitzer Piano This well-known manufacturer of music boxes and organs also built electric pianos—which helped write pop and rock music history.
EVOC 20 PolySynth 10 The EVOC 20 PolySynth combines a vocoder with a polyphonic synthesizer and can be played in real time. The EVOC 20 PolySynth can create classic vocoder sounds, made famous by artists such as Kraftwerk during the 1970s and 1980s. Vocoding remains popular in current electronic, hip-hop, R & B, and other music styles.
• EVOC 20 PolySynth Modulation Parameters (p. 232) • EVOC 20 PolySynth Output Parameters (p. 233) • Getting the Best Results with the EVOC 20 PolySynth (p. 234) • A Brief Vocoder History (p. 236) • EVOC20 Block Diagram (p. 239) What Is a Vocoder? The word vocoder is an abbreviation for VOice enCODER. A vocoder analyzes and transfers the sonic character of the audio signal arriving at its analysis input to the synthesizer’s sound generators. The result of this process is heard at the output of the vocoder.
An envelope follower is coupled to each filter band. The envelope follower of each band tracks, or follows, any volume changes in the audio source—or, more specifically, the portion of the audio that has been allowed to pass by the associated bandpass filter. In this way, the envelope follower of each band generates dynamic control signals.
3 If applicable to your host application and needs, mute the audio track serving as the side chain input, start playback, and play your MIDI keyboard. 4 Adjust the volume levels of the EVOC 20 PolySynth and the Side Chain source (if not muted) to taste. 5 Experiment with the knobs, sliders, and other controls. Have fun, and feel free to insert other effect plug-ins to further enhance the sound.
EVOC 20 PolySynth Sidechain Analysis Parameters The parameters in the Sidechain Analysis section control how the input signal is analyzed and used by the EVOC 20 PolySynth. You should be as precise as possible with these parameters to ensure the best possible speech intelligibility and accurate tracking. • Attack knob: Determines how quickly each envelope follower—coupled to each analysis filter band—reacts to rising signal levels.
By freezing the input signal you can capture a particular characteristic of the signal, which is then imposed as a complex sustained filter shape on the Synthesis section. Here are some examples of when this could be useful: • If you are using a spoken word pattern as a source, the Freeze button could capture the attack or tail phase of an individual word within the pattern—the vowel a, for example.
EVOC 20 PolySynth (U/V) Detection Parameters Human speech consists of a series of voiced sounds—tonal sounds or formants—and unvoiced sounds. The main distinction between voiced and unvoiced sounds is that voiced sounds are produced by an oscillation of the vocal cords, whereas unvoiced sounds are produced by blocking and restricting the air flow with lips, tongue, palate, throat, and larynx.
• Blend: Uses the analysis signal after it has passed through a highpass filter for the unvoiced portions of the sound. The Sensitivity parameter has no effect when this setting is used. • Level knob: Controls the volume of the signal used to replace the unvoiced content of the input signal. Important: Take care with the Level knob, particularly when a high Sensitivity value is used, to avoid internally overloading the EVOC 20 PolySynth.
• Global parameters: The parameters at the top left of the interface determine the keyboard mode and number of voices used by the EVOC 20 PolySynth. See EVOC 20 PolySynth Global Parameters. EVOC 20 PolySynth Oscillator Parameters The EVOC 20 PolySynth has two oscillators, which you can switch between Dual mode and FM mode: Click here to switch between Dual and FM mode. • Dual mode: Each oscillator allows you to choose a digital waveform. • FM mode: Oscillator 1 generates a sine wave.
• Wave 1 and Wave 2 fields: Vertically drag the numerical value beside the Wave 1 and Wave 2 labels to select the waveform type for Oscillators 1 and 2, respectively. The EVOC 20 PolySynth features 50 single-cycle digital waveforms with different sonic characteristics. Dual Mode EVOC 20 PolySynth Oscillator Parameters In Dual mode, each oscillator can use any of 50 digital waveforms. Balance slider Semi and Detune parameters are shown in Dual mode.
EVOC 20 PolySynth Noise Generator Parameters The noise generator provides a further sound source that can be used alongside the two oscillators. Important: The noise generator in the Oscillator section is independent of the noise generator in the U/V Detection area. For further information about voiced and unvoiced signals, see EVOC 20 PolySynth (U/V) Detection Parameters. • Level knob: Controls the amount of noise added to the signals of the two oscillators.
EVOC 20 PolySynth Filter Parameters The EVOC 20 PolySynth synthesis section has a simple lowpass filter. The filter is used for rough signal shaping, before the signal is more precisely shaped by the individual bands of the Formant Filter banks. • Cutoff knob: Sets the cutoff frequency of the lowpass filter. As you turn this knob to the left, an increasing number of high frequencies are removed from the synthesizer signal.
EVOC 20 PolySynth Global Parameters The parameters at the top left of the interface determine the keyboard mode and number of voices used by the EVOC 20 PolySynth. • Poly button/Voices field: When Poly is selected, the maximum number of Voices can be set in the numeric field. • Mono/Legato buttons: When Mono or Legato is selected, the EVOC 20 PolySynth is monophonic, and uses a single voice. • In Legato mode, Glide (see EVOC 20 PolySynth Tuning and Pitch Parameters) is only active on tied notes.
EVOC 20 PolySynth Formant Filter Parameters Overview The Formant Filter display is divided in two by a horizontal line. The upper half applies to the Analysis section and the lower half to the Synthesis section. Parameter changes are instantly reflected in the Formant Filter display, providing invaluable feedback about what is happening to the signal as it is routed through the two formant filter banks.
• Highest button: Click to determine whether the lowest filter band acts as a bandpass or lowpass filter. In the Bandpass setting, the frequencies below the lowest bands and above the highest bands are ignored. In the Lowpass setting, all frequencies above the highest bands are filtered. • Formant Stretch knob: Alters the width and distribution of all bands in the synthesis filter bank. This can be a broader or narrower frequency range than that defined by the Low and High Frequency parameters.
EVOC 20 PolySynth Modulation Parameters The Modulation section offers two LFOs. The LFOs can run freely, or they can be synchronized with the host application tempo. • The Pitch LFO controls pitch modulation of the oscillators, enabling you to produce vibrato effects. • The Shift LFO controls the Formant Shift parameter of the synthesis filter bank, enabling you to produce dynamic phasing-like effects. • Int via Whl slider: Defines the intensity of LFO pitch modulation.
EVOC 20 PolySynth Output Parameters The Output section provides control over the type, stereo width, and level of signal that is sent from the EVOC 20 PolySynth. The Output section also houses a simple, but effective, ensemble effect processor. • Signal menu: Determines the signal that is sent to the EVOC 20 PolySynth main outputs. You can choose one of the following settings: • Voc(oder): Choose to hear the vocoder effect. • Syn(thesis): Choose to hear only the synthesizer signal.
Getting the Best Results with the EVOC 20 PolySynth Achieving a great “classic” vocoder effect requires both the analysis and synthesis signals to be of excellent quality, and it also requires care to be taken with the vocoder parameters. These sections outline a number of tips that will help you achieve the best possible results.
Effective Use of the Envelope Parameters in the Analysis Section The Release parameter defines the time it takes for a given synthesis frequency band to decrease in level if the signal level of the respective analysis band decreases abruptly. The sound is smoother when band levels decrease slowly. To achieve this smoother character, use higher Release values in the analysis section of the interface. Don’t go too far with this, however, as overly long release times result in a less distinct, washy sound.
The spectra of the analysis and synthesis signals should almost completely overlap. Coupling low male voices with synthesis signals in the treble range doesn’t work well. The synthesis signal must be constantly sustained, without breaks. The incoming side chain signal should be played or sung legato, as breaks in the synthesis signal will stop the vocoder’s output. Alternatively, the Release parameter of the synthesis signal—not the Release time of the analysis section—can be set to a longer time.
• Vocoder speech synthesizer: A voice modeler, invented in 1939. This valve-driven machine was played by a human operator. It had two keyboards, buttons to recreate consonants, a pedal for oscillator frequency control, and a wrist-bar to switch vowel sounds on and off. The analyzer detected the energy levels of successive sound samples, measured over the entire audio frequency spectrum via a series of narrow band filters.
1978 saw the beginning of mainstream vocoder use, riding on the back of popularity created through the music of Herbie Hancock, Kraftwerk, and a handful of other artists. Among the manufacturers who jumped into vocoder production at this time are Synton/Bode, Electro-Harmonix, and Korg, with the VC-10. In 1979, Roland released the VP 330 ensemble/vocoder keyboard. The late 1970s and early 1980s were the heyday of the vocoder.
EVOC20 Block Diagram This block diagram illustrates the signal path in the EVOC 20 TrackOscillator and EVOC 20 PolySynth. Analysis source Analysis section Legend Track -----------Side chain Audio signal Control signal R L Stereo to mono Parameter control Sensitivity U/V detection Frequency range between highest/lowest 1-5 Filter bank with five bands (example) TO: pitch analysis A Envelope follower 1-5 Freeze B Synthesis section TO: Max/Quant.
External Instrument 11 You can use the External Instrument to route external MIDI sound generators through the Logic Pro Mixer, which you can then process with Logic Pro effects. You can also use the External Instrument to transmit and receive MIDI information through the instrument channel strip that it is inserted in. This enables you to control an external module—both MIDI and audio—from within one element.
Using the External Instrument The track routed to an instrument channel strip, which is being used for an external MIDI sound module, behaves just like a standard software instrument track. This enables you to record and play back MIDI regions on it, with the following benefits: • You can take advantage of the sounds and synthesis engine of your MIDI module, with no overhead on your Mac CPU—apart from effects used in the channel strip.
EXS24 mkII 12 The EXS24 mkII is a software sampler. It plays back audio files, called samples, that you load into it. These samples are combined into tuned, organized collections called sampler instruments. The EXS24 mkII is used to play, edit, and create sampler instruments. You can assign the samples, in sampler instruments, to particular key and velocity ranges, and process them with the EXS24 mkII filters and modulators.
• Using the EXS24 mkII Sampler Instruments Pop-Up Menu (p. 249) • Adjusting EXS24 mkII Global Parameters (p. 254) • Using the EXS24 mkII Pitch Parameters (p. 258) • Working with EXS24 mkII Filter Parameters (p. 260) • EXS24 mkII Output Parameters (p. 263) • Working with EXS24 mkII Modulation (p. 264) • An Overview of the EXS24 mkII Instrument Editor (p. 278) • Creating EXS24 mkII Instruments, Zones, and Groups (p. 281) • Editing EXS24 mkII Zones and Groups (p. 286) • Setting EXS24 mkII Zone Parameters (p.
Getting to Know the EXS24 mkII Interface The EXS24 mkII interface is broken down into two windows: • Parameter window: This is where you’ll spend most of your time with the EXS24 mkII. It is used to load instruments, and offers a number of synthesis and modulation options that allow you to tailor your sampler instrument sounds. • Instrument Editor window: Used to create and edit sampler instruments.
About EXS24 Sampler Instruments A sampler instrument is the file type that is loaded into the EXS24 mkII. You load sampler instruments using the Sampler Instruments pop-up menu directly above the Cutoff knob in the EXS24 mkII. When you select a sampler instrument, the associated audio files are automatically located on the hard disk (or disks), and are loaded into your computer’s RAM. A sampler instrument tells the EXS24 mkII which samples—audio files—to use, and how to organize them into zones and groups.
A plug-in setting, by comparison, stores all parameter adjustments made in the Parameter window, but these settings are discrete from the sampler instrument being loaded. A plug-in setting merely contains a pointer to an associated instrument, which means that loading a setting also loads the assigned sampler instrument.
Getting to Know the EXS24 mkII Parameter Window The EXS24 mkII Parameter window is used to change and control the entire loaded sampler instrument. Control over individual samples (zones), or grouped samples, is performed in the Instrument Editor window (see An Overview of the EXS24 mkII Instrument Editor, and subsequent sections).
• Modulation and control parameters: The area immediately below the router is where you can assign and adjust the modulation and control parameters—the LFOs and envelopes. See Working with EXS24 mkII Modulation. Using the EXS24 mkII Sampler Instruments Pop-Up Menu The EXS24 mkII ships with a ready-to-play sampler instrument library. This section outlines the use of the Sampler Instruments pop-up menu.
About EXS24 Sample Storage Locations In order to be visible in the EXS24 mkII Sampler Instruments pop-up menu, instruments must be stored in the Sampler Instruments sub-folder of any of the following folders: • ~/Library/Application Support/Logic: User-defined or edited instruments are stored here. • /Library/Application Support/Logic: Factory-supplied EXS instruments are installed here. • /Applications/Logic 6 Series: EXS instruments of the Logic 6 Series are stored here.
Loading EXS24 Sampler Instruments from Other Locations You can manually load sampler instruments that are not shown in the Sampler Instruments pop-up menu. This is done from the Instrument pop-up menu in the Instrument Editor window. To load sampler instruments from other locations 1 Open the Instrument Editor by clicking the Edit button in the upper-right corner of the Parameter window. 2 Choose Instrument > Open, then locate the desired instrument in the dialog.
Opening the EXS24 mkII Instrument Editor Click the Edit button to the right of the Sampler Instruments pop-up menu to open the currently loaded sampler instrument in the EXS24 mkII Instrument Editor window. The Instrument Editor window provides precise control over each sample, or zone, in the sampler instrument. Note: Clicking the Edit button when no sampler instrument is loaded also opens the Instrument Editor window and automatically creates a new, empty, sampler instrument.
• (Recall default EXS24 mkI settings): Recalls the parameter settings of sampler instruments created in the older version of the EXS24—notably, the modulation paths (see EXS24 mkI Modulation Paths). This parameter is not relevant for sampler instruments created in the EXS24 mkII. • Extract MIDI Region(s) from ReCycle Instrument: Extracts regions contained in a ReCycle instrument. If no ReCycle instrument is selected, this option is dimmed. See Converting ReCycle Files to EXS Instruments.
Adjusting EXS24 mkII Global Parameters These parameters affect the overall behavior of the EXS24 mkII. You can find the global parameters at the top left of the interface. Keyboard mode buttons Voices/Used fields Crossfade parameters Unison button Hold via field Vel Offset field • Keyboard mode buttons: Switch the EXS24 mkII between polyphonic, monophonic, and legato behaviors. See Choosing the EXS24 mkII Keyboard Mode. • Unison button: Enables or disables unison mode.
Choosing the EXS24 mkII Keyboard Mode A polyphonic instrument allows several notes to be played simultaneously—for example, an organ or piano. Brass or reed instruments are monophonic, which means that only one note can be played at a time. The EXS24 mkII allows you to choose an appropriate keyboard mode for the type of instrument that is loaded. You are free to use a monophonic mode for polyphonic instruments, which allows playing styles that are not possible with polyphonic instruments.
• The intensity of detuning (voice deviation) is set with the Random parameter (see Using the EXS24 mkII Pitch Parameters). µ To use the EXS24 mkII in polyphonic unison mode Activate the Poly and Unison buttons. • In Poly/Unison mode, each played note is effectively doubled—or, more correctly, the polyphony value of the Voices parameter is halved. These two voices are then heard when you trigger the note.
Note: You can also set other modulation sources, such as the modulation wheel of your MIDI keyboard, to modulate the Amount parameter. If you do this, the Amount parameter still functions in the same way, but the crossfade will be triggered by the modulation wheel rather than by velocity. • Type pop-up menu: Provides three different fade curves.
Using the EXS24 mkII Pitch Parameters These parameters adjust the tuning and transposition of the loaded sampler instrument. • Tune knob: Raises or lowers the pitch of the loaded sampler instrument in semitone increments. At the centered position—set by clicking the small 0 button—no pitch change occurs. • Transpose field: Transposes the EXS2 mkII in semitone increments. Transpose not only affects the pitch, but also moves the zones by the specified value.
• Glide and Pitcher sliders: The Glide slider determines the time it takes to slide from one note pitch to another. Its behavior depends on the Pitcher parameter setting: • When Pitcher is centered, Glide determines the time it takes for the pitch to slide from one note to another—the portamento time. • When the Pitcher parameter is set to a position above its centered value, Glide determines the time it takes for the pitch to glide down from this higher value to the normal pitch value.
Working with EXS24 mkII Filter Parameters These parameters control the EXS24 mkII filter section. You can configure the type of filter, filter resonance, cutoff frequency, drive, and amount of key follow. For details about the filter envelope, see Getting to Know the EXS24 mkII Envelopes (ENV 1 and ENV 2). • Filter On/Off button: Activates or deactivates the entire filter section and the filter envelope.
• Fat (Fatness) button: Enables or disables the fatness feature. Fatness preserves the bass frequency response of the loaded sampler instrument, even when high Resonance settings are used. Note: The Fatness parameter applies only to lowpass filters. Fatness is nonfunctional when the highpass or bandpass filter types are active. Choosing the EXS24 mkII Filter Mode (HP, LP, BP) The EXS24 mkII filter can operate in several modes, allowing specific frequency bands to be filtered (cut away) or emphasized.
The Impact of Resonance on the Signal The Resonance (Res) parameter emphasizes or suppresses portions of the signal above or below the defined cutoff frequency. • In a lowpass filter, resonance emphasizes or suppresses signals below the cutoff frequency. • In a highpass filter, resonance emphasizes or suppresses signals above the cutoff frequency.
EXS24 mkII Output Parameters The output parameters define the level—the perceived volume—of a played note. The change in level over time is controlled by an envelope generator. ENV2 is hard-wired to the dynamic stage of the EXS24 mkII—it is always used to control the level of each note. For a description of all the envelope parameters, see Getting to Know the EXS24 mkII Envelopes (ENV 1 and ENV 2). • Level via Vel slider: Determines how velocity affects the volume of the sound.
Working with EXS24 mkII Modulation The EXS24 mkII is equipped with an extensive range of modulation sources and destinations, making it a very flexible instrument that can generate extraordinary sounds that constantly evolve, or are just plain expressive to play. Reference tables that cover all modulation destinations and sources are found at the end of this section.
Getting to Know the EXS24 mkII Modulation Router The modulation router spans the center of the EXS24 mkII interface. If you are new to synthesizer modulation routings, see Modulation Routing in Synthesizer Basics. Also see An EXS24 mkII Modulation Example. Modulation destinations are shown at the top of each modulation routing. Modulation sources are shown at the bottom of each modulation routing. Via sources are shown in the middle of each modulation routing.
Creating and Bypassing EXS24 mkII Modulation Routings The following information applies to all ten modulation routings. To create a basic modulation routing 1 Open the Dest pop-up menu to see all available destinations, and choose the parameter you want to modulate. Click here to choose a modulation destination. Click here to choose a modulation source. 2 Open the Src pop-up menu to see all available sources, and choose the parameter you want to use to modulate the destination.
Using EXS24 mkII Via Sources to Control Modulation Intensity In a basic modulation routing consisting of a destination and source, you can set a fixed modulation intensity by vertically dragging the arrowhead of the Intensity slider to the right of the routing. The slider value always defines a constant modulation intensity. The intensity of the modulation can itself be modulated: The via parameter defines a further modulation source, which is used to control the modulation intensity.
4 Vertically drag the upper arrowhead of the Intensity slider, to the right of the modulation routing, to set the maximum modulation intensity. 5 Vertically drag the lower arrowhead of the Intensity slider to set the minimum modulation intensity. µ To move the entire via range Drag the range area between the two slider halves vertically. Both arrowheads will move simultaneously. If this area is too small to drag, just drag an unused section of the Intensity slider control to move the area.
µ To invert the effect of the via modulation source Click the “inv” button to the right of the via pop-up menu. An EXS24 mkII Modulation Example The following example is useful for string sound modulations, where playing higher notes results in a faster modulation. LFO1 Speed is the modulation destination. The modulation source—Pressure—is used to modulate the speed (Rate) of LFO 1. You’ll hear a faster modulation as you apply more pressure to the keyboard—after the initial keystrike.
EXS24 mkI Modulation Paths Many of the hard-wired modulation paths that were available as sliders on the original EXS24 (mkI) are now integrated into the modulation router. To reconstitute the modulation slider configuration of the mkI version, open the Options pop-up menu in the upper-right corner of the interface and choose “(Recall Default EXS24 mkI Settings).
LFO 2 is monophonic, which means that the modulation is identical for all voices. To understand this more fully, imagine a scenario where a chord is played on the keyboard. If LFO 2 is used to modulate pitch, for example, the pitch of all voices in the played chord will rise and fall synchronously. LFO 3 is also monophonic. It always uses a triangular waveform. All three LFOs can oscillate freely, or can be synchronized to the host application tempo, in values ranging between 32 bars and 1/128 triplets.
Waveform Comments Rectangle Use of the rectangular waves will periodically switch the LFO between two values. The upper rectangular wave switches between a positive value and zero. The lower wave switches between a positive and a negative value set to the same amount above/below zero.An interesting effect you may want to try out is achieved by modulating the Pitch destination with a suitable modulation intensity that leads to an interval of a fifth. Choose the upper rectangular wave to do so.
Tip: Chaotic and fast modulations of frequencies (destination: Pitch) by the LFO 1 source—with a delayed Sample & Hold waveform, a high Rate, and short fade-out—are ideal for emulating the attack phase of brass instruments. Setting the EXS24 mkII LFO Rate LFO 2 is ideally suited for creating rhythmic modulation effects—effects that retain perfect synchronicity, even during project tempo changes.
Both envelopes, however, are also available for simultaneous use as sources in the router. The envelope time parameters (Attack, Decay, and Release) are also available as modulation destinations in the router. Envelope 1 parameters Envelope 2 parameters • A(ttack) slider: Defines the time it takes for the level of a note to rise from an amplitude of zero to the set amplitude. The Attack time sliders of both envelopes are divided into two halves.
EXS24 mkII Modulation Destination Reference The following destinations are available for real-time modulation. Destination Comments Sample Select Modulates the sample (zone) that is played. By default, Sample Select is controlled by velocity—through the default Velocity to Sample Select modulation routing. This means that the received note velocity value determines which of the layered zones (in different velocity ranges) is heard as you play the keyboard softer or harder.
Destination Comments LFO 1 Dcy./Dly (LFO 1 Decay/Delay) Controls the LFO 1 EG parameter (see Using the EXS24 mkII Envelope Generator of LFO 1). LFO 1 Speed Modulates the frequency (rate) of LFO 1. You can automatically accelerate/slow down LFO 1’s rate by modulating the LFO1 Speed destination with one of the envelope generators (ENV) or with LFO2 or LFO 3. LFO 2 Speed As above, for LFO 2 LFO 3 Speed As above, for LFO 3 Env 1 Attack Modulates the Attack time of the filter envelope.
Source Comments LFO 1 LFO 1 is used as a source. LFO 2 As above, but for LFO 2 LFO 3 As above, but for LFO 3 Release Velocity The modulation occurs when you release a key (this requires a keyboard that sends release velocity information). Pressure Pressure (also known as Aftertouch) serves as a modulation source. The EXS24 mkII reacts to poly pressure (polyphonic aftertouch).
via Source Comments LFO 1 The modulation undulates at the speed and waveform of LFO 1, which controls the modulation intensity. LFO 2 As above, but for LFO 2 LFO 3 As above, but for LFO 3 Release Velocity The modulation will be more or less intense dependent on how quickly you release the key (this requires a keyboard that sends release velocity information).
A sampler instrument consists of zones and groups: • A zone is a location into which a single sample (an audio file) is loaded from a hard disk. You can edit zone parameters in Zone view mode. See Getting to Know the EXS24 mkII Zones View Mode. • Zones can be assigned to groups, which provide parameters that allow you to simultaneously edit all zones in the group. You can define as many groups as desired. You can edit group parameters in Group view mode. See Getting to Know the EXS24 mkII Groups View Mode.
Getting to Know the EXS24 mkII Zones View Mode In Zones view, the area above the keyboard displays the Zones area. The general menus, buttons, and so on, are displayed in both Zones and Groups views. Click to switch between Zones and Groups views. Zones column Parameters area Velocity area Zones/Groups area Keyboard • Zones column: Displays all zones of the instrument. By default, every instrument contains All Zones (which includes “grouped” zones) and Ungrouped Zones icons.
Getting to Know the EXS24 mkII Groups View Mode In Groups view, the area above the keyboard displays Groups. The general menus, buttons, and so on, are displayed in both Zones and Groups views. Instrument Editor in Groups view Click here to reopen a closed EXS24 mkII Parameter window. Note: Clicking the EXS24 button does not display the Parameter window in the foreground if it is covered by other floating windows.
For information about loading sampler instruments, see Using the EXS24 mkII Sampler Instruments Pop-Up Menu. For information about saving, renaming and exporting sampler instruments, see Saving, Renaming, and Exporting EXS24 mkII Instruments.
• The “Preview audio file in EXS instrument” option temporarily replaces the sample files in the currently selected zone. The zone is not directly triggered by activating this option, but it can be triggered by playing MIDI notes while the file selector is open—and different files are chosen. The selected sample can be heard as part of the zone, inclusive of all synthesizer processing (filters, modulation, and so on). 4 Click the Play button to loop playback of the currently selected sample file.
Quickly Creating Multiple Zones in the EXS24 mkII You can load multiple samples in one operation. The Instrument Editor automatically creates new zones and places the loaded samples into them. To create multiple zones in one operation 1 Choose Zone > Load Multiple Samples in the Instrument Editor (or use the Load Multiple Samples key command). 2 Browse to the desired location, then use the Add or Add All buttons to select the samples you want to use. 3 Click the Done button when you are finished.
Note: If you drag multiple files onto one of the keyboard keys, the Load Multiple Samples dialog does not include the Start Note field, as the start key, end key, and root key are all set to the note that the file was dropped on. Creating EXS24 mkII Groups Imagine that a drum kit has been created, with a number of different samples being used in several zones, mapped across the keyboard.
µ Select a zone in the EXS Instrument Editor, Finder, Audio Bin, or Browser—and drag it into a group displayed in the Zones column. µ Drag an ungrouped zone (or multiple selected zones) into the empty area below the Ungrouped Zones icon. This creates a new group, containing the dragged zone, or zones. µ Drag a zone (or multiple selected zones) out of one group: • into another group. This changes the previous group assignment to the new group. • onto the Ungrouped Zones icon.
Common EXS24 mkII Zone and Group Editing Commands Use the Edit menu for all basic sampler instrument editing operations, such as copying zones, undoing edit operations, and so on. • Undo: Allows the most recent change to the sampler instrument to be undone. • Redo: Undoes the last Undo command. • Cut, Copy, Paste: The standard commands for cutting, copying, and pasting values. You can also cut, copy, and paste selected zones and groups.
Switching EXS24 mkII Groups with a MIDI Keyboard: Select Group of Last Played Key If you choose the “Select Group of Last Played Key” command in the Group menu, you can switch between groups by pressing a key on a connected MIDI keyboard. This is useful when you want to adjust the velocity of an instrument’s groups, for example.
Setting EXS24 mkII Zone Parameters The zone parameters provide extensive control over each zone, or sample, in your sampler instrument. • Zone Name field: Displays the zone name. New zones are automatically assigned a consecutive number. Click a zone number to enter a name. • Audio File menu: Displays the audio file name. Move the pointer over a name to reveal a help tag with additional information, such as format, bit depth, sample rate, and so on.
• Key Range fields: The two key range parameters allow you to define a key range for the zone. • Lo(w): Sets the lowest note for the zone. • Hi(gh): Sets the highest note for the zone. Playing notes outside this range will not trigger the sample assigned to this zone. • Pitch checkbox: Activate to change the sample pitch when triggered by different keys. When disabled, the sample is always played at its original pitch, regardless of the note played.
Using the EXS24 mkII Zone Loop Parameters The EXS24 mkII can loop playback of either an entire sample or a portion of it, when sustained MIDI notes are received. • Loop On checkbox: Activate to enable looping and to allow access to the other Loop parameters. • Loop Start, Loop End fields: Define discrete loop start and end points, allowing you to loop a portion of the audio file. • Control-click either field to open a shortcut menu that allows access to the Logic Pro Sample Editor (or an external editor).
Setting EXS24 mkII Group Parameters Group parameters provide simultaneous control of all assigned zones. • Group Name field: Displays the group name. Click to enter a name. • Key Range fields: Define a key range for the group. • Lo(w):Sets the lowest note for the group. • Hi(gh):Sets the highest note for the group. Playing notes outside this range will not trigger the zones assigned to this group.
Note: The Decay parameters will function only when the Trigger parameter is set to Key Release. • Cutoff and Reso(nance) fields: Independently offsets the Cutoff and Resonance settings for each group. This can be useful if you want the initial impact of a note to be unfiltered for one group but not others. • Envelope 1/Envelope 2 Offsets fields: Independently offsets the envelope settings in the Parameter window for each group.
Using the EXS24 mkII Advanced Group Selection Parameters You can define a specific MIDI event for use as a group selection switch. Whenever the defined selection event is triggered, zones pointing to this group can be played, and other groups (selected with a different event) are not played. The defined event does not play or alter a sound; it simply acts as a group selection switch. Click here to enhance the selection criteria.
Remapping of Pitch Bend and Modulation Wheel Events in the EXS24 mkII In order to create realistic-sounding performances in an easy and intuitive way, the Jam Pack 4 (Symphony Orchestra) instruments use the modulation wheel to switch between articulations—legato, staccato, and so on. The pitch bend wheel is used to change expression—crescendo, diminuendo, and so on. Further information about this can be found in the Jam Pack 4 documentation.
µ To move multiple zones or groups Shift-click or drag to select the zones or groups, and drag them to the desired position. µ To change the root key when moving a zone Hold down Command-Option while dragging the zone. To change the start or end note of a zone or group 1 Move the cursor to the beginning or end of a zone or group (the cursor will change to the resize icon). 2 Drag the start or end point of the zone or group to the desired position.
The velocity bars of the selected zones/groups is highlighted in the Velocity Display area. 3 Move the cursor to either the High or Low value of the velocity bar that you want to change (the cursor will change to the resize icon). 4 Drag upward to raise the value, or downward to lower the value. Saving, Renaming, and Exporting EXS24 mkII Instruments You can access all basic sampler instrument file operations in the Instrument Editor’s Instrument menu. • Save: Saves the currently loaded sampler instrument.
Editing Samples in the EXS24 mkII Sample Editor Because the EXS24 mkII and Logic Pro Sample Editor are built to work together, the EXS24 mkII doesn’t require a built-in graphical editor. The most intuitive way to adjust sample and loop start and end points is by working directly on a visual representation of the waveform. µ To open the Sample Editor Control-click either the Loop Start or Loop End parameter fields of the zone you want to edit in the Instrument Editor window.
Updating Edited EXS24 mkII Zone Information After you have saved and reopened a sample that was edited in either the Logic Pro Sample Editor or a sample editor not made by Apple, it is likely that either the start and end, or loop point values—shown in the Parameters area—will no longer be accurate. µ To update zone information Open the Zone menu and choose the “Update Selected Zone(s) Info from Audio File” command.
µ To reassign the external instrument editor Hold down Option while choosing Options > “Open in [name of external instrument editor].” Importing EXS24 mkII Sampler Instruments The EXS24 mkII is compatible with the AKAI S1000 and S3000, SoundFont2, SampleCell, DLS, Gigasampler, and ReCycle sample formats, as well as the Vienna Library.
• ~/Library/Application Support/Logic/DLS Samples Logic (folder) SoundFont Samples (folder) SampleCell Samples (folder) SampleCell sampler instrument Sampler Instruments (folder) SoundFont sampler instrument Gigasampler Samples (folder) DLS sampler instrument DLS Samples (folder) Gigasampler sampler instrument Sampler Instruments The procedure outlined above also applies when you are importing SoundFont2 and SampleCell Bank files.
• The Sampler Instruments pop-up menu hierarchy is updated and the original Vintage Drums entry is replaced with a “Vintage Drums.Bank” entry. This new entry is a folder that contains the individual sampler instruments, which can be selected and loaded as usual.
• ReCycle 2.0 file: These files have the .rx2 suffix. The abbreviation for this file type is REX2. These files are used extensively by Propellerhead Reason, and many popular sample libraries include REX2 format files. Generating a Zone for Each Slice The “Extract MIDI Region and Make New Instrument” command creates a new EXS24 instrument from a ReCycle file, and generates an independent zone for each slice.
In addition, a MIDI region is generated on the currently selected track, at the current project position, rounded to whole bars. This MIDI region is used to trigger the imported slices at the timing defined by the ReCycle file. You can generate new MIDI regions at any time from the imported EXS instrument (see Generating a MIDI Region from a ReCycle Instrument), so feel free to modify or delete the region.
MIDI regions are created on the currently selected track, at the current project position, rounded to bars. A single MIDI region is generated for each imported ReCycle loop in the currently open instrument. This function will also ask for a velocity factor (see Generating a Zone for Each Slice). Converting AKAI Files with the EXS24 mkII The EXS24 mkII can import samples in the AKAI S1000 and S3000 sample formats.
4 To navigate deeper into the folder hierarchy of the disc, click the Volume entries to view any programs contained therein. Click the Program entries to view the raw audio files, or samples. You can use the Prelisten button below the Audio File column to individually audition AKAI audio files before deciding whether to import them. 5 If desired, set any of the additional AKAI Convert parameters at the bottom of the window (see EXS24 mkII AKAI Convert Window Parameters).
• Sampler instruments created by the import process match the program names. They are placed inside the ~/Library/Application Support/Logic/Sampler Instruments folder, or the sub-folder determined by the “Save converted instrument file(s) into sub” parameter. Sub-folders (named after the volume) are created when you convert a partition. If a volume contains only a single program, no sub-folder is created. Sub-folders named after the partition are created when you convert more than one partition.
• Default instrument output volume (head room): Nondestructively alters the main Output volume in the Parameter window. This can be adjusted after conversion. Sustained pad sounds and polyphonic instruments in AKAI format often tend to have a higher output than a drum groove, for example. This can result in the output levels of some converted AKAI instruments being much higher than the rest of your EXS24 mkII sampler instrument library—occasionally, converted programs may be so loud that they clip.
Managing EXS24 Sampler Instruments As your sample library grows, the list of sampler instruments will also expand. To help you keep the list of sampler instruments manageable, the EXS24 mkII features a simple but flexible file management method. To organize your sampler instruments into a preferred hierarchy 1 Create a folder in the Finder—Basses, for example—and drag it into the desired Sampler Instruments folder. 2 Drag the desired EXS24 mkII sampler instruments into this newly created folder.
Copying EXS24 Sampler Instruments to Your Hard Drive It is strongly recommend that you copy any EXS sampler instruments, along with all associated audio files, to your hard drive. This way, you always have direct, immediate access to your sampler instruments without searching for and inserting CD-ROM or DVD discs. This also enables you to organize your sampler instruments to meet your needs.
µ In the Instrument Editor, choose Edit > Preferences. • Sample Rate Conversion pop-up menu: Determines the interpolation quality used by the EXS24 mkII. Choose Best to maintain the highest possible sound quality when transposing. • Sample Storage pop-up menu: Determines the sample format handling method used by the EXS24 mkII. • Original: Loads samples into RAM at their original bit depth. These are converted to the internal 32-bit floating point format of the host application on playback.
• “Read root key from” pop-up menu: Sets the method used by the EXS24 mkII to determine the root key of loaded audio files. You can choose from the following: • File/filename: Initially reads information about the root key from the audio file itself (in the header of the AIFF or WAVE file) when loading it into a zone. If no information of this type exists in the file header, a smart analysis of the filename may detect a root key.
Important: These commands are unique to the EXS24 mkII and are separate from the global Previous/Next Plug-In Setting or EXS Instrument commands. Therefore, you should make sure that you do not assign the same MIDI event for both. If you do this, both commands will execute, which may result in unexpected behavior. • Choose the desired MIDI event type in the Previous Instrument and Next Instrument pop-up menus.
µ To open the Virtual Memory window Open the Options pop-up menu in the Parameter window and choose Virtual Memory. • Active checkbox: Click to activate the EXS24 mkII’s virtual memory feature. • Disk Drive Speed pop-up menu: Specifies the speed of your hard drive; if you have a 7200-rpm or faster hard drive for your audio samples, select Fast. If you are using a 5400-rpm laptop drive for your audio samples, select Medium. Generally, you will not need to use the Slow setting with any modern Macintosh.
Advanced EXS24 mkII RAM Management The EXS24 mkII can address its own memory space. This means that all instances of the EXS24 mkII can use as much RAM as is available in the system. You must have at least 5 GB of RAM installed in your computer to take advantage of this feature. To enable Virtual Memory for the EXS24 mkII 1 Choose Options > Virtual Memory in the EXS24 mkII Parameter window. 2 In the Virtual Memory window, select the checkbox labeled Active.
Klopfgeist 13 Klopfgeist is an instrument that is optimized to provide a metronome click in Logic Pro. Klopfgeist is inserted in the Logic Pro instrument channel strip 256 by default and is used to generate the MIDI metronome click. Klopfgeist can also be inserted in any other instrument channel strip in Logic Pro and MainStage for use as an instrument. This chapter covers the following: • Using the Klopfgeist Parameters (p.
Using the Klopfgeist Parameters An examination of Klopfgeist’s parameters shows that it is a synthesizer designed to create metronome click sounds. Tune knob Trigger Mode buttons Detune knob Level via Vel slider Tonality slider Damp slider • Trigger Mode buttons: Click Mono to operate Klopfgeist as a monophonic instrument, or click Poly to operate it as a polyphonic (4 voice) instrument. • Tune knob and field: Tunes Klopfgeist in semitone steps.
Sculpture 14 Sculpture is a synthesizer that generates sounds by simulating the physical properties of a vibrating string. Sculpture uses a method of synthesis calledcomponent modeling. This approach to tone generation enables you to create a virtual model of an acoustic instrument, such as a violin or cello.
Several tutorial sections are available to help you learn about creating sounds with Sculpture. See Sculpture Tutorial: Getting Started with Sound Creation. This section contains information to assist you when starting to explore sound creation in Sculpture. The creation of particular types of basic instrument sounds is discussed in several sections. See Sculpture Tutorial: Creating Basic Sounds.
• Processing parameters: Capture the string signal and provide further tonal control. The processing parameters include the filter, Waveshaper, pickup, and amplitude envelope parameters. • Global parameters: Affect the overall behavior of Sculpture. • Post-Processing parameters: Affect the overall tone and behavior of the entire instrument. Post-processing parameters include the Delay, Body EQ, and Level Limiter parameters.
Sculpture enables you to virtually model the physical consistency and behavior of all components involved—hence component modeling synthesis. Objects String Pickups Amplitude envelope Wave Shaper Filter Delay Body EQ Level Limiter This figure shows the signal flow of the core synthesis engine. Check out the options as you read about each parameter to obtain a feel for where things are and what is available.
Because of this, Sculpture requires you to take a more measured approach than you would with a traditional synthesizer design in order to achieve a particular end result. Keep the flowchart handy while you familiarize yourself with the interface and programming. If you are methodical, and follow the flowchart, you shouldn’t encounter too many surprise results.
As you can see, this is quite different from other synthesis methods where the base timbre waveform, even if modulated, does not harmonically interact with currently audible notes when retriggered. What usually happens in traditional synthesizers is that the waveform is restarted—from mid cycle, or from the beginning—with the result being an increase in volume, or a slight cyclical wave shift.
Using Sculpture’s Hide, Keyscale, and Release View Buttons These buttons activate and hide the Keyscale and Release parameters. Simply click the Keyscale, Release, or Hide button, depending on the adjustments you would like to make. The corresponding parameters will become visible (or be hidden) in the ring surrounding the Material Pad. Keyscale view Release view Hide view Click these buttons to activate or hide the Keyscale or Release parameters.
Using Sculpture’s Basic Material Pad Parameters The Material Pad works as a matrix of Stiffness (x-axis) and Inner Loss (y-axis) values. Inner Loss axis Material Pad ball Stiffness axis Inner Loss is used to emulate damping of the string, as caused by the string material—steel, glass, nylon, or wood. These are frequency-dependent losses that cause the sound to become more mellow during the decay phase. Stiffness sets the rigidity of the string.
Both parameters are simultaneously controlled by dragging the ball—which marks a specific point on the X and Y planes—within the Material Pad. Note: The thickness of the string—the green horizontal line in the Pickup display—changes as you move the ball (see Using Sculpture’s String Parameter Sliders (Morphable)). Using Sculpture’s Material Pad in Keyscale or Release View In Keyscale or Release view, the Material Pad shows additional controls for the Keyscale and Release parameters.
To adjust Inner Loss key scaling 1 Enable the Keyscale button. 2 Drag the green horizontal line for low notes—or the blue horizontal line for high notes—to the desired position. You can set inner losses to increase when the key is released by choosing a value of 1.0 or higher. This results in an unnatural effect, however, as it emulates a change in the string material after a note is released. The diamonds indicate the intersection between the Inner Loss and Stiffness Low/High Scaling positions.
Using Sculpture’s String Parameter Sliders (Morphable) The sliders on the outer ring of the Material Pad further define the properties and behavior of the string. Material Pad in Keyscale view Resolution High Scaling slider Resolution slider Resolution Low Scaling slider • Resolution sliders: Determine the maximum number of harmonics contained in (and spatial resolution of) the sound at C3. As you alter the Resolution value, you are changing the interaction of the string with the objects.
• Tension Mod sliders: Control the momentary detuning of the string. Strings, such as those of a guitar, exhibit a particularly prominent nonlinear behavior—if the string excursion is large, the string is detuned upwards. Because this detuning is caused by the momentary, rather than the average, excursion of the string, the detuning occurs very quickly. This phenomenon is known, technically, as tension modulation non-linearity. Non-technically, setting or modulating the Tension Mod slider to values above 0.
Working with Sculpture’s Objects The objects are used to stimulate or otherwise affect the string in some way. The object parameters discussed in this section apply on a per-voice basis. You will note a number of parameter names followed by (morphable). This indicates that the parameters can be morphed between up to five morph points. More details can be found in Getting to Know Sculpture’s Morph Section.
Using Sculpture’s Object Parameters The following parameters are used to excite, disturb, or dampen the string. On/off button Variation slider Gate Mode buttons Click here to access the Type menu. Velo(city) Sens(itivity) slider Timbre slider Strength knob • On/Off buttons (1, 2, and 3): Enables/disables the respective object. • Type menu: Determines each object type. See Sculpture Excite Table (Objects 1 and 2) and Sculpture Disturb and Damp Table (Objects 2 and 3).
• VeloSens slider (Objects 1 and 2 only): Excite objects are velocity sensitive, but this may not be appropriate for all sounds. This parameter, found at the bottom of Objects 1 and 2, allows you to reduce velocity sensitivity to 0. Note: An object is velocity sensitive only when a type that actively excites the string is selected. The Velocity Slider is available only for objects that are velocity sensitive. • Object 1 is velocity sensitive. • Object 2 can be both, depending on the chosen object type.
Variation controls Name Description Strength controls Timbre controls Bow Wide Same as bow, but wider, resulting in a more mellow tone, especially suited for smooth bow position changes Bow speed Bow pressure Slip stick characteristics Noise Noise injected into the string Noise level Noise bandwidth/cutoff frequency Noise resonance Blow Blow into one end of the string (an air column, or tube). At various positions, starting from 0.
Name Description Strength controls Timbre controls Disturb A disturb object that is placed at a fixed distance from the string’s resting position. The hardness of the object The distance from the resting position. Somewhat like a ring placed around the string, which limits the string’s vibration in all directions. The hardness of the ring Emulates a loose object lying or bouncing on, and interacting with, the vibrating string. This is very random by nature and can’t be synchronized.
Variation controls Name Description Strength controls Timbre controls Bound A boundary that limits and reflects string movement. This is much like a fingerboard that limits string movement when the string is plucked very firmly. The distance from the boundary center position to the string’s resting position The slope (steepness) of the boundary. A value of 0.0 places the boundary parallel to the string.
The pickups are the first element beyond the sound generating portion of Sculpture—consisting of the string and objects—and act as the input to the virtual signal processing chain. You can view the pickups as being like those of an electric guitar or clavinet. Obviously, changing their positions will alter the tone of your instrument, and they’ll do the same in Sculpture.
When active, the string vibrates, making it easier to visualize the impact of the objects and pickups. Note that string animation increases CPU overhead, so disable it if your computer is struggling to process all data in real time. Changing Object Positions in Sculpture’s Pickup Display Adjustments to object positions will disturb/excite a given portion of the string. The vertical orange lines represent the positions of Objects 1, 2, and 3.
• Pickup Spread: Spreads the two pickups across the stereo or surround base. In other words, the pickup position, combined with this parameter, will be spread further toward/from the left/right stereo/surround channels. Drag the Pickup button vertically to adjust. Two dots in the ring that surrounds the Spread parameters indicate the values. In surround instances, these two parameters can be affected by the the Surround Range parameter.
• Bender Range Up/Down fields: Set the upward/downward pitch bend range. These parameters are found below Object 3, on the left side of the interface. • Separate settings are available for upward and downward pitch bends—using your MIDI keyboard’s pitch bend controller. • When Bender Range Down is set to Linked, the Bender Range Up value is used for both (up and down) directions.
Setting Sculpture’s Glide (Portamento) Time The Glide parameter controls the portamento time. This is the amount of time it takes for the pitch of one played note to travel to the pitch of another played note. The Glide parameter behavior depends on the chosen keyboard mode. • If the keyboard mode is set to Poly or Mono, and Glide is set to a value other than 0, portamento is active.
• Sustain slider: Sets the sustain level. The sustain level is held until the key is released. • Release slider: Determines the length of time required for the signal to fall from the sustain level to a level of 0. Short Release values help to reduce CPU load, as the voice is no longer processed after the release phase has completed. Note: Even with long decay and release times, the sound may decay quickly.
Type Variation controls VariDrive • SoftSat • Tube Dist. • Scream Value of 0.0 Negative values Positive values Wet/dry ratio Provides shaped signal only. Reduce shaped signal and add dry signal. Raise shaped signal and add phase-inverted dry signal, making sound sharper. Bias—which alters the symmetry of the shaping curve. Results in symmetrical shaping. Alter symmetry. Alter symmetry.
• BandPass: Only the frequency band directly surrounding the center frequency is allowed to pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band that can pass. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the band. • Notch: The frequency band directly surrounding the center frequency is cut. All other frequencies are allowed to pass. The Resonance parameter controls the width of the frequency band that is cut.
Using Sculpture’s Integrated Delay This is a (project) tempo-syncable stereo or true surround delay. It can also run freely (unsynchronized). The Delay section features all the general delay parameters you’d expect from a delay plus the Groove (delay timing) Pad. Delay on/off button Wet Level knob Groove pad LoCut/HiCut sliders Xfeed knob Feedback knob Output Width slider Sync button Input Balance slider Delay Time slider • Delay On/Off button: Enables or disables the Delay section.
• Delay Time slider and field: Sets the delay time. This can be in either musical note values—1/4, 1/4t (1/4 triplet), and so on (see “Sync button” below)—or in milliseconds. • Sync button: Sets either tempo-synced or free-running delay modes. • Output Width slider: Alters the stereo or surround base of the wet signal. A value of 0.0 results in mono output. A value of 1.
µ To access the Groove Pad shortcut menu Control-click the Groove Pad to open a shortcut menu that contains Clear, Copy, and Paste commands. These can be used to copy and paste delay settings between multiple Sculpture instances, or between consecutively loaded settings. The Clear option resets the current delay settings.
The Body EQ affects the summed signal of all voices, rather than each voice independently. On/off button Model menu • Body EQ On/Off button: Enables and disables the spectral shaping section. • Model menu: Choose from various emulations of acoustic instrument bodies or the Basic EQ model. Your selection is reflected in the graphic display to the right. Note: When Basic EQ or another Body EQ model is chosen, the three knobs and slider parameter names and behaviors change.
µ µ µ µ To adjust the Basic EQ (Lo Mid Hi model) graphically Drag vertically on the left third of the graphic to control the Low parameter. Drag vertically on the center third of the graphic to control the Mid parameter. Drag horizontally on the center third of the graphic to control the Mid Frequency parameter. Drag vertically on the right third of the graphic to control the Hi parameter.
• Fine Structure slider: Enhances the spectral (harmonic) structure, making the overall harmonic makeup of the sound more precise. This results in a more detailed sound that is harmonically richer and—depending on the model selected—more guitar-like or violin-like, for example. In other words, the resonant cavities of the instrument become more resonant—somewhat like the increased depth of tone provided by a larger-bodied guitar. A value of 0.0 denotes no fine structure. A value of 1.
Controlling Sculpture’s Surround Range and Diversity In surround instances, Sculpture’s Extended Parameters area offers the Surround Range and Surround Diversity parameters: • Surround Range: Determines the range of the surround angle—the breadth of the surround field. Imagine an LFO routed to a pickup’s pan position with an amount of 1.0. Setting the LFO waveform to sawtooth and the Surround Range to 360 results in circular movement—around the entire surround circle—of the voice output.
Sculpture also includes a number of specifically designed modulation sources that are anything but traditional. These include: • Two jitter generators with adjustable bandwidth—used to create random variations. • Two Randomizers that change values only at note start/on. These are perfect for emulating the lip, breath, and tongue effects of brass instrument players, for example.
If used monophonically, the modulation is identical for all voices. Imagine a scenario where a chord is played on the keyboard. If LFO 2 is used to modulate pitch, for example, the pitch of all voices in the played chord will rise and fall synchronously. This is known as a phase-locked modulation. In the same scenario, if LFO 2 is used polyphonically—to modulate multiple voices—they will not be phase-locked.
• Curve knob: Alters modulation waveforms. A pure waveform of the chosen type is active at a value of 0.0. The +1 and −1 positions will deform the wave. For example, with a sine wave chosen as the LFO waveform type: • Curve value of 0.0: A sine-shaped wave. • Curve values above 0.0: Wave is smoothly changed into a nearly rectangular wave. • Curve values below 0.0: The slope at the 0 crossing is reduced, resulting in shorter soft pulses to +1 and −1.
A Brief LFO Overview A low frequency oscillator (LFO) is an oscillator, much like the main oscillators you would find in a traditional synthesizer: • An LFO generates signals below the audio frequency range—in the bandwidth that falls between 0.1 and 20 Hz, but sometimes as high as 50 Hz. • Because it can’t be heard, an LFO only serves as a modulation source for periodic, cyclic modulation effects—rather than as part of the actual audio signal. See Using the LFO to Modulate Sounds.
Waveform Comments Triangle Well suited for vibrato effects Sawtooth Well suited for helicopter and space gun sounds. Intense modulations of the oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds. Intense sawtooth modulations of lowpass filter cutoff and resonance create rhythmic effects. The waveform can also be inverted, resulting in a different start point for the modulation cycle.
µ Choose a negative Envelope knob value to fade out the modulation. The farther to the left the knob is positioned, the shorter the fade out time is. LFO envelopes are most often used for delayed vibrato—many instrumentalists and singers intonate longer notes this way. To set up a delayed vibrato 1 Set the LFO Envelope knob towards the right (Delay) and choose pitch as the target. 2 Set a slight modulation intensity. 3 Select an LFO Rate of about 5 Hz. 4 Choose the triangular wave as the LFO waveform.
Using Sculpture’s Vibrato One LFO is hard-wired to pitch, for vibrato effects (periodic pitch modulations). The strength of the vibrato effect can be adjusted with the MIDI controller assigned in the VibDepth Ctrl menu. This is set in the MIDI Controller Assignment section. For more information, see Assigning MIDI Controllers in Sculpture.
Creating Random Modulations in Sculpture: Jitter Many sounds can benefit from small, random modulations to parameters. These can emulate the subtle variations that occur when particular instruments are played. The two jitter generators are special LFO sources that are designed to produce continuous, random variations—such as those of smooth bow position changes. The jitter generators are equivalent to general purpose LFOs set to a noise waveform.
Creating Random Modulations in Sculpture: Note-On Random The two note-on random sources are intended for random variations between different notes or voices. Values are randomly generated for each note and remain constant until the voice is released. Such randomizations are useful for adding interest or thickening the sound when playing polyphonically.
In some cases, however, it may be useful to directly control other synthesis core parameters by velocity. This can be done in this section—where two independent destination/amount/velocity curve slots are available. Target menu Curve buttons Amount slider Click the 1 or 2 buttons to activate each velocity source. • Target menus (1 and 2): Choose the target parameter that you want to modulate by velocity. • Amount sliders (1 and 2): Determines the amount, or strength, of modulation.
Using Controller A and B in Sculpture These parameters allow you to define two discrete modulation targets. The modulation intensity, or strength, is assigned to Controller A and/or Controller B. Target menu Continue button Amount slider Click the 1 or 2 buttons to activate each controller source. • Target menus (1 and 2): Choose the target parameter that you want to modulate with the specified controller.
• A combination of both: as MIDI controller movement recorders (with ADSR-like macro parameters), for polyphonic playback. Target menu Via menu VariMod slider Envelope display VariMod Source menu Click here to choose Envelope 1 or 2. Via (amount) slider Amt slider Mode buttons • Target 1 and 2 menus: Determine modulation destinations 1 and 2. Two modulation targets can be assigned per envelope, with an optional, additional via modulation.
Using Sculpture’s Envelope Display The envelope curve is shown in the display to the lower right of the Sculpture interface. The envelope display is active only if the envelope functionality is engaged (Mode buttons are set to either Env or Ctrl+Env). • The overall time/length of the envelope is indicated by the numerical entry at the top right of the window (2400 ms in the graphic). • The maximum time/length of the envelope is 48 bars/40 seconds.
• Timescale field: Scales the duration of the entire envelope between 10% (ten times faster) and 1000% (ten times slower). This also affects the appearance of the envelope curve displayed as it is shortened (sped up) or lengthened (slowed down). • Sustain Mode menu: Defines the behavior of the envelope while a note is held. Choices are Sustain mode (default), Finish mode, or one of three loop modes (Loop Forward, Loop Backward, Loop Alternate).
• Node 5: End time position/level. As you move the cursor along the line, or hover over the nodes, the current envelope segment is highlighted. You can create your own envelopes manually by manipulating the nodes and lines, or you can record an envelope, as discussed in Recording Sculpture Envelopes. µ To adjust the time between nodes Click the desired handle, and drag it left or right. As you do so, the overall length of the envelope changes—with all following nodes being moved.
When you are in any of the loop modes, the loop always cycles between user-defined envelope handles that indicate the loop start point (L icon), and the sustain point (S icon). These handles can be dragged to the desired position. • When set to Finish, the envelope runs in one-shot mode from beginning to end—even if the note is released before all envelope phases have completed. The other loop parameters are disabled.
• Record Trigger Mode menu: Used to choose different record trigger modes to start recording (when R(ecord) is active): • NoteOn: Recording starts when a note is played. • Note + Ctrl Movement: Recording starts when MIDI control change messages (for the assigned controllers, see Assigning MIDI Controllers in Sculpture) arrive while a note is held. • Note + Sustain Pedal: Recording starts when the sustain pedal is depressed while a note is held.
Note: When both Env and Ctrl are activated, however, the controller value is added to the envelope output, resulting in a modulation offset. µ To prepare a recorded envelope for editing The envelope segments and handles are set automatically after recording, so drag the vertical lines that intersect the handles to enable editing. Note: This will not change the shape of the envelope.
The morph section consists of two parts: • Morph Pad: Used to display and edit, or draw, morph point paths. It provides five morph points—center and four corners—plus menu options for randomizing, and copying and pasting, morph points or Morph Pad states. • Morph Envelope: Used to display and edit morph points—either by segment (with the mouse), or recorded MIDI controller movements. For example, you could use a vector stick (Morph X/Y controllers) or drag the morph ball (on the Morph Pad).
When you activate Auto Select mode, the nearest morph point will be automatically selected when you move the ball in the Morph Pad. You can also click in the circles around A, B, C, D, or Center to manually select a Morph Pad point. Randomizing Morph Points in Sculpture’s Morph Pad The randomize feature allows you to create random variations of selected morph points. When combined with the copy/paste function, randomizing lends itself to using the Morph Pad as an automatic sound generator.
A randomization example 1 Select the desired Point button (the top, five-point button, for example). 2 Ensure that Auto Select is active. 3 Set the Int(ensity) slider to a value of around 25%. 4 Click the Rnd button. Keep an eye on the parameters in the core synthesis engine. You will see a number of them move. 5 Drag the morph ball to each of the corners in the Morph Pad. Do this along the edges, as well as through the center of the Morph Pad, and note how this affects the morph.
Copy and Paste Menu Items • Copy selected Point: Copies the current morph point into Sculpture’s Clipboard. • Copy current Pad Position: Copies the current morph state into Sculpture’s Clipboard. • Paste to selected Point: Pastes the Clipboard content to the selected point. • Exchange selected Point: Swaps previously copied data with the selected point. • Paste to all Points: Pastes the Clipboard content to all selected points.
Getting to Know Sculpture’s Morph Envelope Display The morph envelope offers nine points/eight segments, and recording functionality that is much like that of the controller envelopes. The selected (orange) point in the lower panel (the Timeline) corresponds to the selected point in the Morph Pad trajectory. • The overall time/length of the morph envelope is indicated by the numerical entry at the top right of the display. • The maximum time/length of the morph envelope is 48 bars/40 seconds.
Note: Sculpture’s Morph Pad displays a moving dot that indicates the current morph position, during a morph on a monophonically played sound. The red line in the Timeline below the Morph Pad shows the current time position. Using the Sculpture Morph Envelope Parameters The following section outlines the morph envelope’s parameters.
Choosing Sculpture’s Morph Envelope Mode The Mode buttons activate the morph envelope and allow you to choose from the following modes: • Both buttons off: Morph functionality is disabled. • Pad only: Envelope is deactivated, and morph functionality is controlled by the morph ball or X/Y MIDI controllers only. • Env only: Envelope is running, but the morph ball and X/Y MIDI controllers are deactivated.
When you are in any of the loop modes, the loop always cycles between the loop and sustain envelope handles—the nodes indicated by the small L and S icons. The morph envelope can, like any envelope, run in one-shot mode—it runs normally, for as long as the note is sustained. It can also run several times, or in an infinite cycle, much like an LFO. You can achieve the latter through the use of loops. Loop handle Sustain handle The loop and sustain point handles can be grabbed and repositioned.
Recording Morph Envelopes in Sculpture The following section outlines the steps required to record a morph envelope. To record a morph envelope 1 Choose a trigger mode (see below), if you don’t want to use the Morph Pad. 2 Press the R(ecord) Enable button to “arm” the morph envelope record function. 3 Play a note on your MIDI keyboard, and do one of the following: a Drag the silver ball in the Morph Pad. b Move an external controller (see Assigning MIDI Controllers in Sculpture).
Assigning MIDI Controllers in Sculpture The bottom strip of the Sculpture interface is used to define MIDI controllers—for vibrato depth control or Morph Pad movements, for example. You can use any MIDI controller shown in the menus for these control sources. These parameters are saved with each setting. They are updated only if the default setting that is loaded on instantiating the plug-in is used, or if the setting was saved with a project.
Sculpture Tutorial: Getting Started with Sound Creation This section contains information to assist you when starting to explore sound creation in Sculpture. The creation of particular types of basic instrument sounds is discussed in several sections. See Sculpture Tutorial: Creating Basic Sounds. For a more detailed look at programming particular types of sounds, see Advanced Sculpture Tutorial: Programming Electric Basses and Advanced Sculpture Tutorial: Programming Synthesized Sounds.
Exploring the String in Sculpture The string is the central synthesis element of Sculpture and is responsible for the basic tone. It offers parameters that allow you to adjust its material—what it’s made of, in other words—and to define the environment that it’s being played in—water or air, for example. Tip: Before starting, Control-click the string (the green horizontal line in the Pickup display), and then click “enable string animation.
2 You probably noticed that moving the Media Loss, Tension Mod, and Resolution sliders also had an effect on the green and blue Keyscale sliders inside and outside the ring. Drag each of these Keyscale slider arrowheads to different positions—one by one—while you play a few notes either side of middle C. Notice the changes that happen up or down the keyboard range.
7 Try out each of the Gate settings. The three string object dials/controls are shown, along with the Pickup section at the center left. Exploring the Pickup Section in Sculpture The vibration of the string is captured by two movable pickups. The Pickup section also houses three object sliders—used to set the position of each object along the string. Objects Pickup A slider Pickup B slider Objects To change the object positions along the string 1 Reload the #default (or your vanilla) setting file.
µ To change the pickup positions along the string Drag the Pickup A and Pickup B sliders. Note that changes to the pickup positions result in quite different string vibrations and tonal qualities. If you want to increase the overall volume, adjust the Level knob on the right side of Sculpture’s interface, directly opposite the Pickup section.
All other parameters on the lower portions of the Sculpture interface (Modulation, Morph, Envelope, and Controller Assignments) are not part of the core synthesis engine, although they can obviously affect it. Sculpture Tutorial: Creating Basic Sounds This section covers the creation of basic types of sounds, such as organs, basses, guitars, and so on. It contains a collection of programming guidelines, tips, tricks, and information to assist you in creating particular types of sounds in Sculpture.
Is the instrument polyphonic or monophonic? This is a significant factor, which ties in to the next question about how the instrument is played. Some differences between monophonic and polyphonic instruments are obvious, such as the inability to play chords on a flute. A more subtle difference involves the way a modeled string will interact with any currently active string. This, of course, can’t happen in a flute, which is strictly a one-note instrument.
2 Open the Transpose pop-up menu at the top of the interface, choose the +1 Oct. parameter, and play a few notes around C2. You’ll note that the general color of an acoustic bass is already there. 3 You can certainly drag the ball on the Material Pad toward the Nylon corner, but first open Object 1’s Type pop-up menu and choose Pick. 4 Play your keyboard, and adjust the ball position while doing so.
7 Drag Object 1’s pickup position to a value of 0.10. You should be starting to get pretty bells now … play a few notes. 8 Now click the Delay button in the upper-right section to activate the Delay unit. 9 Click the Sync button at the bottom of the Delay section, and drag the Delay Time slider to a value of 20 ms. 10 Adjust the Wet Level knob to 66%. 11 Click the Body EQ button in the lower right to activate it. Ensure that Lo Mid Hi is selected in the Model pop-up menu. 12 Adjust the Low knob to 0.
9 Now click the Keyscale button and—while playing up and down the keyboard—independently adjust the Resolution slider, plus the Resolution Low and High Keyscale sliders until the range of the keyboard you wish to play (an octave or so around middle C, for example) doesn’t suffer from those mandolin/phone artifacts. Make sure your sound retains the “brassy” quality. 10 Move Pickup A’s position to around 77%. 11 Turn on the Waveshaper and select Scream as your preferred type.
8 Move the Material Pad ball to a position between the end of the Inner Loss text and below the Nylon text. 9 Play the keyboard and you should hear a flute-like sound, but with a long release—which obviously isn’t ideal. Drag the Amplitude Envelope Release slider down to around 0.99 ms. 10 Pickup A should be set to a value of 1.00 (far right). 11 Set Object 1’s pickup position to around 0.27. 12 Set Object 2’s pickup position to around 0.57.
10 Click-hold the Spread Pickup semicircle, and drag vertically to increase the perception of stereo width (a value around the 10 o’clock/2 o’clock mark is nice). 11 Activate the Filter, and select Lo Pass mode. 12 Adjust the Cutoff and Resonance parameters to taste (try both at 0.81). 13 Adjust the Tension Mod slider upward, and play the keyboard to see how the momentary detuning effect caused by this parameter affects the sound. Set it to an appropriate amount. 14 Set the Level Limiter mode to “both.
10 Now drag the Object 2 pickup while holding down the C chord. When you find a position that meets your “that sounds like an organ” criteria, release the object pickup. 11 Now very slightly adjust Object 2’s Timbre parameter upward. 12 Carefully adjust Object 2’s Variation parameter downward and upward until you find a tone you like. 13 You may at this point want to move the Object 2 pickup parameter to another position. Hold down a chord while doing so.
7 Drag the Media Loss slider up and down while playing to hear its effect. Find a suitable setting. 8 Similarly, you can change the Material Pad ball position—although its effect on the overall tone of the sound is heavily reliant on the Media Loss value. 9 Activate the Body EQ and Filter, and adjust the settings to your heart’s desire. 10 Save setting as with a new name.
µ Follow the example above to create higher-pitched solo string instruments, but pay special attention to all Keyscale parameters. Careless settings can lead to an out-of-tune violin or viola. µ Use the Body EQ to alter the sound. Take care with settings as they can have a large impact on the upper octaves in particular.
2 Click the LFO 1 tab at the bottom left of the interface. 3 Click the 1 button, and play the keyboard. Not much difference there, right? 4 Now drag the “amt” slider left and right, while holding down a chord. Finally settle on a value of 0.15. 5 Open the Target pop-up menu by the 1 button and choose Object 1 Strength. You’ll hear a fluttering sound. 6 Now click the “sync” button, and adjust the Rate knob to a value of 1/8t.
Sculpture Tutorial: Modulations The modulation options can be very important for the emulation of acoustic instruments, such as with the introduction of vibrato into a trumpet sound over time. Many classic synthesizer sounds also rely as much on modulation as they do on the basic sound source components—the VCO, VCF, and VCA. Here are a number of quick modulation tips: • Imagine that you want to modulate the timbre of Object 2 with the LFO, for example.
To build a bass and all its components in Sculpture, you need to understand the basic, physical process of sound production within the instrument. Before looking at the practical programming process within Sculpture, you’ll find detailed information on the construction of electric basses in the next section. Note: To see the settings for these tutorials in the Sculpture window, open the Settings menu and choose Tutorial Settings.
The vibration of the strings is captured by an electromagnetic pickup. When the string is vibrating, its steel core affects the magnetic field. The pickups are almost always found some distance to the side, nearer to the bridge and stop tailpiece. There are different pickup concepts for electric basses, and often two or more pickups are combined to make the sound.
Note: You can, of course, transpose sounds within Sculpture, but this isn’t the best solution in this case, for the following reason: Sounds would not be compatible with MIDI regions in which note number 60 as middle C is considered to be the measure of all things. 2 Open the Settings menu in Sculpture and choose the default setting. To recreate the sound characteristics of a typical bass instrument 1 Set the Attack value of the amplitude envelope to its minimum value (0.00 ms).
5 Keep an eye on the help tag, and drag Pickup B to the exact position of Pickup A. The two thin orange lines should overlap perfectly. As a suitable value for the example, set both pickups to 0.10. Note: Make sure the Invert switch to the lower left of the pickup display isn’t turned on, because this would cause the pickups to completely cancel each other out. It’s now time to determine the playing position: 6 Drag the Object 1 slider in the pickup display in a horizontal direction.
2 Drag the ball upward until you hear an acceptable sound. Try the position shown in the figure: Note: In general, a splaying of the overtones in low wound strings is typical. You can recognize it by the slightly impure, metallic sound. This occurs because the partials (overtones) are not exact whole number multiples of the fundamental frequency, but rather are shifted somewhat higher. An example of this effect in the real world of electro-acoustic instruments is the low strings on a Yamaha CP70.
Emulating String and Fret Vibrations in the Basic Bass Sound The vibration of a bass string does not occur in a vacuum. The antinode of the string frequently encounters the natural, physical limitations of the instrument. This is heard as the typical buzzing and rattling that occurs when the strings touch the frets. To simulate these disturbing elements with Object 2 1 Activate Object 2, and choose Bouncing from the Type pop-up menu. The sound should now vaguely remind you of a mandolin tremolo.
µ To activate the scaling function display Click the Keyscale button at the bottom of the Material Pad. The key scale below C3 is displayed in green, the range above in light blue. The Material Pad with its Keyscale parameters activated is shown here: Note: The most relevant performance range for basses is found exclusively below C3. For this reason, you should make use of the green sliders to set the actual timbre of the sound.
3 Increase the Resolution value until the metallic rattling disappears. Set the slider to the following position: 4 Play some notes in the bottom range (around E 0). You’ll note that the sound is quite muffled and vintage-like. Move the green Low Keyscale slider (found below the main Resolution slider) all the way to the right; the low range should now sound a little more wiry. With most stringed instruments, the overtone content decreases as the pitch becomes higher.
When playing, you’ll recognize the smooth transition that takes place between the wiry, overtone-rich sound at the bottom end and the extremely dampened sound in the upper register. This exaggerated setting was chosen to clearly demonstrate the scaling principle in stringed instruments. To achieve an authentic sound and timbre, try the following setting: Setting Sustain Levels for the Basic Bass Sound In basses in particular, low notes sustain far longer than high notes.
3 Compare your results with these recommended values: You’ve now completed this section and created a basic bass that’s articulated with your fingers. Save this asE-Bass Fingered Basic. In the following sections, you’ll be using this basic bass as a foundation for the construction of further bass sounds.
2 Choose the standard Lo Mid Hi model from the Model pop-up menu in the Body EQ section. 3 Reduce the low bass frequencies by setting the Low knob to a value of −0.30. 4 Boost the mid-range frequencies substantially by setting the Mid knob to a value of 0.50. Drag the Mid Frequency slider to a value of 0.26. 5 You’ll probably find that the boosting of the low mid frequencies is a little too strong at this point, so return the Mid value to 0.30.
When these settings are used, you’ll find that the sound has become softer and very thin. In fact, it’s somewhat reminiscent of a clavinet. To compensate for this side effect with the Body EQ 1 Activate the Body EQ and add a healthy portion of bottom end to the sound by setting the Low parameter to 0.60. Mid should be set to 0.33. 2 Set the High knob to −0.45 as the sound is now so bright that rolling off a few of the highs can’t hurt. 3 Now bring the volume into line. If you adjust the Level knob to 2.
Emulating Guitar Harmonics with Sculpture Harmonics are single partials (overtones) of the overall sound. They can be heard by damping certain points along the string. This is done by lightly laying the fingers of the left hand (assuming a right-handed bass player) on the string—not pressing down—before the note is articulated. The first overtone, the octave, is achieved by placing your finger at the exact middle of the string—in effect separating the string into two halves.
4 Add the icing to the cake with the Body EQ by turning the Low knob to its maximum value (1.00). 5 To remove the smacking in the attack phase, use the graphical display to choose a value of 0.48 for the Body EQ Mid frequency, then use the knob to increase this value to 0.51. Option-click the Body EQ High parameter to set it to a value of 0.00. 6 Save this setting asEasy Listening Pick Bass. Emulating a Slap Bass Sound with Sculpture You’re actually dealing with two different articulations here.
5 Drag the ball down a little, and the sound becomes more wiry. The ball should now be directly above the word Steel on the horizontal axis. From the models at your disposal, Strike is the most suitable for simulating a thumb physically striking the strings from above. This model is not, however, as appropriate for the slapped (popped) strings. It makes the most sense to choose the Pick model for this purpose. 6 To be safe, turn the Level knob to −25 dB. 7 Choose the Pick model for Object 1.
To review the functions of these parameters: Timbre determines the angle of the obstacle to the string, whereas Variation defines the type and degree of reflection. To adjust Object 2’s parameters 1 Set Timbre to 0.39. This corresponds to a fingerboard that runs almost parallel to the string. 2 Set the Strength parameter to 0.33. Note: Try some higher values as well. You’ll see that the sound becomes softer and softer until it’s completely dampened by the obstacle. 3 Set Variation to 0.64.
4 Adjust Object 2’s parameters to the following values: Strength 0.14, Timbre −0.05, Variation −1.00. 5 Click-hold the Object 2 slider, which remains at the far right in the Pickup display, to see its value of 0.99. You’ll note that the range between C2 and C3 already sounds quite acceptable, but the buzzing in the lower notes is still too strong. It is somewhat sitar-like, so keep this disturb model in mind when it comes to creating a home-spun sitar.
Using Modulation and Detuning Effects with Sculpture Detuning and ensemble effects are normally achieved using a modulation effect or by combining doubling and detuning. When you are using a fretless bass for a solo part, a broad chorus effect adds a nice touch. Because Sculpture can synthesize only one note at a time at any given pitch, simple doubling isn’t an option. There are, however, alternatives for bringing movement and life into the sound.
Tip: At the maximum stereo breadth, effects based on detuning are not as prominent, especially when the beats heard in the sound result from signal differences between the left and right channels. This is valid only to a certain degree, because the motion of the pickup doesn’t create a true chorus or harmonizer effect. Try it out and see what happens when the stereo breadth is reduced a little. Also test other modulation targets, such as Pickup Pos A+B, Pickup Pan A+B, Pickup Pan A−B, and String Stiffness.
This example shows that the Delay section can be used as a substitute reverb for small spaces. For sophisticated reverb effects, it’s best to process Sculpture’s output with one of Logic Studio’s reverb plug-ins. To create a “drowned in delay” effect 1 Reload the Fretless Chorus Dry setting. 2 Switch the Delay section on. 3 Drag the Input Balance slider all the way to the right, to 1.00. 4 Set the Delay Time value to 1/4t (quarter-note triplet). 5 Set the Feedback knob to a value of 0.20.
Within the framework of these short experiments, it is of course impossible to comprehensively cover all of Sculpture’s possibilities. You are encouraged to use the suggested settings initially, and closely observe the results of the changes you make. In this way you can learn a lot about the instrument, and perhaps be inspired to create new sounds and variations. Note: To see the settings for these tutorials in the Sculpture window, open the Settings menu and choose Tutorial Settings.
2 Locate the Envelope section in the lower-right corner of the Sculpture window. Select the first of the two envelopes by clicking the envelope 1 button to select it. In the left part of the Envelope section, notice the two routing possibilities that allow you to assign a modulation target to the envelope. 3 Click the 1 button to activate the first routing link, and choose Object1 Position from the Target pop-up menu as the modulation target.
Play a note or chord and listen to the modulation you recorded. If you’re not satisfied, repeat the procedure described above until you’re happy. The maximum available recording time is 40 seconds, which makes it possible to control parameters and create modulations that extend far beyond the capabilities of a simple ADSR envelope. Note: By moving the junction points, you can edit the shape of the envelope when the need arises.
2 Click-hold the Spread Pickup semicircle, and drag upward until the light blue dots come to rest near the line that separates both semicircles. This separates the stereo pan positions of the Pickups. 3 Click the 1 and 2 buttons to activate both of the modulation links in LFO1. 4 For the first link, choose PickupA Position from the Target pop-up menu, and then drag the “amt” slider to a small positive value of about 0.03 Hz to modulate the position of Pickup A.
7 To give the pad a little depth, activate the Delay. Set the Delay Time to 1/4 and adjust the Xfeed knob to 30%. The pad now has a pleasant and unobtrusive ambience; you can leave the other Delay parameters at their original values. Finally, you will want to optimize the sound so that it is a little more animated. The end result you should be aiming for is subtle, which makes the jitter modulators the perfect tool for the job. The jitter modulators are basically LFOs that use a random waveform.
5 Drag the slider below the Target pop-up menu to an Intensity of about 0.2, and adjust the Rate knob to 1.5 Hz. As you increase the Intensity, the sound develops a distinct clinking or rattling—adjust this effect to taste. You now have a satisfactory pad sound, which you should leave alone at this point, even though a few Sculpture features such as the Filter and the Waveshaper lie idle—not to mention the two additional Objects—but sometimes it’s smart to quit while you’re ahead.
After you choose different settings for the Morph Pad corners, moving the morph ball will create marked sound variations—even though the intermediate stages do not all exhibit a tonal character. You can automate the morphing process by assigning two MIDI controllers to the MorphX and MorphY pop-up menus at Sculpture’s bottom edge. You can also automate the Morph Pad using a recorded envelope (for more information, see Recording Morph Envelopes in Sculpture).
Ultrabeat 15 Ultrabeat is a synthesizer that is designed to create percussive sounds and polyphonic rhythms. Ultrabeat’s sound engine is optimized for creating electronic and acoustic drum and percussion sounds. It combines several synthesis approaches—phase distortion, sample playback, FM (frequency modulation), and physical modeling—to create tones. You can even use an audio side-chain input as a sound source, if desired.
• Getting to Know the Ultrabeat Oscillator Parameters (p. 439) • Using Oscillator 1 in Ultrabeat (p. 440) • Using Oscillator 2 in Ultrabeat (p. 444) • Using the Ultrabeat Ring Modulator (p. 449) • Using the Ultrabeat Noise Generator (p. 450) • Getting to Know the Ultrabeat Filter and Distortion Section (p. 451) • Using Ultrabeat’s Multimode Filter (p. 452) • Using Ultrabeat’s Distortion Circuit (p. 454) • Using the Ultrabeat Output Section (p. 455) • Working with Modulation in Ultrabeat (p.
The distribution of drum voices across the MIDI keyboard is simple—a single drum voice is assigned to the first 24 MIDI keys, starting from the bottom. The 25th drum voice is assigned to the keys above—from the 25th key—allowing this sound to be played chromatically. 25th drum voice can be played chromatically.
Loading and Saving Ultrabeat Settings Ultrabeat settings are saved and loaded in the same way as other Logic Studio instruments. For more information, see the Logic Pro and MainStage documentation.
Getting to Know the Ultrabeat Interface Ultrabeat’s user interface is divided into three main sections. Assignment section Synthesizer section Step sequencer • Assignment section: Displays all drum sounds in a drum kit, allowing you to select, rename, and organize them. It also includes a small mixer, used to adjust the level and pan position of each sound. See Getting to Know Ultrabeat’s Assignment Section. • Synthesizer section: Used to create and shape individual drum sounds.
• Set relative levels and pan positions for each sound. • Mute or solo sounds in the drum kit. Master Volume slider Pan knob Output menu Volume slider shown below sound name Solo button Keyboard Mute button • Master (Volume) slider: Controls the levels of all drum sounds in the kit—the overall mix level of all drum sounds. • Volume slider: Sets the volume of each sound. All sound levels are indicated by blue sliders that provide a complete overview of all relative levels within the kit.
To play a sound Do one of the following: µ Play a note on a connected MIDI keyboard. As mentioned, the bottom sound is mapped to MIDI note C1. µ Click a key on the onscreen keyboard to trigger the sound on the adjacent row. The corresponding key on the onscreen keyboard to the left of the sound name turns blue when it is clicked or when it receives appropriate MIDI information. µ To select a sound Click the name of the sound in the Assignment section.
To rename a sound 1 Double-click the name of a sound to open a text entry field. 2 Type in the name and press Return, or click anywhere outside the text entry field, to complete the naming operation. Swapping and copying drum sounds within an Ultrabeat kit can be achieved with a drag-and-drop or shortcut menu operation. To swap or copy drum sounds using drag and drop 1 Select the sound name (not on a button or menu). 2 Drag it to the desired position.
2 Choose one of the following commands from the shortcut menu: • Copy (Voice & Seq): Copies the selected sound, including mixer settings and all sequences, to the Clipboard. • Paste Voice: Replaces the selected sound with the sound from the Clipboard but does not replace existing sequences. • Paste Sequence > (submenu): Enables you to replace all, or individual sequences, of the target drum sound. Sound parameters are not affected.
Adding Sounds and Sequences to Your Ultrabeat Drum Kit You can use Ultrabeat’s import list to add drum sounds and sequences from other Ultrabeat settings or EXS instruments to your currently active Ultrabeat drum kit. To open an Ultrabeat setting or EXS instrument with the import list 1 Click the Import button near the upper-left corner of the interface. Click here to import a sound from another Ultrabeat drum kit or EXS sampler instrument.
A list of all sounds found in the selected setting, or samples in the EXS instrument, is shown to the right of the Assignment section Mixer. Import list Note: If you import EXS instruments that include more than 25 sample zones, you can navigate through pages (of 25 zones) by using the up and down arrows to the left and right of the EXS instrument name at the top of the import list. Click the arrows to navigate to additional pages of sounds.
µ To drag sounds into your drum kit Drag the sound name from the import list into the desired row in the Mixer section. Note: Hold down the Command key to include all sequences. To transfer sounds using shortcut menu commands 1 Control-click (or right-click) the sound name in the import list. 2 Choose Copy (Voice & Seq) in the shortcut menu. This copies the selected sound and its sequences to the Clipboard.
The interface and signal flow of Ultrabeat’s synthesis engine are based on classic synthesizer designs. If you’re totally new to synthesizers, it might be best to start with Synthesizer Basics, which will introduce you to the fundamentals and terminology of different synthesis systems. If you look at the Synthesizer section from left to right, you’ll recognize the layout and signal flow of a subtractive synthesizer.
The Filter receives its signal from the following sound sources: Oscillator 1, Oscillator 2, the noise generator, and the ring modulator. The outputs of these sources are represented by the three round objects and the smaller, rectangular ring modulator section to the right, that surround the Filter. One level down—from front to back—each of the sound source output objects provides controls that determine how modulation sources, such as the LFO and envelopes, affect the sound source.
Getting to Know the Ultrabeat Oscillator Parameters This section provides an overview of the parameters available to both oscillators. Further sections discuss parameters that are unique to each oscillator. Pitch field Pitch slider Volume knob Mod and “via” menus (for volume) Signal Flow button Mod and “via” menus (for pitch) • Oscillator on/off button: Click the button (at the top left of Oscillator 1 or bottom left of Oscillator 2) to activate or deactivate each independently.
Using Oscillator 1 in Ultrabeat Oscillator 1 can be switched between three different modes. In essence, this enables different types of synthesis engines: phase oscillator, fm, and side chain (external audio input), which extends your sonic palette significantly. Each mode offers different parameters and features. Click the appropriate button (on the upper edge of oscillator 1) to enable each mode.
Creating Classic Waveforms in Ultrabeat’s Phase Oscillator Mode The basic waveforms of classic analog synthesizers can be easily reproduced with the phase oscillator: sine, rectangular, and sawtooth waves will result from different Slope, Saturation, and Asym parameter value combinations. For example, setting Slope and Saturation to their maximum values, and Asym to the minimum value will result in a classic square wave. Setting Slope to −0.
In a synthesizer, this type of modulation takes place in the audio spectrum. Depending on the design of the instrument, you can hear the signals of either the carrier alone, being modulated by the modulator, or both oscillators. The interaction between the two oscillators alters the waveform signal of the carrier and introduces a number of new harmonics. This harmonic spectra can then be used as the source signal for further sound processing, such as filtering, envelope control, and so on.
Using Ultrabeat’s Side Chain Mode In Side Chain mode, Ultrabeat uses an external side-chain input as the source for Oscillator 1. This means that you can send the signal of any audio channel strip, any bus, or live input through Ultrabeat’s filters, envelopes, LFO, and step sequencer. Using busses as sidechain sources makes it possible to route signals to the sidechain input from any channel strip type that offers busses as outputs or sends.
Using Oscillator 2 in Ultrabeat Oscillator 2 can also be switched between three different types of synthesis engines: phase oscillator, sample, and model. Each mode offers different parameters and features. Click the appropriate button on the lower edge of the Oscillator 2 section to enable each mode. Using Oscillator 2’s Phase Oscillator Mode in Ultrabeat Oscillator 2’s phase oscillator operates in a nearly identical fashion to the phase oscillator of Oscillator 1.
Note: If Min and Max are set to the same value, velocity has no effect on the sample start point. • Playback Direction button: Changes the playback direction of the sample (forward or backward). • Layer sliders: Both factory Ultrabeat samples and sounds imported from EXS instruments often consist of different layers that are dynamically switched by incoming MIDI note velocities.
Using Ultrabeat’s Load Sample Preview Function You can audition samples before importing them into Ultrabeat. • Play button: Allows you to preview audio files (AIFF, WAV, SD2, CAF, UBS) before loading. • Click the Play button to loop playback of the currently selected sample file. The sample is played directly from the hard disk, with no manipulation: filters, EQ, envelopes, and other synthesizer parameters are ignored. • Click the button again to stop playback.
Using Ultrabeat’s Model Mode This mode employs a method of synthesis known as component modeling. This tone generation technique emulates the physical properties of an object, such as a guitar string. Further objects are used to stimulate the string—in essence, emulating the way that it is played: plucked, bowed, and so on. Although the termstring is used, Model mode enables you to create sounds that have little in common with traditional stringed instruments.
Using the Ultrabeat Material Pad The combination of the Inner Loss and Stiffness parameter positions determine the string material and, therefore, the general timbre of your sound. Both parameters are simultaneously controlled by dragging the ball (which correlates to the x and y coordinates) within theMaterial Pad. The default pitch of the string is C3 (middle C). In general synthesizer terms, this could be viewed as being similar to the waveform selector/generator in the oscillator section.
Using the Ultrabeat Ring Modulator Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds. Ultrabeat’s ring modulator functions as an independent sound source—its signal can bypass or be sent into the filter, independent of the Oscillator 1 and 2 signals. Its volume can also be regulated.
Using the Ultrabeat Noise Generator The Ultrabeat noise generator offers extensive features, enabling the creation of a wide range of percussive sounds and sound elements. The noise generator also has its own filter—which functions independently of the main Ultrabeat Filter, although this can also be used on the overall sound. Technically, a noise signal contains all tonal frequencies, at a more or less equal volume level.
• BP (bandpass): The frequency band directly surrounding the center frequency (determined with the Cutoff knob) is allowed to pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the center frequency of the band. • byp (bypass): Disables the integrated filter.
For more information about synthesizer filters, see Filters. Multimode filter Sounds are passed through the filter and distortion unit as determined by the direction of the arrow found at the equator of the filter section.
• Filter Type buttons: Switch the Filter between lowpass, highpass, bandpass or band-rejection filter types. See Choosing the Ultrabeat Filter Type (LP, HP, BP, BR). • Filter Slope buttons (12 and 24): These buttons switch the filter between different slopes. See Setting the Ultrabeat Filter Slope, • Cutoff and Resonance knobs: Determine the cutoff/center frequency and resonance/bandwidth of the filter. See Using Ultrabeat’s Filter Cutoff Parameter and Using Ultrabeat’s Filter Resonance Parameter.
Setting the Ultrabeat Filter Slope Most filters don’t completely suppress the portion of the signal that falls outside the frequency range defined by the Cutoff parameter. Frequencies that are located close to the cutoff frequency are generally reduced less than those that are farther away. The higher the slope value, the more apparent the level difference is between frequencies that are near to the Cutoff frequency and those that are farther away from it.
Both methods lead to distortions that are as tonally divergent as the two approaches. Distortion offers a more analog feel while the bit crusher can’t hide its digital origins, nor is it supposed to. Note: The arrow in the Filter section determines whether the Distortion circuit is inserted before or after the multimode filter (see Getting to Know the Ultrabeat Filter and Distortion Section).
The Output section passes signals through both equalizers (EQ), then on to the Pan Modulation/Stereo Spread section (in a preconfigured order) before the final level is set for the selected sound and the trigger behavior is adjusted. Two-band EQ Pan modulation Voice volume Trigger mode controls • Two-Band EQ: Provides precise tonal control of each drum sound. • Pan Modulation and Stereo Spread parameters: Pan Modulation varies the panorama position of a drum sound.
Using Ultrabeat’s Two-Band EQ Both equalizer bands have almost identical features. Their parameters are explained jointly, but you can, of course, adjust band 1 (the lower EQ in the Output section) and band 2 separately. EQ type buttons Gain knob Frequency field Q field Band 2 button EQ curve display Band 1 button • Band 1 and Band 2 buttons: Turn the individual band on or off. When active, the label is red. If neither EQ is activated, the signal passes through unaffected.
• Frequency (Hz) field: Determines the frequency range to be boosted or reduced, by dragging vertically on the Hz value field. • Option-click the Hz parameter to set the value to a neutral position. This is 200 Hz for the first band and 2000 Hz for the second. The selection of these default frequencies was made in accordance with the different shelving characteristics of each frequency band. Band 1 is designed to filter low frequencies and band 2 is designed to filter high frequencies.
Note: The modulation set here is relative to the panorama position set in Ultrabeat’s Mixer in the Assignment section. Pan Mod button The panorama position (set in the mixer) is represented by a thin, red line. Spread button • Pan Mod and Spread buttons: Activate the corresponding mode. If neither mode is activated, the signal passes through unaffected. • Mod and via menus: Determine the modulation and via sources for pan modulation.
Note: Envelope 4 (Env 4) is hard-wired to voice volume—the level control for the selected sound. Each sound in the kit also has a further three envelopes and other modulation sources available for control of other synthesis parameters. Voice volume knob The intensity of Envelope 4’s impact on Voice Volume can also be modulated with a via source. Note: Voice Volume precedes the sliders in the mixer.
Note: While in Single Trigger mode, only the currently sounding note of the same sound is cut off. A sound that is assigned to a group cuts off all other sounds, regardless of note, in the group. • Gate button: Enables or disables the Gate function. When active, the sound is immediately cut off when the MIDI note is released (MIDI note off ), regardless of envelope settings.
The harder the key is played, the higher (in pitch) it will sound—which is ideal for synthesized tom-tom sounds, for example. Ultrabeat Modulation Examples Consider the following example to better understand how this works: The default Cut (Cutoff ) parameter value is 0.50. No modulation source has been selected in either the blue “mod” or green “via” menu (both are Off ) in the image below.
In the example, the Cut(off ) frequency of the filter is set to a default value of 0.50. The “mod” source (Env 1) drives the Cut value up from 0.50 to 0.70 during the attack phase and back down to 0.50 during the decay phase. When the via source (Ctrl A) is introduced, the following interplay occurs: when Ctrl A is at its minimum value, nothing changes; Cutoff continues to be modulated between values of 0.50 and 0.70 by the envelope (Env 1).
2 Choose one of the modulation source settings in the menu: • The Off setting deactivates the “mod” routing, and the “mod” control can no longer be adjusted. In this situation, no “via” modulation can occur either, because “via” no longer has a modulation target, and the “via” control disappears. • The Env settings set one of the envelope generators as modulation source • The Max setting produces a static modulation at maximum level.
5 Adjust the “mod” and “via” controls as desired. Using Ultrabeat MIDI Controllers A-D The MIDI Controller Assignments area at the upper edge of the Ultrabeat window enables you to assign any MIDI controller shown in the menus to each of the four controller slots: Ctrl A, B, C, or D. These assignments enable external MIDI controller hardware—such as sliders, knobs, aftertouch, or the modulation wheel of your MIDI keyboard—to control via modulation sources in Ultrabeat.
The parameters for both Ultrabeat LFOs are described below. You can freely adjust LFO 1 and LFO 2 independently of each other. Sync and free buttons LFO 1/LFO 2 buttons On/off button Waveform display Ramp knob Cycles knob Rate knob Waveform shape • LFO 1 and 2 buttons: Select the corresponding LFO, allowing independent parameter adjustments for each. • On/Off button: Activates or deactivates the selected LFO.
Waveform Comments Triangle Well suited for vibrato effects Sawtooth Well suited for helicopter and space gun sounds. Intense modulations of oscillator pitch with a sawtooth wave lead to “bubbling” sounds. Intense sawtooth modulations of lowpass filter cutoff and resonance create rhythmic effects. Sine Ideal for smooth, even modulations. Its position on the Waveform Shape slider enables you to smoothly morph between sawtooth and square/rectangular waves.
When Cycles is set to values under 100, the LFO will be reset by each new MIDI note on message (Note On Reset). It’s really a question of taste as to whether or not you choose to trigger an LFO cycle from the same spot or just allow it to oscillate freely, regardless of phase. The random element of free-running LFOs can make many sounds fatter. This, however, can be at the expense of a percussive attack—which is not ideal for many drum sounds.
Editing Ultrabeat’s Envelopes Graphically Ultrabeat’s envelope display provides a unique envelope design, consisting of Bezier curves in which two segments—attack and decay—constitute the entire envelope. Attack curve handle Attack curve handle Decay curve handle Decay curve handle Attack time handle Decay time handle In the envelope graphic, you can see various handles (junction points) of two different sizes.
Using Ultrabeat’s Envelope Parameters In order to edit envelope parameters, you first need to select one of the four envelopes with buttons 1 through 4. After this is done, the parameters of the corresponding envelope can be changed in the envelope display window. 1–4 buttons Attack time handle Decay time handle Zoom scroll Zoom buttons Sustain button Env mod menu Mod (via vel) slider • Buttons 1–4: Used to choose one of the four envelopes. Only the selected envelope can be edited.
Note: If the Sustain button is not activated, the envelope functions in one-shot mode, and the note length (MIDI note-off command) is disregarded. • Zoom (to fit) button: Enlarges the envelope to fill the entire width of the envelope display, making it easier to adjust junction points and curves. Note: When the Zoom function is active, the decay handle can be dragged beyond the right-hand edge of the envelope display area, in order to lengthen the decay time.
Working with the Ultrabeat Step Sequencer The integrated step sequencer allows all Ultrabeat sounds to be combined in patterns, based on sequences for each individual sound. Its design and use—commonly referred to as step programming—are based on analog sequencers and drum machines. Unlike these analog precursors, Ultrabeat enables you to program automated changes for nearly every synthesizer parameter.
Ultrabeat’s integrated step sequencer couples the advantages and general working principles of its analog forebears with far more flexible control options, raising modern rhythm programming to a new level. Getting to Know Ultrabeat’s Step Sequencer Ultrabeat’s step sequencer contains a sequence for each sound in a drum kit. Each sequence can consist of up to 32 steps. A pattern is a container for all sequences in a drum kit. Up to 24 patterns can be saved and recalled with each Ultrabeat setting.
Using Ultrabeat’s Global Sequencer Parameters A description of the parameters that apply globally to all patterns follows. On/off button Transport button Swing knob Edit Mode switch • On/Off button: Enables or disables the step sequencer. • Edit Mode switch: Chooses either Voice or Step mode. • Voice mode (default): In Voice mode, editing a drum sound’s parameters sets the parameters of the drum sound itself. • Step mode: In Step mode, you can automate a sound’s parameters from one step to the next.
Using Ultrabeat’s Pattern Parameters A pattern contains all events, stored in sequences, for all 25 sounds. At the bottom edge of the Ultrabeat window you can select from one of 24 patterns, and set parameters that globally affect all sounds in the kit. Accent slider Accent on/off button Length bar Swing Enable button Pattern menu Length field Resolution menu • Pattern menu: Allows you to choose one of the 24 patterns. • Length field and bar: Defines the length of the pattern.
4 Control-click the Pattern menu, then choose Paste from the shortcut menu. You can also use a key command to copy patterns. To copy a pattern using the key command 1 Select the desired pattern in the Pattern menu. 2 Press Option, open the Pattern menu and select another Ultrabeat pattern. This replaces the pattern in the target position. Note: Be aware that all existing sequencer data in the target pattern will be replaced. If you change your mind during the process, select the source pattern number.
The step grid area contains two rows, each with 32 fields (steps). Trigger row Velocity/Gate row • Trigger row: Click a button to activate or deactivate the sound on the corresponding beat. • Velocity/Gate row: Sets the length (gate time) and velocity of steps entered in the Trigger row. Both parameters are displayed as a single graphical bar. The bar’s height represents the velocity; its length, from left to right, depicts the note length.
Note: Drag horizontally across the buttons to quickly enable or disable trigger events. Using the Ultrabeat Trigger Shortcut Menu Commands Control-click (or right-click) any of the trigger buttons to open the Trigger shortcut menu, which offers the following commands: Copy, Paste, and Clear Commands • Copy: Copies all activated triggers (steps) to the Clipboard. • Paste: Pastes all triggers from the Clipboard. • Clear: Turns off all activated triggers.
• Shift Right by 1 Beat: Shifts all steps in the sequence one beat to the right. The precise number of steps that equals a beat depends on the current grid resolution. For example, at a resolution of 1/16, a beat equals four steps; at a resolution of 1/8, a beat equals two steps, and so on. • Shift Right by 1/2 Beat: Shifts all steps in the sequence one-half beat to the left. The precise number of steps that equals one half of a beat depends on the current grid resolution.
The gate time is divided into four equal sections, making it easy to set rhythmically accurate note lengths. In order for the one-shot envelope to react to gate time, it is necessary to either activate the Gate function in the sound itself (see Changing the Ultrabeat Trigger Mode) or use envelopes in sustain mode (see Using Ultrabeat’s Envelope Parameters), in conjunction with rhythmically useful (short) decay times.
Full view provides an overview of the whole pattern, as opposed to just one sequence. Because the trigger events for all sounds are shown, you can easily spot erroneous notes, and the entire pattern creation process is simpler and faster.
Sound parameters that can be automated include all functions in the Synthesizer section except the menus (modulation routings and so on), buttons (oscillator type buttons, the buttons in the trigger/group section), and Pan/Spread parameters. Edit Mode switch Offset menu Parameter offset row When you engage Step mode, Ultrabeat’s interface changes in the following ways: • Yellow frames appear around all parameters that can be automated in the Synthesizer section.
All parameters that you choose to automate will appear in the pop-up menu at the top of the (parameter) offset row. Click the grid header (left of the zero axis) to open the menu. Note: The simple act of moving a control element in the Synthesizer section will add the parameter to the offset menu, so take care. Using Ultrabeat’s (Parameter) Offset Row This row enables you to view and enter offset values—on a per-step basis—for any of the Synthesizer section parameters that can be automated.
A parameter offset that has been created for a given parameter on a given step is represented in two ways. • A yellow bar is drawn on the parameter that indicates the deviance (the offset) between the original parameter value and the new parameter value. • In the (parameter) offset row, the offset from the original parameter is represented as a bar starting from the 0 point (horizontal center line). • Positive offsets are shown as a bar above the center line.
• Reset: All offset values for the selected parameter are set to 0 (no offset). • A second click on the Reset button removes the parameter from the offset menu. Note: The Reset button at the left of the velocity/gate row changes to Delete when clicked once. This Delete button mirrors the behavior of the Delete command: It deletes all steps for the currently selected parameter.
Using MIDI to Control Ultrabeat’s Sequencer Pattern performance can be influenced by incoming MIDI notes. This allows you to spontaneously interact with the step sequencer, making Ultrabeat an excellent live performance instrument. The way Ultrabeat reacts to MIDI control is determined by the chosen pattern, playback, and voice mute mode options.
• Voice Mute Mode button: When active, playing MIDI note C1 and above mutes the corresponding sound in the Ultrabeat mixer. A subsequent MIDI note of the same pitch unmutes it. This is ideal for spontaneous rearranging of patterns and/or muting single elements of a pattern without deleting them. This is especially useful in a live performance or remixing situation.
2 Find a suitably tuned pitch in the lower octaves by soloing the bass drum along with other important tonal elements of the song (a bass or pad sound, for example). Drag the Osc 1 Pitch slider to adjust the pitch until appropriate. 3 Use Env 4 to shape the volume of the bass drum. For slower beats you’ll want a longer decay phase, whereas at faster tempos you’ll choose a shorter decay time.
Ultrabeat Tutorial: Reducing Tonality One advantage of bass drums based on sine waves is that their sound can be precisely tuned to match the song. The disadvantage is that a recognizable pitch is not always desirable. Ultrabeat offers several methods to reduce the tonality of the sound. A very effective tool is the 2 Band EQ. To reduce tonality using the 2 Band EQ 1 For band 1, select the Shelving mode at a frequency of about 80 Hz, a high Q value, and a negative Gain value.
6 Set Mod Amount for Cut to 0.60. 7 Set Resonance to 0.30. 8 Set the attack time of Env 3 to 0. Use the Decay time of Env 3 to shape the sound of the filtered bass drum. 9 You may also choose to control the filter resonance with an envelope. Make sure you dedicate a single envelope to this function (in this case, use Env 2 as a Mod source for Res). Choose a Mod amount for Res of about 0.80.
Enhancing the attack transients of your sound: To get even closer to the TR-909, use an EQ setting as shown in the following figure. Note that the low frequency pressure point around 60 Hz (in the red area on the EQ graph) as well as the assertive punch or kick (the blue area starting at 460 Hz and up) of a 909 bass drum are strengthened. (This EQ setting is already part of the Kick 2 setting.) Using envelopes to change the color of your sound: In the example, all four envelopes are being used.
This method enables you to create very different bass drum sounds with a single oscillator, one LFO, and one envelope (for volume). The character of the sounds can range from soft to punchy, and the degree of tonality in the sound can be adjusted to taste. Note: The bass drum sound described is listed as Kick 3 in the Tutorial Kit, at a pitch of D1.
The figure shows the settings of Oscillator 2 and Env 1. 6 Experiment with different Slope and Asym values to impart a more or less electronic character to the sound. 7 Turn on the noise generator and control its volume with the same quick envelope used in Osc 2 Volume. 8 Use the filter parameters of the noise generator to roughen up, refine, or add bright frequencies to the noise component of the snare drum sound. Select an LP filter type, and try a filter frequency between 0.60 and 0.90.
To clone the 808 snare sound 1 Load the Standard Tutorial setting. You are now ready to replicate the resonating filters of the 808 snare using two cleverly programmed phase oscillators. 2 Assign slightly different Slope values to two phase oscillators, and detune them by almost an octave. 3 Adjust the tonal relationship between the oscillators so that it is uneven—from E3 to F2, for example. 4 Control the volume of each oscillator with a different envelope.
2 Open the “via” pop-up menu below the Oscillator 1 Volume knob and choose Vel. A slider appears on the ring around the knob. 3 Drag the slider clockwise. When you drag the slider, a help tag displays the value. Set it to 0 dB. 4 Repeat steps 2 and 3 in both Oscillator 2 and the noise generator. You can now dynamically play the sound using velocity.
If you use differing intensities for each Volume knob when completing this step, you’ll have the potential of individual velocity reactions for each sound component. 2 Increase the dynamics of the sound as a whole by assigning the following setting to the Voice Volume knob: You now have an 808 snare that is exceptionally responsive to velocity.
4 Set the additional control that appears as shown in the figure below, to control the character of the sound with velocity: 5 Repeat this with the other parameters of Oscillator 2, as well as pitch: 6 Modulate the noise generator as follows: • Cut parameter: Choose Max as modulation source, then set the modulation control as shown below. • Dirt parameter: Choose LFO 2 as modulation source, then set the modulation control as shown below. The sound is now nothing like an 808 snare, which was your goal.
Ultrabeat Tutorial: Recreating the Kraftwerk Snare Another classic electronic snare drum sound is the highly resonant lowpass filter of an analog synthesizer that quickly closes with a snap. This sound was used extensively by Kraftwerk. To recreate the Kraftwerk snare sound with Ultrabeat 1 Select the Snare 1 sound. 2 Direct the signals of both oscillators and the noise generator to the main filter. 3 Modulate Cutoff with Env 1 (which is already modulating the volume of the noise generator).
2 Switch off Oscillator 1 and turn on the noise generator. 3 In the noise generator, make sure the Cutoff parameter is modulated by Env 1, the modulation is negative, and the position of the Mod slider is below that of the base parameter value. 4 Use rather short decay values for Env 1 and Env 4. 5 Set the attack time of Env 4 to a value of 0. The attack time of Env 1 should also be rather short, but not equal to 0.
3 In the Material Pad of the Model oscillator, choose a setting with plenty of overtones, as in the figure below. 4 Set the volume of each oscillator to a value of −60 dB, and click “ring mod” to turn on the ring modulator. You’ve just created a bell-like sound that you can filter with a high resonance value if required. Note: You can find a similar sound listed as Ring Bell at a pitch of A2 in the Tutorial Kit.
When you begin thinking that drum sounds consist of several building blocks or layers, the design of the Volume controls in the individual sound generators might make more sense to you—this is the place where the blocks are combined, balanced, and controlled.
GarageBand Instruments 16 GarageBand Instruments are automatically installed with Logic Studio. GarageBand instruments are software instrument plug-ins that are used in Apple’s GarageBand application. You may freely use GarageBand instruments as you would other software instruments in both Logic Pro and MainStage. GarageBand Instruments are actually less CPU and memory-intensive versions of equivalent Logic Pro instrument plug-ins. The GarageBand synthesizers use a cut-down version of the ES2.
• GarageBand Digital Basic (p. 513) • GarageBand Digital Mono (p. 514) • GarageBand Digital Stepper (p. 515) • GarageBand Drum Kits (p. 516) • GarageBand Electric Clav(inet) (p. 517) • GarageBand Electric Piano (p. 517) • GarageBand Guitar (p. 518) • GarageBand Horns (p. 519) • GarageBand Hybrid Basic (p. 520) • GarageBand Hybrid Morph (p. 522) • GarageBand Piano (p. 524) • GarageBand Sound Effects (p. 525) • GarageBand Strings (p. 526) • GarageBand Tonewheel Organ (p. 527) • GarageBand Tuned Percussion (p.
GarageBand Analog Basic The Analog Basic sound is based on the ES2. This is a simple analog synthesizer tone that is useful for a range of musical styles. • Volume slider: Sets the overall volume level of the instrument. • Mix slider: Determines the mix level of (balance between) the oscillator signals. • Tuning slider: Sets the overall pitch of the instrument. • Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it.
• Sustain slider: Determines the level of the sound after the Attack and/or the Decay phase has completed. GarageBand Analog Mono This is a monophonic (one note can be played at a time) analog synthesizer lead sound that is based on the ES2. • Volume slider: Sets the overall volume level of the instrument. • Glide slider: Determines the time it takes a note pitch to change (slide) to another note pitch. • Mix slider: Determines the mix level of (balance between) the oscillator signals.
• Attack slider: Makes the sound start more slowly or quickly. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string. • Decay slider: Makes the harmonic portion of the sound (bright) sustain for a longer time at slow values. Faster values move to the Sustain level more quickly. • Richness slider: Determines the complexity of the sound texture, making the sound fuller. GarageBand Analog Pad The Analog Pad is based on the ES2.
• Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Resonance slider: Emphasizes the frequency range around the point determined by the Cutoff parameter. • Cutoff Envelope slider: Determines the strength of the sweeping movement. • Duration slider: Determines the duration of the sweeping movement. • Animation slider: Determines the effect on the pad sound by the envelope. GarageBand Analog Swirl The Analog Swirl instrument is based on the ES2.
• Resonance slider: Emphasizes the frequency range around the point determined by the Cutoff parameter. • Attack slider: Makes the sound start more slowly or quickly. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string. • Decay slider: Makes the harmonic portion of the sound (bright) sustain for a longer time at slow values. Faster values move to the Sustain level more quickly.
GarageBand Analog Sync The Analog Sync instrument is based on the ES2. It emulates tones from analog synthesizers that synchronize two oscillators to produce their sound. The Analog Sync instrument is most useful for hard-edged analog synthesizer lead sounds. • Volume slider: Sets the overall volume level of the instrument. • Sync slider: Determines the synchronization (or lack of it) between the two oscillators, and therefore the harshness of the sound.
• Decay slider: Makes the harmonic portion of the sound (bright) sustain for a longer time at slow values. Faster values move to the Sustain level more quickly. • Sustain slider: Determines the level of the sound after the Attack and/or the Decay phase has completed. GarageBand Bass The Bass instrument is sample based. It emulates electric and acoustic basses. • Volume slider: Sets the overall volume level of the instrument.
GarageBand Church Organ The Church Organ instrument is sample based. It emulates a pipe organ. • Volume slider: Sets the overall volume level of the instrument. • Registration pop-up menu: Provides a number of preset registrations. Registrations are combinations of different pipe organ stop (lever) settings that change the tonal character of the sound by enabling or disabling particular pipes. This alters the harmonics that are heard when you play a key.
GarageBand Digital Basic The Digital Basic instrument is based on the ES2. This is a simple digital synthesizer sound that is useful for a range of musical styles. • Volume slider: Sets the overall volume level of the instrument. • Mix slider: Mixes two tones together. • Tuning slider: Sets the overall pitch of the instrument. • Harmonics slider: Increases or decreases the number of harmonics (overtones) in the sound. This can change the sound dramatically or subtly, so feel free to experiment.
GarageBand Digital Mono The Digital Mono instrument is based on the ES2. This is a monophonic digital synthesizer lead sound. • Volume slider: Sets the overall volume level of the instrument. • Tuning slider: Sets the overall pitch of the instrument. • Harmonics slider: Makes the sound a little thicker (more) or thinner (less). • Timbre slider: Changes the color of the sound from dark to bright.
• Richness slider: Subtly detunes each played note from one another, making the sound a little thicker, particularly when high parameter values are used. • Distortion slider: Distorts the overall sound, making it quite nasty and aggressive. Important: Take care with the Distortion parameter as it can significantly increase the overall volume of the instrument, which may result in damage to your speakers or ears! GarageBand Digital Stepper The Digital Stepper instrument is based on the ES2.
• Harmonic Steps slider: Makes the tonal steps more (large) or less (small) noticeable. • Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Cutoff Steps slider: Sets the amount of cutoff applied to each step. A higher value (large) will make the cutoff effect more pronounced. • Duration slider: Sets the length of the steps. GarageBand Drum Kits The Drum Kits are sample based.
GarageBand Electric Clav(inet) The Electric Clavinet sound is based on the EVD6. It emulates the Hohner D6 clavinet. • Volume slider: Sets the overall volume level of the instrument. • Damper slider: Changes the tone of the clavinet, making it less sustained and more woody sounding as you move towards the high setting. GarageBand Electric Piano The Electric Piano sound is based on the EVP88. It sounds like the Fender Rhodes and Wurlitzer electric pianos.
GarageBand Guitar The Guitar sound is sample based. It emulates a number of different acoustic and electric guitar sounds. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard.
GarageBand Horns The Horns instrument is sample based. It emulates several brass sections and a number of individual brass instruments. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Attack slider: Makes the sound start more slowly or quickly. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string.
GarageBand Hybrid Basic The Hybrid Basic instrument is a sample-based synthesizer that can create spectacular sounds. • Volume slider: Sets the overall volume level of the instrument. • Waveform pop-up menu: Choose the sample set used to generate the basic synthesizer sound. • Glide slider: Determines the time it takes a note pitch to change (slide) to another note pitch.
• Wheel to Vibrato slider: Determines the amount of pitch modulation by your keyboard’s modulation wheel. • Wheel to Cutoff slider: Determines the depth of Cutoff modulation by your keyboard’s modulation wheel. • Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Cutoff Type pop-up menu: Enables you to choose from a number of preset filter curves. Try them out, and experiment with the Cutoff and Resonance parameters.
GarageBand Hybrid Morph The Hybrid Morph instrument is a sample-based synthesizer that can create spectacular sounds. It differs from Hybrid Basic in that each waveform is based on two sample layers. This leads to a different sonic character. • Volume slider: Sets the overall volume level of the instrument. • Waveform pop-up menu: Choose the sample set used to generate the basic synthesizer sound. • Morph slider: Controls crossfades between the two sample layers.
Note: If you set the Morph parameter to A and the Morph Envelope to “From A to B,” certain ADSR settings will result in no sound. In this context, you can achieve interesting results by using the modulation wheel to offset the Morph parameter during live performances. • Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Cutoff Type pop-up menu: Enables you to choose from a number of preset filter curves.
GarageBand Piano The Piano instrument is sample based. It emulates a number of classical and jazz piano sounds. It also emulates several accordions and a harpsichord, and it provides a number of pad sounds. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard.
GarageBand Sound Effects The Sound Effects are sample based. These cover a number of nature sounds, laughter and applause, and so on. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Release slider: Determines the time it takes for notes to fade out after you let go of the keys on your keyboard.
GarageBand Strings The Strings instrument is sample based. It emulates string sections and a number of individual stringed instruments. These include violins, violas, cellos, harps, and several traditional instruments, such as sitar, koto, and zither. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Attack slider: Makes the sound start more slowly or quickly.
GarageBand Tonewheel Organ The Tonewheel Organ sound is based on the EVB3. It emulates the Hammond B3 organ, but it is also capable of emulating Farfisa, Wurlitzer, and other electric organs. • Volume slider: Sets the overall volume level of the instrument. • Drawbars slider: Increases or decreases the number of sine tones and harmonics, resulting in a thicker (more) or thinner (less) sound.
• Brake: Makes the sound swirl initially, and then slow down. • Tremolo: Makes the sound wobble. GarageBand Tuned Percussion The Tuned Percussion sound is sample based. It emulates a vibraphone, xylophone, timpani, steel drums, and other tuned percussion instruments. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it.
GarageBand Voice The Voice sound is sample based. It emulates a mixed choir. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Attack slider: Makes the sound start more slowly or quickly. A fast setting makes it sound like striking a piano key, whereas a slow setting makes it sound like bowing a violin string.
GarageBand Woodwind The Woodwind sound is sample based. It emulates the sound of wind instruments, such as flutes, clarinets, saxophones, and several other instruments from various world cultures. • Volume slider: Sets the overall volume level of the instrument. • Filter Cutoff slider: Allows more (high) or less (low) of the sound through, making it brighter or damping it. • Attack slider: Makes the sound start more slowly or quickly.
Appendix Synthesizer Basics If you are new to synthesizers, read this appendix. This appendix covers important facts about the synthesizer and explains the difference between analog, digital, and virtual analog synthesizers. You will be introduced to all major synthesizer terms and will learn about the basic workings of these hardware- or software-based devices. This appendix is not a detailed, scientific treatise on the inner workings and mathematical theories of synthesis.
If the vibrations follow a periodic pattern, the sound is said to have a waveform. The figure above shows an oscillogram—a graphical representation—of a sine wave, the simplest and purest kind of waveform. If the vibrations do not follow a discernible pattern, the sound is called noise. A repetition of a waveform—each peak and trough in the oscillogram—is known as a cycle. The number of cycles that occur per second determines the basic pitch of the waveform—commonly known as the frequency.
• A tone played at twice the frequency of the first harmonic is called the second harmonic. • A tone played at four times the frequency of the first harmonic is called the fourth harmonic, and so on. Each of these harmonics has a different timbral quality from the fundamental tone. In general, harmonics that can be multiplied or divided by a whole number–such as octaves, odd-numbered or even-numbered harmonics, and so on–sound more “musical.
Other Waveform Properties A sound wave, as discussed earlier, has a frequency. Other properties of sound waves include amplitude, wavelength, period, and phase. Amplitude Wavelength • Amplitude: The amplitude of a waveform indicates the amount of air pressure change. It can be measured as the maximum vertical distance from zero air pressure, or “silence” (shown as a horizontal line at 0 dB in the illustration).
When you play two otherwise identical sounds out of phase, some frequency components—harmonics—can cancel each other out, thereby producing silence in those areas. This is known as phase cancellation, and it occurs where the same frequencies intersect at the same level. Phase: 0° Phase: 180° Fourier Theorem and Harmonics “Every periodic wave can be seen as the sum of sine waves with certain wave lengths and amplitudes, the wave lengths of which have harmonic relationships (ratios of small numbers).
In a synthesizer, the task of tone generation falls to a component known as an oscillator. Most synthesizer oscillators generate harmonically rich waveforms, such as sawtooth, triangle, square and pulse waves. These waves are named due to the resemblance of their shapes to the teeth on the blades of a saw, to triangles, to squares, and so on. For information about the most common synthesizer waveforms, see Oscillators.
The ES1 includes some of the desirable idiosyncrasies of particular analog circuits—in cases where they tend to sound nice, such as high oscillator levels overdriving the filter. And undesirable analog synthesizer phenomena, such as the habit of going completely out of tune, are not simulated.
An Overview of Subtractive Synthesizer Components The front panel of most subtractive synthesizers contains a collection of similar signal generating and processing modules—coupled with a number of modulation and control modules. The signal-generating and processing modules typically run left to right, mirroring the actual synthesizer signal flow.
• Global controls: Affect the overall characteristics of your synthesizer sound, such as glides between notes, pitch bend, monophonic or polyphonic playback, and more (see Global Controls). Oscillators The audio signal of a synthesizer is generated by the oscillator. Usually you would choose from a selection of waveforms that contain differing types and varying amounts (more or fewer) of harmonics.
Square and Pulse Waves Hollow and woody-sounding, a square wave can contain a wide range of odd harmonics. It is useful when creating reed instruments, pads, and basses. It can also be used to emulate kick drums, congas, tom-toms, and other percussive instruments—often blended with another oscillator waveform, such as noise. The square wave can be reshaped to make the waveform cycles—or pulses—more rectangular on many synthesizers, using a pulse width modulation (PWM) control.
Noise: Pink/Red, Blue, White Noise is useful for emulating percussive sounds, such as snare drums, or wind and surf sounds, among others. • White noise: The most common noise waveform found on synthesizers. White noise contains all frequencies—at full level—around a center frequency. • Pink and red noise: These noise colors also contain all frequencies, but they are not at full level across the frequency spectrum. Pink noise decreases the level by 3 dB per octave (of higher frequencies).
There are many ways to reshape a waveform. The most obvious would be altering the pulse width of a square wave, as discussed in Common Synthesizer Waveforms. Other waveform-altering options include changing the phase angle, moving the start point of a waveform cycle, or simply combining multiple waveforms in multioscillator synthesizers.
Cutoff Frequency The cutoff frequency, or cutoff, as the name suggests, determines where the signal is cut off. Simpler synthesizers offer only lowpass filters. Thus, if a signal contains frequencies that range from 20 to 4000 Hz, and a cutoff frequency is set at 2500 Hz, frequencies above 2500 Hz are filtered. The lowpass filter allows frequencies below the cutoff point of 2500 Hz to pass through, unaffected. The figure below shows an overview of a sawtooth wave (A = 220 Hz).
Resonance The resonance control emphasizes or suppresses signals around the cutoff frequency. The figure below shows an ES1 sawtooth wave with a high resonance setting and the cutoff frequency set to 660 Hz, which is about 60%. This resonant filter setting results in much brighter and harsher signals close to the cutoff frequency. Frequencies below the cutoff point are unaffected. Once again, the overall result of using filter resonance is a change in the basic waveform’s shape and, therefore, its timbre.
Filter Slope As discussed earlier, a filter will cut off the signal at the set cutoff frequency. This cutoff doesn’t happen abruptly but rather at a given slope, which is measured in decibels (dB) of gain reduction per octave. Put another way, you can define how steep the “cliff” is at the cutoff point by choosing a relatively severe or more gentle slope.
The Attack, Decay, Sustain, and Release (ADSR) Envelope Controls An oscillogram of a percussive tone is shown below in which the level rises immediately to the top of its range and then decays. If you drew a box around the upper half of the oscillogram, you could consider it the “envelope” of the sound—an image of the level as a function of time. It is the function of the envelope generator to set the shape of this envelope.
Modulation Without modulation, sounds tend to be boring and fatiguing to the ear. They also sound synthetic, rather than natural, in the absence of some type of sonic modulation. The most obvious type of modulation is vibrato, which is used by orchestral string players to add animation to an instrument’s pitch. To make sounds more interesting, you can use various synthesizer controls to modulate basic sound parameters.
The ES2 provides ten modulation routings—in columns. Although it looks somewhat intimidating at first, each routing column is quite similar to the modulation controls found in the ES1. Note the first routing, at the left in the figure below: The modulation target is Pitch123. The pitch—the Frequency parameter—of oscillators one, two, and three is affected (by LFO2, the modulation source). LFO2 is the modulation source. The two arrows to the right of the column indicate the modulation amount.
Using the LFO to Modulate Sounds A modulation source found on nearly all synthesizers is the LFO (low frequency oscillator). This oscillator is used only as a modulation source and does not generate any audible signals that form part of your actual synthesizer sound, because it’s too low to be heard. It can, however, affect the main signal by adding vibrato, filter sweeps, and so on.
The most obvious global control is the Level control, which sets the overall loudness of your sound. For more information about the Level control, see Envelopes in the Amplifier Section. Other key global controls include the following: • Glide (sometimes called Portamento): Used to set the amount of time that it takes for one note pitch to slide up or down to another note pitch.
There are many other global controls found on different synthesizer models that have an impact on your overall sound. Other Synthesis Methods There are many ways to create sounds, using different technologies and approaches to synthesis. This section covers all the main methods, with reference to Logic Studio instruments where applicable. Many of the outlined methods incorporate into their design at least some elements of the subtractive synthesis approach covered earlier.
Frequency Modulation (FM) Synthesis Put simply, FM synthesis involves the use of a modulator oscillator and a sine wave carrier oscillator. The modulator oscillator modulates the frequency of the carrier oscillator within the audio range, thus producing new harmonics. These harmonics are known as sidebands. Modulator oscillator Carrier oscillator FM Resulting waveform Typically, FM synthesizers don’t incorporate a filter.
To model a drum sound, for example, the following aspects would need to be taken into account. Of primary importance would be the actual drum strike—how hard it is and whether the drumhead is struck with a wooden stick, a mallet, a beater, and so on. The properties of the drumhead (the skin or membrane) would include the kind of material, its degree of stiffness, its density, its diameter, and the way it is attached to the shell of the drum.
Roland LA (Linear Arithmetic) synthesizers such as the D-50 work on a similar principle. In these synthesizers, however, complex sampled attack phases are combined with simple sustain or decay phases to create a sound. In essence, this is a simple wavetable that consists of two samples. Where LA and wavetable synthesizers differ is that the latter were designed to create new, original, digital sounds. LA synthesizer designers, in contrast, wanted to emulate real instruments using a minimum of memory.
Resynthesis You can analyze the frequency components of a recorded sound and then resynthesize (reconstruct) a representation of the sound using additive techniques. By calculating the frequency and amplitude of each harmonic in the overall frequency spectrum of the sound, an additive resynthesis system can generate a series of sine waves (with appropriate levels over time) for each harmonic. After the sound has been resynthesized in this fashion, you can adjust the frequency and amplitude of any harmonic.
Precursors to the Synthesizer It may surprise you to learn that the earliest seeds of modern electronic synthesizers began in the twilight years of the 19th century. In 1896/1897, an American inventor named Thaddeus Cahill applied for a patent to protect the principle behind an instrument known as the Telharmonium, or Dynamophone. Weighing in at a staggering 200 tons, this mammoth electronic instrument was driven by 12 steam-powered electromagnetic generators.
The instruments discussed thus far were all designed to be played in real time. Relatively early, however, people began to develop instruments that combined electronic sound generators and sequencers. The first instrument of this kind was presented by the French duo Edouard Coupleux and Joseph Givelet in 1929—the inspirationally named Automatically Operating Musical Instrument of the Electric Oscillation Type. This hybrid married electronic sound generation to a mechanically punched tape control.
Moog’s achievements spread by word of mouth, and Moog, always keen to elicit the feedback of his customers, continued to add further modules to his line. Wendy Carlos’ LP release “Switched-On Bach” (1968) was responsible for the breakthrough of Moog’s instruments. The record featured Moog’s modular synthesizers and was one of the earliest commercial multitrack recordings. The album’s success introduced the synthesizer to a wider audience and made the name Moog synonymous with the instrument.
Storage and Polyphony Customers weren’t entirely satisfied, however. Although musicians no longer had to contend with countless cords in order to play a synthesizer, they still had to deal with loads of knobs and switches before they could do something as simple as switch from one sound to another. Moreover, keyboardists were bored with playing monophonic melody lines on synthesizers—they wanted to be able to play chords.
It was not until 1978 that the problem was resolved satisfactorily. The five-voice polyphonic Prophet-5, released by American company Sequential Circuits, was the world’s first synthesizer with a global storage facility. All settings for each of its five onboard monophonic synthesizers were stored in memory slots—40 in the debut model. Moreover, all five synthesizers shared a single user interface, which simplified matters considerably.
An alternative solution was the use of general-purpose processors made by third-party computer processor manufacturers. These processors, especially designed for multiplication and accumulation operations—common in audio processing tasks—are called digital signal processors (DSPs). Peavey’s DPM-3, released in 1990, was the first commercially available synthesizer completely based on standard DSPs. The instrument was 16-note polyphonic and based mainly on three Motorola 56001 DSPs.
