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Logic Express 9 Instruments - Apple Inc

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1. 6 dB Oct_ 12 dB Oct 24 dB Oct Envelopes in the Amplifier Section The amplifier module of a synthesizer is responsible for controlling the level or loudness of the signal over time To put this into a musical context consider the sound of a violin which slowly ramps up to a peak or maximum level as the bow is smoothly dragged across a string is sustained for a period until the bow is moved away from the string and then cuts off abruptly In comparison hitting a snare drum with a drumstick results in a very fast peak level with no sustain portion and the sound immediately dies out although there will be an amount of decay the time it takes to fall from the peak level As you can see these two sounds have very different characteristics over time Synthesizers emulate these sonic characteristics by providing control over different parts the beginning middle and end of a sound s level over time This control is achieved with a component called an envelope generator Appendix Synthesizer Basics 363 364 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 s
2. Hi gh Sets the highest velocity that will trigger the group Playing notes outside this velocity range will not trigger the zones assigned to this group Note The settings made here override zone settings When a zone s velocity range is larger than the group setting the zone s velocity range is limited by the group setting Hi Hat Mode Using the EXS24 mkll Poly Parameter A practical use of the Poly parameter is to set up a classic hi hat mode within a full drum kit that is mapped across the keyboard In this scenario you could assign an open and closed hi hat sample to a group and set the Voices parameter of the group to 1 In this example the most recently triggered of the two hi hat samples will mute the other as only one voice is allowed for the group This mirrors the real world behavior of hi hats The other sounds of the drum kit can still be played polyphonically if samples in zones are assigned to another group Chapter 9 EXS24 mk 217 218 Using the EXS24 mkll 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 Select Group By Click here to enhance the Type No Group to Hi se
3. Timbre slider Changes the color of the sound from dark to bright Attack slider Makes the sound start more slowly or quickly A fast setting makes it sound like striking a piano key whereas a s ow 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 Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 331 332 GarageBand Digital Mono The Digital Mono instrument is based on the ES2 This is a monophonic digital synthesizer lead sound X Inst 1 p View ShowCS v Show insert v Bypass a gt Aefault def ___ 14 008 dii DAD i Sah A a a Volume Aii laidi al a BP St a San Tuning Harmonics Timbre Timbre Envelope Dec gy Richness Distortion Digital Mono 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 Timbre Envelope slider Dynamically changes the color of the sound depending on how firmly you strike your keyboard e Low values have little or no effect on the color of the sound no matter how hard you play the keys H
4. Type pop up menu Provides three different fade curves Choose the desired curve type for your velocity crossfade dB lin dB linear A logarithmic curve that evenly crossfades between zones linear gain linear A convex crossfade curve with a rapid volume fade towards the end Eq Pow equal power A nonlinear curve with a rapid level increase at the beginning of the fade This is useful if your crossfade seems to drop in volume part way through Layering EXS24 mkll Zones When assigning a sample to a zone you can set the lowest and highest MIDI note velocity that will trigger that zone The area between these values is known as the zone s velocity range You can layer zones different samples on the same keyboard note and trigger them individually by playing at different velocities For example Imagine you have layered two samples zone 1 and zone 2 on MIDI note A 2 Zone 1 is a sample of a snare drum hit lightly and a little off center It has a MIDI note velocity range of 24 to 90 Zone 2 is a sample of a snare drum hit hard in the center of the drum head It has a velocity range of 91 to 127 As you can see the maximum velocity range value of zone 1 and the minimum velocity range value of zone 2 are adjacent If you were to play note A 2 at velocities above or below a value of 90 you would clearly hear each sample being triggered To make this transition less abrupt you can use the crossfade parameters to smoo
5. step hold This curve jumps at the beginning of the transition hold step This curve jumps at the end of the transition Note You can use hold step to create stepped vector grooves with up to 15 steps Setting ES2 Vector Envelope Times With the exception of the first point which is tied to the beginning of each played note every point has a Time parameter This parameter defines the period of time required for the position indicator to travel from the point that preceded it The times are normally displayed in milliseconds ms To adjust a time value a Click the numerical value and drag vertically Note Changing a time value alters the absolute time positions of all subsequent points Chapter 5 ES2 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 This is extremely useful if you want to double the Vector Envelope s speed for example Rather than halving the time values of every point you can set the Time Scaling parameter above the ENV3 Attack slider to 50 RS i Click here to cha
6. Constant Beat Detuning CBD menu See Emulating Stretch Tuning in the ES2 e 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 This shouldn t be viewed as a disadvantage in any way because it allows playing styles that are not possible with polyphonic instruments Poly Mono B Legato CD Voices Unison _ If you choose Mono mode staccato playing will retrigger the envelope generators every time a new note is played If you play in a legato style play a new key while holding another the envelope generators are triggered only for the first note you play legato and then they continue their curve until you release the last legato played key The Legato mode is also monophonic but with one difference The envelope generators are retriggered only if you play staccato releasing each key before playing a new key Note On several monophonic synthesizers the behavior in Legato mode is referred to as single trigger while Mono mode is referred to as multi trigger Using Unison and Voices for a Richer ES2 Sound One of the great strengths of polyphonic analog synthesizers is unison or stacked voices mode
7. Chapter5 ES2 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 The modulation intensity shown at the top of each slider is not divided when modulation routing there is no active via source The modulation intensity slider divides into two halves when a via source is active Modulation sources are shown at the bottom of each modulation routing Any modulation source can be connected to any modulation target much like an old fashioned telephone exchange or a studio patch bay The modulation intensity how strongly the target is influenced by the source is set with the vertical slider to the right of the modulation routing 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 When via is active you can specify upper and lower limits for the modulation intensity Ten such modulation routings of source via and target can take place simultaneously in addition to routings that are hard wired outside of the router It does not matter
8. 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 Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 341 342 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 X Inst 1 Ca View ShowCS Show insert v Bypass a gt defaultdef Volume Filter Cutoff Release 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 Chapter 12 GarageBand Instruments GarageBand Sound Effects The Sound Effects are sample based These cover a number of nature sounds laughter and applause and so on X Inst 1 p View ShowCS Show insert v Bypass 4 gt defaultdef es ee Volume scent Filter Cutoff Release Sound Effects Volume slider Sets the overall volume level of the instrument Filter Cutoff slider
9. Output menu Used to independently route each drum sound to individual outputs or output pairs Ultrabeat features eight separate stereo and mono outputs when inserted as a multi output instrument Drum sounds that are routed to an output pair other than Main 1 2 are automatically removed from the main output channel strips Choosing an output pair other than Main 1 2 routes the sound to an aux channel Strip Playing and Selecting Ultrabeat Drum Sounds The 25 sounds of an Ultrabeat drum kit are mapped to the onscreen keyboard at the left side of the Ultrabeat interface Sounds start from the bottom of the onscreen keyboard and correspond to note values on a connected MIDI keyboard starting at C1 Chapter 11 Ultrabeat To play a sound Do one of the following Play a note on a connected MIDI keyboard As mentioned the bottom sound is mapped to MIDI note C1 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 To select a sound Click the name of the sound in the Assignment section You can recognize the selected sound by the gray frame that appears around the entire assignment row The parameters of the selected sound are shown in the Synthesizer section to the right See Getting to Know the Ultrabeat Synthesizer Section The examp
10. and via menus above and below the slider enable you to modulate the ring modulator level Signal Flow button Ring Modulator On Off button Enables or disables the ring modulator When switched on the label is highlighted Note If you want to hear the ring modulator s signal in isolation in order to better judge your settings temporarily set the volume of both oscillators to a value of 0 Level slider Adjusts the output volume of the ring modulator mod and via menus Found above and below the Level slider these determine the modulation source and via source for the Level parameter When either source is active small sliders handles appear on either side of the Level slider See Working with Modulation in Ultrabeat Signal Flow button Determines the routing of the ring modulator signal It is sent either to the filter the signal flow button turns red or directly to the EQ section the signal flow button remains gray The direction of the arrow on the signal flow button illustrates the routing Note The Signal Flow button determines how the ring modulator output signal is routed It doesn t turn the ring modulator on or off Chapter 11 Ultrabeat 267 268 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 fun
11. 141 141 144 145 147 148 153 156 157 158 160 163 Using the ES1 Amplifier Parameters Using the ES1 Envelope Parameters Modulating the Sound of the ES1 Adjusting Global ES1 Parameters ES1 MIDI Controller List ES2 ES2 Architecture and Features 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 Variations Using Macro Controls and Assigning Controllers in the ES2 ES2 Tutorial Creating Sounds ES2 Tutorial Using Templates to Create Sounds EFM1 Getting to Know the EFM1 Interface Working with the EFM1 Modulator and Carrier Parameters Working with the EFM1 Modulation Parameters Adjusting Global EFM1 Parameters Setting EFM1 Output Parameters Creating EFM1 Random Sound Variations Assigning EFM1 MIDI Controllers EVOC 20 PolySynth How the EVOC 20 Polysynth Works Getting to Know the EVOC 20 PolySynth Interface EVOC 20 PolySynth Sidechain Analysis Parameters EVOC 20 PolySynth U V Detection Parameters EVOC 20 PolySynth Synthesis Section Parameters EVOC 20 PolySynth Formant Filter Parameters EVOC 20 PolySynth Modulation Parameters EVOC 20 PolySynth Output Parameters Getting the Best Results with the EVOC 20 PolySynth A Brief Vocoder History EVOC20 Block Diagram Contents Chapter 8 Chapter
12. 52 Oscillator Mix Triangle Dragging the square icon in the Triangle cross fades sets the level relationships between the three oscillators See Setting the Oscillator Level Balance in the ES2 Using the ES2 s Basic Oscillator Waveforms All of the ES2 oscillators output a number of standard waveforms sine pulse rectangular sawtooth and triangular waves or alternately any of 100 Digiwaves see Using Digiwaves in the ES2 The following table includes the basic waveforms Waveform Basic tone Comments Pulse Rectangular Nasal sounding Great for reed instruments synth blips and basses Square Hollow and woody Useful for basses clarinets and oboes The pulse sounding width of Oscillator 2 and 3 square waveforms can be smoothly scaled between 50 and the thinnest of pulses Sawtooth Warm and even Useful for strings pads bass and brass sounds Triangle Sweet sounding softer Useful for flutes and pad sounds than sawtooth Sine A pure tone The sine wave of Oscillator 1 can be frequency modulated by Oscillator 2 This kind of modulation forms the basis of FM synthesis see Using Frequency Modulation in the ES2 Oscillators 2 and 3 also offer the selection of A rectangular wave synchronized to Oscillator 1 A sawtooth wave synchronized to Oscillator 1 A ring modulator which is fed by the output of Oscillator 1 and a square wave from Oscillator 2 Colored noise for Oscillator 3 see
13. 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 The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as the synthesis signal This sound was popularized in the late 1970s and early 1980s You ll probably know it from tracks such as O Superman by Laurie Anderson Funky Town by Lipps Inc and numerous Kraftwerk pieces such as Autobahn Europe Endless The Robots and Computer World In addition to these singing robot sounds vocoding has also been used in many films such as with the Cylons in Battlestar ma actie and most famously with the voice of Darth Vader from the Star Wars saga Also see ar Llietary Vocoder History Vocoding as a process is not strictly limited to vocal performances You could use a drum loop as the analysis signal to shape a string ensemble sound arriving at the synthesis input How Does a Vocoder Work The speech analyzer and synthesizer features of a vocoder are actually two bandpass filter banks Bandpass filters allow a frequency band a slice in the overall frequency spectrum to pass through unchanged and cut the frequencies that fall outside the band s range In the EVOC 20 plug ins these filter banks are
14. To create a new instrument In the Parameter window only when no sampler instrument is loaded click the Edit button In the Instrument Editor window choose Instrument gt New Chapter 9 EXS24 mkll 205 For information about loading sampler instruments see Using the EXS24 mkll Sampler Instruments Pop Up Menu For information about saving renaming and exporting sampler instruments see Saving Renaming and Exporting EXS24 mkll Instruments For information about creating zones and groups see the following sections Creating EXS24 mkll Zones Quickly Creating Multiple Zones in the EXS24 mkIl Creating EXS24 mkll Groups Creating EXS24 mkII Zones Azone is a location into which a single sample or audio file if you prefer this term can be loaded The sample loaded into the zone is memory resident it uses the RAM of your computer A zone offers parameters that control sample playback Each zone enables you to determine the range of notes that the sample spans Key Range and the root key the note at which the sample sounds at its original pitch In addition sample start end and loop points volume and several other parameters can be adjusted for the zone You can define as many zones as needed To first create a zone and then assign a sample to it 1 Choose Zone gt New Zone or use the New Zone key command A new zone entry appears in the Instrument Editor 2 Do one of the following Click the arrow in the Audio
15. Band Reject filter Only frequencies within a frequency band are attenuated Allpass filter All frequencies in the spectrum are passed but the phase of the output is modified Appendix Synthesizer Basics 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 The filter is open with cutoff set to its maximum value In other words this waveform is not being filtered The figure below shows a sawtooth wave with the filter cutoff set to about a 50 value This filter setting results in suppression of the higher frequencies and a rounding of the edges of the sawtooth wave making it resemble a sine wave Sonically this setting makes the sound much softer and less brassy As you can see from this example use of the filters to cut away portions of the frequency spectrum alters the waveform s shape thus changing the timbre of the sound Appendix Synthesizer Basics 361 362 Resonance The resonance control emphasizes or suppresses signals around the cutoff frequency The figure below shows an ES
16. Typically you will store the current Parameter window settings into the loaded sampler instrument This overrides the settings currently saved in the loaded sampler instrument Alternatively you can save a new sampler instrument Chapter 9 EXS24 mk 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 So why have plug in settings if you can store Parameter window values in sampler instruments The separation between plug in settings and sampler instruments allows you to use sampler instruments as you would use waveforms in a synthesizer For example you could create a plug in setting with guitar like envelope modulation and filter parameter values You would then use the Sampler Instruments pop up menu to load an instrument without any existing settings such as a Flute to create a plucked or strummed flute sound Important Using sampler instruments as described requires that they contain no settings To remove settings from an existing sampler instrument First create a copy of the desired ee instrument by ae the pane gt Save instrument as command see U X ns Pop Up Menu Commands Remove the settings from the copied instrument by using the Options gt
17. e Character slider Determines if the sound is soft or sharp Chapter 12 GarageBand Instruments 325 326 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 It is a warm analog synthesizer pad that features a chorused swirling sound ix Inst 1 PF View ShowCS v Show insert v Bypass a gt defaultdef Volume EE Modulation Resonance Attack Sustain Release Anal g Volume slider Sets the overall volume level of the instrument Modulation slider Makes the sweeping movement of the pad faster or slower Cutoff slider Allows more high or less low of the sound through making it brighter or damping it Chapter 12 GarageBand Instruments 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 s ow setting makes it sound like bowing a violin string Decay slider Makes
18. the inspirationally named Automatically Operating Musical Instrument of the Electric Oscillation Type This hybrid married electronic sound generation to a mechanically punched tape control Generally acknowledged to be a mouthful its unofficial name was shortened to Coupleux Givelet Synthesizer by its builders this was incidentally the first time a musical instrument was called a synthesizer Appendix Synthesizer Basics The term was officially introduced in 1956 with the debut of the RCA Electronic Music Synthesizer Mark developed by American engineers Harry F Olson and Herbert Belar Its dual voice sound generation system consisted of 12 tuning forks which were stimulated electromagnetically For its time the instrument offered relatively sophisticated signal processing options The output signal of the sound generator could be monitored by loudspeakers and amazingly recorded directly onto two records A single motor powered both turntables and the control unit of the Mark 1 The synthesizer was controlled by information punched onto a roll of paper tape which actually enabled continuous automation of pitch volume timbre and envelopes It was as complicated as it sounds handling was anything but a dream and spontaneous playing was impossible The First Voltage Controlled Synthesizers With the exception of the Telharmonium which was conceived prior to the advent of the thermionic valve these precursors to the modern day s
19. 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 Keep experimenting with velocity and figure out when it makes sense to use it as a direct or indirect modulation source in either its positive or negative form Note The dynamic 808 snare drum described above is listed as snare 4 vel in the Tutorial Kit at a pitch of G1 Chapter 11 Ultrabeat 315 316 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 Select the Snare 1 sound Direct the signals of both oscillators and the noise generator to the main filter Modulate Cutoff with Env 1 which is already modulating the volume of the noise generator Modulate the filter resonance with Env 2 Experiment with the parameters mentioned in steps 2 to 4 especially the enve
20. 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 Chapter 12 GarageBand Instruments 343 344 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 x Inst 1 Ca View ShowCS Show insert v Bypass a gt defaultdef EE Volume Filter Cutoff s A S iaai i a a a Attack Release 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 s ow setting makes it sound like bowing a violin string Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 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 x Inst 1 p View ShowCS Show insert v Bypass a gt defaultdef Volume Drawbar
21. Attack Decoy Sustain Release 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 Morph Envelope slider Controls the morph over time For example setting the Morph parameter to B and the Morph Envelope to From A to B morphs the Wave from A to B in accordance with the ADSR envelope settings Chapter 12 GarageBand Instruments 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 Try them out and experiment with the Cutoff and Resonance parameters Resonance slider Emphasizes the frequency range around the point determined by the Cutoff parameter Cutoff Envelope slider Determines the strength of the envelope shaping applied to 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 s ow setting makes it sound like bowing a violin string
22. Delete settings from instrument command Note All of the sampler instruments supplied with Logic Express contain settings so you need to follow the steps above if you wish to use these instruments as discussed Chapter 9 EXS24 mk 171 172 Getting to Know the EXS24 mkIl Parameter Window The EXS24 mkll 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 mkil Instrument Editor and subsequent sections Global parameters Pitch parameters Filter parameters Sampler instruments field Output parameters Modulation router Modulation and control parameters Global parameters The following parameter groups are available Sampler Instruments pop up menu and field Click to access and load your sampler instrument libraries The name of the loaded sampler instrument is displayed in the field The related Edit and Options buttons are found to the right See Using the EXS24 mklil Sampler Instruments Pop Up Menu Global parameters Used to select and configure sampler instruments define the polyphony set crossfades and more See Adjusting EXS24 mkil Global Parameters Pitch parameters Adjust tuning transposition and pitch bend behavior See Using the EXS24 mkll Pitch Parameters Filter parameters Used to shape the tonal color of the loaded sampler i
23. Env as the mod source for the pitch of an oscillator e Velocity Vel as the via source Chapter 11 Ultrabeat 280 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 When a modulation source is selected in the mod menu Env 1 in the image below the ring around the rotary knob is activated Drag in the ring to set the desired value 0 70 in the example for the Cut parameter when affected by the mod source Note Exact values are shown in the help tags when adjusting various parameters 0 70 40 20 As soon as a modulation source is selected in the via menu Ctrl A in the image below a movable slider appears on the mod ring Drag this slider to set the maximum modulation value that can be reached through use of the via source 0 90 in this example So much for the settings What do the markings found around the Cut knob mean and what is happening to the sound The mod and via controls indicate the minimum and maximum values that the modulated parameter can attain in comparison to the default value Chapter 11 Ultrabeat In
24. See Creating Random ES Macro and MIDI controller parameters The area located on the thin gray strip at the bottom can display either Macro parameters or MIDI controller assignments The preassigned macro sound parameters are perfect for quick tweaks to the ES2 s sound and that of ES2 based GarageBand elas You can Banc se control numbers for these parameters if desired See U ES2 Macr Using the ES2 Oscillators The synthesizer oscillators are used to generate one or more waveforms This signal is then sent to other portions of the synthesizer engine for shaping processing or manipulation Before the parameters are discussed a few of the special features available to you in the ES2 oscillator section should be mentioned Oscillators 2 and 3 are almost identical to each other but they differ from Oscillator 1 Oscillator 1 can be frequency modulated by Oscillator 2 for FM synthesis sounds 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 Chapter5 ES2 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 Getting to Know the ES2 Oscillators The following section gives you an overview of the parameters available for each os
25. Sound Basics Prior to considering any of the sound generating components you will find in a synthesizer it s important that you understand sound itself Technically sound is the conversion of physical energy such as a hand clap to an air pressure disturbance This change in air pressure is transmitted as a series of vibrations a sound wave through the air Sound vibrations can also be transmitted through other matter such as a wall or floor Appendix 349 350 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 Most Logic Express instruments provide a Hz Hertz or Frequency control that determines the number of cycles per second and therefore the pitch Tones Overtones Harmonics and Partials The frequency of a sound is known as its fundamental tone The waveforms of all sounds apart from a basic sine wave consist of the fundamental tone and many other tones of different frequencies Nonfundamental tones that are whole number multiples of the fundamental
26. 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 Using EXS24 mkIl Filter Cutoff and Resonance Parameters The following section outlines the impact of the filter s Cutoff and Resonance parameters If you re new to synthesizers and the concepts behind filters see Filters in Synthesizer Basics The Impact of Cutoff Frequency on the 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 Ina highpass filter the cutoff frequency determines the point where lower frequencies are suppressed with only upper frequencies allowed to pass Inabandpass band rejection filter the cutoff frequency determines the center frequency for the bandpass or band rejection filter Chapter 9 EXS24 mk 185 186 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 Ina lowpass filter resonance emphasizes or suppresses signals below the cutoff frequency e Ina highpass filter resonance emphasizes or suppresses signals above the cutoff frequency In bandpass filters resonance emphasizes or suppresses the portions of the signal the frequency band t
27. Traditionally in unison mode classic analog polysynths run monophonically with all voices playing simultaneously when a single note is struck As the voices of an analog synthesizer are never perfectly in tune this results in an extremely fat chorus effect with great sonic depth To enable monophonic unison mode for the ES2 Activate either Mono or Legato mode and turn on the Unison button The intensity of the unison effect depends on the number chosen in the Voices parameter field Increase the Voices value for a fatter sound The intensity of detuning voice deviation is set with the Analog parameter see Emulating Detuned Analog Synthesizer Oscillators in the ES2 To use the ES2 in polyphonic unison mode Activate the Poly and Unison buttons Chapter5 ES2 63 64 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 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 keyboard mode you choose See Choosing the ES2 Keyboard Mode Poly Mono Legato If the ke
28. at 220 Hz The second harmonic has double the frequency 440 Hz the third one oscillates three times as fast 660 Hz the next ones four and five times as fast and so on What Is a Synthesizer Sound synthesis is the electronic production of sounds starting from their basic properties such as sine tones and other simple waves Synthesizers are so named because they can emulate or synthesize a wide variety of sounds such as the sound of another instrument a voice a helicopter a car or a dog bark Synthesizers can also produce sounds that don t occur in the natural world The ability to generate tones that cannot be created in any other way makes the synthesizer a unique musical tool The simplest form of synthesizer would be a basic sine wave generator that provided little or no control over pitch Unfortunately you could not use such a simple synthesizer to synthesize anything except a sine wave Combining multiple sine generators with pitch control however can produce many interesting and useful tones Appendix Synthesizer Basics 353 354 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 synt
29. axis is on the vertical plane You can modulate one user defined parameter with the X value and another user defined parameter with the Y value allowing you to use the mouse like a joystick The X and Y axes have positive and negative value ranges When you drag the square icon the values of both axes are continuously transmitted Planar Pad Vector Target menus Vector Intensity parameters Vector Mode menu Chapter5 ES2 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 FS2 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 Setting the Vector Intensity Defining the Modulation Intensity The maximum intensity sensitivity and polarity of the modulation is set with the Vector X Int and Vector Y Int parameters To adjust the modulation intensity Drag vertically in the Vector X and Y Int fields Use a negative value to invert the modulation polarity ES2 Modulation Target Reference The following targets are available for real time modulation ES2 Oscillator Targets The table below includes all oscillator related modula
30. for real time changes Any modification here starts with the pitch of Oscillator 2 itself which is set to 3 semitones below the overall pitch Feel free to start with a different pitch for Oscillator 2 it won t affect the tuning of the sound The next modification may be modulation routing 7 s intensity or the interval The maximum value has been chosen f this is too extreme for your needs feel free to reduce it Another modification lies in the tone color of the lead sound itself Oscillator 1 is switched off because the patch is OK as it is If you switch it on all Oscillator 1 waveforms including Digiwaves standard waveforms or a sine wave which can be further modulated by FM are available for use All real time controls are via the mod wheel which is used for opening the filter on modulation routing 6 a panning movement on modulation routing 8 and acceleration of panning movement on modulation routing 9 If you have deeper modulation ambitions a similar setup is used for a Leslie speaker simulation in the Wheelrocker setting see cinn th Mhaalracl CALA ISING TNE Coz VWNECIFOCKE J 1g Chapter5 ES2 129 EFM1 6 The 16 voice EFM1 is a simple but powerful frequency modulation synthesizer It can produce the rich bell and digital sounds that frequency modulation FM synthesis has become synonymous with If you re totally new to synthesizers it might be best to start off with Synthesizer Basics which wil
31. information contained within the partition Chapter 9 EXS24 mkll 229 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 mkll AKAI Convert Window Parameters 6 After you have chosen a partition volume or program click the Convert button beneath the corresponding column Note If you want to convert an entire AKAI CD ROM disc click the Convert entire CD button in the lower right corner of the AKAI Convert window The selected partition volume or program will be imported along with all associated audio files Logic folder Sampler AKAI Instruments Samples folder folder AKAI sampler Audio files instruments samples A Imported audio files are stored in a folder named after the volume This folder is created within the Library Application Support Logic AKAI Samples folder 230 Chapter9 EXS24 mkll 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 converte
32. the results to a number of analytical filters hooked up to a noise generator This combination produced sounds The Voder was demonstrated at the 1939 World Fair where it caused quite a stir In World War Il the vocoder known then as the VOice enCODER proved to be of crucial importance scrambling the transoceanic conversations between Winston Churchill and Franklin Delano Roosevelt Werner Meyer Eppler the director of Phonetics at Bonn University recognized the relevance of the machines to electronic music following a visit by Dudley in 1948 Meyer Eppler used the vocoder as a basis for his future writings which in turn became the inspiration for the German Elektronische Musik movement In the 1950s a handful of recordings ensued In 1960 the Siemens Synthesizer was developed in Munich Among its many oscillators and filters it included a valve based vocoding circuit In 1967 a company called Sylvania created a number of digital machines that used time based analysis of input signals rather than bandpass filter analysis In 1971 after studying Dudley s unit Bob Moog and Wendy Carlos modified a number of synthesizer modules to create their own vocoder for the Clockwork Orange sound track Peter Zinovieff s London based company EMS developed a standalone and altogether more portable vocoder EMS is probably best known for the Synthi AKS and VCS3 synthesizers The EMS Studio Vocoder was the world s first commercia
33. 1 and 2 five semitones 500 ct lower Transposing them upward is not practical as you d need to select 37 s 0c for Oscillator 1 which has a maximum value of 36s 0c It s important to maintain the frequency ratio interval between Oscillators 1 and 2 This means that Oscillator 1 will sound at 25 s Oc and Oscillator 2 at 5 s Oc Setting Pulse Width Modulations with Oscillator 2 in the ES2 Pulse width modulation PWM is one of the most essential features of any analog synthesizer Choose the PWM Start setting and move the Wave control slowly back and forth between the rectangular and the pulse wave symbols Both are green What you will hear is a manual pulse width modulation Choose the PWM Slow setting Here LFO 1 controls the pulse width modulation source not your manual movements The result should be quite similar Chapter5 ES2 117 118 Raise the LFO 1 rate from its preset value of 0 230 to 4 400 The result is a classic fast PWM In this and the next step the PWM will be set so that it sounds slower in the lower keyboard range and faster in the upper range This is desirable for many sounds such as synthetic strings First reduce the LFO 1 Rate to 3 800 Change the modulation intensity of the second router channel target LFO1 Rate Source Kybd to 0 46 This will alter the scaling of the PWM making it sound faster in the treble range You can also hear this type of effect in the PWM Scaled setting Ti
34. 1 and LFO 2 The table below outlines how these can affect your sounds Tip Try different waveforms while a modulation routing of Pitch is engaged and running Waveform Comments Triangle Well suited for vibrato effects Sawtooth Well suited for helicopter and space gun sounds Intense modulations of pitch 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 Chapter9 EXS24 mkll 195 196 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 Sample amp Hold The two lower waveform settings of the LFOs output random values A random value is selected at regular intervals as defined by the LFO rate The upper waveform steps between randomized values rapid switches between values At its lower setting the random wave is smoothed out resulting in fluid changes to values The term Sam
35. 9 Chapter 10 Chapter 11 165 165 166 167 168 169 170 172 173 178 182 184 187 188 202 205 210 213 215 216 218 219 222 223 224 233 234 239 239 241 242 243 244 246 247 247 External Instrument Getting to Know the External Instrument Interface Using the External Instrument EXS24 mkll EXS24 mkll Features Getting to Know the EXS24 mkIl Interface About EXS24 Sampler Instruments Getting to Know the EXS24 mkll Parameter Window Using the EXS24 mkll Sampler Instruments Pop Up Menu Adjusting EXS24 mkll Global Parameters Using the EX 24 mkIl Pitch Parameters Working with EXS24 mkll Filter Parameters EXS24 mklI Output Parameters Working with EXS24 mkll Modulation An Overview of the EXS24 mkll Instrument Editor Creating EXS24 mkll Instruments Zones and Groups Editing EXS24 mkll Zones and Groups Setting EXS24 mkll Zone Parameters Using the EXS24 mkll Zone Loop Parameters Setting EXS24 mkll Group Parameters Using the EXS24 mkll Advanced Group Selection Parameters Graphical Editing of EXS24 mkll Zones and Groups Saving Renaming and Exporting EXS24 mkll Instruments Editing Samples in the EXS24 mkll Sample Editor Using an External Instrument Editor with the EXS24 mkll Importing EXS24 mkll Sampler Instruments Managing EXS24 Sampler Instruments Setting EXS24 mkll Sampler Preferences Configuring EXS24 mkIl Virtual Memory Advanced EXS24 mkll RAM Management Using the VSL Performance Tool in
36. ENV3 Env3Dec Env3Dec Envelope 3 Decay modulates the Decay time of ENV3 Env3Rel Env3Rel Envelope 3 Release modulates the Release time of ENV3 Env3Time Env3Time Envelope 3 All Times modulates all ENV3 time parameters Attack Decay Sustain and Release times Glide This target modulates the duration of the Glide portamento effect If you modulate Glide with Velocity selected as the source the speed of the keystrike determines the time it takes for the played notes to reach the target pitch ES2 Modulation Source Reference The following modulation sources are available LFO1 LFO 1 is used as a source LFO2 LFO 2 is used as a source ENV1 Envelope Generator 1 is used as a source ENV2 Envelope Generator 2 is used as a source ENV3 Envelope Generator 3 is used as a source Envelope Generator 3 always controls the level of the overall sound 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 Five octaves below and above an output value of 1 or 1 respectively is sent Modulate the Cut 1 2 target wit
37. 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 Poly Mono G Legata EB Voices O unison Planar Pad Click here to display the Vector Envelope Modulation sources e Modulation router The modulation router or router for short links modulation sources such as the envelope to modulation targets such as the oscillators and filters The router features 10 modulation routings arranged into columns See Getting to Know the ES2 s Modulation Router e Modulation sources The modulation sources include the LFOs and envelopes See Getting to Know the ES2 LFOs and Getting to Know the ES2 Envelopes ENV 1 to ENV 3 Vector Envelope The Vector Envelope is an extremely sophisticated loop capable multipoint envelope that can control the Planar Pad and Triangle oscillator mix parameter The Vector Envelope shares the space occupied by the modulation router and can be viewed by clicking the Vector Envelope button to the right of the router See Getting to Know the ES2 s Vector Envelope Planar Pad The Planar Pad is a two dimensional controller which facilitates the simultaneous manipulation of two freely assignable parameters It can be controlled with the Vector Envelope See Using the ES2 s Planar Pad
38. EXS24 mk 211 212 Switching EXS24 mkll 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 Common EXS24 mkII Zone and Group Sorting Commands You can easily sort zones and groups in the EXS24 mklI Instrument Editor by clicking the subcolumn heading that you wish to sort by For example if you want to sort your zones by name click the Name subcolumn heading in the Zone column and your zones will be sorted alphabetically ABA _EXS24 Instrume Zones Groups Y Name Key Cor ped Zone 42 Ncp708 SF C 6 aif gt c6 Zone 41 CP70B HD C 6 aif gt Zone 40 CP70B SF A 5 aif AS Zone 39 CP70B HD A 5 aif gt A5 Zone 38 CP70B SF F 5 aif Fas Zone 37 CP70B HD F 5 aif s Fes Zone 36 CP70B SF D 5 aif dss Zone 35 CP70B HD D 5 aif dss If you wanted to sort groups by lowest to highest starting velocity for example you would click the Low subcolumn heading in the Velocity Range column The group with the lowest starting velocity range is displayed at the top of the list Click the triangle to invert reverse the sort order Showing and Hiding EXS24 mkll Zone and Group Parameters The View menu allows you to determine which zone and group para
39. File column then choose Load Audio Sample from the pop up menu Load Audio Sample Reveal in Finder Double click the empty area in the audio file column 3 Choose the desired audio file in the file selector e If you activate the Hide used Audio Files option files used in the currently loaded EXS instrument are dimmed 206 Chapter9 EXS24 mkll 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 Click the Play button to loop playback of the currently selected sample file e Click the button a second time to stop playback e You can audition each file in turn by pressing the Play button and then stepping through the files with the Down Arrow key or by clicking them After you find a sample you d like to use click the Open button to add it to the zone When the sample is loaded the sample s name is displayed in the Audio File Name field To create a zone by dragging an audio file to a key Drag an audio file onto one of the keys of the onscreen keyboard The start key end key and root key are all set to the note that the file was dropped on
40. Note The bass drum sound described is listed as Kick 3 in the Tutorial Kit at a pitch of D1 Use the second oscillator with similar settings or with a sample or use the filter and the ring modulator the sky s the limit as far as your imagination is concerned so get on with it and create that next gotta have it drum sound Note You can find an emulation of the legendary 808 bass drum in Kick 4 in the Tutorial Kit at a pitch of D 1 Ultrabeat Tutorial Creating Snare Drums The sound of an acoustic snare drum consists primarily of two sound components the sound of the drum itself and the buzzing of the snare springs Try to approximate this combination in Ultrabeat with a single oscillator and the noise generator To create a basic snare drum Load the Standard Tutorial setting Deactivate Oscillator 1 and switch Oscillator 2 on in phase oscillator mode Choose LFO 1 in the Mod menu of Osc 2 Pitch Set the pitch value for Osc 2 to around G 2 and set the Mod amount the blue Mod control to about 3 to 4 octaves higher You have modulated Osc 2 Pitch with a rapidly vibrating LFO with a medium Ramp Decay value This eliminates the sine wave which is not especially desirable for a snare sound in contrast to the bass drum Set LFO 1 to a high Rate Choose a value of 20 for Cycles and 20 for Ramp Set the LFO Waveform parameter to a value of about 0 58 which is a square wave Use Env 1 to control the volume of O
41. Reset to Drive the ES2 Filters to Self Resonance If you increase the filter Resonance parameter to higher values the filter will begin to internally feed back and as a consequence will begin to self resonate This self resonance results in a sine oscillation a sine wave that is actually audible To start this type of oscillation the filter requires a trigger In an analog synthesizer this trigger can be the noise floor or the oscillator output In the digital domain of the ES2 noise is all but eliminated Therefore when the oscillators are muted there is no input signal routed to the filter Chapter 5 ES2 71 72 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 Turn on the Fat ness button below the other filter slope buttons to compensate for this side effect and to obtain a richer sound Overdriving the ES2 Filters The filters are equipped with separate overdrive modules Overdrive intensity is defined by the Drive parameter If the filters are connected in parallel the overdrive circuit is placed before the filters If the filters are connected in series t
42. 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 2 Choose the source Ultrabeat setting or EXS sampler instrument in the file selector then click Open 252 Chapter 11 Ultrabeat 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 There are two methods for transferring sounds and sequences from the import list into your drum kit Chapter 11 Ultrabeat 253 254 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 Control click or right click the sound name in the im
43. This drag and drop functionality works for audio files from the following sources Browser Audio Bin and the Finder To create a zone by dragging an audio file to a range of keys Drag an audio file directly into the zone area to create a new zone Zone Audio File Pitch Name Name Key al Coarse Fine Zone 1 Audio 1 01 caf The root key for the zone is the key at which the sample is played at its recorded pitch This information is written in the sample header If no root key is defined in the sample header the C3 key is used by default Note If you drag an audio file onto an existing zone the file referenced by that zone is replaced with the new dropped file The cursor changes to reflect the replace mode Audio File Name Audio 1 01 caf Zone Name Dragging a single sample into the empty area below Ungrouped Zones creates a default zone and a default group with the new default zone placed in the default group Chapter 9 EXS24 mk 207 208 Quickly Creating Multiple Zones in the EXS24 mkll 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 Choose Zone gt Load Multiple Samples in the Instrument Editor or use the Load Multiple Samples key command Browse to the desired location then use the Add or Add All buttons to select the samples you want to use Clic
44. Time Level are set slider to its center value independently in the ES2 Attack slider Defines the length of 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 ENV 2 and ENV 3 are divided into two halves The lower half defines the attack time when the keys are struck hard at maximum velocity The upper half defines the attack time at minimum velocity Drag the area between the two slider halves to move them both simultaneously If this area is too small to be dragged click in an unused portion of the slider and drag vertically Decay slider Determines the period it takes for the level of a held note to fall to the sustain level after the attack phase has completed If the Sustain level parameter is set to its maximum value the Decay parameter has no effect When the Sustain level is set to its minimum value the Decay parameter defines the duration or fade out time of the note Sustain and Sustain Time sliders There are two sustain parameters that interact with each other One controls the sustain level and the other controls the sustain time See Using the Envelope 2 and 3 Sustain Parameters in the ES2 R Release Time slider Defines the time required for the sustain level to decay to zero after the key is released Vel Velocity Sensitivity slider Determines the velocity sensitivity of the entire envelope If set to maximum the envelope will ou
45. Tutorial Creating Metallic Sounds trabeat Tutorial Creating Extreme Sounds U U U e Ultrabeat Tutorial Creating Hi Hats and Cymbals U U U trabeat Tutorial Programming in Building Blocks Ultrabeat Tutorial Creating Kick Drums Electronically produced kick drum sounds are based primarily on the sound of a deeply tuned sine wave To program a kick drum in Ultrabeat Choose Settings gt 03 Tutorial Settings gt Tutorial Kit and select Standard Tut from the Assignment section Note that Oscillator 1 is in Phase Oscillator mode Chapter 11 Ultrabeat 305 306 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 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 The attack time of Env 4 should be very short in any case 0 in most cases or the sound will lose its percussiveness and its ability to be clearly heard in the mix The kick drum still sounds very soft and is somewhat reminiscent of the famous TR 808 bass drum It s still missing a clearly defined attack To give the bass drum more kick by controlling the pitch with an envelope Ensure that Env 1 is chosen in the Mod menu of Oscillator 1 s Pitch pa
46. Using Noise in the ES2 Oscillator 3 Only Oscillator synchronization and ring modulation enable the creation of very complex and flexible harmonic spectra The principles behind oscillator synchronization are described in Synchronizing the ES2 Oscillators Ring modulation principles are discussed in Using Ring Modulation in the ES2 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 Chapter 5 ES2 wu FB WwW N 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 we Yt a M To set a basic pulse width in Oscillator 2 or 3 Drag the waveform rotary control in the area highlighted in the image above Only Oscillators 2 and 3 allow you to define a base pulse width prior to any pulse width modulation To set up a pulse width modulation routing of Oscillator 1 in the router Choose Osc1Wave as the Target Choose LFO1 as the Source Adjust the modulation amount slider a value of 0 12 is subtle but sweet Choose a sine wave for LFO 1 Adjust the LFO 1 Rate 0 160 Hz is nice for slow sweeps Chapter 5 ES2 53 54 Mo
47. a triangular wave After you release the key the saw sound will be heard Using Vector Synthesis Loops in the ES2 The basic sound of the Vector Loop setting without the Vector Envelope consists of three elements e Oscillator 1 delivers a metallic FM spectrum modulated by Oscillator 2 s wavetable Oscillator 2 outputs cross faded Digiwaves a wavetable modulated by LFO 2 Oscillator 3 plays a PWM sound at the well balanced and keyboard scaled speed of LFO 1 Unison and Analog make the sound fat and wide 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 This transition could be smoothed out with Loop Smooth but this would make the rhythmic design more difficult to program The distances between the points of the Vector Envelope have been set to be rhythmically exact Given that Loop Rate has been engaged the time values are not displayed in ms but as percentages There are four time values each at 25 which is a good basis for the transformation into note values e Switch off the Vector Envelope by setting Solo Point to on This
48. 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 When reshaped in these and other ways the relationships between the fundamental tone and other harmonics change thus altering the frequency spectrum and the basic sound being produced Filters The purpose of the filter in a subtractive synthesizer is to remove portions of the signal the frequency spectrum that is sent from the oscillators After being filtered a brilliant sounding sawtooth wave can become a smooth warm sound without sharp treble The filter sections of most subtractive synthesizers contain two primary controls known as cutoff frequency often simply called cutoff and resonance Other filter parameters can include drive and slope The filter section of most synthesizers can be modulated by envelopes LFOs the keyboard or other controls such as the modulation wheel Types of Filters There are several filter types Each has a different effect on various portions of the frequency spectrum Highpass Band Reject Lowpass Lowpass filter Low frequencies are passed high frequencies are attenuated Highpass filter High frequencies are passed low frequencies are attenuated Bandpass filter Only frequencies within a frequency band are passed
49. and filters for a group of zones as examples Editing techniques menu selection commands and other parameter interactions that are shared by zones and groups are discussed in these sections Common EXS24 mkll Zone and Group Editing Commands Common EXS24 mkll Zone and Group Selection Commands Common EXS24 mkll Zone and Group Sorting Commands e Showing and Hiding EXS24 mkll Zone and Group Parameters e Graphical Editing of EXS24 mkll Zones and Groups For information about parameters that differ between zones and groups see Setting EXS24 mkll Zone Parameters and Setting EXS24 mkll Group Parameters Note Click the EXS24 button in the top right corner of the Instrument Editor window to reopen a closed Parameter window and bring it to the foreground This button is dimmed when the Parameter window is open Chapter 9 EXS24 mk Common EXS24 mkIl 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 When you copy groups in Zones view the selected groups and their associated zones are copied The group assignments of the zones are retained When you copy groups
50. be enough for a guitar but for held or sustained notes a few extra voices may come in handy Chapter5 ES2 Using the ES2 Wheelrocker Setting This quite ordinary organ patch doesn t hold any deep high end sound design secrets it is just a combination of three oscillators with mixed wave levels You ll probably find a different combination that more closely matches your vision of what an organ sounds like Check out the Digiwaves Focus your attention on the mod wheel s response hold a chord and bring the wheel in by moving it slowly upward until you reach the top maximum The intention behind the programming of this mod wheel modulation is to simulate an accelerating Leslie rotor speaker The modulation routings do the following e Modulation routing 1 assigns envelope 2 to Filter 1 the only one used for this patch and produces a little organ key click with the envelope The filter is opened slightly with Keyboard as via when you play in the higher keyboard range with the maximum value Modulation routings 2 and 3 bring in LFO 1 vibrato and both oscillators are modulated out of phase Modulation routing 4 does not need to be adjusted but you are free to do so It has been set up to use ENV1 to push the wavetable Adjust ENV1 Decay to make the sound more pipe organ like Adjust ENV1 Attack to sweep through the wavetable Modulation routing 5 reduces the overall volume according to personal taste but the
51. be modulated with positions being moved in parallel Relative Volume Adds subtracts the specified amount to from the Volume parameter Chapter 9 EXS24 mk 199 LFO 1 Dcy Dly LFO 1 Controls the LFO 1 EG parameter see Using the EXS24 mk Envelope Decay Delay 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 Env 1 Decay Modulates the Decay time of the filter envelope Env 1 Release Modulates the Release time of the filter envelope Time Modulates the time via key slider position see Time Curve sliders description in Getting to Know the EXS24 mkll Envelopes ENV 1 and ENV 2 Env 2 Attack Amp Modulates the Attack time of the second envelope generator Env 2 Decay Amp Modulates the Decay time of the second envelope generator In cases where you ve selected Env 2 Decay as the destination and Velocity as the source the duration of the decaying note is dependent on how hard you strike the key Selecting Key board as the source will result in higher notes decaying more quickly or slowly Env 2 Release Amp Modulates the Release time of the second envelope generator Hold Modulate
52. can be used for reeds basses and brass sounds See Reshaping Waveforms Triangle Like a square wave a triangle wave contains only odd harmonics Because a triangle wave s higher harmonics roll off faster than the ones of a square wave the triangle wave sounds softer It is ideal for creating flute sounds pads and vocal oohs Appendix Synthesizer Basics Noise Pink Red Blue White Noise is useful for emulating percussive sounds such as snare drums or wind and surf sounds among others e White noise The most common noise waveform found on synthesizers White noise contains all frequencies at full level around a center frequency e 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 Red noise decreases the level by 6 dB per octave e Blue noise Blue noise which is the reverse of pink noise increases the level of all frequencies in higher octaves by 3 dB There are other noise wave colors but they aren t commonly found in synthesizers Reshaping Waveforms It is possible to deform the basic waveforms to create new waveforms This results in a different timbre or tonal color thus expanding the palette of sounds that can be created Appendix Synthesizer Basics 359 360 There are many ways to reshape a waveform The most obvious would be
53. destinations and choose the parameter you want to modulate Click here to choose a modulation destination Click here to choose a modulation source Open the Src pop up menu to see all available sources and choose the parameter you want to use to modulate the destination Vertically drag the arrowhead of the Intensity slider to the right of the modulation routing to set a fixed modulation intensity Modulation intensity slider To bypass a modulation routing Click the b p button at the top right of the modulation routing Bypass button The Bypass b p parameter allows you to enable or disable individual modulation routings without losing settings Chapter 9 EXS24 mk Using EXS24 mkll 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 As soon as you choose a value other than off for via the Intensity slider is divided into two halves each half with its own arrowhead The lower half defines the minimum modulation intensity when the via controller the modulation wheel for
54. determine how modulation sources such as the LFO and envelopes affect the sound source All modulation sources are discussed in W Ultrabeat lt ing with Modulation in Each of the sound sources that adjoins the filter also features a small signal flow button red when active This is used to determine and indicate whether the signal of the associated sound source should proceed through the Filter or bypass it before being routed to Ultrabeat s Output section The Output section is shown to the right Signals sent from the Filter can pass through two equalizers and a stage for stereo expansion or panoramic modulation You can also set up the initial output level and trigger behavior in this section See Using the Ultrabeat Output Section The output of the drum sound is then sent to the Assignment section mixer see Getting to Know Ultrabeat s Assignment Section Getting to Know the Ultrabeat Oscillators The Ultrabeat oscillators are used to generate waveforms Oscillator 2 can use a sample in place of a waveform The signal of one or both oscillators is then sent to other portions of the synthesizer engine for shaping processing or manipulation Other sound sources include a separate noise generator and ring modulator which can produce additional signals to those generated by the oscillators See Using the Ultrabeat Ring Modulator and Using the Ultrabeat Noise Generator Before the oscillator parameters are discusse
55. 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 Hecate range than hiat dined elm Cor the Low and High Frequency parameters See Using EVOC 20 Po and Shi ft Formant Shift knob Moves all bands i in the dings filter bank up or down the frequency spectrum See Using EVOC 20 PolySynth Formant Stretch and Shift Resonance knob Determines the basic sonic character of the vocoder Low settings result in a softer character high settings result in a more snarling sharper character Technically increasing the Resonance value emphasizes the middle frequency of each frequency band Using EVOC 20 PolySynth Formant Stretch and Shift When Formant Stretch is set to 0 the width and distribution of the bands in the synthesis filter bank at the bottom matches the width of the bands in the analysis filter bank at the top Low values narrow the width of each band in the synthesis filter bank whereas high values widen the bands The control range is expressed as a ratio of the overall bandwidth When Formant Shift is set to 0 the positions of the bands in the synthesis filter bank match the positions of
56. directly into the output stage to thicken the sound ES2 features a flexible modulation router that offers up to ten simultaneous user defined modulation routings These can be used alongside a number of hard wired routings Further modulation options include the unique Planar Pad which provides control of two parameters on a two dimensional grid The Planar Pad itself can be controlled by the sophisticated Vector Envelope This is a multipoint loop capable envelope that makes it easy to create complex evolving sounds Lastly Distortion Chorus Phaser and Flanger effects are built into the ES2 If you d like to begin experimenting straight away there are a number of settings that can be loaded which will help you to get started These are accompanied by two tutorial sections which provide tips and information and invite you to explore the ES2 See ES2 Tutorial Creating Sounds and ES2 Tutorial Using Templates to Create Sounds 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 Descriptions on the use of all modulation and control options including reference tables are covered
57. emulate the noisy twang typical of this sound s characteristics This might be a useful template for emulations of fretted instruments harpsichords clavinets and so on Take a look at its architecture Osc 1 and Osc 3 provide the basic wave combination within the Digiwave field Changing the Digiwaves of both in combination delivers a huge number of basic variations some also work pretty well for electric piano type keyboard sounds Osc 2 adds harmonics with its synced waveform so you should only vary its pitch or sync waveform There are a couple of values that can be changed here which will give you a much stronger more balanced signal Chapter5 ES2 123 124 An old trick which delivers a punchy attack was used to create an effect that the use of a naked wave wouldn t deliver even with the best and fastest filters available You use an envelope in this case Env 1 for a quick push of a wavetable s window or all wavetables together where it makes sense Set up Envelope 1 s decay time for this short push by moving the wave selectors for all oscillators Although it makes no sense to do this on the synced sawtooth oscillator Osc 2 use the envelope trick regardless This allows you to vary the punchiness of the content between Envelope 1 s contribution to the overall attack noise and changing decay length a short decay results in a peak a long decay results in a growl as Envelope 1 reads a coupl
58. handle In the envelope graphic you can see various handles junction points of two different sizes Both of the larger handles on the x axis the horizontal or time axis at the bottom control the attack and decay times respectively A vertical line extends up from the first of the two handles attack and divides the envelope into an attack and decay phase Both segments each have two small curve handles You can drag these in any direction to deform the contour of the envelope and freely shape its amplitude You can also directly drag anywhere on the curve itself to reshape the envelope Chapter 11 Ultrabeat 287 288 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 The button frame of the chosen envelope is highlighted and the envelope display immediately updates to reflect your selection Attack Time handle Defines the period of time the envelope needs to reach its maximum value after receiving a note on message This period is called theattack phase Decay Time hand
59. has an upper and lower limit of one octave but is typically set to around three semitones up or down This setting is ideal for emulating small or extreme pitch fluctuations that occur in some instruments such as when moving between notes with a trumpet or bending the strings during a scorching guitar solo e Voices Synthesizers have a limit to the number of notes that can be produced simultaneously Producing notes simultaneously is known as the polyphony literally this means many voices of the instrument The Voices parameter sets an upper limit to the number of notes that can be played at a given time Unison Used to stack voices with the unison voice being heard one octave above the frequency of the played note Because two voices are being used when you play a note unison has two effects it makes the sound richer and fuller and it halves the polyphony Trigger Mode Trigger mode determines how the polyphony of the instrument is handled when the number of notes played exceeds the number of available voices Trigger Mode also allows you to assign legato mode Essentially this control changes the way the synthesizer responds to your playing technique and is invaluable when you are emulating monophonic instruments such as flutes clarinets and trumpets When you use the Trigger Mode control if you assign a last note priority a playing note will be cut off by playing another note Last note priority When new n
60. in Groups view only the groups themselves are copied not the associated zones Delete Deletes the currently selected zone or group Common EXS24 mkIl Zone and Group Selection Commands There are a number of ways that you can select zones and groups for editing The Edit menu contains the following zone and group selection commands Select All Selects all zones and groups of the loaded sampler instrument Toggle Selection Toggles the selection between the currently selected zones or groups and all currently unselected zones or groups You can also click zones and groups in the Parameters area Clicking the parameters of a single zone or group selects that zone or group Shift clicking two nonadjacent zones in the Zones view selects these two zones and all zones between the two clicked zones Command clicking multiple zones selects each clicked zone e You can use the Up Arrow key and Down Arrow key to select the previous and next zone or group You can also define a specific MIDI event for use as a group selection switch See Using the EXS24 mkll Advanced Group Selection Parameters Switching EXS24 mkll Zones with a MIDI Keyboard Select Zone of Last Played Key If you choose the Select Zone of Last Played Key command in the Zone menu you can switch between zones by pressing a key on a connected MIDI keyboard You can continue to select zones by clicking them in the editor when this feature is enabled Chapter 9
61. in Working with Modulation in the E52 Chapter 5 ES2 Getting to Know the ES2 interface Before you take a look at the individual parameters and functions of the ES2 this section will familiarize you with the various elements of the ES2 s graphical interface which is broken down into the following main areas Modulation router Oscillator section Global parameters Global parameters Poly Mono O Legato EW Voices O unison ee oa Effect section Planar Pad Amplifier parameters Random parameters Click here to display the Vector Envelope Filter section Macro Sound parameters Modulation controls and parameters Oscillator section The oscillator parameters are shown at the upper left of the ES2 interface The Triangle is used to set the mix relationships between the three oscillators See Using the ES2 Oscillators Global parameters A number of related global parameters that directly influence the overall output of the ES2 such as Tune are found to the left of the oscillators and above the amplifier and filter parameters See Using the ES2 s Global Parameters Filter section The circular Filter area including the Drive and Filter FM parameters See Using the ES2 Filters 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 Chapter 5 ES
62. 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 If LFO 1 is used to modulate pitch for example the pitch of one voice may rise the pitch of another voice might fall and the pitch of a third voice may reach its minimum value As you can see the modulation is independent for each voice or note The key sync feature ensures that the LFO waveform cycle always starts from zero which results in consistent modulation of each voice If the LFO waveform cycles were not synchronized in this way individual note modulations would be uneven LFO 1 canalso be faded in or out automatically courtesy of a built in envelope generator LFO 2 is monophonic which means that the modulation is identical for all voices For example imagine a scenario where a chord is played on the keyboard If LFO 2 is used to modulate pitch the pitch of all voices in the played chord will rise and fall synchronously LFO 1 EG slider Controls the time it takes for the LFO modulation to fade in or fade out see Using LFO 1 s Envelope Generator in the ES2 LFO 1 Rate slider Defines the frequency the speed of the LFO 1 modulation The value
63. information see An Overview of the EXS24 mklI Instrument Editor and subsequent sections _edit__ options Using the EXS24 mkll Options Pop Up Menu Commands Click the Options button in the upper right corner of the Parameter window This opens the Options pop up menu which contains the following commands Recall default EXS24 settings Recalls a neutral setting for all parameters in the Parameter window This provides a clean slate when adjusting the parameters of your sampler instrument Recall settings from instrument Recalls the original parameter settings of the loaded sampler instrument This parameter is useful if you ve been overzealous with your tweaking and want to return to the original sampler instrument parameter settings Save settings to instrument Stores the current parameter values of the Parameter window in the sampler instrument file When the instrument is reloaded these values are recalled Delete settings from instrument Removes the stored settings Parameter window values from the sampler instrument file Rename instrument Opens a file save dialog allowing you to rename the loaded instrument This overwrites the existing instrument name Save instrument as Opens a file save dialog allowing you to enter an alternative name for the loaded instrument This preserves the original name and sampler instrument file and creates a new sampler instrument a copy Note This is
64. introduce you to the terminology and give you a great overview of different synthesis methods and how they work This chapter covers the following Getting to Know the ES E Interface p 14 Using the ES E Oscillators p 15 Using the ES E LFO p 15 Using the ES E Filter p 16 Using the ES E Envelope p 17 Using the ES E Output Parameters p 17 Extended ES E Parameters p 18 14 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 Output parameters tutor Resonance Viby Pw Speed a I7 A K LFO 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 See Using the ES E Oscillators LFO parameters The LFO parameters below the oscillator Wave parameter knob are used to modulate the sound See Using the ES E LFO Filter parameters The section to the right of the Oscillator parameters includes the Cutoff Frequency and Resonance knobs You use the filter to contour the waveforms sent from the oscillator See Using the ES E Filter Envelope parameters The area to the right of the Filter parameters contains the Envelope parameters which control
65. 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 The modulation intensity is controlled by keyboard position the range of which is determined by the via parameter In other words the note number that you play controls the depth of LFO speed modulation Chapter 9 EXS24 mk 193 194 EXS24 mkl Modulation Paths Many of the hard wired modulation paths that were available as sliders on the original EXS24 mkl are now integrated into the modulation router To reconstitute the modulation slider configuration of the mkl version open the Options pop up menu in the upper right corner of the interface and choose Recall Default EXS24 mkl Settings This will load the mkl modulation paths into the modulation router as follows Velocity to Sample Select LFO 1 to Pitch via ModWheel Ctrl 1 Velocity to Sample Start inv LFO 2 to Filter Cutoff via ModWheel Velocity to Filter Cutoff Envelope 1 to Filter Cutoff via Velocity LFO 2 to Pan via ModWheel You can of course freely alte
66. is MIDI controller number CC 64 the standard MIDI Hold Sustain controller number Crossfade parameters Allow you to crossfade between layered samples zones with adjacent velocity ranges See Using the EXS24 mkll Crossfade Xfade Parameters Chapter 9 EXS24 mk 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 mkIl 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 elegato emono J voices If you choose Mono mode staccato playing will retrigger the envelope generators every time a new note is played If you play in a legato style play a new key while holding another the envelope generators are triggered only for the first note you play legato and then continue their curve until you release the last legato played key The Legato mode is also monophonic but with one difference the envelope generators are only retriggered if you play staccato release each key before playing a new key Glide Behavior in Different Keyboard Modes In Legato mode Glide is active only on tied notes Envelopes are not retriggered when tied notes are pla
67. is the abbreviation forlow frequency oscillator The LFO signal is used as a modulation source In an analog synthesizer the LFO frequency generally ranges between 0 1 and 20 Hz which is outside the audible frequency spectrum Therefore this type of oscillator is used only for modulation Note The speed of the LFO in Ultrabeat can reach up to 100 Hz which affords a number of possibilities that analog synthesizers simply don t offer Chapter 11 Ultrabeat 283 284 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 Sync Free buttons The LFO speed Rate can be set independently Free or synchronized Sync to the host application tempo Click either button to activate the corresponding mode Rate knob Determines the speed of the LFO Depending on the Free Sync setting the rate is displayed in Hertz or rhythmic values the latter when project tempo synchronization is active Rates range from speeds of 1 64 notes through to a periodic duration of 32 bars Triplet and punctuated values are also available Waveform Shape slider and display Determines the shape of
68. levels and frequencies As more sine waves are combined they begin to generate additional harmonics In most additive synthesizers each set of sine waves is viewed and used much like an oscillator Depending on the sophistication of the additive synthesizer you are using you will be provided with individual envelope control over each sine wave or you will be limited to envelope control over groups of sine waves one envelope per sound and its harmonics or all odd or all even harmonics for example Logic Express does not contain any instruments that use additive synthesis methods 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 Theoretically you could restructure a harmonic sound to make it inharmonic for example Phase Distortion Synthesis Phase distortion synthesis creates different waveforms by modifying the phase angle of a sine wave Appendix Synthesizer Basics In essence you can bend a sine wave until it becomes a sawtooth wave a triangle wave a square wave and so o
69. loops in a single sampler instrument Assigning the Complete ReCycle Loop to a Zone The Instrument gt ReCycle Convert gt Slice Loop and Make New Instrument command creates an EXS instrument from a ReCycle loop Each slice is chromatically mapped across the keyboard from low to high notes Each zone plays back the ReCycle loop to the end point at the current project tempo This means that the lowest zone will play back the entire loop but the highest zone will only play the last slice of the loop Notes between the lowest and highest zones will play several slices This allows for old school drum n bass style note triggering where the sample loop start point is determined by playing the respective notes on the keyboard The Instrument gt ReCycle Convert gt Slice Loop and Add Samples to Current Instrument command adds the zones from the sliced loop to the currently active sampler instrument Pasting Loops from the Clipboard The Edit gt Paste ReCycle Loop as New Instrument command creates an EXS instrument from a ReCycle loop that was copied into the Clipboard with ReCycle s Copy Loop function Instrument creation is identical to the Extract MIDI Region and Make New Instrument command The Edit gt Paste ReCycle Loop to Current Instrument command adds the zones to the currently active sampler instrument Generating a MIDI Region from a ReCycle Instrument You can generate a MIDI region fr
70. 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 Given the default assignment of Oscillator 1 as the modulation source and the direct relationship between the filter FM intensity and Oscillator 1 s frequency you can set up a second routing with Oscillator 1 frequency Pitch1 as the target Filter 2 can also be driven to self oscillation If you set a very high Resonance value it will produce a sine wave This self oscillating sine wave will distort at the maximum Resonance value If you mute all oscillators you ll only hear this sine oscillation By modulating the Cutoff Frequency you can produce effects similar to those produced by modulating the frequency of Oscillator 1 with Oscillator 2 Using the ES2 Amplifier Parameters The dynamic stage of a synthesizer defines the level the perceived volume of a played note The change in level over time is controlled by an envelope generator For more information about envelope generators see Synthesizer Basics Using Envelope 3 to Control ES2 Levels ENV 3 is hard wired to the dynamic stage of the ES2 it is always used to control the level of each note All envelope parameters are discussed in Getting to Know the ES2 Envelopes ENV 1 to ENV 3 with specific information about Envelope 3 found in Getting to Know ENV 2 and ENV 3 in the ES2 Modulating the Amp in the ES2 Rou
71. of distortions Chapter 9 EXS24 mk EXS24 mkll 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 mkll 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 mkll Envelopes ENV 1 and ENV 2 Level via Vel slider Determines how velocity affects the volume of the sound The upper half of the slider determines the volume when the keyboard is struck at maximum velocity and the lower half determines the volume when the keyboard is struck at minimum velocity Drag the area between the two slider segments to move both simultaneously Volume knob Acts as the main volume parameter for the EXS24 mkIl Adjust to find the balance between no distortion and getting the best the highest resolution in the channel strip and the Level via Vel slider Key Scale field Modulates the sampler instrument level by note number position on the keyboard Negative values increase the level of lower notes Positive values increase the level of higher notes This is useful when emulating a number of acoustic instruments where higher pitched notes are often louder than low notes Chapter 9 EXS24 mk 187 188 Working with EXS24 mkll Modulation The EXS24 mkll is equipped with an extensive range of
72. organ s level shouldn t increase too drastically when all modulations are moved to their respective maximums e 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 e Modulation routing 8 brings in LFO 1 as a modulator for panorama movement this patch changes from mono to stereo If you prefer a full stereo sound with a slowly rotating Leslie in its idle position just set an amount equal to the desired minimum value thereby achieving a permanent slow rotation Another modification you may wish to try is a higher value resulting in more extreme channel separation e Modulation routing 9 speeds up LFO 2 s modulation frequency e Modulation routing 10 A little cutoff was added to Filter 1 increasing the intensity of the big twirl Chapter 5 ES2 125 126 Feel free to find your own values While doing so keep in mind the fact that there are two modulation pairs that should only be changed symmetrically modulation routings 2 and 3 work as a pair as do modulation routings 6 and 7 So if you change Pitch 2 s maximum to a lower minus value remember to set Pitch 3 s maximum value to the same positive amount the same rule applies for modulation routing pair 6 and 7 You can also bring in LFO 2 to increase the pitch diffusion agai
73. p 337 GarageBand Hybrid Basic p 338 GarageBand Hybrid Morph p 340 GarageBand Piano p 342 GarageBand Sound Effects p 343 GarageBand Strings p 344 GarageBand Tonewheel Organ p 345 321 GarageBand Tuned Percussion p 346 GarageBand Voice p 347 GarageBand Woodwind p 348 GarageBand Instrument Features GarageBand Instruments are actually less CPU and memory intensive versions of equivalent Logic Express instrument plug ins The GarageBand synthesizers use a cut down version of the ES2 Similarly organ sounds are generated by a feature limited EVB3 and electric piano sounds are emulated by an instrument based on Logic Pro s EVP88 Other sounds such as strings brass drum kits and so on make use of a simplified sample player that is based on the EXS24 mkll The interface of all GarageBand instruments is limited to a few key parameters simplifying their use The available parameters were carefully chosen to provide maximum impact and flexibility making it easy and fast to create great sounds The inclusion of these instruments makes it simple to import GarageBand project files into Logic Express After you import a GarageBand project you will have access to the advanced sequencing mixing and effect processing options in Logic Express You can also choose to replace the instruments in your GarageBand project with any of the Logic Express instruments 322 Chapter 12 GarageBand Instruments Gara
74. rather rude in the upper key range This cannot be compensated for with key scaling but not every sound has to be nice across the entire keyboard range Check out extreme detunings by adjusting the Analog parameter e Check out the Flanger with this sound Engage the filter envelope by lowering the Cutoff Frequency of Filter 2 down to 0 Add some Glide to lead sounds As always when it comes to FM you can dramatically alter the sound by varying the frequencies of the oscillators Make sure you check out the odd intervals as well Creating FM Sounds with Unusual Spectra in the ES2 If you re unconcerned with the pitch of your sound you can get the weirdest spectra out of odd frequency ratios oscillator intervals The FM Out of Tune setting offers a bell like sound reminiscent of a ring modulator It was achieved through a setting of 30 s 0 c with the modulator set to a value of O s Oc Sounds like this were commonly used in the electronic music of the eighties and have had a resurgence in popularity in ambient and trance music styles 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 e You ll notice that the sound is 5 semitones too high or 7 semitones too low conversely Transpose both Oscillators
75. sawtooth wave it changes between convex linear and concave curves 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 You can automatically accelerate or slow down LFO 1 s rate by modulating the LFO1Rate target with one of the envelope generators ENV or with LFO2 Env2Atck Envelope 2 Attack modulates the Attack time of the second envelope generator Chapter 5 ES2 Target Comments Env2Dec Envelope 2 Decay modulates the Decay time of the second envelope generator In cases where you ve selected Env2Dec as the target and Velocity as the source the duration of the decaying note is dependent on how hard you strike the key Selecting Keyboard as the source will result in higher notes decaying more quickly or slowly Env2Rel Env2Rel Envelope 2 Release modulates the Release time of the second envelope generator Env2Time Env2Time Envelope 2 All Times modulates all of ENV2 s time parameters Attack Decay Sustain and Release times Env3Atck Env3Atck Envelope 3 Attack modulates the Attack time of
76. set to its lowest position you ll only hear Filter 2 Chapter5 ES2 e 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 You can obviously use manual control sources such as the modulation wheel to change the filter blend but the Filter Blend can also be used creatively to rapidly switch or smoothly fade between the two filters Examples of sources you might consider include an LFO velocity or even a combination of the Vector Envelope and Planar Pad using the X or Y Pad parameters as sources The latter would enable some interesting filter control possibilities that would evolve along with oscillator parameters also being controlled via the Vector Envelope or independently The Impact of Filter Blend on the ES2 Signal Flow Regardless of whether parallel or series filter configurations are chosen a Filter Blend setting of 1 results in only Filter 1 being audible A Filter Blend setting of 1 will limit audibility to Filter 2 The figures illustrate the signal flow between the Oscillator Mix stage the Triangle and th
77. slightly detuned interval is created Chapter 11 Ultrabeat 317 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 Ultrabeat Tutorial Creating Extreme Sounds Ultrabeat features extremely fast envelopes and uncommonly powerful LFOs Use these modulation sources to perform extreme modulations of the oscillator and filter parameters To create out of the ordinary sounds Try modulating as many targets as possible Don t be afraid of using extreme settings Use a quick envelope to drive the filter to self oscillation for a fraction of a second Use a few LFO cycles at a much higher rate than other cycles Experiment with the Dirt parameter or the bit crusher Ultrabeat Tutorial Programming in Building Blocks As you become familiar with drum sound programming you may begin thinking in building blocks realizing that drum sounds usually consist of different components After you mentally or physically write down your list of components try to emulate each component that contributes to the sound s character making use of the different sound generator
78. sub oscillator generates square pulse and white noise waveforms It also allows you to route a side chain signal through the ES1 synthesizer engine see Using the ES1 Sub Oscillator 2 4 8 16 32 buttons Transpose the pitch of the oscillators up or down by octaves The lowest setting is 32 feet and the highest is 2 feet The use of the term feet to determine octaves comes from the measurements of organ pipe lengths The longer and wider the pipe the deeper the tone for a description of the global Tune parameters see Adjusting Global ES1 Parameters Setting ES1 Oscillator Waveforms The following table outlines how the oscillator waveform affects your synthesizer sound Waveform Basic tone Comments Sawtooth Warm and even Useful for strings pads bass and brass sounds Triangle Sweet sounding softer than Useful for flutes pads sawtooth Square Hollow and woody sounding Useful for basses clarinets and oboes Chapter 4 ES1 35 36 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
79. the LFO waveform Drag the slider from left to right to morph the waveform from a triangle to a sawtooth sine square and finally a rectangular wave shape including all variations in between At the far right position the LFO produces random waveforms The graphical display shows the current LFO waveform shape Cycles knob and field Determines the number of times that the LFO waveform runs through See Using Ultrabeat s LFO Waveform Cycles Parameter Ramp knob and field Controls the time it takes for the LFO modulation to fade in or fade out The Ramp value is displayed in milliseconds in its parameter field Turn Ramp to the right to set the Attack time of the LFO Turn Ramp to the left to set the Decay time At the middle position Ramp has no effect on the LFO Using Ultrabeat s LFO Waveforms The Waveform Shape slider allows you to choose different waveforms for both LFOs The table below outlines how these can affect your sounds In between waveform shapes will result in hybrid waveforms and hybrid behaviors Chapter 11 Ultrabeat 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 slid
80. the Theremin but in its earliest incarnation it was played by pulling a wire back and forth In Berlin during the 1930s Friedrich Trautwein and Oskar Sala worked on the Trautonium an instrument that was played by pressing a steel wire onto a bar Depending on the player s preference it enabled infinitely variable pitches much like a fretless stringed instrument or incremental pitches similar to that of a keyboard instrument Sala continued to develop the instrument throughout his life an effort culminating in the two voice Mixturtrautonium in 1952 He scored numerous industrial films as well as the entire soundtrack of Alfred Hitchcock s masterpiece The Birds with this instrument Although the movie does not feature a conventional musical soundtrack all bird calls and the sound of beating wings heard in the movie were generated on the Mixturtrautonium In Canada Hugh Le Caine began to develop his Electronic Sackbut in 1945 The design of this monophonic instrument resembled that of a synthesizer but it featured an enormously expressive keyboard which responded not only to key velocity and pressure but also to lateral motion 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
81. the bands in the analysis filter bank Positive values move the synthesis filter bank bands up in frequency whereas negative values move them down in respect to the analysis filter bank band positions When combined Formant Stretch and Formant Shift alter the formant structure of the resulting vocoder sound which can lead to some interesting timbre changes For example using speech signals and tuning Formant Shift up results in Mickey Mouse effects Formant Stretch and Formant Shift are also useful if the frequency spectrum of the synthesis signal does not complement the frequency spectrum of the analysis signal You could create a synthesis signal in the high frequency range from an analysis signal that mainly modulates the sound in a lower frequency range for example Note The use of the Formant Stretch and or the Formant Shift parameters can result in the generation of unusual resonant frequencies when high Resonance settings are used Chapter 7 EVOC 20 PolySynth 155 156 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 if Rate R ee gt Rate Pitch LFO h E Shif
82. the harmonic portion of the sound bright sustain for a longer time at slow values Faster values move to the Sustain level more quickly e Sustain slider Determines the level of the sound after the Attack and or the Decay phase has completed Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 327 328 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 gt lt Inst 1 ad View ShowCS v Show insert v Bypass a gt defaultdef Volume Sync Sync Modulation es Sync Envelope Attack Decay Sustain Analog Sync Volume slider Sets the overall volume level of the instrument e Sync slider Determines the synchronization or lack of it between the two oscillators and therefore the harshness of the sound e Sync Modulation slider Determines how much the synchronization of the two oscillators is modulated resulting in more complex and harder tones Sync Envelope slider Determines the amount that envelope parameters affect the sound Cutoff slider Allows more high or less low of the sound through making it brighter or damping it e Attack slider Makes the sound start more slowly or quickly
83. the parameters from Ctrl A through Ctrl D e Vel represents velocity Ctrl A to Ctrl D are four continuous controllers that can be assigned to four external MIDI controllers These assignments are made in the MIDI Controller Assignments area at the upper right edge of the Ultrabeat window The assignments apply to all sounds in the current Ultrabeat plug in instance Chapter 11 Ultrabeat 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 To assign a controller Open the desired control menu Ctrl A D and choose the controller name or number that you want to use from the list To learn a controller assignment via MIDI 1 Open the desired control menu and choose the Learn menu item 2 Move the desired controller on your MIDI keyboard or controller Note If no suitable MIDI message is received within 20 seconds the selected control reverts to the previous value assignment Getting to Know the Ultrabeat LFOs Two identical LFOs are available as modulation sources in the mod menu LFO
84. the sound e Noise Synth Uses noise and the synthesizer for the unvoiced portions of the sound Chapter 7 EVOC 20 PolySynth 147 148 e 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 EVOC 20 PolySynth Synthesis Section Parameters The EVOC 20 PolySynth is equipped with a polyphonic synthesizer It is capable of accepting MIDI note input The parameters of the Synthesis section are described below Global parameters Filter parameters Cutoff Resonance Envelope parameters Analog Glide Bend Runge Tuning and Pitch parameters Oscillator parameters Oscillator parameters Used to choose the basic waveforms for the synthesis engine of the EVOC 20 PolySynth See EVOC 20 PolySynth Oscillator Parameters Tuning and Pitch parameters Control the overall tuning of the synthesizer and aspects such as pitch bend and portamento See EVOC 20 PolySynth Tuning and Pitch Parameters Filter parameters Used to shape the basic waveforms of the oscillators See EVOC 20 PolySynth Filter Parameters Envelope parameters Provide leve
85. the way that Ultrabeat reacts to incoming MIDI notes This is independently defined for each sound 274 Chapter 11 Ultrabeat 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 Band 1 offers a low shelving EQ whereas band 2 features a high shelving EQ EQ type buttons Switch between two different types of EQs shelving and peak In shelving mode activated by clicking the upper EQ type button all frequencies above or below the set frequency are either increased or reduced In peak mode activated by clicking the lower button only frequencies located near the set frequency are affected Note Shelving EQs behave much like synthesizer lowpass and highpass filters The key difference is that lowpass and highpass filters merely dampen certain frequencies filter them out whereas shelving EQs also allow these frequencies to be boosted Gain knob Positive values boost a certain frequency range as determined by the EQ type and Hz settings Negative gain values reduce the gain of the frequency r
86. thinner less Chapter 12 GarageBand Instruments 333 334 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 Kits emulated include rock pop jazz electronic orchestral and Latin among others Inst 1 Y ShowCS v Show insert v a gt defauitdef SS ae a r T Y Volume Filter Cutoff 45 SOG S OTO a Release 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 Chapter 12 GarageBand Instruments GarageBand Electric Clav inet The Electric Clavinet sound is based on the EVD6 It emulates the Hohner D6 clavinet Inst 1 p View ShowCS v Show insert v Bypass a gt defaultdef St J Volume Damper Electric Clav 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 a
87. three complete modular systems every week at Moog s production facility Working independently an engineer named Donald Buchla had conceived and implemented the concept for a modular voltage controlled synthesizer This coincided with Moog s version Buchla also developed his first instruments in close cooperation with users The inspiration for his first synthesizer originated with composers Morton Subotnik and Ramon Sender of the San Francisco Tape Music Center Although he began working on this instrument in 1963 it didn t make its public debut until 1966 By design Buchla s instruments catered primarily to academia and avant garde musicians so they never garnered the public attention and acclaim of Moog s synthesizers Appendix Synthesizer Basics 376 Compact and Cheap These early voltage controlled synthesizers were modular One or several chassis housed the power supply and the actual modules The inputs and outputs of the modules had to be interconnected via a confusing tangle of patch cords before the synthesizer would actually make a sound Establishing these connections properly was an art unto itself and obtaining useful settings on the modules required significant expertise Moog realized that these modular synthesizers were too complex and expensive for the average musician and were likely to fail if sold through traditional music retailers In 1969 Moog collaborated with engineers Jim Scott Bill Hemsath and Chad Hunt
88. to adjust e Press Shift to adjust the pitch in cent intervals 1 cent 1 100th semitone e Pitch can also be modulated by the sources found in the mod and via menus Signal Flow button Determines whether the signal of the associated oscillator will be routed through the Filter or sent directly to the EQ in the Output section When active the button turns red and an arrow indicates the direction of the signal flow Mod and via menus Determine the modulation sources for oscillator pitch and level See Working with Modulation in Ultrabeat Chapter 11 Ultrabeat 257 258 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 Using Oscillator 1 s Phase Oscillator Mode in Ultrabeat The waveform of the phase oscillator can be reshaped into almost any basic synthesizer waveform The effect of parameter changes are immediately reflected in the waveform display within the Oscillator section On off button Saturation slider Asym slider Slope knob Waveform display Slope knob Determines the slope or steepness of the waveform The higher the value th
89. to design a compact portable affordable and easy to use synthesizer After three prototypes were built the Minimoog Model D was released in the summer of 1970 Unlike previous modular synthesizers it was neither necessary nor possible for players to connect the modules of the Minimoog as they saw fit All of the modules connecting circuitry was hard wired at the factory The type and number of modules was also fixed This simplified manufacturing considerably and cut costs dramatically Hard on the heels of a major marketing campaign the Minimoog became a huge success Without alteration in its basic design 13 000 Minimoogs were sold worldwide right up to 1981 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 Although dual voice keyboards that connected two monophonic synthesizers were available as early as 1970 customers wanted more Attempting to satisfy these demands two schools of thought emerged in synthesizer design One approach called for an independent monophonic synthesizer to be assigned to every key on the keyboard To this end designers married th
90. 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 This behemoth was played in real time using velocity sensitive keys and amazingly was able to generate several different sounds simultaneously The Telharmonium was presented to the public in a series of concerts held in 1906 Christened Telharmony this music was piped into the public telephone network because no public address systems were available at the time Appendix Synthesizer Basics 373 374 In 1919 Russian inventor Leon Theremin took a markedly different approach Named after the man who masterminded it the monophonic Theremin was played without actually touching the instrument It gauged the proximity of the player s hands as they were waved about in an electrostatic field between two antennae and used this information to generate sound This unorthodox technique made the Theremin enormously difficult to play Its eerie spine tingling but almost unvarying timbre made it a favorite on countless horror movie soundtracks Incidentally R A Moog whose synthesizers would later garner worldwide fame began to build Theremins at the tender age of 19 In Europe the Frenchman Maurice Martenot devised the monophonic Ondes Martenot in 1928 The sound generation method of this instrument was akin to that of
91. to the right of the Random button To increase the amount of random variation Move the slider further to the right The random sound variation feature always alters parameters as they are currently set not based on the original setting file Therefore clicking RND repeatedly will result in a sound that increasingly differs from the original setting Chapter 5 ES2 To create several slight variations of the current setting Reload the original setting after each random alteration saving each with a new name if desired 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 You do this by setting the RND Destination to Waves or Filters thus excluding the envelope parameters from the variation process Note The Master Level Filter Bypass and Oscillator On Off parameters are never randomized Also randomizations of the Vector Envelope turn the Solo Point parameter off You can restrict random sound variations to the parameter groups listed below Parameter group Comments All All parameters with the exception of those mentioned above are random
92. tone are known as overtones or harmonics Nonfundamental tones that are multiplied by fractional amounts not whole numbers are called partials A tone divided by the frequency of the fundamental tone is referred to as a subharmonic The fundamental tone is referred to as the first harmonic This is generally louder than the other harmonics Appendix Synthesizer Basics Atone 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 Tones that cannot be multiplied or divided by a whole number are known as inharmonic overtones or partial tones When you combine a number of these inharmonic overtones it tends to sound noisy The Frequency Spectrum A fundamental tone when combined with various harmonics of different levels is perceived as a sound The level relationships between these sonic elements change over time controlled by envelopes discussed later in this appendix The combination of a number of harmonics is referred to as the harmonic spectrum or more commonly the frequency spectrum The frequency spectrum shows all the individual so
93. used by the EXS24 mkll Note Edited samples may have values that are not accurately shown in the Instrument Editor See Updating Edited EXS24 mkll Zone Information Chapter 9 EXS24 mk Updating Edited EXS24 mklI Zone Information After you have saved and reopened a sample that was edited in either the Logic Express 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 To update zone information Open the Zone menu and choose the Update Selected Zone s Info from Audio File command This feature reads loop settings and start and end points directly from the audio file and updates the settings of the zone shown in the Parameters area accordingly Working with the EXS24 mkII Sample Editor Loop Commands The Edit menu of the Sample Editor includes the Sample Loop gt Selection Selection gt Sample Loop and Write Sample Loop to Audio File items To use the Sample Editor Loop commands Choose either of the selection commands in the Edit menu of the Sample Editor Sample Loop Selection The loop area defined by the Loop Start and End points is used to select a portion of the overall audio file Selection Sample Loop The selected area is used to set the Loop Start and End points After you select the desired area using either of these commands choose Edit gt Write Sample Loop to Au
94. which you can use to create polyphonic rhythmic sequences and patterns This chapter covers the following Getting to Know the Structure of Ultrabeat p 244 Loading and Saving Ultrabeat Settings p 246 Getting to Know the Ultrabeat Interface p 247 Getting to Know Ultrabeat s Assignment Section p 247 Importing Sounds and EXS Instruments into Ultrabeat p 251 Getting to Know the Ultrabeat Synthesizer Section p 254 Getting to Know the Ultrabeat Oscillators p 256 Getting to Know the Ultrabeat Oscillator Parameters p 257 Using Oscillator 1 in Ultrabeat p 258 Using Oscillator 2 in Ultrabeat p 262 Using the Ultrabeat Ring Modulator p 267 Using the Ultrabeat Noise Generator p 268 Getting to Know the Ultrabeat Filter and Distortion Section p 269 Using Ultrabeat s Multimode Filter p 270 Using Ultrabeat s Distortion Circuit p 272 Using the Ultrabeat Output Section p 273 Working with Modulation in Ultrabeat p 279 Working with the Ultrabeat Step Sequencer p 289 Automating Parameter Values in Ultrabeat s Step Sequencer p 299 Exporting Ultrabeat Patterns as MIDI Regions p 303 Using MIDI to Control Ultrabeat s Sequencer p 304 243 244 Ultrabeat Ultrabeat Ultrabeat Ultrabeat Ultrabeat Ultrabeat Ultrabeat Ultrabeat utorial utorial utorial Tutorial utorial utorial Tutorial utorial Introduction p 305 C
95. with the LFO source used to control the Volume Level of one or both oscillators This will create typical drum flams or hand claps The range of Cycles parameter values extends from 1 to 100 Turn the knob to its maximum value all the way to the right to create an infinite number of cycles standard LFO behavior A Cycle value of 1 allows the LFO to function as an additional albeit simple envelope generator The Cycles parameter can also determine whether the LFO waveform is started from the beginning at a 0 crossing point with each note trigger or whether it simply continues oscillating A Cycles value of Inf Infinity forces the LFO to run freely It is not reset by incoming MIDI note on messages Chapter 11 Ultrabeat 285 286 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 Note You can of course use minor shifting of the LFO phase with the Cycle value set to Infinity to your advantage adding an analog character to a drum sound for example Getting to Know the Ultrabeat Envelopes Env 1 to Env 4 Further modulation s
96. 1 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 Very high filter resonance settings can be used to such an extreme degree that the filter begins to self oscillate resulting in the filter generating a sine wave Drive Drive adds an amount of gain to the waveform as it enters the filter an input gain control thus overdriving the filter and distorting the waveform This waveform distortion changes the timbre of the sound making it much harsher See Reshaping Waveforms for more information about waveform distortions The figure shows an unfiltered sawtooth wave with Drive set to about 80 Notice that the wave cycles touch the floor and ceiling of the filter s dynamic range Appendix Synthesizer Basics 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 Cutoff frequency
97. 2 49 50 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 The router links modulation sources such as the envelopes and other parameters shown in the lower eae of the interface to modulation targets such as the oscillators and filters See Getting to Know the ES dulation Route The Vector Envelope is an extremely flexible and powerful woe or which provides extensive control over your sound See Getting to Know the ES2 s Vector Er welope A Modulation controls and parameters The area immediately below the router is where you can assign and adjust the modulation generator parameters such as LFO and envelope parameters See V king with Modulation in the ES2 Planar Pad The square area at the top right is a two dimensional controller known as the Planar Pad which facilitates the simultaneous manipulation of two freely assignable parameters The Planar tae can be cones ee the mouse another controller or the Vector Envelope See Using the ES2 s d e Effect section The built in effect prong nls are found to the right of the Output parameters See Using the ES2 s Integrated Effect Proc ssing Section Random parameters Used to randomize sound parameters the pe palsies are found below the circular Filter area
98. 2 defines the changes in level over time for each note played Chapter 9 EXS24 mk 197 198 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 e 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 The lower half defines the attack time when the keys are struck hard at maximum velocity The upper half defines the attack time at minimum velocity Drag the area between the two slider halves to move them both simultaneously If this area is too small to drag drag an unused portion of the slider control D ecay slider Determines the time it takes for the level of a held note to fall to the sustain level after the attack phase has completed If the Sustain level parameter is set to its maximum value the Decay parameter has no effect e When the Sustain level is set to its minimum value the Decay parameter defines the duration or fade out time of the note S ustain slider Controls the sustain level R elease slider Defines the time required for the sustain level to decay to zero after the key is released Time Curve sliders These apply to both envelopes The left s
99. 2 to run freely in the upper half of the Rate slider range or to be synchronized with the project tempo in the lower half of the Rate slider range The rate is displayed in Hertz or rhythmic values the latter when project tempo synchronization is active Rates range from speeds of 1 64 notes to a periodic duration of 32 bars Triplet and punctuated values are also available Chapter5 ES2 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 ENV 3 defines the changes in level over time for each note played You can regard ENV 3 as being hard wired to the router s AMP modulation target Envelope Modulation of ES2 Filter Cutoff Unlike many other synthesizers the ES2 has no hard wired connection between any of the envelope generators and the filter cutoff frequencies Set up a modulation routing as follows in order to establish this type of modulation Set target to Cutoff 1 Cutoff 2 or Cut 1 2 Set source to ENV 2 for example After it is set as described the slider to the right of the modulation rou
100. 4 ES1 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 Using the ES1 Analog Parameter When the Analog parameter is set to a value of zero the oscillator cycle start points of all triggered voices are synchronized This may be useful for percussive sounds when you want to achieve a sharper attack characteristic Use of Analog values higher than zero allows the oscillators of all triggered voices to cycle freely Use higher values if you re aiming for a warm analog type of sound where subtle sonic variations occur for each triggered voice Using the Voices Parameter in the ES1 When the Voices parameter is set to Legato the ES1 behaves like a monophonic synthesizer with single trigger and fingered portamento engaged This means that if you play legato a portamento will occur the portamento time is defined by the Glide slider If you release each key before pressing a new one the envelope will not be triggered by the new note and there will be no portamento Tip You can use this feature to create pitch bend effects without touching the pitch bender so make sure you select a hi
101. 6 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 This means that the signal of all oscillators combined at the Oscillator Mix Triangle passes through the first filter and then this filtered signal passes through Filter 2 if Filter Blend see below is set to 0 the middle position The output signal of Filter 2 is then sent to the input of the dynamic stage Amplifier section In the figure to the right the filters are cabled in parallel If Filter Blend is set to 0 you ll hear a 50 50 mix of the source signal routed via Filter 1 and Filter 2 The output signals of the two filters are then sent to the input of the dynamic stage Filter Blend Cross Fading Between the ES2 Filters You can use the Filter Blend slider to cross fade between the two filters when cabled in parallel Filter Blend can have a significant effect on the ES2 signal flow See The Impact of Filter Blend on the ES2 Signal Flow When Filter Blend is set to its top position you ll only hear Filter 1 If Filter Blend is
102. A fast setting makes it sound like striking a piano key whereas a s ow setting makes it sound like bowing a violin string Chapter 12 GarageBand Instruments 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 e 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 Inst 1 g3 G View ShowCS Show insert v Bypass a gt defaultdef E Yr rrr r Na Volume Filter Cutoff CULES Release 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 Chapter 12 GarageBand Instruments 329 330 GarageBand Church Organ The Church Organ instrument is sample based It emulates a pipe organ Inst 1 p View ShowCS v Show insert v Bypass a gt default def Volume Registration Bass Release Church 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 chang
103. Any point can be declared the Sustain point If a played note is held for a sufficient length of time and there s no loop engaged any envelope movement will stop when the Sustain point is reached The Sustain point value is maintained until the key is released until the MIDI note off command Any point can be declared the Loop point The looped area spans the time between the Sustain point and Loop point In between these points you can create further points that describe the movements of the square icons in the Planar Pad and Triangle Selecting Creating and Deleting ES2 Vector Envelope Points The more points you set the more complex the movements that can be performed To select a point Click to select Once selected you can freely edit the point To create a new point Shift click between two existing points Chapter 5 S2 91 92 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 To delete a point Control click it Reverting to Default ES2 Vector Envelope Point Values On occasion you may want to revert to the default values of a point This is done directly
104. BD parameter offers five values off 25 50 75 and 100 If you choose 100 the phasing beats are almost constant across the entire keyboard range This value may however be too high as the lower notes might be overly detuned at the point where the phasing of the higher notes feels right Try lower CBD values in cases where the bass notes appear to be a little too far out of tune with the upper keyboard range The reference pitch for CBD is C3 middle C Its de tuning is constant regardless of the chosen CBD value Chapter 5 ES2 60 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 wy level balance between i v the oscillators Modulating Triangle Coordinates with the ES2 Router The position of the square icon in the Triangle is described by two parameters coordinates actually which are relevant when it comes to automating the oscillator mix These parameters called OscLevelX and OscLevelY are accessible as targets in the router Important Don t confuse these coordinates with the X and Y positions of the Planar Pad see Using the ES2 s Planar Pad Controlling
105. Channel Pressure and Pitch Bend In the field next to each pop up menu you can enter either the note number or the value of the first data byte When Control Change is chosen the number field determines the controller number Giga convert includes release trigger checkbox Determines whether or not the release trigger function of the Gigasampler format will be performed by the EXS24 mkll Ignore release velocity checkbox Also refers to the release trigger function of the Gigasampler format and it should always be selected for this purpose Regardless of whether or not your keyboard is able to send release velocity you would want your samples played by the release trigger function to be louder or softer than the original sample or at the same volume regardless of the initial velocity When playing with release trigger you would want the release velocity value to have the same value as the initial velocity value To accomplish this you can switch off release velocity Keep common samples in memory when switching projects checkbox Determines whether or not the samples commonly used shared by two open project files are reloaded when you switch between projects Configuring EXS24 mkil Virtual Memory Multi gigabyte sample libraries are commonplace these days delivering incredibly detailed and accurate instrument sounds In many cases these sample libraries are too large to fit into your computer s random access memor
106. EXS24 Sampler Instruments To minimize the number of sampler instruments displayed in the Sampler Instruments pop up menu you can use the Find function This limits the Sampler Instruments pop up menu to displaying only sampler instrument names that contain the search term To search for sampler instruments Click to open the Sampler Instruments pop up menu then choose Find Enter the search term in the Filter window Filter l To disable the Search Filter Choose Clear Find in the Sampler Instruments pop up menu The full Sampler Instruments pop up menu is displayed but the search term you typed into the Filter window is not cleared You can return to the limited menu by choosing Enable Find in the Sampler Instruments pop up menu This allows you to switch between the two views without re typing the search term To perform a different search Choose the Find command again and enter the desired search term Chapter 9 EXS24 mk 175 176 Opening the EXS24 mkIl 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 mkll 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 For detailed
107. EXS24 mkll Klopfgeist Using the Klopfgeist Parameters Ultrabeat Getting to Know the Structure of Ultrabeat Loading and Saving Ultrabeat Settings Getting to Know the Ultrabeat Interface Getting to Know Ultrabeat s Assignment Section Importing Sounds and EXS Instruments into Ultrabeat Contents Chapter 12 254 256 257 258 262 267 268 269 270 272 273 279 289 299 303 304 305 305 310 316 316 317 318 318 321 322 323 324 325 326 328 329 330 332 333 334 335 336 337 338 Getting to Know the Ultrabeat Synthesizer Section Getting to Know the Ultrabeat Oscillators Getting to Know the Ultrabeat Oscillator Parameters Using Oscillator 1 in Ultrabeat Using Oscillator 2 in Ultrabeat Using the Ultrabeat Ring Modulator Using the Ultrabeat Noise Generator Getting to Know the Ultrabeat Filter and Distortion Section Using Ultrabeat s Multimode Filter Using Ultrabeat s Distortion Circuit Using the Ultrabeat Output Section Working with Modulation in Ultrabeat Working with the Ultrabeat Step Sequencer Automating Parameter Values in Ultrabeat s Step Sequencer Exporting Ultrabeat Patterns as MIDI Regions Using MIDI to Control Ultrabeat s Sequencer Ultrabeat Tutorial Introduction Ultrabeat Tutorial Creating Kick Drums Ultrabeat Tutorial Creating Snare Drums Ultrabeat Tutorial Creating Toms and Tonal Percussion Ultrabeat Tutorial Creating Hi Hats and Cymbals Ultrabeat Tutorial Creating M
108. FM1 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 To make things more sonically interesting the modulator oscillator is used to modulate the frequency of the carrier oscillator This modulation occurs in the audio range you can actually hear it and results in a number of new harmonics becoming audible The pure sine wave of the carrier oscillator is combined with the newly generated harmonics making the sound much more interesting Chapter6 EFM1 133 134 Changes to the ratio of the two oscillators is achieved by adjusting the Harmonic parameters found in both the Modulator and Carrier sections Additional tuning control is provided by the Fine Tune parameters discussed below Modulator a jener parameters I 1 A MDA l A FM Intensity knob Harmonic knobs Set the tuning ratio between the Modulator left and Carrier right oscillators See Setting the EFM1 Tuning Ratio Fine tune knobs Adjust the tuning between two adjacent harmonics as determined by the Harmonic knobs The range of this control is the center 0 position Fine tune does not have an effect Click the 0 to center the Fine tune knob Dependent on the amount of detuning you will hear either A subtle beating of the timbre if lower detuning amounts are used e New harmonic and inharmonic over
109. Intensity slider to set the minimum modulation intensity To move the entire via range Drag the range area between the two slider halves vertically EG Rate 80 Chapter 5 ES2 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 To set the modulation intensity to zero Click the little zero symbol beside the via label To invert the effect of the via modulation source Click the via invert inv parameter to the right of the via label An ES2 Modulation Example Imagine an ES2 sound with these settings Target Pitch123 e via ModWheel Source LFO1 Modulation intensity Slider position set as desired EG Rate Pitch123 is the modulation target in this example The modulation source LFO1 is used to modulate the frequency or pitch of all three oscillators Pitch123 You ll hear a vibrato a modulation of the pitch at a speed determined by LFO 1 s Rate parameter The modulation intensity is controlled by the modulation wheel the range of which is determined by the via parameter This provides you with control over the depth of vibrato pitch modulation via the modulation wheel of your keyboard This type of configuration is used in countless sound settings Chapter5 ES2 81 82 Getting to Know the ES2 LFOs The ES2 features two multiwaveform LFOs Both are available as sources
110. Logic Express 9 Copyright 2009 Apple Inc All rights reserved Your rights to the software are governed by the accompanying software license agreement The owner or authorized user of a valid copy of Logic Express software may reproduce this publication for the purpose of learning to use such software No part of this publication may be reproduced or transmitted for commercial purposes such as selling copies of this publication or for providing paid for support services The Apple logo is a trademark of Apple Inc registered in the U S and other countries Use of the keyboard Apple logo Shift Option K for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws Every effort has been made to ensure that the information in this manual is accurate Apple is not responsible for printing or clerical errors Note Because Apple frequently releases new versions and updates to its system software applications and Internet sites images shown in this manual may be slightly different from what you see on your screen Apple 1 Infinite Loop Cupertino CA 95014 408 996 1010 www ole com Apple the Apple logo GarageBand Logic Mac and Ultrabeat are trademarks of Apple Inc registered in the U S and other countries Finder is a trademark of Apple Inc Other company and product names mentioned herein are tradem
111. O waveform You can choose from triangle ascending and descending sawtooth square wave sample amp hold random and a lagged smoothly changing random wave Each of these waveforms cycles in its own way providing different types of modulation You can also assign a side chain signal as a modulation source EXT Choose the side chain source channel strip from the Side Chain menu at the top of the plug in window Rate slider and field Defines the speed the frequency of the LFO waveform cycles If you set values to the left of zero the LFO phase is locked to the tempo of the host application with phase lengths adjustable between 1 96 bar and 32 bars If you select values to the right of zero the LFO phase runs freely When set to zero the LFO outputs at a constant and full level which allows you to manually control the LFO speed with your keyboard s modulation wheel This could be useful for example if you wanted to change the pulse width by moving your keyboard s modulation wheel The pulse width would be chosen as the LFO modulation target left router column and the modulation intensity range would be determined by the Int via Whl setting Chapter 4 ES1 e 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 t
112. OC 20 PolySynth s Input Signal Bands field Determines the number up to 20 of frequency bands that are used by the filter banks See Setting the Number of EVOC 20 PolySynth Filter Bank Bands Freezing the EVOC 20 PolySynth s Input Signal The Freeze button in the Sidechain Analysis section of the EVOC20 PolySynth freezes the sound spectrum of the analysis input signal Freeze Bands Chapter 7 EVOC 20 PolySynth 145 146 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 e 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 e Ifyou want to compensate for people s inability to sustain sung notes for a long period without taking a breath you can use the Freeze button If the synthesis signal needs to be sustained but the analysis source signal a vocal part is not sustained use the Freeze button to lock the current formant levels of a sung note even during gaps in the vocal part between words in a vocal phrase The Freeze parameter can be automated which may be useful in this situation A Short Primer on Formants A formant is a peak in the frequency spectrum of a sound When the term is used in relation to human voices f
113. OC 20 PolySynth Interface p 144 EVOC 20 PolySynth Sidechain Analysis Parameters p 145 EVOC 20 PolySynth U V Detection Parameters p 147 EVOC 20 PolySynth Synthesis Section Parameters p 148 EVOC 20 PolySynth Formant Filter Parameters p 153 EVOC 20 PolySynth Modulation Parameters p 156 EVOC 20 PolySynth Output Parameters p 157 Getting the Best Results with the EVOC 20 PolySynth p 158 A Brief Vocoder History p 160 EVOC20 Block Diagram p 163 How the EVOC 20 Polysynth Works EVOC 20 PolySynth listens to an incoming audio signal typically of a spoken or sung performance and imposes the sonic characteristics and level changes of this signal onto the integrated synthesizer When you play notes and chords with your MIDI keyboard the internal synthesizer will sing at the pitches of incoming MIDI notes but with the articulations level changes vowel and consonant sounds of the incoming audio signal 141 142 This results in the classic singing robot or synthetic voice sounds that vocoders are mainly known for EVOC 20 PolySynth offers more than vocoding however You can use it as a synthesizer or for more subtle effects processing such as the creation of somewhat natural sounding vocal harmonies from a solo voice performance If your musical tastes are more extreme feel free to try processing other audio material such as drum or instrument loops What Is a Vocoder
114. Sub Oscillator The sub oscillator provides the following waveform options A square wave that plays one or two octaves below the frequency of the primary oscillator A pulse wave that plays two octaves below the frequency of the primary oscillator e Variations of these waveforms with different mixes and phase relationships Their use results in different sounds e White noise which is useful for creating percussion sounds as well as wind surf and rain sounds You can also completely disable the sub oscillator by choosing OFF Processing Side Chain Signals Through the ES1 The sub oscillator of the ES1 allows you to run an external channel strip signal through the ES1 synthesizer engine by using a side chain To process a channel strip signal through the ES1 synthesizer engine Set the Sub knob to EXT Choose the side chain source channel strip from the Side Chain menu at the top of the plug in window Chapter 4 ES1 Using the ES1 Filter Parameters This section outlines the filter parameters of the ES1 e Cutoff slider Controls the cutoff frequency of the ES1 s lowpass filter e 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 Tip You can simultaneously adjust the cutoff frequency and resonance parameters by draggin
115. To create a hi hat in Ultrabeat Load the Standard Tutorial sound Chapter 11 Ultrabeat 2 3 Switch off Oscillator 1 and turn on the noise generator 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 Note You ll find a similarly constructed sound listed as hihat 1 at a pitch of F2 in the Tutorial Kit Also analyze the hi hat sound hihat 2 at pitch F 2 It s not far from the hi hat to the crash cymbal The main difference between a hi hat and crash cymbal sound is the length of the decay time Correct assignment of the envelopes is the key to producing different cymbal sounds Select the Cym 1 and Cym 2 sounds in the Tutorial Kit and try different envelope assignments and settings for Cutoff and Volume in the noise generator Cutoff and Volume in the main filter and so on Ultrabeat Tutorial Creating Metallic Sounds If you want to create metallic sounds with Ultrabeat the ring modulator and the Model oscillator are the ideal tools To use the ring modulator Load the Standard Tutorial sound Activate a phase oscillator and the Model oscillator Choose a pitch for each oscillator above C3 so that a
116. Triangle Coordinates with the ES2 Vector Envelope The position of the square icon in the Triangle can be controlled via the Vector Envelope As the Vector Envelope features a loop function it can be used as a pseudo LFO with a programmable waveform This can be used to alter the positions of the square icon in the Triangle For more information about this feature see Vector Envelope Control of the ES2 s Planar Pad and Triangle and Getting to Know the ES2 s Vector Envelope Chapter5 ES2 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 The downside is that the output level may differ each time a note is played making the attack phase sound less punchy even if the performance is identical each time such as when the note is triggered by a MIDI region This setting is useful when you are emulating the sounds typical of hardware analog synthesizers When Osc Start is set to soft The initial oscillator phase starts at a zero crossing for each played note This mimics the sonic character and precision that is typical of
117. XS24 mk Using the EXS24 mkll Zone Loop Parameters The EXS24 mkll can loop playback of either an entire sample or a portion of it when sustained MIDI notes are received 1826 O 0 76826 z 7552 Q 0 67552 0 0 a 8160 O 0 108160 0 0 g 8160 Q Oo 108160 0 0 5 2742 D 0 152742 0 0 E 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 Express Sample Editor or an external editor This enables you to set the loop start and end points graphically Loop Start is represented by the LS marker and Loop End by the LE marker See Editing Samples in the EXS24 mkll Sample Editor Tune field Changes the tuning of the looped portion of the audio file in cent increments Xfade Crossfade field Determines the crossfade time between the end start of a looped sample In a crossfaded loop there is no step between the loop end and loop start points The higher the value the longer the crossfade and the smoother the transition between the loop end and start points This is especially convenient with samples that are hard to loop and that would normally produce clicks at the transition point the join in the loop E Pwr Equal Power checkbox Activate to enable an exponential c
118. a good safe option to use as any projects or templates that use the originally named sampler instrument will work as expected Delete instrument Deletes the loaded sampler instrument Chapter 9 EXS24 mk Recall default EXS24 mkl settings Recalls the parameter settings of sampler instruments created in the older version of the EXS24 notably the modulation paths see EXS24 mk Modulation Paths This parameter is not relevant for sampler instruments created in the EXS24 mkll 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 e AKAI Convert Launches the AKAI Convert window see Converting AKAI Files with the EXS24 mkll SoundFont Convert SampleCell Convert DLS Convert Giga Convert Each of these commands launches a dialog with instructions about performing these conversions See Importing SoundFont2 SampleCell DLS and Gigasampler Files for details Preferences Opens the EXS24 mkll preferences see Setting EXS24 mklIl Sampler Preferences Virtual Memory Opens a configuration window for the EXS24 mkll s virtual memory functions Virtual memory allows samples of almost unlimited length to be played back by streaming audio directly from the hard disk in real time For more information see Configuring EXS24 mklI Virtual Memory The virtual memory window
119. a value of 0 no glide effect occurs Note The ES M always works in a fingered portamento mode with notes played in a legato style resulting in a glide portamento from pitch to pitch Chapter2 ESM 21 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 Note Increasing the Resonance value results in a rejection of bass low frequency energy when using lowpass filters The ES M compensates for this side effect internally resulting in a more bassy sound Int knob Defines the amount the intensity or depth of cutoff frequency modulation applied by the envelope generator Decay knob Defines the decay time of the filter envelope Velo knob Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator Note The Decay and Velo parameters have no effect if Int is set to 0 Chapter2 ESM 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 in
120. ace p 165 e Using the External Instrument p 166 Getting to Know the External Instrument Interface This section will familiarize you with the parameters of the External Instrument See Using the External Instrument for details on use x Inst 1 p View Show Channel Strip Show insert v Bypass Compare lt gt External Instrument MIDI Dest o Motif Channel 4 5 6 Input Volume MIDI Destination pop up menu Choose the desired MIDI instrument and channel Input pop up menu Choose the inputs of your audio hardware that the MIDI sound generator is connected to Input Volume slider and field Determines the incoming signal level 165 166 wu FB U N fon 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 You not only can use insert effects but you also can use send effects by routing the instrument channel strip to aux channel strips You can bounce your external MIDI instrument parts with or without effects to an audio file in real time This makes the creation of a mix inclusive of all internal and
121. advantage of this feature You could use an audio input from Oscillator 1 along with the synthesis engine of Oscillator 2 to create a part live audio part synthesized drum sound Note The side chain affects only the selected drum sound Ultrabeat s other drum sounds and sequences behave as usual Here is another example of where this could be useful You could use one drum sound in a kit to filter an external audio signal with a programmed groove Note A side chain audio signal alone is not enough to trigger Ultrabeat To hear the side chained audio signal Ultrabeat needs to be triggered by MIDI or the internal step sequencer To use Side Chain mode Activate the side chain button for Oscillator 1 Choose the channel strip that you want to use as the side chain input source from the Side Chain pop up menu at the top of the plug in window Side Chain None Audio 1 Audio 2 Audio3 Audio 4 Audio 5 Chapter 11 Ultrabeat 261 262 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 The key diffe
122. air the MSB has a coarse resolution of 128 steps Each of these steps can be divided into a further 128 substeps using the second CC message the LSB This results in 128 x 128 16 384 steps You don t need to create new or special data types to use 14 bit controllers The finer resolution is achieved by complementing the assigned CC message the MSB with its LSB The CC message assigned in the ES2 can always be used alone if your MIDI controller isn t capable of sending 14 bit messages thus limiting the resolution to 7 bit 128 steps The 14 bit capability is the reason why CC numbers 33 63 can t be assigned in the Ctrl A F menus Using these LSB CC numbers would result in changing 1 128th of the parameter range or put another way 128 continuous steps out of 16 384 ES2 Tutorial Creating Sounds This tutorial will guide you from scratch through the creation of commonly used sounds The Using Templates tutorial will also guide you through the sound creation process but it starts you off with a number of templates See ES sing Templat To see the settings for these tutorials in the ES2 window open the Settings menu and choose Tutorial Settings Chapter5 ES2 ES2 Sound Design from Scratch Filter Settings Digiwaves The Analog Saw Init tutorial setting is designed to be used as a starting point when you are programming new sounds from scratch When programming entirely new sounds professional sound designers lik
123. all below the cutoff frequency to pass When set to Lo the filter operates as a lowpass filter The slope of Filter 1 is fixed at 12 dB octave in Lo mode Hi highpass This filter type allows frequencies above the cutoff frequency to pass When set to Hi the filter operates as a highpass filter The slope of Filter 1 is fixed at 12 dB octave in Hi mode Peak Filter 1 works as a peak filter This allows the level in a frequency band to be increased The center of the frequency band is determined by the Cutoff parameter The width of the band is controlled by the Resonance parameter Chapter5 ES2 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 bandpass filter is a two pole filter with a slope of 6 dB octave on each side of the center frequency of the band Setting Filter 2 s Slope in the ES2 Most filters do not completely suppress the portion of the signal that falls outside the frequency range defined by the Cutoff parameter The slope or curve chosen for Filter 2 expresses the amount of rejection below the cutoff frequency in decibels per octave Filter 2 offers th
124. allows you to audition the individual points in isolation Take the opportunity to alter the square icon positions in the Planar Pad according to your taste The X Y axes of the Planar Pad control the cutoff frequency of Filter 2 and the panorama position Adjustments to these make the sound more vivid Activate the Vector Envelope by setting Solo Point to off Check the result and fine tune the square icon positions in the Planar Pad Chapter5 ES2 121 122 Alter the Loop Rate from the preset value of 0 09 up to 2 00 You will hear a periodic modulation much like that of an LFO At this point the modulation is not synchronized with the project tempo To synchronize the loop speed with the project tempo move the Rate to the far left and set a note or bar value You can create faster rhythmic note values by clicking between two points and setting the new time values which result from the division that occurs to a value of 12 5 for example Creating ES2 Bass Drum Sounds with a Self Oscillating Filter and the Vector Envelope Electronic kick drum sounds are often created with modulated self oscillating filters This approach can also be taken with the ES2 particularly when the Vector Envelope is used for filter modulation An advantage of the Vector Envelope in comparison with conventional ADSR envelopes is its ability to define and provide two independent decay phases The distortion effect applies the right amount of drive
125. also allows you to enable direct access to system memory for the EXS24 mkll in systems with 5 GB of RAM or more See Advanced EXS24 mkll RAM Management Chapter 9 EXS24 mk 177 178 Adjusting EXS24 mkll Global Parameters These parameters affect the overall behavior of the EXS24 mklI You can find the global parameters at the top left of the interface Keyboard mode buttons Voices Used fields Unison button 7 felegato emono PPPO voices B used D unison Crossfade parameters Hold via field Vel Offset field Keyboard mode buttons Switch the EXS24 mklI between polyphonic monophonic and legato behaviors See Choosing the EXS24 mkll Keyboard Mode Unison button Enables or disables unison mode See Using Unison Mode in the EXS24 mkll Voices Used fields The voices field determines the maximum number of notes that can be played simultaneously The used field is a real time monitor that indicates the number of voices that are actually used when you play the keyboard See Setting the EXS24 mkll Voices Parameter Vel Offset field Increases or decreases the incoming MIDI note velocity value by 127 expanding or limiting the dynamic response of the EXS24 mkll to incoming MIDI note events Hold via field Determines the modulation source used to trigger the sustain pedal function hold all currently played notes and ignore note off messages until the modulation source value falls below 64 The default
126. always heavily affects the sound Disabling the filter also reduces processor load If the button is green and labeled On the filter is engaged If it s gray and labeled Off the filter is disabled Filter Mode Slope buttons Appearing as HP LP and BP at the bottom of the section these buttons determine the type and slope of the filter See Choosing the EXS24 mkl Filter Mode HP LP BP Cutoff knob Sets the cutoff frequency of the filter The Cutoff value also serves as the starting point for any modulation involving the filter See Using EXS24 mk Filter Cutoff and Resonance Parameters Resonance knob Boosts or cuts the frequency area surrounding the cutoff frequency Very high Resonance values introduce self oscillation causing the filter to produce a sound a sine wave on its own See Using EXS24 mkll Filter Cutoff and Resonance Parameters Drive knob Overdrives the filter input Turning Drive up leads to a denser more saturated signal which introduces additional harmonics See Overdriving the EXS24 mkill Filter Key knob Defines the amount of filter cutoff frequency modulation by note number When Key is set to the full left position the cutoff frequency is unaffected by the note number and is identical for all played notes When Key is set to the full right position the cutoff frequency follows the note number 1 1 if you play one octave higher the cutoff frequency is also shifted upward by one octave This parameter is
127. and envelope settings e Replace the rectangular wave with a sawtooth e Vary the Glide settings It s best to make your edits while a bass line is playing Create or play a monophonic bass line with most notes played staccato but some legato This can provide some interesting results with very long Glide values Creating Distorted Analog Basses with the ES2 In the Analog Bass Distorted setting Filter 1 is engaged with high settings for Drive and Distortion This filter is better suited to the creation of distorted analog sounds than Filter 2 Check out Filter 2 by setting Filter Blend to its rightmost position Notice that Filter 1 works better with distorted sounds Chapter 5 ES2 To control the filter modulation move the green sliders of the first modulation channel in the router This controls the modulation intensity Using FM Intensity and Frequency to Create ES2 Sounds The FM Start setting is great for familiarizing yourself with linear frequency modulation FM synthesis You ll hear an unmodulated sine sound generated by Oscillator 1 Oscillator 2 is switched on and set to produce a sine oscillation as well but its level is set to 0 Drag the small square in the uppermost corner of the Triangle to change the settings In the ES2 Oscillator 1 is always the carrier and Oscillator 2 the modulator In other words Oscillator 2 modulates Oscillator 1 Adjust the intensity of the frequency modulation by slowly movi
128. aneously using up as many voices as there are layered zones The CPU usage will increase accordingly Sample Start Modulates the sample start time This allows you to trigger a drum loop partway through for example Glide Time Modulates the duration of the Glide portamento effect If you modulate Glide with Velocity selected as the source the speed of the keystrike determines the time it takes for the played notes to reach the target pitch Pitch Modulates the frequency pitch of the loaded sampler instrument If you select an LFO as the source this destination leads to siren or vibrato sounds Select one of the envelope generators with zero attack short decay zero sustain and short release as the source for tom and kick drum sounds Slight envelope modulations can make the amount of detuning change over time which can be particularly useful for brass sounds Filter Drive Modulates the filter Drive parameter Filter Cutoff Modulates the Cutoff Frequency parameter See Working with EXS24 mkll Filter Parameters Filter Resonance Modulates the Resonance parameter of the filter Volume Controls the main output level of the EXS24 mkll Pan Modulates the panorama position of the sound in the stereo spectrum Modulating Pan with an LFO will result in a stereo tremolo auto panning In unison mode the panorama positions of all voices are spread across the entire stereo spectrum Nevertheless pan can still
129. ange If the Gain knob is set to a value of 0 the EQ has no effect Option click a Gain knob to set it to a neutral position Alternatively you can click the tiny 0 above the Gain knob Chapter 11 Ultrabeat 275 276 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 Qfield Sets the Q Quality factor by dragging vertically on the Q value field The effect of Q on the sound is heavily dependent on the selected EQ type e With shelving filters as the Q value goes up the area around the threshold frequency becomes more pronounced With the peak EQ Q determines the width of the frequency band selection low Q values select a broad band whereas high Q values select a very narrow band to be boosted or reduced with the Gain control Each EQ band displays parameter changes on a frequency response curve The display provides immediate access to the Gain Hz and Q parameters of each band To directly edit the graphical EQ curve Horizontally drag to change the EQ frequency Vertically drag to
130. are output alternately to the left and right channels Chapter 7 EVOC 20 PolySynth 157 158 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 Editing the EVOC 20 PolySynth Analysis and Synthesis Signals Avoiding Sonic Artifacts in the EVOC 20 PolySynth FM Mode EVOC 20 PolySynth Oscillator Parameters Editing the EVOC 20 PolySynth Analysis and Synthesis Signals The following section outlines how you can edit the analysis and synthesis signals to achieve better speech intelligibility Compressing the EVOC 20 PolySynth Analysis Signal The less the level changes the better the intelligibility of the vocoder You should therefore compress the analysis signal in most cases Enhancing High Frequency Energy The vocoder in a way always generates the intersection point of the analysis and synthesis signals If there s no treble portion in the analysis signal the resulting vocoder output will also lack treble This is also the case when the synthesis signal features a lot of high frequency content Because this is true of each frequency band the vocoder demands a stable level in all frequency bands from both input signals in order to obtain the best res
131. area between the two slider halves to move them both simultaneously If this area is too small to drag click an unused portion of the slider and drag vertically Decay Release mode button Click to switch ENV 1 between behaving as an Attack Decay and an Attack Release envelope Chapter5 ES2 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 A D long long 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 In Attack Decay mode The level will fall to zero after the attack phase has completed whether or not the note is sustained It will decay at the same speed even if you release the key The decay time is set with the D Decay time slider In Attack Release mode The envelope level remains at its maximum after the attack phase is over while the key remains depressed Following the release of the key the level decreases over the time period defined by the R Release time slider Emulating Classic Polysynth Filter Behavior in the ES2 Early analog polysynths passed all voices through a single lowpass filter This design decision was primarily due to cost factors The best known exa
132. arks of their respective companies Mention of third party products is for informational purposes only and constitutes neither an endorsement nor a recommendation Apple assumes no responsibility with regard to the performance or use of these products Preface Chapter 1 Chapter 2 Chapter 3 Chapter 4 10 10 13 14 15 15 16 17 17 18 19 20 21 22 23 23 25 26 27 27 28 29 30 30 33 34 35 37 Contents An Introduction to the Logic Express Instruments About the Logic Express Instruments About the Logic Express Documentation Additional Resources ESE 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 ESM Getting to Know the ES M Interface Using the ES M Oscillator Using the ES M Filter and Filter Envelope Using the ES M Level Envelope and Output Controls Extended ES M Parameters ES P Getting to Know the ES P Interface Using the ES P Oscillators Using the ES P LFO Using the ES P Filter Using the ES P Envelope and Level Controls Using the Integrated ES P Effects Extended ES P Parameters ES1 Getting to Know the ES1 Interface Using the ES1 Oscillators Using the ES1 Filter Parameters Chapter 5 Chapter 6 Chapter 7 38 39 41 44 45 47 48 49 50 62 64 74 76 106 108 110 112 123 131 132 133 136 137 138 139 139
133. ases 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 Decay and Sustain sliders of the ADSR Envelope have no impact on the sound s level ADSR This is the standard operating mode of most synthesizers where the level of the sound over time is completely controlled by the ADSR Envelope Chapter 4 ES1 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 A good example of this type of sonic animation is the vibrato used by orchestral string players LFO parameters Router Modulation Envelope LFO parameters Used to modulate other ES1 parameters See Using the ES1 LFO e Router Allows you to choose which ES1 parameters are modulated See Using the ES1 Router below Modulation Envelope A dedicated modulation control source it can directly control other ES1 parameters or it can control the LFO level See Using the ES1 Mod Envelope Using the ES1 Router The router is used to determine which of the ES1 parameters a
134. at 271 272 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 The slope curve chosen for the Filter expresses the amount of rejection in decibels per octave The Filter offers two different slopes 12 dB and 24 dB per octave The steeper the slope the more severely the level of signals below the cutoff frequency are affected in each octave Using Ultrabeat s Filter Cutoff Parameter The Cutoff Frequency Cut parameter controls the brilliance or determines the center frequency 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 Ina highpass filter the cutoff frequency determines the point where lower frequencies are suppressed with only upper frequencies allowed to pass In a bandpass band rejection filter the cutoff frequency determines the center frequency for the bandpass or band rejection filter Using Ultrabeat s Filter Resonance Parameter The Resonance Res parameter emphasizes or suppresses portions of the signal above or b
135. at in the sequence The exact determination of which steps are downbeats depends on the grid resolution For example if the resolution is set to 1 16 Add Every Downbeat would create triggers on every 4th step Starting with the initial downbeat at step 1 this would create trigger events on step 5 step 9 step 13 and so on This command does not erase existing trigger events it only adds trigger events Add Every Upbeat Adds triggers on every upbeat in the sequence The exact determination of which steps are upbeats depends on the grid resolution For example if the resolution is set to 1 16 Add Every Upbeat would create triggers on every 4th step Starting with the initial upbeat at step 3 this would create trigger events on step 7 step 11 step 15 and so on This command doesn t erase existing trigger events it only adds trigger events Alter Reverse and Shift Commands Alter Existing Randomly Randomly reorders steps while retaining the number of activated triggers Reverse Existing Reverses the order of existing steps Shift Left by 1 Step Shifts all steps in the sequence one step to the left Shift Left by 1 Beat Shifts all steps in the sequence one beat to the left 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 Left by 1 2 Beat Shifts all steps
136. atENV Setting This configuration is set up in modulation routing 3 Oscillator 3 Wave awe by Secs 1 s Decay Other controls have a variety of functions Envelope 1 also effects the pitch of Oscillator 2 against Oscillator 3 This results in both pitches clashing with each other and also with the stable pitch of Oscillator 1 in the attack phase of the sound The filter envelope s design closes with a short stab in the attack phase then reopens for a slower crescendo phase A further real time crescendo has been assigned to the mod wheel which also brings in an overall pitch modulation controlled by LFO 2 e In addition to all of this a contrary real time modulation by pressure which closes the filters has been programmed This allows you to play with an additional decrescendo remotely controlled by touch Try to get a feel for the patch s response You ll find that it offers quite a few controls for expression velocity pressure after note on and pressure in advance Listen to what happens when you press with the left hand before hitting a new chord with the right hand and allowing the swell to come in 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 song ensemble component for more information see Using the ES2 Crescendo Brass Setting Oscillators 1 an
137. ation intensity of the two oscillators To set the frequency ratio and adjust the modulation intensity Adjust the Frequency coarse and fine tune parameter values of one or both oscillators Click or drag in the control range between the Sine and FM icons around the Oscillator 1 Wave knob This determines the amount or intensity of frequency modulation si a ee FM Synthesis Options in the ES2 Router You can also adjust the FM intensity by choosing the Osc1Wave modulation target in the router e Use lower FM intensity values if you are after a subtle FM effect If you re after more extreme FM modulations choose the Osc1WaveB target in the router See ES2 Modulation Target Reference for further details Using Different ES2 Waveforms for FM Synthesis The pure FM synthesis method uses a sine wave for both the first and second signal generator both Oscillator 1 and 2 would be limited to generating a sine wave in the ES2 if you stuck with this approach The ES2 however provides 100 Digiwaves and countless combinations of modulation intensities and frequency ratios that can be used for either oscillator This provides a vast pool of harmonic spectra and tonal colors for you to experiment with so it would be a shame if you don t take advantage of these options Chapter 5 ES2 55 56 Tip The type of modulation that occurs can vary significantly when different waveforms are chosen for Oscillator 2 the modulat
138. b folder e To enter a name for a sub folder click in this parameter field enter the desired name and press Return All imported volumes and programs will automatically be added to this folder Note If an existing name is used the imported sampler instrument will be added to the folder It will not create a new folder of that name Chapter 9 EXS24 mk 231 232 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 mkll sampler instrument library occasionally converted programs may be so loud that they clip Set this parameter to the desired amount which will limit the headroom output level of the EXS24 mkll parameter settings for each converted AKAI program The value to choose for a given AKAI disc is a matter of trial and error but here are some suggestions For drum discs start with either no change 0 dB or a headroom value of 3 dB For piano string or pad discs you might try a headroom value of 9 dB For very loud programs such as layered analog synthesizer instruments you might even want to try 12 dB In cases where you re not sure of which headroom
139. bell and metallic sounds In this respect you can view the tuning ratio as being somewhat like the waveform selector of an analog synthesizer Note The Harmonic and Fine tune knobs only affect the tuning relationship between the Carrier and Modulator oscillators These should not be confused with the global Tune and Fine Tune parameters which determine the overall tuning of the EFM1 see Adjusting M1 Parameters Some tuning ratio examples to try Set the modulator and carrier to the first harmonic a 1 1 ratio and the EFM1 will produce a sawtooth like sound Set the modulator to the second harmonic and the carrier to the first harmonic a 2 1 ratio and you will produce a tone that sounds similar to a square wave 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 To choose a different waveform Turn the Wave parameter knob At the full left position the modulator produces a sine wave As you turn the Wave parameter clockwise you will step fade through a series of complex digital waveforms Chapter6 EFM1 135 136 Working with the EFM1 Modulation Parameters FM synthesis is at its core
140. below Note To see and define the Loop point Loop Mode must be activated see Setting the Vector Envelope Loop Mode below Chapter5 ES2 93 94 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 Forward When Loop Mode is set to Forward the Vector Envelope runs from the beginning to the Sustain point then begins to periodically repeat the section between the Sustain point and the Loop point in a forward direction Backward When Loop Mode is set to Backward the Vector Envelope runs from the beginning to the Sustain point then begins to periodically repeat the section between the Sustain point and the Loop point in a backward direction Alternate When Loop Mode is set to Alternate the Vector Envelope runs from the beginning to the Sustain point then periodically switches to the Loop point then back to the Sustain point alternating between backward and forward directions Setting the ES2 Vector Envelope Loop Rate Just as every LFO has a speed or rate parameter the loop can be set to cycle at a defined speed The Vector Envelope Loop Rate can also be synchronized with the proje
141. ble synthesis methods to generate an extraordinary variety of sounds This makes it the perfect choice for creating powerful pads evolving textures rich basses or synthetic brass If you re totally new to synthesizers it might be best to start off with Synthesizer Basics which will introduce you to the fundamentals and terminology of different synthesis systems This chapter covers the following ES2 Architecture and Features p 48 Getting to Know the ES2 interface p 49 Using the ES2 Oscillators p 50 Using the ES2 s Global Parameters p 62 Using the ES2 Filters p 64 Using the ES2 Amplifier Parameters p 74 Working with Modulation in the ES2 p 76 Using the ES2 s Integrated Effect Processing Section p 106 Creating Random ES2 Sound Variations p 108 Using Macro Controls and Assigning Controllers in the ES2 p 110 ES2 Tutorial Creating Sounds p 112 ES2 Tutorial Using Templates to Create Sounds p 123 47 48 ES2 Architecture and Features The three oscillators of the ES2 provide classic analog synthesizer waveforms including noise and 100 single cycle waveforms known as Digiwaves This raw material forms the basis for sounds that range from fat analog to harsh digital sounds or hybrids of the two You can also cross modulate oscillators making it easy to create FM style sounds Further options include the ability to synchronize and ring modulate the oscillators or to mix a sine wave
142. caused by the intensity and type of modulations that take place in the signal path Therefore the modulators outlined in this section have a different impact and role to play than equivalent envelopes and LFOs found in analog synthesizer designs Modulator Pitch Modulation Envelope 5 Modmlating F aD er T oe alo sfa Gil FM Depth a2 9 lo fo lo j ws gt Wine i A Modulator Carrier ea Feoi T BSR J o LFO parameters Modulation Env elope sliders Controls both the FM Intensity and Modulator pitch parameters over time The envelope is triggered every time a MIDI note is received e Attack slider Sets the time it takes to reach the maximum envelope level Decay slider Sets the time it takes to reach the Sustain level e 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 e 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 Turn the knob counter clockwise to invert the effect of the modulation envelope the envelope slopes down during the attack phase and slopes up during the decay and release time phases At the center 0 position the envelope has no effect on the pitch of the Modulator oscillator Click the 0 to cente
143. center These are the key controls for setting the basic tone of the EFM1 See Working with the EFM1 Modulator and Carrier Parameters e Modulation parameters The modulation envelope and LFO shown at the top and bottom of the mushroom shaped area in the center respectively are used to animate the sound See Working with the EFM1 Modulation Parameters Chapter6 EFM1 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 Extended parameters Accessed by clicking the disclosure triangle at the lower left of the interface these parameters allow you to assign MIDI controllers to the FM Depth and Vibrato parameters See Assigning EFM1 MIDI Controllers Working with the EFM1 Modulator and Carrier Parameters In FM synthesis the basic sound is generated by setting different tuning ratios between the Modulator and Carrier oscillators and by altering the FM intensity The tuning ratio determines the basic overtone structure and FM intensity controls the level of these overtones At the core of the E
144. change the Gain Drag the handle shown at the peak maximum point of the EQ curve to change the Q factor Using Pan Modulation and Stereo Spread in Ultrabeat The EQ s output signal is passed along to the Pan Modulation Stereo Spread section where the placement of the sound in the stereo field can be modulated Pan Modulation mode or the stereo basis of the sound can be broadened Stereo Spread mode Ultrabeat Pan Modulation Mode Pan Modulation varies the panorama position of a drum sound with a mod and via source Chapter 11 Ultrabeat 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 Mod and via sliders The blue control on the left and the green control on the right are used to set the amount intensity of mod and via modulation Note You cannot directly move the red line that represents pan position shown in this section In order to move the line rotate the pan knob in the Mixer section Ultrabeat Stereo Spread Mode Stereo Spread broadens the stereo image making it wider and more spacious Lo Fre
145. cillator You can find the oscillators in the area at the top left of the ES2 interface Coarse Frequency knob Oscillator on off button Oscillator Mix Triangle Wave knob Fine Frequency value field Oscillator on off buttons Click the oscillator number to the right of each oscillator to activate or deactivate each oscillator independently A green numeric button indicates an active oscillator A gray numeric button denotes an inactive oscillator Deactivating an oscillator saves computer processing power as you are not merely muting it you are actually turning it off e Wave knobs Sets the type of waveform that an oscillator generates The waveform is responsible for the basic tonal color See Using the ES2 s Basic Oscillator Waveforms Coarse Frequency knobs Sets the oscillator s pitch in semitone steps over a range of 3 octaves As an octave consists of 12 semitones the 12 24 and 36 settings represent octaves 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 Oc Chapter 5 ES2 51
146. cked and played monophonically The Voices field displays the number of stacked voices that will be heard Important Stacking voices in Unison Mono mode significantly increases the EVOC 20 PolySynth s output volume To avoid overloading the instrument channel strip output you should initially set a low Level slider value and gradually bring it up see EVOC 20 PolySynth Output Parameters EVOC 20 PolySynth Formant Filter Parameters The EVOC 20 PolySynth features two formant filter banks one for the Analysis section and one for the Synthesis section Each bank can house up to 20 individual filters In essence the entire frequency spectrum of an incoming signal is analyzed by the Analysis section and divided equally into a number of frequency bands These analysis filter bands are mirrored by a corresponding number of bands in the synthesis filter bank Each filter bank controls the peak levels the formants within these frequency bands For more information see How Does a Vocoder Work and A Short Primer on Formants Chapter 7 EVOC 20 PolySynth 153 154 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 for
147. coming MIDI note velocities The precise sample layer that incoming velocity values switch to is determined by the green Layer slider on the right min or the blue slider on the left max The green Min slider on the right determines which layer is triggered at a MIDI note velocity 1 The blue Max slider on the left determines which layer is triggered at a MIDI note velocity 127 Note If you have loaded a single sample that does not have multiple layers the Vel Layer slider has no effect Loading Samples into Ultrabeat Oscillator 2 A selection of multilayer drum and percussion samples is included on your installation discs These were especially created for Ultrabeat and its function set You can also load your own samples in AIFF WAV CAF or SDII stereo interleaved format Note The velocity layering function is not available for user loaded samples To load a sample into Oscillator 2 1 Click the arrow in the upper left corner of the waveform display then choose Load Sample from the pop up menu v No Sample Loaded Load Sample 2 Inthe Load Sample window browse to the desired audio file and do one of the following Click Open to load the chosen file into Oscillator 2 e Click Cancel to retain the current state Chapter 11 Ultrabeat 263 264 Using Ultrabeat s Load Sample Preview Function You can audition samples before importing them into Ultrabeat Play button Allows you to preview audio file
148. ct tempo To adjust the Vector Envelope loop rate do one of the following Drag the green indicator in the center of the Loop Rate bar to the left or right Drag vertically in the value field as set shown in the figure below A p S Time R Vel As set If you switch the Loop Rate to as set the loop cycle length will equal the sum of the times between the sustain and Loop points Click the field labeled as set below the Rate slider to select it Rhythmic If you set the Loop Rate to one of the rhythmic values sync by dragging the Loop Rate indicator towards the left half of the slider the loop rate will follow the project tempo You can choose from 32 bars up to a 64th triplet note value Chapter5 ES2 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 Making Smooth ES2 Vector Envelope Loop Transitions When Loop Mode is set to Forward or Backward there will inevitably be a moment when a transition from the Sustain point to the Loop point occurs You can use the Loop Smooth parameter to even out the transition thus avoiding ab
149. ctions 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 As all frequencies in the spectrum are audible it makes it difficult for human beings to isolate and therefore discern any tonality pitch in a noise signal Despite this or as a direct result of it noise is an indispensable ingredient when creating drum sounds Filter Type buttons Res onance knob Cutoff knob and mod and via menus Mod and via menus for volume Volume knob On off button Dirt knob and mod and via menus On Off button Activates or deactivates the noise generator Note When programming a drum sound you can turn the individual sound sources on or off with the On Off buttons You can also listen to the individual components of the sound separately this way and remove them if desired Filter Type buttons Switch the noise generator s integrated filter between lowpass highpass and bandpass filter types LP lowpass This filter type allows frequencies that fall below the cutoff frequency to pass When set to LP the filter operates as a lowpass filter The filter slope is fixed at 12 dB octave in LP mode HP highpass This filter type allows frequencies above the cutoff frequency to pass When set to HP the filter operates as a highpass filter The filter slope is f
150. cutoff frequency modulation applied by the envelope generator Velo Filter knob Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator Note This parameter has no effect if AR Int is set to 0 Chapter1 ESE Using the ES E Envelope The AR Attack and Release envelope affects both the filter cutoff AR Int and the level of the sound over time Attack slider Determines the time that it takes for the signal to reach the initial desired signal level the sustain level Release slider Determines the time that it takes for the signal to fall from the sustain level to a level of zero Using the ES E Output Parameters The ES E output stage consists of the Volume section and the Chorus Ensemble buttons Volume knob Sets the overall output level of the ES E Velo Volume knob Sets the amount depth of velocity sensitivity to incoming MIDI note events When it is set to higher values each note is louder if struck more firmly At lower values the dynamic response is reduced so that there is little difference when you play a note pianissimo soft or forte loud hard Chapter1 ESE 17 Chorus l Chorus Il and Ensemble buttons Click to switch any of these effect variations on or off Chorus and Chorus Il are typical chorus effects Chorus Il is characterized by a stronger modulation The Ensemble effect employs a more complex modulation routing creating a fu
151. d a few of the special features available to you in Ultrabeat s oscillator section should be pointed out Oscillator 1 can be frequency modulated by Oscillator 2 for FM synthesis sounds Oscillator 2 can be ring modulated with Oscillator 1 e Oscillator 2 can use an audio file a sample in place of a synthetic waveform The sample is output as the Oscillator 2 signal Chapter 11 Ultrabeat 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 J 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 A red button indicates an active oscillator Note When programming a drum sound you can enable or disable individual sound sources with the appropriate on off buttons allowing you to hear components of the sound in isolation Volume knob Sets the level of Oscillator 1 or 2 Volume can be modulated by the sources found in the mod and via menus Pitch slider and field Sets the oscillator pitch in semitone steps The pitch value is displayed in the field to the left of the slider Drag vertically on the field
152. d 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 Chapter 5 ES2 128 Modulation 3 drives the wavetables of all three oscillators via the mod wheel Stated simply you can simultaneously scroll through the Oscillator 1 and Oscillator 3 wavetables and change Oscillator 2 s pulse width by moving the mod wheel Try a careful very slow movement of the mod wheel and you ll hear drastic changes within the wave configuration Each incremental position of the wheel offers a different digital pad sound Avoid rapid movements or this will sound like an AM radio Another potential modification procedure is hidden in the modulation intensity of the Oscillator 1 2 and 3 wave parameters As mentioned for the Slapped Strat setting the value of this intensity parameter assigns both the step width and direction through the wavetables You can try modifications to the amount using positive or negative values An interesting side effect of FM assignment to Filter 2 modulation routing 4 Lowpass Filter FM occurs when the mod wheel is moved to higher positions the frequency modulation of the filter is increased causing all cyclical beats vibrating pitches detunes pulse width to be emphasized This also adds a rough hissing quality to the overall sound character FM offers vast scope for ex
153. d at the equator of the filter section Distortion unit To set the signal flow order through the filter and distortion unit Click the arrow to change the signal flow order between the following First the Distortion unit then the Filter circuit arrow pointing up First the Filter circuit then the Distortion unit arrow pointing down Using Ultrabeat s Multimode Filter Ultrabeat features a powerful multimode filter that can dramatically or subtly alter the timbre of your drum sounds Cutoff knob Filter on off button buttons Resonance knob Mod and via menus Filter On Off button Activates or deactivates the entire Filter section Deactivating the Filter section makes it easier to hear adjustments to other sound parameters as the filter always heavily affects the sound If the Filter label is red the filter is engaged If gray the filter is disabled Chapter 11 Ultrabeat 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 Mod and via menus D
154. d 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 The Sampler Instruments pop up menu displays converted instruments as shown elegato emono voices used ED unison O e Abraxas edit options No Instrument Next Instrument Previous Instrument Clear Find Find Refresh Menu 01 Acoustic Pianos 02 Bass 03 Drums amp Percussion 04 Keyboards 05 Synthesizers 06 Pop Strings 08 Guitars 09 Orchestral 11 Textures 12 Legacy Instruments AllTimeFavorite Basses CheesyHitmakerStuff MELLO STR L MELLO STRNGS MELLO VOX L MELLO VOX WwRMAVVVVVVVVVVVVY SuperGroovy EXS24 mkll AKAI Convert Window Parameters The following section explains the parameters contained in the EXS24 mkll AKAI Convert window For more information on converting AKAI files to EXS instruments see Converting AKAI Files with the EXS 24 mkll Save converted instrument file s into sub Use this when importing an entire disc This creates a folder name that reflects the disc s name Alternatively you may want to save your converted instruments into a sub folder based on a category such as Strings Then if your AKAI disc consists of string samples any imported programs or volumes will be added to the Strings su
155. d the lower arrow to 0 Adjusting Global ES1 Parameters This section covers global parameters that affect the overall sound or behavior of the ES1 The global parameters are found in the strip that spans the lower edge of the ES1 interface The Glide slider is displayed above the left end of the strip Glide slider Defines the amount of time it takes to slide between the pitches of each triggered note The Glide trigger behavior depends on the value chosen for the Voices parameter see below Tune field Tunes the entire instrument in cents A cent is 1 100th of a semitone Analog field Slightly alters the pitch of each note and the cutoff frequency in a random fashion This emulates the random oscillator detuning and filter fluctuations that can occur in polyphonic analog synthesizers due to heat and age Voices field Sets the maximum number of notes that can be played simultaneously Each ES1 instance offers a maximum of 16 voices Fewer played voices require less CPU power Bender Range field Changes the sensitivity of the pitch bender Adjustments are in semitone steps Neg Bender Range slider Extended Parameters area Adjusts the negative downwards pitch bend range in semitone steps The default value is Pos PB Positive Pitch Bend which essentially means that there is no downward pitch bend available Click the small triangle at the lower left of the ES1 interface to access the Extended parameters area Chapter
156. desired Also try modulating the FM Amount with a fast LFO Note An exemplary snare drum sound that uses FM can be found in the Tutorial Kit at a pitch of F1 It is listed as snare 2 Higher FM Amount values lead to considerably more overtones and a very electronic sound character If you want to make the sound more acoustic feed Oscillator 1 and possibly Oscillator 2 as well into the main filter Use these settings to start LP 24 mode and a Cutoff value of about 0 60 Ultrabeat Tutorial Recreating the TR 808 Snare The famous 808 snare is based on two resonating filters and a noise generator fed through a highpass filter The mix ratio of the two filters and the volume of the noise generator can be adjusted This structure cannot be 100 replicated in Ultrabeat Chapter 11 Ultrabeat 311 312 To clone the 808 snare sound Load the Standard Tutorial setting You are now ready to replicate the resonating filters of the 808 snare using two cleverly programmed phase oscillators Assign slightly different Slope values to two phase oscillators and detune them by almost an octave Adjust the tonal relationship between the oscillators so that it is uneven from E3 to F2 for example Control the volume of each oscillator with a different envelope Adjust the decay times so that the envelope for the lower tuned oscillator has a longer decay time than the very snappy envelope setting for the higher oscillator Feed the output
157. digital synthesizers When Osc Start is set to hard The initial oscillator phase starts at the highest level in the waveform cycle for each played note The extra punch that this setting can provide is audible only if the ENV3 Attack Time parameter is set to a low value a very fast attack in other words This setting is highly recommended for electronic percussion and hard basses Note Osc Start soft and hard result in a constant output level of the initial oscillator phase every time the sound is played back This may be of particular importance when you use the Bounce function of Logic Express at close to maximum recording levels Synchronizing the ES2 Oscillators Typical oscillator sync sounds tend toward the aggressive screaming leads that synthesizer manufacturers like to talk about The rectangular and sawtooth waveforms of Oscillators 2 and 3 feature a Sync option When this parameter is turned on the phase of Oscillator 2 or 3 is synchronized with Oscillator 1 lt er u M Chapter 5 ES2 61 62 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 synch
158. dio File The new loop values are written to the audio file header Using an External Instrument Editor with the EXS24 mkll The EXS24 mkll allows you to use external applications such as Redmatica s Keymap to edit your EXS instruments To open your EXS instruments in an external instrument editor Choose Options gt Open in external Instrument Editor in the EXS24 mkll Parameter window In the file selector locate and select the desired instrument editor software Repeat step 1 but choose the Open in name of external instrument editor command This is the same command as above but it is automatically renamed after an external instrument editor is assigned Edit the instrument in the external instrument editor then use the external instrument editor to send the instrument back to Logic Express Important You need to save the edited instrument in Logic Express not the external editor to make any instrument changes permanent Chapter 9 EXS24 mk 223 224 To reassign the external instrument editor Hold down Option while choosing Options gt Open in name of external instrument editor Importing EXS24 mkll Sampler Instruments The EXS24 mkll is compatible with the AKAI S1000 and S3000 SoundFont2 SampleCell DLS Gigasampler and ReCycle sample formats as well as the Vienna Library See these sections Importing SoundFont2 SampleCell DLS and Gigasampler Files Converting ReCycle Files to EXS In
159. display submenus only for folders that actually contain EXS instrument files Other folders are not added to the menu Aliases pointing to folders that contain EXS instrument files outside the Sampler Instruments folders can also be added to the menu Even the Sampler Instruments folder itself can be an alias to a folder on a different drive or in another location For information on copying sampler instruments to your hard drive and backing up sampler instruments used in a project see Copying EXS24 Sampler Instruments to Your Hard Drive and Backing Up EXS24 Sampler Instruments Chapter 9 EXS24 mk 233 234 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 In addition load times are faster and you can play back samples that exceed the size of your computer s RAM by streaming them from your hard disk This feature is not suitable for optical drives To copy sampler instruments to your hard drive Copy the sampler instrument file into the Library Application Support Logic Sampler Instruments folder Copy the associated samples into a folder named Samples in the same folder as the Sampler Instru
160. dulating 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 You can clearly see how the width of the pulses changes over time Note Select the intensity and speed of the modulation with care because the overall volume decreases and slight detuning occurs when the pulses become very narrow below a width value of 10 Tip Pulse width modulations via velocity sensitive envelope generators sound very dynamic a great effect that is especially suitable for percussive bass sounds Using Frequency Modulation in the ES2 The principle of frequency modulation FM synthesis was developed in the late 1960s and early 1970s by John Chowning It was popularized by Yamaha s range of DX synthesizers in the 1980s The ES2 can t be compared with the DX series in the discipline of pure FM synthesis but it can certainly achieve some of the signature sounds of these instruments How Frequency Modulation Works Stated simply the frequency of one signal generator or oscillator is altered modulated by another signal ge
161. dulation value of 0 mutes all oscillators whereas a value of 7 raises the gain of the entire mix by 12 dB The modulation is applied before the overdrive stage allowing for dynamic distortions OsciLevl Osc 1 Level allows modulation of Oscillator 1 s level Osc2Levl Osc 2 Level allows modulation of Oscillator 2 s level Osc3Levl Osc 3 Level allows modulation of Oscillator 3 s level ES2 Filter Targets The table below includes all filter related modulation targets Target Comments Cutoff 1 Modulates the Cutoff Frequency parameter of Filter 1 See Using the ES2 Filter Cutoff and Resonance Parameters Resonance 1 Reso 1 Modulates the Resonance parameter of Filter 1 Cutoff 2 Modulates the Cutoff Frequency parameter of Filter 2 Resonance 2 Reso 2 Modulates the Resonance parameter of Filter 2 LPF FM Determines the intensity of the lowpass filter frequency modulation LPF FM of Filter 2 with a sine wave at the same frequency as Oscillator 1 This parameter is described in Modulating Filter 2 s Frequency in the ES2 Cut 1 2 Modulates the cutoff frequency of both filters in parallel This is like applying the same modulation to Cutoff 1 and Cutoff 2 in two modulation routings Chapter 5 ES2 101 102 Target Comments Cutlinv2 Cutlinv2 Cutoff 1 normal and Cutoff 2 inverse simultaneously modulates the cutoff frequencies of the first and second filters inversely in opposite directions Put an
162. e calculation the more CPU resources are required Chapter 11 Ultrabeat 265 266 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 Note Option click the ball to reset all string parameters to their default values Inner Loss Emulates 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 In reality this is determined by the string material and diameter or to be more precise by its geometrical moment of inertia Stiffer strings exhibit an inharmonic vibration where overtones are not integer multiples of the base frequency Rather they have higher frequencies which can make upper or lower notes sound somewhat out of tune with each other How Inner Loss and Stiffness Settings Can Change Ultrabeat s Tonal Color Low Stiffness values combined with low Inner Loss values lead to metallic sounds Increas
163. e decay phase in the different envelopes to familiarize yourself with the sound shaping options available Start with the decay phase of Env 4 which controls both the volume of Oscillator 1 and filter resonance and observe how reshaping the belly of the envelope can change the character of the sound from crisp and short to round and full Ultrabeat Tutorial Creating the Ultrabeat Kick You can create bass drum sounds that are uniquely Ultrabeat Try modulating pitch with an LFO instead of an envelope for example To create an LFO modulated kick drum Start with the Standard Tutorial sound at a pitch of A 0 Osc 1 Pitch and choose LFO 1 as the Mod source in the Osc 1 Pitch section Set the degree of modulation by dragging the blue Mod slider to a value of A3 Set LFO 1 to a low number of Cycles 25 to 35 a high Rate starting with 70 Hz and higher and a medium value for Decay set the Ramp knob to about 190 Experiment with the LFO waveform and you ll discover that you can attain different nuances in the character of the bass drum attack Modulate the Asym metry parameter with the same LFO and also vary the Slope and Saturation values Chapter 11 Ultrabeat 309 310 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
164. e design principles of electronic organs to synthesizer technology Although this breed of instrument was fully polyphonic all notes of the keyboard could be heard simultaneously it wasn t as versatile in its control options as a true synthesizer The first fully polyphonic synthesizer to feature this type of design was the Moog Polymoog released in 1975 Developed primarily by David Luce it featured 71 weighted velocity sensitive keys Appendix Synthesizer Basics In the second approach to polyphonic sound generation a synthesizer was assigned to a key only when the key was pressed in effect semi polyphony As early as 1973 American company E MU Systems introduced the Modular Keyboard System Series 4050 a digital keyboard that could be connected to up to ten monophonic synthesizers and thus had ten voice polyphony The problems with this approach are obvious very few people owned ten synthesizers and the amount of time and effort involved in programming the settings for a new sound were an overwhelming deterrent Digital memory was still waiting to be developed and once again the evolution of semi polyphonic synthesizers required the desirable qualities that only digital keyboards could provide The same prerequisite digital engineering eventually led to synthesizers that allowed sounds to be stored Without the benefit of digital technology early attempts at storing sounds included some unwieldy solutions As an example a syn
165. e dynamic stage The signal flow through the filters and the filter overdrive circuit the Drive parameter are dependent on the Filter Blend setting Filter Blend Series Filter Configuration Information Use positive values for Filter Blend to partially bypass Filter 1 Use negative values for Filter Blend to partially bypass Filter 2 When zero or positive Filter Blend values are used there is only one overdrive circuit for both filters Use of negative Filter Blend values introduces another overdrive circuit which distorts the output signal of the oscillator mix stage before it is fed into the first filter Chapter 5 ES2 67 68 If Drive is set to 0 no distortion occurs Filter 1 Drive Filter 2 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 The filters receive a mono input signal from the output of the overdrive circuit The outputs of both filters are mixed to mono via Filter Blend Choosing Filter 1 s Mode in the ES2 Lo Hi Peak BR BP Filter 1 can operate in several modes allowing specific frequency bands to be filtered cut away or emphasized Select one of the following buttons to choose a filter mode for Filter 1 Lo lowpass This filter type allows frequencies that f
166. e of waves from the wavetable Modulation destination you can always assign this to each of the oscillators separately Start point you vary the wave window start with minimum and maximum control of EG1 Osc waves modulation negative values for a start wave before the selected wave positive values for a start wave from a position behind the selected wave that rolls the table back Feel free to experiment with this wavetable driving trick The growl effect works well for brass sounds and some organs absolutely shine with a little click courtesy of a wavetable push Envelope 2 which controls the filter provides a slight attack when used for slapped characteristics Setting it to the fastest value eliminates the wah like attack while retaining the punch For playing purposes you ll find that LFO 2 is used as a real time source for vibrato It is assigned to the mod wheel and pressure Don t concern yourself too much with the different wheel and pressure settings Feel free to change them Velocity is set up to be very responsive because many synthesizer players don t strike keys like a piano player would with a weighted action punch Therefore you should play this patch softly or you may find that the slap tends to sweep a little Alternatively you can adjust the sensitivity of the filter modulation s velocity value to match your personal touch Feel free to increase the Voices to maximum six strings should
167. e selected key range A negative value makes notes lower than the root key position louder than higher notes positive values have the opposite effect Output menu Determines the outputs used by the zone Choices include the main outputs and paired channels 3 and 4 5 and 6 7 and 8 9 and 10 or individual outputs 11 through 16 This allows individual zones to be routed independently to aux channel strips in a multi output EXS24 mklI instance Chapter 9 EXS24 mk 213 214 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 1Shot checkbox Causes the zone to ignore the length of incoming MIDI note events resulting in the sample always being played from beginning to end whenever a note on event is received This is useful for drum samples where you often don t want the MIDI note length to affect sample playback Also see the Fade field parameter below Reverse checkbox Enable to play the sample from the end to the beginning Group menu Shows the a ended of a zone For more information see Creating EXS24 mkll Groups and S 7 nkl
168. e sound as determined by the ENV 3 Release parameter has completed Chapter 5 ES2 95 96 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 The Vector Envelope will complete all points up to the end point regardless of whether you hold the key or release it If looping is turned on the Vector Envelope will play all points until it reaches the Loop point and then play the loop until the end point is reached It does not matter if the Loop point is positioned before or after the Sustain point If looping is turned on and Loop Count is set to a value other than infinite the Vector Envelope will continue on to the subsequent points following completion of the specified number of loop repetitions If Loop Count is set to infinite the points after the loop are irrelevant See ES2 Choosing ES2 Vector Envelope Point Transition Shapes The Curve parameter defines the shape of the transition from point to point You can choose from nine convex and nine concave shapes There are also two unusual curve forms hold step and step hold which allow stepped modulations
169. e steeper the waveform The resulting sound takes on an increasingly nasal character as the incline becomes more vertical Saturation slider Increases the gain eventually causing the waveform to clip Higher values result in a distortion of the waveform shape making it more rectangular This results in a corresponding increase in odd numbered overtones Asym metry slider Changes the waveform angle Higher values skew the waveform toward a sawtooth wave making the sound more edgy Asym can be modulated by the sources found in the mod and via menus This allows you to create dynamic sound changes at the oscillator level For more information see Working with Modulation in Ultrabeat Chapter 11 Ultrabeat 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 20 Saturation to the minimum and Asym to the maximum value will result in a sawtooth wave Setting all three parameters to 0 values will cause the oscillator to produce a sine wave See the table below for an overview of the tonal qualities of each basic waveform Waveform Ba
170. e the tonal character of the sound by enabling or disabling particular pipes This alters the harmonics that are heard when you play a key Bass buttons You can activate the lower bass pipes with these buttons adding these lower harmonics which makes your sound richer and fuller Note The bass buttons are not available in all registrations 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 s ow setting makes it sound like bowing a violin string Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 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 X Inst 1 p View ShowCS v Show insert v Bypass a gt defaultdef TTT a a aaa y Volume Tuning Harmonics Timbre Attack Decay Release Digital Basic 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
171. e to use this type of setting which has an unfiltered sawtooth wave sound without envelopes modulations or any gimmicks This type of setting is also useful when you are getting to know a new synthesizer It allows you to access all parameters without having to consider any preset values Start with the filters the heart of any subtractive synthesizer Check out the four lowpass filter types 12 dB 18 dB 24 dB and fat Filter 2 with different values for Cut Cutoff Frequency and Res Resonance Define Env 2 as the filter envelope This modulation wiring is preset 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 It is best suited to sounds where the filter effect is or should be less audible such as with Strings and FM sounds Distorted TB 303 style sounds are more easily achieved with Filter 1 This setting is also ideal for checking out the oscillator waveforms The analog waveforms can be set in the Editor view To select the Digiwaves set Osc 1 Wave to Digiwave Creating Fat ES2 Sounds with Oscillator Detuning and Unison Mode Fat synthesizer sounds have al
172. ecomes brighter blue noise If you choose a modulation amount value of 1 000 for the Osc3Wave modulation target the filter cutoff frequency is set to 18 kHz Emulating Detuned Analog Synthesizer Oscillators in the ES2 The Analog parameter is found towards the top left of the ES2 interface It alters the pitch of each note and the filter cutoff frequency in a random fashion Much like polyphonic analog synthesizers all three oscillators maintain their specific frequency deviation from each other but the pitches of all three oscillators are randomly detuned by the same Analog amount For example if the Analog detuning is set to around 20 all three oscillators if used will randomly drift by 20 Low Analog values can add a subtle richness to the sound e Medium Analog values simulate the tuning instabilities of analog synthesizer circuitry which can be useful in achieving that much sought after warmth of analog hardware synthesizers High Analog values result in significant pitch instability which can sound truly out of tune but this may be perfect for your needs Chapter5 ES2 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 abo
173. ection describes parameters common to both Dual and FM modes 16 8 4 value buttons Click to select the octave range for Oscillator 1 16 16 feet is the lowest and 4 the highest setting The use of the term feet to determine octaves comes from the measurements of organ pipe lengths The longer and wider the pipe the deeper the tone Chapter 7 EVOC 20 PolySynth 149 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 e Semi field Adjusts the tuning of Oscillator 2 in semitone steps e Detune field Fine tunes both oscillators in cents 100 cents equals a semitone step Balance slider Sets the level balance between the two oscillator signals FM Mode EVOC 20 PolySynth Oscillator Parameters When in FM mode Oscillator 1 generates a sine wave The Wave 1 parameter has no effect in this mode FM Int slider Coarse and fine Ratio parameters are shown in FM mode Ratio c oarse field Adjusts the frequency ratio between Oscillator 2 and Oscillator 1 in semitone steps Ratio fline field Adjusts t
174. elected point are active Vector Envelope Control of the ES2 s Planar Pad and Triangle The Vector Mode pop up menu below the Vector Envelope button allows you to specify the target for the Vector Envelope the Planar Pad and or the Triangle Off The Vector Envelope does not control the Triangle or the Planar Pad It is completely turned off This allows you to manually set and control the square icons of the Triangle and the Planar Pad Mix The Vector Envelope controls the Triangle but not the Planar Pad XY The Vector Envelope controls the Planar Pad but not the Triangle Mix XY The Vector Envelope controls both the Planar Pad and the Triangle Chapter5 ES2 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 Loop point is shown on Point time value shown on row above time axis row below time axis in milliseconds ms Up to 16 points can be displayed on the time axis 10 are shown in the figure above Each point can control the square icon positions of the Triangle and the Planar Pad as described in Vector Envelope Control of the ES2 s Planar Pad and Triangle The points are numbered sequentially from left to right along the time axis There are always at least three points Point 1 is the start point point 2 is defined as the Sustain point and point three is the end point
175. ell 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 You can also achieve nice effects by using a reverberation signal as a synthesis signal Note that the two latter methods can lead to harmonic overlaps Do not overdrive the vocoder This can happen easily and distortion will occur Enunciate your speech clearly if the recording is to be used as an analysis signal Spoken words with a relatively low pitch work better than sung vocals even if the creation of vocoder choirs is your goal Pronounce consonants well as exemplified in the rolled R of We are the Robots by Kraftwerk a classic vocoder track This exaggerated pronunciation was specifically made to cater to the vocoder Feel free to do as you wish when setting the Formant parameters Shifting stretching or compressing the formants has a surprisingly minimal effect on the intelligibility of speech Even the number of frequency bands has a minimal impact on the quality of speech intelligibility The reason for this is our ability to intuitively differentiate the voices of children women and men whose skulls and throats vary vastly by nature Such physical differences cause variations
176. elow the defined cutoff frequency or determines the width of the band that surrounds the cutoff frequency Ina lowpass filter Resonance emphasizes or suppresses signals below the cutoff frequency e In a highpass filter Resonance emphasizes or suppresses signals above the cutoff frequency In bandpass band rejection filters resonance determines the width of the frequency band that surrounds the center frequency set with the Cutoff Frequency parameter Using Ultrabeat s Distortion Circuit The Distortion unit provides either a bit crusher or distortion effect The distortion effect is modeled on an analog distortion unit which distorts the sound by overdriving the level The bit crusher uses a process that deliberately reduces the digital resolution of the sound measured in bits achieving an intentionally digital coloration of the sound Chapter 11 Ultrabeat 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 Color knob Drive knob Level knob Crush button Distort button Crush and Distort buttons Activate the desired mode The name of the active effect type is ind
177. en Single and Multi trigger modes e Single A new trigger note cuts off the note that is currently playing e Multi When a new note is played currently playing notes continue to decay in accordance with their respective amplitude envelope settings Env 4 Group pop up menu Enables you to choose between Off and settings 1 through 8 If two different sounds are assigned to the same group they will cut each other off when a new note message is received Only one sound in the group can be played at a time Atypical use of this feature is when you re programming hi hat sounds when playing a real hi hat the closed hi hat note cuts off or mutes the ringing of the open hi hat This feature is often referred to as hi hat mode 278 Chapter 11 Ultrabeat 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 Note The Gate function ensures that a specific sound does not play it can t be heard after a note off event as defined in a host sequencer such as Logic Express or Ultrabeat s internal sequencer Note length can be an important creative element when you are programming rhythm tracks Working with Modulatio
178. ept that Oscillator 2 does not feature FM Note that pulse width modulation also works with both the synchronized rectangular and ring modulated rectangular waves Osc3Wave Oscillator 3 is the same as Osc1Wave and Osc2Wave except that it does not feature FM or ring modulation Oscillator 3 features noise the color of which can be modulated with this parameter 100 Chapter 5 S2 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 When you are frequency modulating Oscillator 1 the Osc1WaveB target offers much higher FM intensities than either the Osc1 FM or the Osc1Wave targets Osc2WaveB The same as above for a Digiwave using the Osc2Wav target Osc3WaveB The same as above for a Digiwave using the Osc3Wav target SineLev1 SineLevl Sine Level allows the sine wave level of Oscillator 1 to be modulated The parameter defines the level of the first partial tone of Oscillator 1 See Thickening the ES2 s Sound with Sine Level OscLScle OscLScle Osc Level Scale modulates the levels of all three oscillators simultaneously A mo
179. equency of Filter 2 to 0 Envelope 2 modulates Filter 2 This modulation routing is already present in the setting 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 Check out the variety of Digiwaves as FM modulation sources Check out different Analog parameter values Creating FM Sounds with Wavetables in the ES2 You can program the most vivid FM sounds when the modulation source morphs between different Digiwaves The morphing in the FM Digiwave setting is controlled by LFO 2 The tempo of LFO 2 and therefore the morph depends on the host application tempo here 2 bars Set LFO 2 to different waveforms Lag S H smooth random in particular should be fun e Check out different FM intensities and oscillator frequencies Alter the modulation intensity of the first modulation channel LFO2 modulates Osc2 Wave and the LFO 2 rate Chapter5 ES2 Creating Distorted ES2 FM Sounds with Monophonic Unison The FM Megafat setting is well suited for distorted basses and guitar like sounds This sound gets
180. er Cutoff Attack Release 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 s ow setting makes it sound like bowing a violin string Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 337 GarageBand Hybrid Basic The Hybrid Basic instrument is a sample based synthesizer that can create spectacular sounds x Inst 1 p View ShowCS v Show insert v Bypass 4 gt defaultdef E YTT TTT TTN Y Volume Waveform Glide Wheel to Vibrato Wheel to Cutoff Cutoff Cutoff Type beeen Resonance Sustain es LA Release 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 338 Chapter 12 GarageBand Instruments 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
181. er enables you to smoothly morph between sawtooth and square rectangular waves Square and Rectangle Use of the square rectangular waves will periodically switch the LFO between two values The right hand rectangular wave switches between a positive value and zero The left hand rectangular wave switches between a positive and a negative value set to the same amount above below zero Sample amp Hold The right hand waveform on the Waveform Shape slider outputsrandom values A random value is selected at regular intervals as defined by the LFO rate The termSample amp Hold S amp H refers to the procedure of taking samples from a noise signal at regular intervals The values of these samples are thenheld until the nextsample is taken Tip A random modulation of oscillator pitch leads to an effect commonly referred to as arandom pitch pattern generator orsample and hold Try using very high notes at very high rates and high intensities you ll recognize this well known effect from hundreds of science fiction movies Using Ultrabeat s LFO Waveform Cycles Parameter An LFO normally oscillates continuously On percussive signals it can however be interesting to limit the LFO cycles repetitions of the entire waveform to a defined number Ultrabeat allows you to set the number of LFO cycles with the Cycles parameter After completing the defined number of cycles the LFO stops oscillating Tip Try small Cycles parameter values
182. ered louder slices will generate MIDI note events with higher velocity values The use of negative values on louder slices will result in the generation of lower MIDI velocity values for each note event Click OK The EXS24 mkll generates a zone for each slice of the imported ReCycle file and assigns these zones to a single group The new EXS instrument is named after the ReCycle loop If an EXS instrument of that name already exists a number sign and a number will be appended to the name For example if you import a ReCycle file named Tricky Backbeat but Tricky Backbeat already exists as a sampler instrument the imported instrument would be named Tricky Backbeat 1 thus ensuring that the filename is unique within the Sampler Instruments folder Chapter 9 EXS24 mk 227 228 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 M F nstrument so feel free to modify or delete the region Region from a ReCycle The Extract MIDI Region and Add Samples to Current Instrument command allows you to add the slices of a ReCycle loop to any EXS instrument currently opened in the Instrument Editor This allows you to use several different ReCycle
183. es based on the mesmerizing effect that repeating patterns can have In early analog sequencers three control voltages were usually created per step in order to drive different parameters The most common usage was control of a sound s pitch amplitude and timbre cutoff per step The control surface of analog sequencers often contained three rows of knobs or switches aligned on top of or beside each other Each row commonly contained 8 or 16 steps Each row provided a control voltage output that was connected to a control input for a particular parameter on a synthesizer A trigger pulse determined the tempo between steps A running light an LED indicated the step that was currently being triggered The running light programming concept also appeared in later drum computers the most well known examples being the Roland TR series drum machines The introduction of the MIDI standard and increased use of personal computers for music led to a rapid decline in the step sequencer and related technology More flexible recording and arranging concepts that didn t adhere to the step and pattern principle were possible with the far more powerful personal computer Chapter 11 Ultrabeat Despite these technological advances step sequencers haven t disappeared completely Hardware groove boxes have experienced a renaissance in recent years due to their intuitive nature which has made them a favored tool for rhythm programming Ultrabeat s
184. es the amount of tuning deviation between voices Note The number of voices actually used per note increases with the number of layered sample zones Setting the EXS24 mkIl Voices Parameter This parameter determines the maximum number of voices polyphony that the EXS24 mkll can play The used field is a real time monitor that indicates the number of voices that are actually used when you play the keyboard If both fields tend to show the same value most of the time probably causing a noticeable number of voices to drop out you should set a higher voices value TW voices used D uni Using the EXS24 mkII Crossfade Xfade Parameters The Xfade parameters allow you to crossfade between layered samples known as zones in the EXS24 mkll with adjacent velocity ranges If you are unfamiliar with the concept of layering samples see Layering EXS24 mkll Zones Amount field Expands the velocity range of all zones by applying an identical value to each layered zone The crossfade takes place in the extended velocity range area When the Amount parameter is set to 0 the EXS24 mkIl will simply switch from one zone to another Chapter 9 EXS24 mk 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
185. et Shortcut Menu Commands Control click or right click any step in the parameter offset row to open a shortcut menu Choose one of the following commands Alter Changes the selected parameter values for all steps by a random amount e Randomize Creates a new random value for the selected parameter Note Consider saving your sequence pattern before using either of the above commands Delete Deletes all steps for the currently selected parameter Muting Soloing and Resetting Ultrabeat Parameter Offsets The parameter offset row offers the M ute S olo and Reset buttons M ute Mutes the offsets of the selected parameter This does not remove or reset existing offsets S olo Enables you to hear the effect of your offsets on the selected parameter in isolation Chapter 11 Ultrabeat e 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 Exporting Ultrabeat Patterns as MIDI Regions Patterns programmed in Ultrabeat s internal step sequencer can be exported as MIDI regions into the Arrange area of Logic Express To export an Ultrabeat pattern into the Logic Express Arrange area Choose
186. et the shape of this envelope The envelope generator usually features four controls attack decay sustain and release commonly abbreviated as ADSR Attack Controls the time it takes for the initial slide from an amplitude of zero to 100 full amplitude Decay Determines the time taken for the subsequent fall from 100 amplitude to the designated sustain level Sustain Sets the steady amplitude level produced when a key is held down Release Sets the time it takes for the sound to decay from the sustain level to an amplitude of zero when the key is released If a key is released during the attack or decay stage the sustain phase is usually skipped A sustain level of zero will produce a piano like or percussive envelope with no continuous steady level even when a key is held Using the Envelope to Control Filters Envelope generators are not limited to controlling signal amplitude They can also control the rise and fall of the filter cutoff frequency or modulate other parameters In other words envelope generators can be used as a modulation source or as a remote contro for a given parameter if you prefer This aspect of synthesizers modulation is covered in the following section Appendix Synthesizer Basics 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 modu
187. etallic Sounds Ultrabeat Tutorial Creating Extreme Sounds Ultrabeat Tutorial Programming in Building Blocks GarageBand Instruments GarageBand Instrument Features 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 Electric Clav inet GarageBand Electric Piano GarageBand Guitar GarageBand Horns GarageBand Hybrid Basic Contents Appendix 340 342 343 344 345 346 347 348 349 349 353 355 369 373 GarageBand Hybrid Morph GarageBand Piano GarageBand Sound Effects GarageBand Strings GarageBand Tonewheel Organ GarageBand Tuned Percussion GarageBand Voice GarageBand Woodwind Synthesizer Basics Sound Basics What Is a Synthesizer How Subtractive Synthesizers Work Other Synthesis Methods A Brief History of the Synthesizer Contents An Introduction to the Logic Express Instruments Preface Logic Express 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 Express The Logic Express instruments cover almost every sound generation need you will encounter in your day to day work with Logic Express All instruments feature intuitive in
188. etermine the modulation source and via source for the Cutoff and Resonance parameters See Working with Modulation in Ultrabeat Choosing the Ultrabeat Filter Type LP HP BP BR Ultrabeat s filter can operate in several modes allowing specific frequency bands to be filtered cut away or emphasized Filter type buttons Filter slope buttons Select one of the following buttons to choose a filter type LP lowpass This filter type allows frequencies that fall below the cutoff frequency to pass When set to LP the filter operates as a lowpass filter The slope of the filter can be set to 12 or 24 dB octave in LP mode HP highpass This filter type allows frequencies above the cutoff frequency to pass When set to HP the filter operates as a highpass filter The slope of the filter can be set to 12 or 24 dB octave in HP mode BP bandpass The frequency band directly surrounding the center frequency set 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 or 12 dB octave on each side of the center frequency of the band BR band rejection The frequency band directly surrounding the center frequency set with the Cutoff knob is rejected while the frequencies outside this band can pass The Resonance parameter controls the width of the rejected frequency band Chapter 11 Ultrabe
189. evious Instrument Clear Find Find Refresh Menu 01 Acoustic Pianos 02 Bass 03 Drums amp Percussion 04 Keyboards 05 Synthesizers 06 Pop Strings 08 Guitars 09 Orchestral 11 Textures 12 Legacy Instruments AllTimeFavorite Basses CheesyHitmakerStuft SuperGroovy Synthmania GarageBand VvVVVVVVVVVVVvVvVVY 2 Choose the desired sampler instrument Chapter 9 EXS24 mk 173 174 About EXS24 Sample Storage Locations In order to be visible in the EXS24 mkll 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 Express 6 Series are stored here ProjectName Logic Express also searches for EXS Instruments in the project folder Note You can store your sampler instruments in any folder on any of your computer s hard drives Simply create an alias pointing to this folder within a Sampler Instruments sub folder in any of the paths listed above and they will be shown in the Sampler Instruments pop up menu To browse to the next or previous instrument in your sampler instrument library Do one of the following Click the plus or minus button on either side of the Sampler Instru
190. example is set to its minimum value The upper half defines the maximum modulation intensity when the via controller is set to its maximum value The area between the two slider halves defines the modulation range of the via controller To create a modulation routing that includes a via source 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 Open the Src pop up menu to see all available sources and choose the parameter you want to use to modulate the destination Open the via pop up menu to see all available sources and choose the source you want to use for control of the modulation intensity Chapter 9 EXS24 mk 191 4 Vertically drag the upper arrowhead of the Intensity slider to the right of the modulation routing to set the maximum modulation intensity X 5 Vertically drag the lower arrowhead of the Intensity slider to set the minimum modulation intensity 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 To set the modulation intensity to zero a Click the small O symbol that is halfway up the Intensity slider control 192 Chapter 9 EXS24 mkll To
191. external devices and tracks a one step process Note Bouncing an External Instrument track cannot happen faster than real time as is the case with any bounce operations where MIDI hardware is involved When using multitimbral MIDI sound sources maximum flexibility can be gained by using multiple External Instrument instances In this situation a separate audio output of the tone generator if equipped with multiple outputs would be connected to different inputs on your audio interface each addressed by individual External Instruments To process external MIDI instruments with effects Connect the output or output pair of your MIDI module with an input or input pair on your audio interface Note These can be either analog or digital connections if your audio interface and MIDI sound generator are equipped with either or both Create an instrument channel strip Click the Instrument slot and choose External Instrument from the pop up menu Choose the MIDI Destination from the pop up menu in the External Instrument window Open the Input pop up menu and choose the input of your audio interface that the MIDI sound generator is connected to Adjust the Input Volume if necessary Insert the desired effects in the Insert slots of the channel strip Chapter 8 External Instrument EXS24 mkill 9 EXS24 mkll is a software sampler It plays back audio files called samples that you load into it These samples are combined int
192. for you All you need to do is set their values As these modulations work without velocity sensitivity you can set them in the Editor view by moving both the lower and upper fader halves to their topmost positions Set the second modulation channel to 1 0 You ll hear how the modulation now wanders through a broader sound range Set modulation channels 3 and 4 to a value of 1 0 as well and listen to the increase in the sound range Chapter 5 ES2 115 116 After these drastic augmentations to the modulation range the sound will become uneven across the keyboard In the lower and middle ranges it sounds nice but in the upper key range the FM intensity appears to be too severe You can compensate for this effect by modulating the Osc 1 Wave target by keyboard position kybd in modulation routings 5 and 6 This results in a keyboard scaling of the FM intensity As the sound range is so vast due to the 4 modulations two modulation routings are required to compensate for this Set the lower slider halves to their lowest positions Good keyboard scaling is essential for any FM sound Using FM Drive and Filter FM to Change the Color of ES2 Sounds The FM Drive setting illustrates how dramatically the character of FM sounds can be altered when you apply Drive and Filter FM The results are reminiscent of the feedback circuits of classic FM synthesizers Check out different Drive and Filter FM settings Lower the Cutoff Fr
193. g ae fC 0 Group F3 3 Zone 71 YTKBLONSIFIXO3 Fl 0 6 1 0 0 Group Fl Fel Zone 142 KONTBFINWX06 A 0 o 0 0 Group D l Del Zone 69 YTKBLONSIFIXOI Fl 0 6 o0 0 O Group Fl Fel Zone 70 KBLONS1F1X02 A 0 ct fe a ee 0 Group FI Fel 4 one YTKBLON 04 v 0 9 Q Group fel Y at E Cow OOO OO O 0O OOO O O 000 BA E Gea eT SS ESO 0g EICI EEE S E L Eee OOE EE OOOOOCOOQOOUOOOOOO OOO 00 O 00 O O OOO O on a ca c2 3 C4 cs Ated 4 Chapter 9 EXS24 mk 169 170 About EXS24 Sampler Instruments A sampler instrument is the file type that is loaded into the EXS24 mkll You load sampler instruments using the Sampler Instruments pop up menu directly above the Cutoff knob in the EXS24 mkll 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 mkll which samples audio files to use and how to organize them into zones and groups You play and record with the loaded sampler instrument in the same way as any software instrument See An Overview of EXS24 mkll Zones and Groups and Differences Between EXS24 Sampler Instruments and Settings An Overview of EXS24 mkil Zones and Groups A sampler instrument consists of zones and groups Azone is a location into which a single sample an audio file can be loaded from a hard disk Zones can be assigned to groups which prov
194. g vertically cutoff or horizontally resonance on the word Filter found between the Slope buttons Slope buttons The lowpass filter offers four different slopes of band rejection above the cutoff frequency The four settings are arranged clockwise from the top left as follows 24 dB classic Mimics the behavior of a Moog filter Turning up the resonance results in a reduction of the low end of the signal 24 dB fat Compensates for the reduction of low frequency content caused by high Resonance values This resembles the behavior of an Oberheim filter 12 dB Provides a soft smooth sound which is reminiscent of the early Oberheim SEM 18 dB Tends to resemble the filter sound of Roland s TB 303 Drive slider An input level control which allows you to overdrive the filter Use it to change the behavior of the Resonance parameter which will eventually distort the sound of the waveform Key slider Controls how strongly the keyboard pitch the note number modulates the filter s cutoff frequency If Key is set to zero the cutoff frequency won t change no matter which key you strike This makes the lower notes sound relatively brighter than the higher ones Chapter 4 ES1 37 38 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 hig
195. ge is identical in both directions if you assign an upward bend of 4 semitones the downward bend will also be set to 4 semitones resulting in a combined bend range of 8 semitones 9 if you include the standard pitch or no bend position Remote field Used to change the pitch of complete EXS24 mkIl instruments in real time You can define a key on your MIDI keyboard that is used as the original or reference pitch Once set playing any of the keys in a range of 1 octave above or below this key will change the pitch of the entire instrument rather than triggering the sample This is somewhat similar to the Pitch Bend function but is quantized to semitones Chapter 9 EXS24 mk 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 e 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 e When Pitcher is set to a position below the centered value the pitch glides from this lower setting back up to the normal pitch value The Pitcher parameter can be modulated by velocity the upper half of the slider determines the setting for maximum velocit
196. geBand 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 ix Inst 1 p View ShowCS v Show insert v Bypass 4 gt default def Volume Tuning Cutoff Resononce Attack Decay Sustain LUET ETOL 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 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 s ow 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 Chapter 12 GarageBand Instruments 323 324 e 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 x Inst 1 FP View ShowCS v Show insert v Bypass a gt defaultdef Volume Re
197. gement 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 e Hard Disk Recording Activity pop up menu Specifies overall hard disk usage how much recording and streaming of non sampler related audio you are doing For example if you are recording entire drum kits using over a dozen microphones streaming live guitars and bass recording choirs and so on you would set your hard disk recording activity to Extensive On the other hand if your projects consist mostly of software instrument playback with perhaps a recorded instrument or vocal or two you would set your hard disk recording activity to Less If you are unsure choose Average Requires Constant RAM Allocation of field Shows the memory requirements of the above parameters The slower your hard drive and the higher your hard disk recording activity the more RAM you will need to allocate to virtual memory Performance section Shows the current disk I O traffic and the data not read from disk in time If these numbers start rising the EXS24 mkll may glitch when trying to stream your samples from disk If you notice these values rising to high levels you should change the general settings to free up additional RAM f
198. ges and replaces the selected sound with the sound from the Clipboard Init gt submenu Opens a submenu that contains a few starting point Init sounds Select one of these to replace the target drum sound The Sample Init sound initializes the filter and pitch parameters to neutral settings which are ideal as a starting point for programming sample based drum sounds These commands affect only the selected drum sound The sequence and sound data of the other 24 sounds are unaffected Note The shortcut menu commands Paste and Swap with Clipboard require an initial Copy command to place data in the Clipboard before they can be used Importing Sounds and EXS Instruments into Ultrabeat Ultrabeat can directly import EXS instruments in addition to loading audio samples and its own settings This facilitates enhanced sound design and rhythm processing options for EXS instruments A further bonus is the ability to play and control EXS drum kits with Ultrabeat s intuitive drum mixer layout Chapter 11 Ultrabeat 251 You 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 see Adding Sounds and Sequences to Your Ultrabeat Drum Kit You can also import an entire EXS instrument by dragging an EXS instrument file from the Finder directly onto the Assignment section see Importing Entire EXS Instruments into Ultrabeat Adding
199. gher Glide value when using the Legato setting ES1 MIDI Controller List The ES1 responds to the following MIDI continuous controller numbers CC Controller number Parameter name 12 Oscillator pitch buttons Oscillator waveform Mix slider Waveform of sub oscillator Cutoff slider Resonance slider 3 4 5 16 Drive slider 7 8 9 Slope buttons 20 ADSR via Vel lower slider Chapter 4 ES1 45 46 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 LFO waveform 107 LFO modulation target 108 LFO Int via Whl lower slider 109 LFO Int via Whl upper slider 10 Glide slider 11 Tune parameter 112 Analog parameter 13 Bender Range parameter 114 Out Level parameter 15 Voices parameter Chapter 4 ES1 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 waveta
200. gine that a drum kit has been created with a number of different samples being used in several zones mapped across the keyboard In many musical circumstances you might want to adjust the parameters of each sample independently to alter the decay of the snare or to use a different cutoff setting for the hi hat samples for example This scenario is where the EXS24 mkil s groups feature comes into play Groups allow for very flexible sample organization You can define as many groups as required and assign each zone to one of these groups In a drum set for example you could assign all kick drums to Group 1 all snares to Group 2 all hi hats to Group 3 and so on Why might you want to do this A group makes it possible to define a velocity range for all assigned zones allowing you to specify a velocity window in which the grouped zones will be triggered as one example Each group also features offset parameters for the amplitude envelope and filter settings made in the Parameter window It s also possible to play all zones without defining and assigning any groups in this situation changes to parameter settings affect all samples in all zones equally To create a new group Choose Group gt New Group in the Instrument Editor A new group appears in the Zones column at the left hand side of the Instrument Editor aoo instrument Zones Il Zone All Zones be Ungrouped Zon Zone 29 6 attom1 Zone 71 a
201. gth field and bar Defines the length of the pattern You can adjust the length of the grid by dragging the value in the Length parameter field or the bar beneath the swing buttons e Resolution menu Determines the resolution of the pattern It defines the metric unit of a measure that is represented by the individual steps For example the 1 8 setting means that each step of the grid represents an eighth note Given a pattern length of 32 steps the pattern would run for 4 measures the 32 setting applies to the entire grid and therefore equally to all sounds Note The interplay between the Length and Resolution values allows the creation of different kinds of time signatures For example the values Length 14 and Resolution 1 16 results in 7 8 time Length 12 and Resolution 1 16 results in 3 4 time and Length 20 and Resolution 1 16 results in 5 4 time Accent button and slider Allows individual steps to be strongly emphasized or accentuated See Using Accents in Ultrabeat Swing Enable button When enabled the grid of the currently selected sound is played in accordance with the Swing knob setting See Using Ultrabeat s Swing Function Copying and Reorganizing Ultrabeat Patterns You can reorganize the 24 patterns in the Pattern menu using Copy and Paste commands To copy a pattern using a shortcut menu Choose the desired pattern from the Pattern menu Control click or right click the Pattern menu then choose Co
202. h the Kybd source to control the cutoff frequencies of the filters with the keyboard position as you play up and down the keyboard the cutoff frequencies change A modulation intensity of 0 5 proportionately scales cutoff frequencies with keyboard note pitches Chapter5 ES2 103 104 Source Comment Velo Velocity sensitivity serves as a modulation source Bender The pitch bend wheel serves as a bipolar modulation source This is also true when the Bend Range parameter of the oscillators is set to 0 ModWhl The modulation wheel serves as a modulation source Note For most standard applications you ll probably use the wheel as the via controller Traditionally it is used to control the intensity of periodic LFO modulations Used here it can be employed for direct static modulations such as controlling both filter cutoff frequencies Target Cut 1 2 Touch Aftertouch serves as a modulation source The ES2 reacts to poly pressure polyphonic aftertouch Note If you set the Target to Cut 1 2 the cutoff frequencies will rise and fall depending on how firmly you press a key on your touch sensitive MIDI keyboard after the initial keystrike WhlI To Both the modulation wheel and aftertouch serve as modulation sources MIDI Controllers A F MIDI controllers available in the router are named Ctrl A F and can be assigned to arbitrary controller numbers Please see the Using Macro Controls and Assigning Controllers
203. hapter9 EXS24 mkll 235 236 Read root key from pop up menu Sets the method used by the EXS24 mkIl 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 If this second method doesn t provide any useful results C3 will be used as the default root key in the zone Filename file As above but the filename is read before the header Filename only Reads from the filename only If no root key information exists C3 will automatically be assigned to the zone as the root key File only Reads from the file header only If no root key information exists C3 will automatically be assigned to the zone as the root key Root Key at File Name Position pop up menu Normally the EXS24 mkIl intelligently determines the root key from the file header of the loaded audio file On occasion you may want manual control over this parameter if you feel that the root key is not being properly determined Auto Provides a smart analysis of numbers and keys from the file name A number in the file name can be recognized regardless of its format 60 or 060 are both valid Other valid numbers can range between 21 and 127 Numerical val
204. hat surround the defined frequency set with the Cutoff Frequency parameter Alternatively resonance can be used to define the width of the frequency band This is how it is used in the EXS24 mkll Controlling Cutoff and Resonance Simultaneously Changing the Cutoff and Resonance controls at the same time is key to the creation of expressive synthesizer sounds To control two filter parameters at once Drag the chain symbol between the Cutoff and the Resonance knobs to control both parameters simultaneously vertical movements alter Cutoff values and horizontal movements affect Resonance values Overdriving the EXS24 mkIl Filter The filter is equipped with an overdrive module Overdrive intensity is defined by the Drive parameter The filter Drive parameter affects each voice independently When every voice is overdriven individually like having six fuzz boxes for a guitar one for each string you can play extremely complex harmonies over the entire keyboard range They ll sound clean without unwanted intermodulation effects spoiling the sound Furthermore appropriate Drive parameter settings lead to a different tonal character The way analog filters behave when overdriven forms an essential part of the sonic character of a synthesizer Each synthesizer model is unique in the way its filters behave when overdriven The EXS24 mklI is quite flexible in this area allowing tonal colors that range from the most subtle fuzz to the hardest
205. he Cutoff Frequency and Resonance knobs and the Key Follow buttons The filter is used to contour the waveforms sent from the oscillators See Using the ES P LFO Envelope and Level parameters The area to the right of the Filter parameters contains the Envelope and Level parameters which control the level of the sound over time See Using the ES P Envelope and Level Controls Effect parameters The area at the extreme right contains the Chorus and Overdrive parameters These can be used to color or thicken the sound See Using the Integrated ES P Effects Extended parameters Not shown in the image the extended parameters are accessed by clicking the triangle at the lower left of the interface These parameters include bend and tuning functions See Extended ES P Parameters Chapter 3 ESP 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 6 6 OJ 6 Tu fw Fa Norse Oscillator sliders Set the level of the waveforms output by the oscillators In addition to triangular sawtooth and rectangular waves the rectangular waves of two sub oscillators are also available The left sub oscillator fader is one octave lower than the main oscillators and the right sub oscillator fader is two octaves lower Use these to fatten up the sound e The p
206. he 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 Note that as you do so the arrows retain their relative distance from each other Using the ES1 Mod Envelope The modulation envelope allows you to set a percussive type of decay envelope by choosing low values or attack type envelopes with high values Form slider and field Allows you to fade in attack or fade out decay the modulation When set to the full position the modulation envelope is turned off Int via Vel slider The top arrow controls the upper modulation intensity setting for the modulation envelope if you strike a key with the hardest fortissimo velocity 127 The bottom arrow controls the lower modulation intensity setting for the modulation envelope if you strike a key with the softest pianissimo velocity 1 The green bar between the arrows displays the impact of velocity sensitivity on the intensity of the modulation envelope You can simultaneously adjust the modulation range and intensity by dragging the green bar thus moving both arrows at once Note that as you do so the arrows retain their relative distance from each other Controlling ES1 Parameters and the LFO with the Mod Envelope The Modulation Envelope can directly modulate the parameter chosen in the router It essentially determi
207. he frequency ratio between Oscillator 2 and Oscillator 1 in cents FM Int slider Determines the intensity of modulation Higher values result in a more complex waveform with more overtones 150 Chapter 7 EVOC 20 PolySynth 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 Color knob Controls the timbre of the noise signal At the full left position the noise generator creates pure white noise At the full right position you hear blue noise high passed noise White noise has always been used to create wind and rain sound effects It has the same energy in each frequency interval Blue noise sounds brighter because its bass portion is suppressed by a highpass filter Tip Set Color to the full right position and Level to a very low value to achieve a more lively and fresh synthesis signal EVOC 20 PolySynth Tuning and Pitch Parameters The parameters at the lower left of the interface are used to control the overall tuning and other pitch related aspects of the EVOC 20 PolySynth sound Tune lt Analog Glide Analog
208. he number of steps that are created depends on the grid resolution Create amp Replace Some As above but more new steps are created The number of steps created depends on the grid resolution Create amp Replace Many As above but a large number of new steps are created effectively filling the pattern For example start with an empty sequence of 32 steps at 1 16 resolution Using Create amp Replace Few creates 4 new steps using Create amp Replace Some creates 8 new steps and using Create amp Replace Many creates 16 new steps Setting Step Lengths and Velocities in Ultrabeat s Velocity Gate Row This row enables you to set the length gate time and velocity of the notes entered in the Trigger row Both parameters are displayed as a single graphical bar The bar s height represents note velocity and its width indicates the note length gate time To change the length and velocity values for each step Drag vertically on the blue bar to change the velocity Drag horizontally on the blue bar to change the note length gate time Chapter 11 Ultrabeat 297 298 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 i
209. he overall level of the group and therefore the volume of all zones in the group This works much like a subgroup on a mixing console Pan Adjusts the pan position of the group stereo balance for stereo samples and the pan position of all assigned zones simultaneously Note This will affect any individual zone panning adjustments Output Determines the outputs used by the group Choices include the main outputs and paired channels 3 and 4 5 and 6 7 and 8 9 and 10 or individual outputs 11 through 16 This allows individual groups to be routed independently to aux channels in a multi output EXS24 mkll instance Note This will have an impact on any individual zone output assignments Poly Polyphony Determines the number of voices that the group can play The Max option ensures that the group uses all voices allowed by the Voices parameter in the Parameter window For an example of how this parameter can be used see Hi Hat Mode Using the EXS24 mkll Poly Parameter Trigger menu Determines if zones pointing to this group are triggered on key down Key Down setting or on key release Key Release setting This is useful for emulating organ key clicks for example where you may want the organ note triggered on key down but the organ click triggered on key release Dc Decay checkbox and Decay Time field Select the checkbox to access the Decay Time parameter Decay Time field Determines the time it take
210. he position of the overdrive circuits is dependent on the Filter Blend parameter as described in Filter Blend Cross Fading Between the ES2 Filters The ES2 filter Drive parameter affects each voice independently When every voice is overdriven individually like having six fuzz boxes for a guitar one for each string you can play extremely complex harmonies over the entire keyboard range They ll sound clean without unwanted intermodulation effects spoiling the sound Furthermore appropriate Drive parameter settings lead to a different tonal character for the following reason The way analog filters behave when they are overdriven forms an essential part of the sonic character of a synthesizer Each synthesizer model is unique in the way its filters behave when overdriven The ES2 is very flexible in this area allowing tonal colors that range from the most subtle fuzz to the hardest of distortions Tip As Filter 2 can cut away the overtones introduced by the distortion the Drive parameter can be seen and used as another tool for deforming oscillator waveforms Chapter5 ES2 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 com
211. he 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 s ow setting makes it sound like bowing a violin string Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments Synthesizer Basics If you are new to synthesizers read this appendix which discusses 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 It is a simple guide to what you need to know including some extras that are nice to know Take your time to read through the appendix as laid out and feel free to experiment with the ES1 ES2 and other Logic Express instruments Seeing and using the parameters and other elements onscreen will help you to better understand the conceptual and practical aspects of synthesizers This appendix covers the following Sound Basics p 349 e What Is a Synthesizer p 353 How Subtractive Synthesizers Work p 355 e Other Synthesis Methods p 369 e A Brief History of the Synthesizer p 373
212. he 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 You can use LFO 2 for all real time modulations which you intend to access via ModWheel pressure or other controls while playing Chapter5 ES2 A keyboard assignment was set up as the source for modulation routing 4 This is because all pitch or pulse width modulations tend to cause a stronger detuning in the lower ranges while the middle and upper key zones feature the desired diffusion effect When using this parameter you should initially adjust the lower ranges until an acceptable amount of detuning resulting from the modulation is reached When set check whether or not the modulations in the upper zones work to your satisfaction Adjust the relationship between intensity Max and scaling Min values Oscillator 3 generates a Digiwave which is brassy enough within the overall wave mix As an alternative to the Digiwave another modulated pulse wave could be used to support the ensemble or another sawtooth wave to achieve a fatter sound when detuning it with Oscillator 1 s sawtooth wave I The primary aim however is to have a little bit of e salle hea a short wavetable push as described in Using the ES2 Slapped Str
213. help you get started as well as provide detailed information about the included applications Logic Express User Manual This onscreen manual provides comprehensive instructions for using Logic to set up a recording system compose music edit audio and MIDI files and output audio for CD productions Exploring Logic Express This booklet provides a fast paced introduction to the main features and tasks in Logic Express encouraging hands on exploration for new users Logic Express Control Surfaces Support This onscreen manual describes the configuration and use of control surfaces with Logic Express e Logic Express Instruments This onscreen manual provides comprehensive instructions for using the powerful collection of instruments included with Logic Express e Logic Express Effects This onscreen manual provides comprehensive instructions for using the powerful collection of effects included with Logic Express Logic Express Working with Apogee Hardware This onscreen manual describes the use of Apogee hardware with Logic Express Additional Resources Along with the documentation that comes with Logic Express there are a variety of other resources you can use to find out more Release Notes and New Features Documents Each application offers detailed documentation that covers new or changed features and functions This documentation can be accessed in the following location Click the Release Notes and New Features links i
214. hen a fast reaction to incoming signals is required Gating Background Noises in the Analysis Signal If the analysis signal is compressed as recommended the level of breath rumble and background noise will rise These unwanted signals can cause the vocoder bands to open unintentionally To eliminate these artifacts you can employ a noise gate before using compression and boosting the treble frequencies If the analysis signal is gated appropriately you may be able to reduce the Analysis Release value When you are gating speech and vocals with the Logic Express Noise Gate plug in use Threshold to define the level above which the gate will open and use Hysteresis to define a lower Threshold level below which the gate will close The Hysteresis value is relative to the Threshold level The figure above shows a Threshold setting that is well suited for speech compression Unwanted triggering by low or high frequency noise is avoided by the dedicated sidechain filters of the Noise Gate plug in The Hold Release and Hysteresis values are suitable for most vocal and speech signals Enhancing Speech Intelligibility in the EVOC 20 PolySynth Keep these points in mind when trying to achieve the best possible speech intelligibility Chapter 7 EVOC 20 PolySynth 159 160 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 w
215. her 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 Driving the ES1 Filter to Self Oscillation You can make the ES1 filter output a sine wave by following the steps below This will allow you to play the filter generated sine wave with the keyboard To output a sine wave from the filter Switch the Sub knob to OFF Move the Mix slider to the very bottom Sub Turn the Resonance knob to the maximum position Using the ES1 Amplifier Parameters The parameters in the ES1 Amplifier section allow you to fine tune the behavior of your sound s level These are separate from the global Out Level parameter found on the strip at the bottom of the interface and which acts as the ES 1 s master volume see Adjusting Global ES1 Parameters Level via Vel slider Determines how note velocity affects the synthesizer level set by the global Out Level parameter The slider s upper arrow indicates the level when you play fortissimo The lower arrow indicates the level when you play pianissimo velocity 1 The greater the distance between the arrows indicated by the blue bar the more the volume is affected by incoming velocity messages You can simultaneously adjust the modulation range and intensity by dragging the blue bar between the arrows and moving both arrows at once Chapter 4 ES1 Amplifie
216. here you designate when on which beat the selected sound plays Note You can create and remove steps while the step sequencer is running To create steps Choose the desired sound in the Assignment section Enable the step sequencer by clicking the On button Choose a pattern and set the desired length and resolution For details see Using Ultrabeat s Pattern Parameters Click the desired buttons 1 through 32 to activate or deactivate the selected sound on the corresponding beat In the example shown above these are steps 1 and 6 Note An alternate view allows you to simultaneously see and edit the steps of all drum sounds in the pattern See Switching the Ultrabeat Step Grid to Full View To remove a step Ensure that the appropriate sound is selected in the Assignment section Click the desired buttons 1 to 32 that correspond to the step s that you want to remove Chapter 11 Ultrabeat 295 296 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 Create Beat Commands Add Every Downbeat Adds triggers on every downbe
217. hesizer section except the menus modulation routings and so on buttons oscillator type buttons the buttons in the trigger group section and Pan Spread parameters MR 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 Parameters that cannot be automated are still visible but are disabled The velocity gate row in the step grid changes to show the parameter offset row Tip When creating offsets in Step mode you may decide that you want to make a quick change to the original drum sound Rather than switching back and forth between edit modes for a simple change you can press Command Option to temporarily flip Ultrabeat back into Voice mode Chapter 11 Ultrabeat 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 Osc2 Sat Osc2 Asym 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 Parameter edits can be made in three ways e By directly adjusti
218. hesizer waveforms see Oscillators Sculpting the fundamental tone and related harmonics into another sound is achieved by routing the signal from one component also known as a module to another in the synthesizer Each module performs a different job that affects the source signal In a modular synthesizer this routing is achieved by physically cabling modules to each other In most modern synthesizers however the signal routing between modules is internally prewired and is typically changed using switches knobs and other controls For a discussion of the various synthesizer components and how they interact with each other to control and shape your sound see How Subtractive Synthesizers Work Synthesizers have been around for much longer than you may think In the days that preceded the use of digital technology all electronic synthesizers were analog And prior to the use of electricity synthesizers were e actually mechanical If you re interested in learning more see A Brief History of the Synthesizer Analog An analog synthesizer combines voltage controlled circuits such as oscillators filters and amplifiers to generate and shape sounds The amount of voltage is typically related directly to the waveform pitch with higher voltages equalling higher pitches Digital In a digital synthesizer the signal flow is digital Binary descriptions of the signal a string of zeros and ones are fed from one algorithm to another H
219. hoose 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 Unison button Turn on the Unison button to layer two complete EFM1 voices thus making the sound larger and fatter The EFM1 can be played with up to 8 voice polyphony when in unison mode Glide field Used to introduce a continuous pitch bend between two consecutively played notes Adjust the Glide value in ms to determine the time it takes for the pitch to travel from the last played note to the next Chapter 6 EFM1 137 Note Glide can be used in both of the monophonic mono and legato modes or in any of the polyphonic settings Voices parameter 2 to 16 Setting EFM1 Output Parameters The EFM1 provides the following level controls Sub Osc Level knob Volume envelope Main Level knob Stereo Detune knob Velocity knob Sub Osc Level knob Used for added bass response The EFM1 features a sine wave sub oscillator This operates one octave below the FM engine as determined by the Transpose parameter Turning up the Sub Osc Level control mixes the sub oscillator sine wave with the EFM1 s FM engine output Stereo Detune knob Adds a rich and diverse chorus like effect to the sound of the EFM1 This is achieved by doubling the EFM1 voice with a secondary detuned FM engine High values result in a wide stereo effect being added to the detuni
220. iangle 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 Using the Planar Pad for Vector Synthesis in the ES2 The Vector Envelope setting starts where the Vector Start setting left off You have a simple Vector Envelope consisting of 4 points which is set to modulate the oscillator mix the Triangle In this example the Vector Envelope will be used to control two additional parameters the Cutoff Frequency of Filter 2 and Panorama These are preset as the X and Y targets in the Planar Pad Both have a value of 0 50 e Switch on Solo Point to more easily listen to the settings for the single points Click point 1 You will hear only Oscillator 1 s sawtooth Drag the square icon in the Planar Pad to the far left which results in a low cutoff frequency for Oscillator 2 e Click Point 2 You will hear only Oscillator 2 s rectangular wave Chapter5 ES2 Drag the square icon in the Planar Pad all the way down which results in the rightmost panorama position e Click Point 3 You will hear only Oscillator 3 s triangular wave Drag the square icon in the Planar Pad all the way up which results in the leftmost panorama position e Switch on Solo Point The sound begins with a strongly filtered sawtooth wave and turns into an unfiltered square wave It initially sounds from the right and then it moves to the left while morphing into
221. ible with these parameters to ensure the best possible speech intelligibility and accurate tracking OA Freeze Attack Release f Sidechain Analysis in Bands Attack knob Determines how quickly each envelope follower coupled to each analysis filter band reacts to rising signal levels Longer attack times result in a slower tracking response to transients level spikes of the analysis input signal A long attack time on percussive input signals a spoken word or hi hat part for example wwill translate into a less articulated vocoder effect Therefore you should set the Attack parameter to the lowest possible value to enhance articulation Release knob Determines how quickly each envelope follower coupled to each analysis filter band reacts to falling signal levels Longer release times cause the analysis input signal transients to sustain for a longer period at the vocoder s output A long release time on percussive input signals a spoken word or hi hat part for example will translate into a less articulated vocoder effect Use of extremely short release times results in rough grainy vocoder sounds Release values of around 8 to 10 ms are useful starting points Freeze button This parameter when enabled holds or freezes the current analysis sound spectrum indefinitely While Freeze is enabled the analysis filter bank ignores the input source and the Attack and Release knobs have no effect See Freezing the EV
222. icated in red If neither button is active the Distortion circuit is bypassed Drive knob Controls the amount of distortion Colorknob Determines the basic tone of the distortion Higher values result in a brighter sound Lower values lead to a darker warmer tone Level Clip knob Sets the output level of the Distortion effect when in Distortion mode In Bit Crusher mode this knob sets a threshold level for incoming signals from the sound sources that must be reached before distortion bit crushing begins Using the Ultrabeat Output Section Depending on the status of each signal flow button the output signals of both oscillators the ring modulator and the noise generator are routed to the Output section of Ultrabeat This routing is either direct or through the Filter and Distortion section Chapter 11 Ultrabeat 273 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 iil ii modulation Voice volume Trigger mode controls e Two Band EQ Provides precise tonal control of each drum sound e Pan Modulation and Stereo Spread parameters Pan Modulation varies the panorama position of a drum sound Stereo Spread broadens the stereo image Voice Volume Sets the default level of each drum sound Trigger Mode controls Determine
223. ide parameters that allow you to simultaneously edit all zones in the group You can define as many groups as desired For information about zones and groups see An Overview of the EXS24 mkil Instrument Editor and subsequent sections The EXS24 mkIl is compatible with the following audio file formats AIFF WAV SDII and CAF Each audio file is loaded into the EXS24 mkll as a separate sample Each audio file is then automatically assigned to a zone in the EXS24 mkll Instrument Editor window These zones can be edited and organized into sampler instruments For more information about using audio files in zones see Editing EXS24 mkil Zones and Groups Important The actual audio files themselves are not contained within a sampler instrument The sampler instrument only stores information about audio file names parameter settings and locations on the hard disk If you delete or rename an audio file any sampler instrument that makes use of this file will not be able to find it so take care when performing these operations on audio files You are free to move audio files to another location on your system however The EXS24 mkll can find moved files when sampler instruments are loaded Differences Between EXS24 Sampler Instruments and Settings Sampler instruments are distinct from plug in settings which are loaded and saved in the plug in window header Each has advantages and disadvantages for handling parameter values in the Parameter window
224. igh values result in significant changes in the sound in response to firmer or softer keyboard playing 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 Chapter 12 GarageBand Instruments Richness slider Subtly detunes each played note from one another making the sound a little thicker particularly when high parameter values are used e 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 This is a digital synthesizer that can step through a number of tones creating a rhythmic pattern Inst 1 p View ShowCS v Show insert v Bypass a gt Mefault def ee ee Volume Modulation Harmonics EE Harmonic Steps Cutoff Cutoff Steps Duration Digital Stepper Volume slider Sets the overall volume level of the instrument Balance slider Sets the balance between a harder and more spiky sound digital and a warmer softer sound analog Modulation slider Applies more or less modulation making the sound more lively when high settings are used Harmonics slider Makes the sound a little thicker more or
225. in the ES2 RndNO1 RndNO1 Note On Random1 outputs a random modulation value between 1 0 and 1 0 that changes when a note is triggered or retriggered The random note on modulation remains constant throughout the note duration until the next note on trigger Note There is no value change when playing legato while in legato mode RndN02 RndNO2 Note On Random 2 behaves like Note On Random1 but it glides rather than steps to the new random value using the Glide time inclusive of modulation It also differs from Note On Random 1 in that the random modulation value changes when playing legato while in legato mode 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 LFO1 The modulation undulates at the speed and waveform of LFO 1 which controls the modulation intensity LFO2 The modulation undulates at the speed and waveform of LFO 2 which controls the modulation intensity Chapter5 ES2 ENV1 ENV1 controls the modulation intensity ENV2 ENV2 controls the modulation intensity ENV3 ENV3 controls the modula
226. in the Triangle or the Planar Pad To revert to the default value for a point do one of the following Option click the Triangle The square icon is set to the center position of the Triangle All oscillators are set to output the same level Option click the Planar Pad The square icon is set to the center position of the Planar Pad Both axis values are set to zero Setting the ES2 Vector Envelope Solo Point The Solo Point button basically turns off the Vector Envelope If the Solo Point button is activated no dynamic modulations are generated by the Vector Envelope In this scenario the currently visible square icon positions of the Triangle and Planar Pad are permanently in effect These square icon positions match the currently selected Vector Envelope point If you select another Vector Envelope point by clicking it the square icon positions in the Triangle and Planar Pad will update to reflect your selection If the Solo Point button is turned on the newly selected point will become the Solo point Note You can independently switch off Vector Envelope modulation of the Planar Pad by setting Vector Mode to off as described in Vector Envelope Control of the ES2 s Planar Pad and Triangle Setting the ES2 Vector Envelope Sustain Point As mentioned earlier any point can be declared the Sustain point Assuming that the played note is held long enough and there s no loop engaged any envelope movement will stop when this Sustain p
227. in the formants that make up their voices Our perception or recognition of speech is based on an analysis of the relationships between these formants In the EVOC 20 plug ins these relationships are maintained even when extreme formant settings are used A Brief Vocoder History You may be surprised to learn that the voder and vocoder date back to 1939 and 1940 respectively Homer Dudley a research physicist at Bell Laboratories in New Jersey developed the Voice Operated reCOrDER as a research machine It was originally designed to test compression schemes for the secure transmission of voice signals over copper phone lines It was a composite device consisting of an analyzer and an artificial voice synthesizer as follows Parallel bandpass vocoder A speech analyzer and resynthesizer invented in 1940 Chapter 7 EVOC 20 PolySynth 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 The results of this analysis could be viewed graphically as functions of frequency against time The synthesizer reversed the process by scanning the data from the analyzer and supplying
228. 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 For example at a resolution of 1 16 a beat equals four steps so half of one beat is two steps at a resolution of 1 8 a beat equals two steps so half of one beat equals one step and so on Shift Right by 1 Step Shifts all steps in the sequence one step to the right Chapter 11 Ultrabeat 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 For example at a resolution of 1 16 a beat equals four steps so half of one beat is two steps at a resolution of 1 8 a beat equals two steps so one half of one beat is one step and so on Create and Replace Commands Create amp Replace Randomly Erases then randomly creates new steps in the sequence in other words a brand new sequence is created The number of events that are created depends on the grid resolution Create amp Replace Few Similar to Create amp Replace Randomly but only a handful of new steps are created T
229. increasing the FM Amount during the FM process Keep an eye on the display to see how the sine wave takes on an increasingly complex shape Note Oscillator 2 must be enabled if you want to use frequency modulation Important The impact of any frequency modulations you may perform depends onboth the frequency ratio and the modulation intensity of the two oscillators To set the frequency ratio and adjust the modulation intensity 1 Adjust the Pitch parameter values of one or both oscillators 2 Adjust the amount intensity of frequency modulation with the FM Amount knob FM Amount knob This parameter can be modulated by the sources found in the mod and via menus For more information see Working with Modulation in Ultrabeat Chapter 11 Ultrabeat 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 This includes software instrument channel strips aux channel strips or a mix of multiple channel strips that are routed into a common aux sub group that has a bus as the output destination Here is an example of how you might take
230. ing between two definable pitches a random stepped waveform S amp H and a smoothed random waveform for each LFO Intensity slider Controls the amount of formant shift modulation by the Shift LFO Chapter 7 EVOC 20 PolySynth 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 Ensemble A Stereo Width 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 Anaj lysis Choose to hear only the analysis signal Note The last two settings are mainly useful for monitoring purposes Ensemble buttons Click to turn the ensemble effect on or off Ensemble is a special chorus effect Ensemble Il is a variation creating a fuller and richer sound by using a more complex modulation routine Level slider Controls the volume of the EVOC 20 PolySynth output signal Stereo Width knob Distributes the output signals of the Synthesis section s filter bands in the stereo field e At the left position the outputs of all bands are centered At the centered position the outputs of all bands ascend from left to right e At the right position the bands
231. ing in Ultrabeat to create some extremely interesting sounds Creating an Ultrabeat Modulation Routing The following applies to all parameters that offer mod and via modulation options To create a modulation routing Click the mod label of the desired parameter to open the mod pop up menu Chapter 11 Ultrabeat 281 282 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 When the mod value is set to Max the via parameter is routed directly to the modulation target This way velocity can be used as a direct modulation source even though Vel is not available as a source in the mod menu Tip You can also set up an external MIDI fader unit with Ctrl A B C or D see Using Ultrabeat MIDI Controllers A D You can then use the Max menu item to route the respective via source Ctrl A B C or D to the parameter you d like to control with one of the faders on your MIDI fader box 3 If you want to assign a via source click via to open the via pop up menu 4 Choose Vel or one of
232. ing 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 How a Ring Modulator Works A ring modulator has two inputs At the output you hear both the sum and difference frequencies of the input signals If you ring modulate a sine oscillation of 200 Hz with a sine oscillation of 500 Hz the output signal of the ring modulator will consist of a 700 Hz sum and a 300 Hz difference signal Negative frequencies result in a change to the phase polarity of output signals How Ring Modulation Works in the ES2 You can set Oscillator 2 to output a ring modulator signal by choosing the Ring setting with the Oscillator 2 Wave knob Feel free to experiment with different Frequency main and fine tune values for one or both oscillators The Oscillator 2 ring modulator is fed with the output signal of Oscillator 1 and a square wave generated by Oscillator 2 itself The pulse width of this square wave can be modulated see Using Pulse Width Modulation in the ES2 Tip Use sawtooth and rectangular pulse width modulated input signals from Oscillators 1 and 2 respectively to create a much more complex output signal The use of these harmonically rich waveforms results in a number
233. ing the Stiffness makes the sound become more bell like or glass like Extreme Stiffness values turn the string into a solid metal rod Increasing the Inner Loss value while maintaining a low Stiffness level corresponds to nylon or catgut strings High Stiffness values combined with high Inner Loss values simulate wood like materials Chapter 11 Ultrabeat 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 Important Although the ring modulator signal is independent of the signals generated by Oscillators 1 and 2 both oscillators need to be enabled if you want to use the ring modulator signal As the ring modulator is reliant on the signals of both oscillators to produce an output signal it is automatically muted when one of the oscillators is switched off The actual sound produced by the ring modulator is largely dependent on the parameter settings of both oscillators In particular the tuning relationships of each oscillator have a direct effect on the sound of the ring modulator signal The individual levels of the oscillators however have no effect on the process or output of ring modulation Ring Modulator on off button Level slider the mod
234. 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 Global parameters Pattern parameters Pattern parameters Step Grid The sequencer is divided into three sections Global parameters Enable the step sequencer control playback provide access to various modes and control the overall playback feel Pattern parameters Provide control over the length and resolution of the currently selected pattern You can also accentuate individual steps in the pattern for each drum sound e Step Grid This is where actual sequencing takes place A sequence of up to 32 steps for the sound that is currently selected in the Assignment section is shown You can add remove or alter events in the grid Note An alternate view allows you to simultaneously see and edit the steps of all drum sounds in the pattern See Switching the Ultrabeat Step Grid to Full View Chapter 11 Ultrabeat 291 292 Using Ultrabeat s Global Sequencer Parameters A description of the parameters that apply globally to all pattern
235. ion 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 As soon as you choose a value other than off for via the Intensity slider is divided into two halves Each half has its own arrowhead The lower half defines the minimum modulation intensity when the via controller the modulation wheel for example is set to its minimum value The upper half defines the maximum modulation intensity when the via controller is set to its maximum value e The area between the two slider halves defines the modulation range of the via controller To create a modulation routing that includes a via source 1 Click in the Target field A pop up menu of all available targets appears Pitch 1 Pitch 2 Pitch 3 Detune OscWaves OsclWave Osc2Wave 2 Click in the Source field A pop up menu of all available sources appears Chapter5 ES2 79 3 Click hold in the via field to see a pop up menu of all available sources Kyou Velo Bender Touch WhI To Ctrl A 4 Foot Ctrl B 2 Breath Ctrl C 16 GP1 Ctrl D 17 GP 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 EG Rate 6 Vertically drag the lower arrowhead of the
236. ip in Logic Express for use as an instrument This chapter covers the following e Using the Klopfgeist Parameters p 242 241 242 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 Detune knob and field Fine tunes Klopfgeist in cents 1 100th of a semitone Tonality slider and field Changes the sound of Klopfgeist from a short click to a pitched percussion sound similar to a wood block or claves Damp slider and field Controls the release time The shortest release time is reached when Damp is at its maximum 1 00 value Level via Vel slider and fields Determine the velocity sensitivity of Klopfgeist The upper half of the two part slider determines the volume for maximum velocity and the lower half determines the volume for minimum velocity Drag the area between the two slider segments to move both simultaneously Chapter 10 Klopfgeist Ultrabeat 1 Ultrabeat is a synthesizer that is designed to create percussive sounds and polyphonic rhythms It also incorporates a powerful integrated step sequencer
237. is displayed in Hertz Hz beneath the slider LFO 1 Wave buttons This is where you choose the desired waveform for LFO 1 See Using ES2 LFO Waveforms for details on how to use them LFO 2 Rate slider This parameter defines the frequency speed of the LFO 2 modulation See Setting LFO 2 s Rate in the ES2 Chapter 5 S2 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 For further information see Synthesizer Basics Using ES2 LFO Waveforms The LFO 1 Wave buttons allow you to choose different waveforms for LFO 1 The table below outlines how these can affect your sounds Try using the waveforms while a modulation routing of Pitch 123 the pitch of all three oscillators is engaged and running 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 lowpas
238. is knob to zero to disable the effect Chapter5 ES2 107 108 The Speed parameter determines the modulation rate 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 Choose which parameters you would like to randomize with the options in this menu Adjust the slider to determine the amount of randomization To randomly alter a sound Click the RND button below the Filter section The process is triggered by a single click and can be repeated as often as you like Note This feature has nothing to do with random real time modulations The random feature changes parameter values randomly each time you click the RND button Real time random modulations are achieved with the random LFO waveforms or through use of the Analog parameter which randomizes pitch settings Tip It s recommended that you save any sounds resulting from the RND process that you want to keep as you work Save the setting with a new name using the Settings menu of the plug in window Defining the Amount of Randomization in the ES2 You can set the amount of random parameter alteration with the RND Int slider found
239. is semi polyphonic approach The number of voices that these instruments are able to generate however is no longer dependent on the number of built in monophonic synthesizers Rather polyphony depends entirely on the performance capability of the computers that power them Appendix Synthesizer Basics 377 378 The breathtaking developments in the digital world are best illustrated by the following example The first program that emulated sound generation entirely by means of a computer was Music I authored by the American programmer Max Mathew Invented in 1957 it ran ona university mainframe an exorbitantly expensive IBM 704 Unimpressively its sole claim to fame was that it could compute a triangle wave although doing it in real time was beyond its abilities This lack of capacity for real time performance is the reason why early digital technology was used solely for control and storage purposes in commercial synthesizers Digital control circuitry debuted in 1971 in the form of the digital sequencer found in the Synthi 100 modular synthesizer in all other respects an analog synthesizer from English company EMS Priced out of reach of all but the wealthiest musicians the Synthi 100 sequencer featured a whopping total of 256 events Ever increasing processor performance made it possible to integrate digital technology into parts of the sound generation engine itself The monophonic Harmonic Synthesizer manufactured by Rocky Mou
240. ith a standard musical keyboard attached to it The processor card was inserted into an Apple Il computer The synthesizers were programmed via the Apple keyboard and monitor They were polyphonic had programmable waveforms envelopes and sequencers Today s sound cards introduced in countless numbers since 1989 follow this concept Appendix Synthesizer Basics Exploiting the ever increasing processing power of today s computers the next evolutionary step for the synthesizer is the software synthesizer which runs as an application on a host computer The sound card or built in audio hardware is needed these days only for audio input and output The actual process of sound generation effects processing recording and sequencing is performed by your computer s CPU using the Logic Express software and instrument collection Appendix Synthesizer Basics 379
241. ity slider should be set to a negative value Getting to Know the ES2 s Vector Envelope The Vector Envelope is a multipoint loop capable control source Its sole purpose is to provide real time control of square icon movements in the Triangle and the Planar Pad The Vector Envelope shares the space occupied by the modulation router and it can be viewed by clicking the Vector Envelope button to the right of the router Vector Envelope Curve Triangle Planar Pad E Te a aa ee aa Env Mode Loop Mode Loop Rate Time Scaling Planar Pad Targets Solo Point Vector Mode Chapter 5 ES2 89 90 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 To activate or deactivate the Vector Envelope Turn off the Solo Point button described on Setting the ES to activate the Vector Envelope or Envelope Solo Point Turn on the Solo Point button to deactivate the Vector Envelope When Solo Point is turned on only the currently selected Triangle and Planar Pad positions of the currently s
242. ixed at 12 dB octave in HP mode Chapter 11 Ultrabeat 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 Cutoff and Resonance knobs Determine the cutoff center frequency and resonance bandwidth behavior of the integrated filter Cutoff can be modulated by the sources found in the mod and via menus The Cut knob defines the point in the frequency spectrum where the signal is boosted or cut Depending on the selected filter type you can make a sound darker LP thinner HP or more nasal BP by adjusting the Cut value Increasing resonance boosts frequencies that surround the cutoff frequency Values range from 0 no increase to self oscillation of the filter at high resonance values Note Self oscillation is typical of analog filter circuits It occurs when the filter feeds back into itself and begins to oscillate at its natural frequency when high resonance values are used Dirt knob This parameter was especially developed for the noise generator Higher values roughen up the pure white noise appreciably making it more grainy The Dirt parameter is especia
243. ize button You can click as often as you like but remember to save your settings as you go if you happen across a sound that you want to keep To limit the amount of randomization Drag in the numeric field to determine the amount of randomization variance from the original sound You should use values below 10 if you only want to randomly tweak the current sound Use higher values if you want to radically change the sound with each click 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 e FM intensity e Vibrato 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 Note The EFM1 also responds to MIDI pitch bend data Pitch bend is hard wired to the overall pitch of the EFM1 Chapter 6 EFM1 139 EVOC 20 PolySynth T The EVOC 20 PolySynth combines a vocoder with a polyphonic synthesizer and can be played in real time It 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 amp B and other music styles This chapter covers the following How the EVOC 20 Polysynth Works p 141 Getting to Know the EV
244. ized All except router and Pitch All parameters with the exception of router parameters and the basic pitch semitone settings of the oscillators are altered Oscillator fine tuning is however randomized All except Vector Env All parameters with the exception of Vector Envelope parameters are altered This maintains the rhythmic feel of a given setting Waves Only the oscillator Wave and Digiwave parameters are altered Other oscillator parameters tuning mix and modulation routings in the router are excluded DigiWaves New Digiwaves are selected for all oscillators Other oscillator parameters tuning mix and modulation routings in the router are excluded Filters The following filter parameters are varied Filter Structure series or parallel Filter Blend Filter Mode Cutoff Frequency and Resonance for Filters 1 and 2 The Fatness and Filter FM parameters of Filter 2 are also randomized Envs All parameters of all three envelopes ENV 1 ENV 2 and ENV 3 are randomized The Vector Envelope is excluded LFOs All parameters of both LFOs are varied Router All router parameters in all modulation routings are varied all intensities target via and source parameters are changed FX All effects parameters are randomized Vector Envelope All Vector Envelope parameters are varied including the X Y routing of the Planar Pad Chapter5 ES2 109 110 Parameter group Comments Vecto
245. k the Done button when you are finished Choose one of the three automatic mapping modes in the Load Multiple Samples dialog Auto map by reading the root key from audio file Uses the root keys stored in the audio file headers and places the samples as zones across the keyboard range The number of keys that constitute a zone is intelligently determined by the placement of neighboring zones Drums zone without range root key from audio file Uses the root keys stored in the audio file headers Each zone is mapped to a single key on the keyboard as determined by the root key information Contiguous zones Ignores all root key information and maps the samples across the keyboard in chromatic order The Zone width field allows you to specify the width the key range of the newly generated zones The Start Note field defines the start note of newly generated zones You can also load multiple samples by dragging them into the Instrument Editor Dragging multiple samples into a group folder assigns the samples to the respective group Dragging multiple samples below the Ungrouped Zones area assigns the audio files to a new default group Chapter 9 EXS24 mkl 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 mkll Groups Ima
246. knob Simulates the instability of analog circuitry found in vintage vocoders by randomly altering the pitch of each note This behavior is much like that of polyphonic analog synthesizers The Analog knob controls the intensity of this random detuning Tune field Defines the overall tuning of the EVOC 20 PolySynth in cents Glide knob Determines the time it takes for the pitch to slide from one note to another portamento For information about mono and legato see EVOC 20 PolySynth Global Parameters Bend Range field Determines the pitch bend modulation range in semitone steps Chapter 7 EVOC 20 PolySynth 151 152 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 ss Cutoff Resonance 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 Resonance knob Boosts or cuts the signal portion that surrounds the frequency defined by the Cutoff knob Tip Set cutoff as high as possible and add a little resonance to achieve a nice brilliant high end EVOC 20 PolySynth Envelope Parameters The EVOC 20 PolySynth features a simple Attack Release envelope generator which is used to control the level of the oscil
247. l or a mix of the two filter bank signals The more bands a vocoder offers the more precisely the original sound s character will be reproduced by the synthesis filter bank The EVOC 20 PolySynth provides up to 20 bands per bank See EVOC20 Block Diagram for a detailed image of the EVOC20 Polysynth signal path Setting Up Your EVOC 20 PolySynth Host Application To use of the EVOC 20 PolySynth you need to insert it into the Instrument slot of an instrument channel strip You also need to provide an audio signal as the analysis audio source via a sidechain To set up the EVOC 20 PolySynth in your host application Insert the EVOC 20 PolySynth into the Instrument slot of an instrument channel strip Choose an input source in the Side Chain menu in the plug in header of the EVOC 20 PolySynth This can be an audio track live input or bus depending on the host application The EVOC 20 PolySynth is now ready to accept incoming MIDI data and has been assigned to an input audio track or bus via a side chain Chapter 7 EVOC 20 PolySynth 143 144 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 s
248. l Group Par met Velocity Range checkbox and fields Activate the checkbox to define a velocity range for the zone L ow Sets the lowest velocity that will trigger the zone e Hi gh Sets the highest velocity that will trigger the zone Playing notes outside this velocity range will not trigger the sample assigned to this zone Sample Start and End fields Set the sample start and end points respectively Control click either field to open a menu that allows you to open the sample in the Logic Express Sample Editor or an external echo WDE as can set the start and end points graphically See Editing Samples in the 4 mkll Sample E Fade field Determines the fade out time for a one shot sample The value is shown in samples The difference between the value specified in this field and the value shown in the End field determines the fade out duration The lower the value the longer it takes for the sample to reach a 0 level at the sample end point This option is dimmed when the Loop On checkbox is active See Using the EXS24 mk Zone Loop Parameters for details about zone loop functions Note This parameter defaults to a value of 0 except in cases when the Sampler Instrument is created with Logic Express s Audio gt Convert Regions to New Sampler Track command This function uses transient markers and results in a default Fade field value that matches the slicing offset of the following transient marker Chapter 9 E
249. l control of the attack and release phases of the synthesizer sound See EVOC 20 PolySynth Envelope Parameters Chapter 7 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 a 7 Cutoff Resonance r A __ Attack Release Analog Glide Bend Range Dual mode Each oscillator allows you to choose a digital waveform FM mode Oscillator 1 generates a sine wave The frequency or pitch of Oscillator 1 is modulated by Oscillator 2 for information about FM synthesis see Frequency Modulation FM Synthesis This leads to a number of different tones and harmonics becoming audible Oscillator 2 can use any of the digital waveforms Each mode subtly changes the parameters shown in the Oscillator section The Synthesis section also incorporates a noise generator which can add a further color to your sound See the following for information on Dual mode FM mode and Noise generator mode Dual Mode EVOC 20 PolySynth Oscillator Parameters FM Mode EVOC 20 PolySynth Oscillator Parameters EVOC 20 PolySynth Noise Generator Parameters Common EVOC 20 PolySynth Oscillator Parameters This s
250. l introduce you to the terminology and give you a great overview of different synthesis systems and how they work This chapter covers the following Getting to Know the EFM1 Interface p 132 Working with the EFM1 Modulator and Carrier Parameters p 133 Working with the EFM1 Modulation Parameters p 136 Adjusting Global EFM1 Parameters p 137 Setting EFM1 Output Parameters p 138 Creating EFM1 Random Sound Variations p 139 Assigning EFM1 MIDI Controllers p 139 131 132 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 Carrier parameters ae 5 J D Modung Global parameters O alll Og O a Wave Output parameters Randomize parameters Modulation parameters ModWhi 0 20 Output parameters Extended parameters The EFM1 is divided into several areas Global parameters The top section contains parameters that set the overall tuning of the EFM1 Further controls enable you to set the Glide portamento time limit the number of voices and to thicken the sound with Unison See Adjusting Global EFM1 Parameters Modulator and Carrier parameters The FM engine consists of the Modulator and Carrier parameters raised darker sections and the FM Intensity knob in the
251. l is at the minimum setting at the bottom of its travel the amount of oscillator pitch modulation is minimal or off no modulation at all As you move the modulation wheel upward the frequency of all three oscillators is directly controlled by the LFO within the range determined by the sliders Common Modulation Sources This section outlines modulation sources that you typically find on most synthesizers Modulation Controllers Modulation sources can be and often are triggered by something you ve done such as played a note on the keyboard or moved the modulation wheel Thus the modulation wheel pitch bend ribbons foot pedals keyboard and other input options are referred to as modulation controllers or simply controllers Perhaps the best example of a modulation controller in action would be the use of a velocity sensitive keyboard set up to control the filter and level envelopes The harder you strike the notes the louder and brighter the sound is See Using Envelopes for Modulation Appendix Synthesizer Basics 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 LFO Controls The LFO gene
252. laces the ES2 interface with a dedicated and much smaller view that is limited to the macro parameters Chapter5 ES2 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 View Show Channel Strip Show Insert Y Side Chain None Bypass Compare 4 default Copy ES2 Important The impact of each macro control is completely dependent on the parameter values of the current setting In some patches a number of macro controls may have no effect Another bonus of the macro parameters is that they are settings compatible with ES2 based GarageBand instruments In other words you can use the ES2 and some GarageBand synthesizer settings interchangeably Assigning Controllers in the ES2 Clicking the MIDI button at the lower left of the interface displays the Controller Assignments There are six menus for Ctrl A to Ctrl F You can use any MIDI controller shown in the menus for these control sources See Using the ES2 Oscillators To assign a controller Click a control menu then choose the controller name number that you want to use from the list To learn a controller assignment via MIDI Click a c
253. lation 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 Modulation Routing Many synthesizers including the ES1 ES2 and EXS24 mkll sampler feature a modulation router The router allows you to direct one or more modulation sources to one or more modulation targets or destinations if you prefer For example you can change modulation targets such as the oscillator pitch or filter cutoff frequency by using modulation sources that include the following Velocity modulation The impact of your keyboard playing harder or softer Key scaling The position you play on the keyboard e Use of controls These can include the modulation wheel ribbon controllers or pedals attached to your keyboard Automatic modulation You can use envelope generators or LFOs to modulate signals automatically Modulation Routing in the ES1 and ES2 The ES1 and ES2 provide an easy way to route a control a modulation source to part of the sound engine a modulation target For details on the use of the modulation facilities and other parameters see the ES1 and Oscillator on off buttons You can do modulation routing n the ES1 by selecting a modulation target in the left or right column of buttons in the Router section You use the left column to set a
254. lators over time 1 Attack slider Determines the amount of time it takes for the oscillators to reach their maximum level e Release slider Determines the amount of time it takes for the oscillators to reach their minimum level after the keys have been released Chapter 7 EVOC 20 PolySynth 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 Voices e unison Mode 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 Envelopes are not retriggered when tied notes are played single trigger In Mono mode Glide is always active and the envelopes are retriggered by every note played multi trigger Unison button Enables or disables Unison mode In Unison Poly mode where both the Unison and Poly buttons are active each EVOC 20 PolySynth voice is doubled which cuts polyphony in half to a maximum of 8 voices shown in the Voices field The doubled voices are detuned by the amount defined with the Analog knob In Unison Mono mode where both the Unison and Mono or Legato buttons are active up to 16 voices can be sta
255. le Chapter 11 Ultrabeat 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 All the creative pattern switching options discussed in this section are achieved through the use of MIDI note messages and can therefore be simply recorded edited arranged and automated in Logic Express Ultrabeat Tutorial Introduction The Ultrabeat tutorials cover a number of specific sound creation tips These tutorials will help you explore the vast and complex possibilities available to you in Ultrabeat You ll discover that there is hardly a category of electronic drum sound that Ultrabeat can t create easily Note In Ultrabeat s Settings gt 03 Tutorial Settings folder you will find Tutorial Kit a drum kit that contains all the drum sounds discussed in the tutorials The Tutorial Kit also includes the Standard Tut orial drum sound which is a default set of neutral parameters that provide an excellent starting point for many of the examples All Ultrabeat tutorial sections are listed below trabeat Tutorial Creating Kick Drums e Ultrabeat Tutorial Creating Snare Drums trabeat Tutorial Creating Toms and Tonal Percussion trabeat
256. le Defines the period of time the envelope needs to fall back to a 0 amplitude after it has reached its maximum value defined in the attack phase Note You can freely change the time and shape of the envelope in the attack or decay phase See Editing Ultrabeat s Envelopes Graphically Zoom scroll field Resizes the visible contents of the envelope display when you drag horizontally Env mod menu Determines the modulation target either the time or shape of the envelope attack or decay phase by velocity Choices are A Time A Shape D Time or D Shape Mod via vel slider Determines the intensity of velocity modulation of the target specified in the Env mod menu When you modulate Shape low velocity values make the envelope sag Higher values make the envelope bulge When you modulate Time high velocity values reduce the length of the envelope segment Lower velocity values increase the length of the envelope segment e Sustain button When active displays a red handle and vertical line on the x axis This can be moved horizontally but only within the envelope decay phase The amplitude that the envelope reaches at the Sustain junction point is retained until the MIDI note is released Chapter 11 Ultrabeat 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 envel
257. le below shows drum sound 2 being played as indicated by the blue key while drum sound 4 is selected the gray frame The selected sound is indicated by a gray frame The highlighted key blue indicates an incoming MIDI note or controller message To select a sound by playing your MIDI keyboard Activate the Voice Auto Select button in the upper left corner of the Ultrabeat window Click here to enable MIDI sound selection Naming Swapping and Copying Ultrabeat Drum Sounds This section outlines the steps required to rename and rearrange the positions of individual sounds within a drum kit Chapter 11 Ultrabeat 249 250 To rename a sound Double click the name of a sound to open a text entry field 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 Select the sound name not on a button or menu Drag it to the desired position The target is shaded as you drag across the list of sound names Asimple drag and drop swaps the two drum sounds including Mixer settings volume pan mute solo and output configuration Sequences arenot swapped Command drag to swap the two drum sounds and sequences Option drag to copy the sound Sequences arenot copied Com
258. le file formats Chapter 9 EXS24 mk Getting to Know the EXS24 mkIl Interface The EXS24 mkll interface is broken down into two windows Parameter window This is where you ll spend most of your time with the EXS24 mkll It is used to load instruments and offers a number of synthesis and modulation options that allow you to tailor your sampler instrument sounds felegatol enon EBS voices H used p unison Dy edit_ options a ae EXS24 Instrument Editor instrument 2213 ay r instrument v Edit vi Zone v Group View v Show Velocity EXS24 l Audio File Pitch Mixer Key Range Name Key Coarse Fine Vol Pan Scale _ Output Lo Hi Zone 112 KONTBSTR1X01 a e E E ae 0 Group cl a Group 3 Zone 117 KONTBFINWxO1 Jaj o o 5 o 0 Group gt E El nomeo Zone 134 KONTBFINxO2 yi cao o 0 e 0 Group A3 A3 g Zone 119 KONTBFINWXO2 o o 6 o 0 Group Fl Fl Group 2 7one 133 KONTBFINWKO3 D o o 0o 0 0o Group G G Group 4 Zone 139 KONTBFINWXO3 y Dl 0 o 0 o 0 Group Fel Fel Group 1 Zone 120 KONTBFINWXO4 y o 0 o 0 o Group c G1 NOTEO Zone 55 YTKBLONSIEIXO3 E 0 o o 0 0 Group C2 E Zone 54 KBLONSIE1X02 Jajo CA ee EC 0 Group C2 1 Zone 56 YTKBLONSIEIXOS El 0 o 1 0 0 Group C2 E Zone 53 KBLONSIE1X01 y ajo eo 2 e 0 Group c2 El Zone 141 KONTBFINWXOS a o o o 0 0 Group G l G Zone 132 KONTBFINWX06 J A 0 C
259. lection criteria Control 64 gt 0 63 Control G4 ire 64 127 Group Control Bend MIDI Channel This feature works with MIDI note controller and pitch bend events on a specified MIDI channel You first need to define a group number as the base for the Select By command After the group number is defined selecting a particular group means that only zones pointing to that group will play and other groups are not played For example if you want the EXS24 mkll to automatically switch between two string sample groups one for staccato samples and one for legato samples you could set the Select Group By menu to MIDI notes and assign a different MIDI note to trigger each group This way you can use a note that is not triggering a sound as a remote group switch You can further refine the group selection conditions by clicking the plus sign in the upper right corner of the Select Group By column To continue the staccato and legato string layer example you could specify that a controller message switches between different articulations For another example of how this feature can be used see Remapping of Pitch Bend and Modulation Wheel Events in the EXS24 mkll Click the minus sign to remove a Select Group By condition and broaden the group selection criteria Chapter 9 EXS24 mk Remapping of Pitch Bend and Modulation Wheel Events in the EXS24 mkll In order to create realistic sounding performances in a
260. les key command default Control C Chapter 9 EXS24 mk 221 222 Editing Samples in the EXS24 mkll Sample Editor Because the EXS24 mkll and Logic Express Sample Editor are built to work together the EXS24 mklI 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 eooo a MacintoshHD CP70B HD C 3 aif gt G hai ie ea 1 Fancions v1 facto 71 Mew gt 41 8 4 4d FENTER NR S T 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 This opens a shortcut menu which you can use to open the selected sample in the Logic Express Sample Editor or the external sample editor set in the preferences see Using an External Instrument Editor with the EXS24 mkll To edit sample borders and loop points After the sample is opened in the Sample Editor you can drag the sample borders and loop points graphically Loop Start is represented by the LS marker Loop End is represented by the LE marker The Sample Editor has anumber of convenient loop commands that may accelerate your workflow See Working with the EXS24 mkll Sample Editor Loop Commands When you have completed your edits save the sample The new values written to the audio file header are
261. lider known as time via key can be used to scale lengthen or shorten the envelope time intervals Note that position C3 is the center point Time intervals for zones assigned to keys above C3 can be reduced in length with the left slider All time intervals for zones assigned to keys below C3 can be lengthened e The Attack Curve slider determines the shape of the envelope attack curve Chapter 9 EXS24 mk 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 You aren t limited to using velocity however to determine which sample is played You could assign the modulation wheel source to the Sample Select destination or use both velocity and the modulation wheel If you choose a continuous controller such as the modulation wheel you can step through the velocity layers during playback In this case make use of the crossfade Xfade parameters to create smooth transitions between velocity split points When using multiple modulation sources be aware that these can cause all velocity layers to run simult
262. ll Sampler Preferences p 234 e Configuring EXS24 mkll Virtual Memory p 237 e Advanced EXS24 mkil RAM Management p 239 e Using the VSL Performance Tool in EXS24 mkll p 239 EXS24 mkll Features EXS24 mkll 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 mklI filters and modulators EXS24 mkIl offers powerful modulation and editing features for an instrument of its type and is a flexible synthesizer in its own right This enables you to create expressive sounds by using any sample as a basic synthesizer waveform EXS24 mkll can be used as a mono stereo instrument or you can route loaded samples to multiple outputs This allows you to independently process individual drum sounds in a drum kit for example Samples of almost unlimited length can be used in EXS24 mkil by streaming them directly from a hard disk This opens the door to many of the multigigabyte sample libraries available EXS24 mkll provides an extensive library of sampler instruments that offers piano string acoustic and electric guitar drum and many other sounds If you wish to extend your sonic repertoire the EXS24 mkll native file format the EXS format is supported by most sample library providers You can also import sampler instruments in the AKAI 1000 and 3000 SampleCell Gigasampler DLS and SoundFont2 samp
263. llator 2 s waveform Odd intervals frequency ratios between the oscillators result in bell like spectra much like those heard in the Ringmod Start setting The third oscillator can be used as a tuning reference to maintain a kind of basic tuning On occasion you may find that it s nice to leave the sound out of tune for use as a source of overtones and harmonics for another basic wave supplied by Oscillator 3 Chapter5 ES2 Try to program an atmospheric bell sound Use your imagination but here are some hints that may help Experiment with the various frequency ratios of Oscillators 1 and 2 You may want to use the 29s 0 c 21 s 0 c ratio which doesn t sound out of tune at all Ring modulation is not only useful for bell like sounds it s also good for a great variety of spectra that tend to sound weird at lower frequency settings Also try alterations to the fine tuning of the Oscillators e Check out an Intensity of 50 and a Rate set to around 2 3 of the maximum value for the Chorus effect Set the Attack and Release Times of Envelope 3 to taste Check out Drive and Filter FM if you like your sounds a little out of control e The rest is up to you Creating Sounds with Oscillator Synchronization in the ES2 If you select the synced square and sawtooth waveforms for Oscillators 2 and 3 they will be synchronized with Oscillator 1 In the Sync Start setting only Oscillator 2 is audible and Oscillator 3 is s
264. ller and richer sound e If none of the buttons is active the effects processor is turned off Extended ES E Parameters The ESE offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface Pos Bender Range Changes the positive upwards pitch bend range in semitone steps This allows you to use the pitch bend controller of your keyboard to bend the ES E pitch Neg Bender Range The default Neg Bender Range value is Pos PB Positive Pitch Bend In essence this means that only positive pitch bend is available You can adjust the negative downwards pitch bend range in semitone steps up to 2 octaves a value of 24 Tune Tunes the entire instrument in cents A cent is 1 100th of a semitone Chapter1 ESE ESM 2 The monophonic ES M ES Mono synthesizer is a good starting point if you re looking for bass sounds that punch through your mix ES M 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 ES M produces sounds using subtractive synthesis It features an oscillator that generates harmonically rich waveforms You subtract cut or filter out portions of these waveforms and reshape them to create new sounds If you re totally new to synthesizers it might be best to start off with Synthesizer Basic
265. lly available machine released in 1976 It was later renamed the EMS 5000 Among its users were Stevie Wonder and Kraftwerk Stockhausen the German Elektronische Musik pioneer also used an EMS vocoder Sennheiser released the VMS 201 in 1977 and EMS released the EMS 2000 which was a cut down version of its older sibling Chapter 7 EVOC 20 PolySynth 162 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 Artists who used them included ELO Pink Floyd Eurythmics Tangerine Dream Telex David Bowie Kate Bush and many more On the production side vocoders could and can still be picked up cheaply in the form of kits from electronics stores From 1980 to the present EMS in the UK Synton in Holland and PAiA in the USA have been and remain the main flyers of the vocoding flag In 1996 Doepfer in Germany and Music and More joined the vocoder producing fraternity From the late 1990s to the present a number of standalone and integrated software based vocoders like the EVOC 20 have appeared Chapter 7 EVOC 20 PolySynth EVOC20 Block Diag
266. lly effective at high resonance values Dirt can be modulated by the sources found in the mod and via menus Volume knob Sets the output level of the noise generator Volume can be modulated by the sources found in the mod and via menus Signal Flow button Determines whether the noise generator signal is routed through the main filter or directly to the EQ output section When active the button turns red and an arrow indicates the direction of the signal flow Note The signal flow button has no effect on the independent filter contained in the noise generator The latter is deactivated with the byp button in the Type menu It is therefore possible to filter the noise generator signal twice In many instances you may want the noise generator signal to bypass the main filter freeing the main filter for other duties an important element when programming drum sounds Getting to Know the Ultrabeat Filter and Distortion Section The output signals of both oscillators the ring modulator and the noise generator are passed on to Ultrabeat s central Filter section if not bypassed with the various signal flow buttons The Filter section offers a multimode filter and a distortion unit Chapter 11 Ultrabeat 269 270 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 foun
267. lopes introduce EQ into the sound and discover how much playing room these basic settings allow you Note An exemplary sound is listed as snare 5 KW in the Tutorial Kit at a pitch of G 1 Analyze this sound and compare it to your own creation Ultrabeat Tutorial Creating Toms and Tonal Percussion Tonal percussion sounds such as toms or congas are relatively easy to emulate electronically with sine or triangular wave oscillators Ultrabeat s phase oscillator offers you a broad spectrum of suitable basic sounds with which to start Control the pitch of the oscillators with envelopes and use the programming techniques discussed in the bass and snare drum sections to alter tonality You should find it easy to create a broad range of toms and similar sounds Note At the pitches A1 to BO in the Tutorial Kit you ll find typical 808 toms Analyze these sounds and modify them as you see fit Spend some time experimenting with the Model mode of Oscillator 2 Try to familiarize yourself with the effect of each parameter and create some of your own tonal percussion sounds ranging from small tabla drums to glass bowls Note The tabla and glass sounds at pitches C2 and C 2 in the Tutorial Kit combine both Osc 2 Model and FM They are also good examples of the complex use of velocity as a modulation source Ultrabeat Tutorial Creating Hi Hats and Cymbals Electronic hi hat sounds are easy to create in Ultrabeat
268. ltaneously adjust the modulation range and intensity by dragging the blue bar and moving both arrows at once Tip If you re unfamiliar with these parameters set the Cutoff to a low value Resonance to a high value and move both of the ADSR via Vel arrows upwards Constantly strike a note on the keyboard while changing the arrows to discover how these parameters work Using the Envelope to Control the ES1 Amplifier The AGateR ADSR and GateR buttons in the Amplifier Parameter section define which of the ADSR envelope generator controls affect the amplifier envelope All ADSR parameters remain active for the filter Amplifier Envelope Selector buttons The letters A D S and R refer to the attack decay sustain and release phases of the envelope see Using the ES1 Envelope Parameters Gate refers to a control signal used in analog synthesizers that tells an envelope generator that a key is pressed As long as an analog synthesizer s key is pressed the gate signal maintains a constant voltage When Gate is used as a modulation source in the voltage controlled amplifier instead of the envelope itself it creates an organ type envelope without any attack decay or release an even sustained sound In the ES1 the Amplifier Envelope selector buttons have the following effect on played notes e AGateR The Attack and Release sliders of the ADSR Envelope control the attack and release phases of the sound In between these ph
269. ltrabeat s drum sound range of C1 to C3 All other samples zones are ignored Getting to Know the Ultrabeat Synthesizer Section 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 The sound engine provides truly comprehensive modulation functions allowing nearly every aspect of Ultrabeat to be modulated Chapter 11 Ultrabeat The Synthesizer section is the heart and soul of Ultrabeat Each drum sound in a kit is an independent synthesizer and has its own set of synthesizer parameters its own Synthesizer section 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 First the basic tonal material is created by the oscillators noise generator and ring modulator A filter then takes away certain frequencies from the raw sound followed by volume shaping envelopes Note Whereas the structure and layout mir
270. ly Note If your MIDI keyboard is limited to two octaves or does not support transposition you can use the Transpose parameter of your host application to shift incoming MIDI notes up or down one or more octaves Important For clarity and to maintain the drum machine analogy this guide refers to the independent synthesizers as drum sounds that combined form a drum kit Chapter 11 Ultrabeat 245 246 Loading and Saving Ultrabeat Settings Ultrabeat settings are saved and loaded in the same way as other Logic Express instruments For more information see the Logic Express documentation Side Chain Compare Copy ae Next Setting Previous Setting Copy Setting Reset Setting Load Setting Save Setting As default 01 Drum Kits 02 Drum Banks 03 Tutorial Settings An Ultrabeat setting contains e The drum kit which consists of 25 drum sounds including assignment and mixer settings The complete parameter settings of all 25 sounds e The sequencer settings and all patterns including step automation trigger velocity and gate information for all 25 sounds The joint recall of all this information when loading an Ultrabeat setting is extremely practical because the musical effect of the patterns especially those with sequenced gate and velocity parameters is often tightly tied to the tone and impact of the sounds being used Note When you save a drum kit with the Settings menu only the locatio
271. m your host application See Working with the Ultrabeat Step Sequencer Getting to Know Ultrabeat s Assignment Section The Assignment section displays all sounds in a drum kit It allows you to Select organize and name sounds Import sounds from other Ultrabeat settings or EXS instruments Chapter 11 Ultrabeat 247 248 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 Drag the blue slider to set the volume for the desired sound e Keyboard Acts as a display when appropriate MIDI information is received You can also click the keys to play the sound on the corresponding row M ute button Mutes individual sounds in a drum kit You can simultaneously mute several sounds or sequences by clicking the appropriate Mute buttons S olo button Allows you to listen to sounds in isolation You can simultaneously solo several sounds or sequences by clicking the appropriate Solo buttons e Pan knob Controls the placement of sounds in the stereo field panorama
272. made of the dimensions of the instrument and the environment it is played in under water in air Equally important are descriptions of how the player would interact with the instrument for example whether it is played by plucking bowing or strumming strings by hitting it with sticks by placing fingers on sound holes and so on Appendix Synthesizer Basics 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 The volume of the drum cylinder itself its material and the resonance characteristics of all of the above would need to be mathematically described To model a violin you d need to take into account the bow against the string the bow width and material the bow tension the string material the string density the string tension the resonance and damping behavior of the strings the transfer of string vibrations through the bridge materials size and shape of the bridge and the materials size and resonance characteristics of the violin body Further considerations would include the environment that your modeled violin is played in and the
273. mand Option drag to copy the sound and sequences To swap or copy drum sounds with a shortcut menu command Control click or right click the sound name Copy Voice amp Seq Paste Voice Paste Sequence gt Swap with Clipboard Init gt Chapter 11 Ultrabeat 2 Choose one of the following commands from the shortcut menu Copy Voice amp 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 gt submenu Enables you to replace all or individual sequences of the target drum sound Sound parameters are not affected e Pasting a single sequence replaces the currently active sequence as set in the Pattern menu of the target drum sound This allows you to copy sequences into any of the 24 possible pattern locations e Pasting all sequences replaces all sequences In situations where a sound only has several sequences not all 24 are used choosing Paste Sequence gt all will place these sequences into the same positions sequence 5 in the Pattern menu will be pasted to the same position in the new sound for example If a sequence already exists at this location in the target sound it will be replaced If no sequence exists at this location the copied sequence will be added to the drum sound Swap with Clipboard Exchan
274. mant filter banks Low Frequency parameters evoc 20 PS High Frequency parameters Highest button highest h h Pra a a Resonance knob Formant Stretch Formant Shift Formant Stretch knob Formant Shift knob Lowest button e High and Low Frequency parameters Determine the lowest and highest frequencies allowed to pass by the filter section Frequencies that fall outside these boundaries will be cut e The length of the horizontal blue bar at the top represents the frequency range for both analysis and synthesis unless Formant Stretch or Formant Shift are used as described below You can move the entire frequency range by dragging the blue bar The silver handles on either end of the blue bar set the Low Frequency and High Frequency values respectively You can also drag vertically in the numeric fields to adjust the Low and High frequency values Lowest and Highest buttons Click to determine whether the lowest and highest filter bands act as bandpass filters like all of the bands between them or whether they act as lowpass or highpass filters respectively e Lowest button Click to determine whether the lowest filter band acts as a bandpass or highpass filter In the Bandpass setting the frequencies below the lowest bands and above the highest bands are ignored In the Highpass setting all frequencies below the lowest bands are filtered Chapter 7 EVOC 20 PolySynth Highest button Click to
275. ments folder Backing Up EXS24 Sampler Instruments You can use the Backup audio files of all used and active instruments of current project key command to copy the audio and sampler instrument files of all currently active sampler instruments in the project to a specified file location Folders for the audio files associated with these sampler instruments are created in the target location This makes it easy to keep all of your sampler instruments and audio samples in one place and ensures that every project folder contains all the necessary sampler instruments and audio files you will need even if you don t have access to your full sampler instrument library Tip You can also do this by setting up your project to copy EXS24 sampler instruments and samples into the project folder For more information see the Logic Express User Manual Setting EXS24 mkll Sampler Preferences The EXS24 mkll Sampler Preferences window provides access to sample related preferences such as sample rate conversion quality velocity response sample storage search related parameters and so on To open the Sampler Preferences window do one of the following Inthe Parameter window open the Options pop up menu and choose Preferences Chapter 9 EXS24 mk n the Instrument Editor choose Edit gt Preferences a i Adennen Tee Bests Original S Q Auto E a Sample Rate Conversion pop up menu Determines the interpolation quali
276. ments pop up menu ison amp Cutoff Zaoa Ff Choose Next Instrument or Previous Instrument in the Sampler Instruments pop up menu or use the Next EXS Instrument and Previous EXS Instrument key commands If the EXS24 mkll is the key focus window you can also use the following key commands e Next Plug In Setting or EXS Instrument Next Channel Strip or Plug In Setting or EXS Instrument Previous Plug In Setting or EXS Instrument Previous Channel Strip or Plug In Setting or EXS Instrument Tip You can also browse through your sampler instruments by using your MIDI keyboard The Sampler Preferences window offers Previous EXS Instrument and Next EXS Instrument options These allow you to assign a MIDI event such as a MIDI note control change program change and so on to select the nee or next eae instrument in the Sampler Instruments pop up menu See Setting EXS24 mkil Sampler Preferences Chapter 9 EXS24 mk 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 Open the Instrument Editor by clicking the Edit button in the upper right corner of the Parameter window edit options J z Choose Instrument gt Open then locate the desired instrument in the dialog Searching for
277. meters are shown in the Parameters area of the Instrument Editor View All Shows all available columns and subcolumns Individual Group and Zone display settings Choose the individual columns and subcolumns you want to display The zone entries are available in Zone view The group entries are available in Groups view Tip Press Option and choose a disabled zone or group column to limit the display to the chosen column Restore to Default Reverts to the default view Save as Default Saves the current view of zone and group parameters as the default view whenever you open the EXS 24 mkll Instrument Editor Chapter 9 EXS24 mk Setting EXS24 mkll Zone Parameters The zone parameters provide extensive control over each zone or sample in your sampler instrument 0o0oo EXS24 Instrument Editor VSW CP708 Zones Groups instrument v Edit v Zone v Group v View v Show Velocity Exs24 Zones II Zone Audio File Pitch Mixer Key Range Playback AllZones Name T Name Key Coarse Fine Vol Pan Scale Output Lo Hi Pitch 1Shot Ungrouped Zone 42 CP70B SF C 6 aif C6 0 o o o 0 Grou B5 c amp a QO a Zone 41 CP70BHDC6 aif C6 o 0 o o o Group 85 cs S O Hs ac Zone 40 CP70BSFAS aif AS o 3 o o 0 Group Gis ass M O Zone 39 CP70BHDAS aif AS o 2 o o 0 Group cis as S D Zone 38 CP70BSFFHS aif FHS 0 3 o 0 0 laou ii es oc mM O Zone Name field Displays the zone name New
278. meters in Group view mode See Getting to Know the EXS24 mkll Groups View Mode To open the EXS24 mkIil Instrument Editor Click the Edit button in the upper right corner of the EXS24 mklI Parameter window edit options J Note If no sampler instrument is loaded when you click the Edit button a new instrument is automatically created The Instrument Editor has two view modes Zones view and Groups view Zones view displays zones and associated parameters in the parameter area Groups view shows groups and associated parameters To switch between EXS24 mklI Instrument Editor view modes Click the Groups button in the upper left corner to switch to Groups view or click the Zones button in the upper left corner to switch to Zones view You can also use the Toggle Zones Groups View key command to switch between views Chapter 9 EXS24 mk 203 Getting to Know the EXS24 mkIl 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 Parameters area al _ _ LU I I 1 _ __ _ n I I ft 4 1 1 i Tt id I S rt or 4 ER L EE JL_IL_ EEEE Zones column Velocity area Zones Groups area Keyboard Zones column Displays all zones of the instrument By default every instrument contai
279. mines pattern playback behavior when an incoming MIDI note is received You can choose one of the following options One Shot Trig ger The reception of a MIDI note starts the pattern which plays once through its cycle then stops If the next note is received before the pattern has reached its final step the new note stops playback of the first pattern and the next pattern begins playing immediately this can be a different pattern or the same pattern depending on the MIDI note received Note off events are ignored e Sustain The reception of a MIDI note starts the pattern and it continues playing in an infinite loop until the corresponding MIDI note is released a note off event is received e Toggle The reception of a MIDI note starts the pattern and it continues playing in an infinite loop until the next note is received If it is the same note the pattern stops immediately If it is a different note the sequencer immediately switches to the new pattern Note Toggle mode allows you to switch between patterns in the middle of a bar the sequencer stays in time and automatically jumps to the corresponding beat of the new pattern This isn t the case in One Shot Trig mode which starts the new pattern from the beginning as soon as you play a MIDI note e Toggle on Step 1 The behavior is the same as Toggle mode except that the pattern change or stop occurs the next time beat 1 is reached at the beginning of the next pattern cyc
280. modulation target that can be controlled in amount via the modulation wheel of your keyboard The target you choose in the right column will dynamically respond to keyboard velocity The amount or range of this modulation is determined by the two arrows shown in the sliders Int via Whl and Int via Vel The upper arrow determines the maximum amount of modulation and the lower arrow determines the minimum amount of modulation Appendix Synthesizer Basics 366 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 To make the modulation more intense drag the upper and or lower arrows up or down thereby increasing the range of the modulation amount The upper arrow determines the maximum amount of modulation and the lower arrow determines the minimum amount of modulation The Via control is the ModWhl The amount of modulation the range of which is determined by the sliders to the right of the channel is directly controlled via the modulation wheel of your keyboard When the modulation whee
281. 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 Modulation router Modulation and control parameters e Modulation router The modulation router abbreviated to router links modulation sources such as the envelope to modulation destinations such as the filter The router features ten modulation routings arranged into columns See Getting to Know the EXS24 mkll Modulation Router Modulation and control parameters These include the LFOs and envelopes See Getting to Know the EXS24 mkll LFOs and Getting to Know the EXS24 mkil Envelopes ENV 1 and ENV 2 Chapter 9 EXS24 mk Getting to Know the EXS24 mkII Modulation Router The modulation router spans the center of the EXS24 mkIl interface If you are new to synthesizer modulation routings see Modulation Routing in Synthesizer Basics Also see An EXS24 mkll Modulation Example The modulation intensity Modulation destinations slider is not divided are shown at the top of when there is no active each modulation routing via source Modulation sources are The modulation intensity shown at the bottom of slider divides into two each modulation routing halves when a via source is active Via sources are shown in the middle of each modula
282. 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 Chapter 12 GarageBand Instruments GarageBand Voice The Voice sound is sample based It emulates a mixed choir X Inst 1 p View ShowCS v Show insert v Bypass a gt defaultdef Volume I d An L S Filter Cutoff mes FT FO Attack Release 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 s ow setting makes it sound like bowing a violin string Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 347 348 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 x Inst 1 p View ShowCS Show insert v Bypass gt defaultdef E YTT Ts Volume Filter Cutoff Attack Release Woodwind Volume slider Sets the overall volume level of the instrument Filter Cutoff slider Allows more high or less low of t
283. mp Group 3 sia Zone 41 Zone 53 Zone 65 Zone 20 Zone 5 Zone 68 To assign a zone to a group Do one of the following Select the group in the zone s Group menu Chapter 9 EXS24 mk 209 210 Select a zone in the EXS Instrument Editor Finder Audio Bin or Browser and drag it into a group displayed in the Zones column 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 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 This changes the previous group assignment to unassigned ungrouped to the empty area below the Ungrouped Zones icon This creates a new group containing the dragged zone or zones Tip Pressing Option while dragging zones to another group will copy rather than move the selected zones To delete all groups that do not have a zone assignment Choose Group gt Delete Unused Groups in the Instrument Editor Editing EXS24 mkll Zones and Groups Zones and groups offer unique parameters that enable you to customize your sampler instrument You can use the zone parameters to edit the pitch velocity range panorama looping parameters and other aspects of zones You can use the group parameters to adjust the velocity output and to offset envelopes
284. mples of these polyphonic instruments were the Moog Polymoog the Yamaha SK20 and the Korg Poly 800 The sole lowpass filter of such instruments is controlled by a single envelope generator To simulate this behavior in the ES2 use the Mono or Retrigger modes Modulation of the Cutoff 2 target with a percussive source such as ENV 1 which is set to Retrig will have a percussive filter effect every time you play another key if you play and sustain a bass note The newly struck key is also shaped by the same filter Playing a sound set up in this way feels like you re playing a polyphonic synthesizer with one filter This is despite the fact that the ES2 s filters remain polyphonic and can be simultaneously modulated by different polyphonic sources As a further tip you can also simulate the percussion of a Hammond organ by using the Mono or Retrigger modes Getting to Know ENV 2 and ENV 3 in the ES2 The feature sets of ENV 2 and ENV 3 are identical but it is always the task of ENV 3 to define the level of each note to modulate the dynamic stage in other words Chapter 5 ES2 87 88 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 Sustain Time and Sustain to set the Sustain
285. ms The samples digital recordings of existing sounds are mapped across the keyboard Typically each sample is mapped to a note in the center of a keyboard range that spans 5 or so notes that are unique to that sample The reason for this range of 5 or so notes is that samples tend to sound much less like the source sound if played more than a few notes higher or lower than the original pitch due to the relationship between the pitch and playback speed of samples The pitch of each sample isn t changed with a frequency control unlike the oscillator waveform of a synthesizer that is not sample based Rather a sample is played back at a faster or slower speed to alter its pitch which has a corresponding impact on the sample playback time For example a sample played back at twice the speed requires half the time to play through The EXS24 mkll is a sample player that can be used much like a sample based synthesizer due to the subtractive synthesis facilities that it offers Popular instruments that use this synthesis approach include Korg s M1 01 W and Triton the Roland JV XP instruments Yamaha s Motif series and many others Appendix Synthesizer Basics 369 370 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 harm
286. multi timbral you can play different sounds at the same time on different instrument channels Aspects such as polyphony the ability to play multiple notes and velocity sensitivity are found in most virtual analog synthesizers but in very few analog instruments How Subtractive Synthesizers Work There are a number of approaches to sound creation with a synthesizer see Other Synthesis Methods Although there are numerous differences between synthesizer models most follow a fundamentally similar architecture and signal flow that is based on subtractive synthesis principles According to legend when Michelangelo was asked how he managed to carve David out of a block of stone he replied I just cut away everything that doesn t look like David In essence this is how subtractive synthesis works You filter cut away the parts of the sound that you don t want to hear In other words you subtract parts of the frequency spectrum consisting of the fundamental tone and associated harmonics The subtractive approach to synthesis assumes that an acoustic instrument can be approximated with a simple oscillator which produces waveforms with different frequency spectrums The signal is sent from the oscillator to a filter that represents the frequency dependent losses and resonances in the body of the instrument The filtered or unfiltered signal is shaped over time by the amplifier section of the synthesizer The distinctive timbre in
287. n The synthesizer engine beyond the waveform generation in general follows the standard subtractive method Phase distortion synthesis was commercially introduced in 1984 s Casio CZ series synthesizers Granular Synthesis The basic premise behind granular synthesis is that a sound can be broken down into tiny particles or grains These sampled grains usually no more than 10 to 50 ms long can then be reorganized or combined with grains from other sounds to create new timbres In many respects this is much like wavetable synthesis but it works on a much finer scale As you might expect this method is ideal for creating constantly evolving sounds and truly unique tones The downside is that granular synthesis is extremely processor intensive and it wasn t possible to do it in real time until relatively recently For this reason it has remained largely ignored by all but a few in academic institutions Today s computers however have sufficient processing power to make this synthesis method a practicality and there are a number of commercial products now available A Brief History of the Synthesizer This overview showcases a few of the most significant developments in synthesizer history 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
288. n conjunction with rhythmically useful short decay times To reset all velocity and gate values to default settings Click the Reset button at the left of the velocity gate row The default velocity setting 75 percent The default gate time all four sections are active Using Ultrabeat s Velocity Gate Shortcut Menu Commands Control click or right click any step in the velocity gate row to open a shortcut menu that has the following commands Alter Vel ocities Changes the velocity values of all steps by a random amount while retaining the selected beats the Trigger row remains unchanged Alter Gate Time Changes the note lengths of all steps by a random amount while retaining the selected beats the Trigger row remains unchanged Randomize Vel ocities Creates a new random velocity value Randomize Gate Time Creates a new random gate value Using Accents in Ultrabeat The Accent setting can be switched on or off individually for each drum sound This allows you to turn accents on for cymbals but turn accents off for the kick drum for example To enable accents and set the accent level Click the blue LED to the right of the Accent slider to enable the accent function Move the Accent slider to globally determine the volume of programmed accents To program an accent for a particular step Click the blue LED above the desired step steps 1 and 3 in the image The sound at this step position will be accentua
289. n 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 This is achieved by internally remapping pitch bend events to MIDI controller 11 and modulation wheel events to MIDI controller 4 To ensure compatibility with the Jam Pack 4 instruments the EXS24 mkll automatically uses this remapping behavior for Jam Pack 4 instruments You can also use this remapping model for other instruments by choosing the Map Mod amp Pitch Wheel to Ctrl 4 amp 11 item in the Instrument menu The EXS24 mkll will remap incoming pitch bend and mod wheel events to controller 11 or controller 4 respectively The default pitch bend and modulation wheel functionality cannot be used when in this mode Graphical Editing of EXS24 mkll Zones and Groups You are not limited to editing zones and groups in the Parameters area You can also graphically edit a number of zone and group parameters in the Zones or Groups Display area above the keyboard If you want to edit the audio file of a zone see Editing Samples in the EXS24 mkll Sample Editor To move a zone or group Drag the zone or group to the desired position Chapte
290. n in Ultrabeat Most sound parameters can be controlled dynamically modulated in Ultrabeat Ultrabeat provides two LFOs four envelope generators velocity and four freely definable MIDI controllers as modulation sources The setting of modulation routings follows a universal principle that works as follows Ultrabeat s modulation routings feature three key elements The modulation target The synthesizer parameter that you want to modulate The modulation source The parameter that modulates the target The via source A secondary modulation source that can influence the intensity of the first modulation source Note You can freely use the same sources and the same via controllers in multiple modulation routings Mod and Via Modulations in Ultrabeat You can modulate a sound parameter using an adjustable value the modulation depth or intensity with the mod parameter You can choose between two LFOs four envelope generators and Max as sources for this modulation Via allows you to further tailor the modulation effect The depth of the first modulation mod can be modulated by a separate independent source The intensity of this effect is set with the via parameter The sources for via modulations include velocity and four freely definable MIDI controllers A typical via modulation usage example would be increasing a pitch sweep as you play at higher velocities To this end you would use An envelope
291. n of the sample is saved with the setting An Ultrabeat setting doesn t actually save the audio files themselves merely a reference to their hard disk location If you load a setting that contains a reference to a sample that has been moved or erased a dialog prompts you to specify or find the sample To avoid this problem it is highly recommended that you use the Finder to create and manage a dedicated Ultrabeat sample folder for all sounds and kits Chapter 11 Ultrabeat 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 e Synthesizer section Used to create and shape individual drum sounds The parameters of the drum sound selected in the Assignment section are displayed in the Synthesizer section See Getting to Know the Ultrabeat Synthesizer Section Step sequencer Used to create and control sequences and patterns A sequence triggers a single drum sound and can consist of up to 32 steps A pattern contains the sequences for all 25 sounds You can trigger and control sounds with the step sequencer in place of or in addition to MIDI notes entering Ultrabeat fro
292. n the application Help menu Logic Express Website For general information and updates as well as the latest news on Logic Express go to e http www apple com logicexpress Preface An Introduction to the Logic Express Instruments Apple Service and Support Websites For software updates and answers to the most frequently asked questions for all Apple products go to the general Apple Support webpage You ll also have access to product specifications reference documentation and Apple and third party product technical articles e http www apple com support For software updates documentation discussion forums and answers to the most frequently asked questions for Logic Express go to e http www apple com support logicexpress For discussion forums for all Apple products from around the world where you can search for an answer post your question or answer other users questions go to e http discussions apple com Preface An Introduction to the Logic Express Instruments 11 ESE 1 The 8 voice ES E ES Ensemble synthesizer is ideal for quickly creating warm rich pad and ensemble sounds ES E produces sounds using subtractive synthesis It features an oscillator that generates harmonically rich waveforms You subtract cut or filter out portions of these waveforms and reshape them to create new sounds If you re totally new to synthesizers it might be best to start off with Synthesizer Basics which will
293. named the Analysis and Synthesis sections Each filter bank has a matching number of corresponding bands if the analysis filter bank has five bands 1 2 3 4 and 5 there will be a corresponding set of five bands in the synthesis filter bank Band 1 in the analysis bank is matched to band 1 in the synthesis bank band 2 to band 2 and so on The audio signal arriving at the analysis input passes through the analysis filter bank where it is divided into bands Chapter 7 EVOC 20 PolySynth 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 Analysis Synthesis audio source audio source UNV detection Analysis Synthesis filter bank filter bank band 1 5 band 1 5 Envelope follower 1 5 Audio output EEE Control signal 1 5 These control signals are then sent to the synthesis filter bank where they control the levels of the corresponding synthesis filter bands This is done with voltage controlled amplifiers VCAs in analog vocoders Volume changes to the bands in the analysis filter bank are imposed on the matching bands in the synthesis filter bank These filter level changes are heard as a synthetic reproduction of the original input signa
294. nd fall dependent on how firmly you press a key on your touch sensitive MIDI keyboard after the initial keystrike Pitch Bend The pitch bend wheel is used as a modulation source Key Kybd Keyboard outputs the keyboard position the MIDI note number The center point is C3 an output value of 0 used internally by the EXS24 mkIl An output value of 1 indicates five octaves below the center point An output value of 1 indicates five octaves above Modulate the Cutoff destination with the Key source to control the cutoff frequencies of the filter with the keyboard position as you play up and down the keyboard the cutoff frequencies change A modulation intensity of 0 5 proportionately scales cutoff frequencies with keyboard note pitches Velocity Velocity serves as a modulation source ue Disables the source MIDI Controllers 1 120 The chosen MIDI controller serves as a modulation source Controllers 7 and 10 are marked as not available Host applications such as Logic Express use these controllers for volume and pan automation of channel strips Controller 11 is marked as Expression It has a fixed connection to this functionality but it can also be used to control other modulation sources EXS24 mkII Modulation Via Source Reference The following sources may be used to control the modulation intensity via Source Comments Side Chain Side Chain modulation uses a side chain signal as a modulation inten
295. nerator Positive values from the second generator increase the frequency of the first generator Negative values decrease the frequency In a synthesizer this type of modulation takes place in the audible range Depending on the design of the instrument you can hear the signals of either the first oscillator alone being modulated by the other oscillator or both oscillators The interaction between the two generators alters the waveform signal of the first oscillator and introduces a number of new harmonics This harmonic spectrum can then be used as the source signal for further sound og such as filtering envelope control and so on See Frequency lodulation FM Synthesis for further information Chapter 5 ES2 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 The net effect of speeding up or slowing down the frequency of Oscillator 1 in each waveform cycle is a distortion of the basic wave shape This waveform distortion also has the side benefit of introducing a number of new audible harmonics Important The impact of any frequency modulations you perform depends on both the frequency ratio and the modul
296. nes the time it takes for the 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 no fade in or fade out will occur When set to its full value it delivers a constant level To modulate a parameter with velocity Select a modulation destination Pulse Width for example Set Form to full and adjust the Int via Vel parameter as needed This results in a velocity sensitive modulation of the oscillator pulse width More interestingly the Modulation Envelope can directly control the LFO level when you click the LFO Amplitude button in the right column of the router Chapter 4 ES1 43 44 wu FB WwW N 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 To set up a delayed vibrato Position the Form parameter toward the right attack Choose Pitch as the LFO target left column Choose the triangular wave as the LFO waveform Select an LFO Rate of about 5 Hz Set the upper Int via Wheel arrow to a low value an
297. neven LFO 1 can also be faded in or out automatically courtesy of a built in envelope generator Chapter 9 EXS24 mk 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 LFO 1 EG knob Controls the time it takes for the LFO modulation to fade in or fade out see Using the EXS24 mkll Envelope Generator of LFO 1 LFO 1 Rate knob Defines the frequency the speed of the LFO 1 modulation The value is displayed in Hertz Hz or in note values beneath the slider LFO 1 and 2 Wave buttons This is where you choose the desired waveform for LFO 1 and LFO 2 For details about how to use them see Using EXS24 mkil LFO Waveforms LFO 2 Rate knob This parameter defines the frequency the speed of the LFO 2 modulation See Setting the EXS24 mkil LFO Rate LFO 3 Rate knob This parameter defines the frequency the speed of the LFO 3 modulation See Setting the EXS24 mkil LFO Rate Using EXS24 mkII LFO Waveforms The Wave buttons allow you to choose different waveforms for LFO
298. ng increasing the perceived space and width of your sound Note It is possible that mono compatibility can be lost with use of this parameter Vol ume envelope Shapes the level of the sound over time The volume envelope is triggered every time a MIDI note is received e 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 e 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 Main Level knob Sets the overall output level of the EFM1 Velocity knob Determines the sensitivity of the EFM1 to incoming MIDI velocity messages The EFM1 dynamically reacts to MIDI velocity messages harder playing will result in a brighter and louder sound Set the Velocity control all the way to the left counter clockwise if you don t want the EFM1 to respond to velocity Chapter6 EFM1 Creating EFM1 Random Sound Variations The Randomize facility shown at the lower right of the interface generates new sounds It does this by randomly altering a number of key EFM1 parameter values This feature is ideal for creating subtle variations of a particular sound or for creating totally new sounds when your re feeling uninspired or need a hand to get started with FM synthesis Randomize To use the Randomize function Click the Random
299. ng the controls in the Synthesizer section By editing offset values in the offset row e With the shortcut menu see Using Ultrabeat s Parameter Offset Shortcut Menu Commands Note Adjustments made in the offset row are relative to the current parameter value Values shown in the offset row will be either added to or subtracted from the parameter value set in the Synthesizer section In other words parameter offsets increase or decrease but do not specify an absolute value for the parameter To create a parameter offset Select the desired sound Click a position in the parameter offset row that corresponds to the step you want to edit Make the desired parameter changes in the Synthesizer section Your changes will be recorded as an offset value for this step Repeat step 3 for each parameter that you want to edit for this step Chapter 11 Ultrabeat 301 302 A parameter offset that has been created for a given parameter on a given step is represented in two ways Ayellow 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 e Negative offsets are shown as a bar below the center line Using Ultrabeat s Parameter Offs
300. ng the wave selector from Sine to FM You will hear a typical FM spectrum with the carrier and modulator set to the same frequency Alter the modulator frequency Oscillator 2 by adjusting Fine Tune from 0c 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 Select other waveforms for Oscillator 2 Sine is the classic standard FM waveform but other waveforms lead to interesting results as well especially the Digiwaves e You will achieve further interesting results by altering the carrier Oscillator 1 frequency Check out the entire range from 36 s to 36 s here as well The odd intervals are especially fascinating Note that the basic pitch changes when you do this Controlling ES2 FM Intensity with an Envelope and FM Scaling In the FM Envelope setting you can control the FM intensity with an envelope generated by Envelope 2 The modulation target is the range that falls between Sine and FM in the Oscillator wave selector The first Router channel is used for this modulation routing You can control a wider range by using additional modulation routings which have been pre prepared
301. nge the time scale e The Time Scaling parameter ranges from 10 to 1000 It is scaled logarithmically If the Loop Rate is as set scaling also affects the loop If the Loop Rate is set to a free or synced value the setting is not affected by the Time Scaling parameter ES2 Fix Timing Normalizing Time Scaling and the Loop Rate Clicking the Fix Timing button to the right of the Time Scaling parameter multiplies the Time Scaling value by all time parameters and Time Scaling will be reset to 100 There will be no audible difference This is simply a normalizing procedure similar to the Normalizing function in the Region parameter box In cases where Loop Rate is set to a synced value clicking Fix Timing will switch the Loop Rate to as set thus preserving the absolute rate Chapter5 ES2 97 98 Using the ES2 Vector Envelope Shortcut Menu Anumber 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 Delete Selected Point i Insert Point to the Right of Selected Point Copy Point Paste Point Paste to All Points Set Segments to Average Time Init to 8 8 Loop Init to 16 16 Loop Clear Envelope Copy Envelope Paste Envelope 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
302. ngine doesn t differentiate between voiced and unvoiced sounds the result will sound rather weak To avoid this problem the synthesis section of the vocoder must produce different sounds for the voiced and unvoiced parts of the signal The EVOC 20 PolySynth includes an Unvoiced Voiced detector for this specific purpose This unit detects the unvoiced portions of the sound in the analysis signal and then substitutes the corresponding portions in the synthesis signal with noise with a mixture of noise and synthesizer signal or with the original signal If the U V Detector detects voiced parts it passes this information to the Synthesis section which uses the normal synthesis signal for these portions Sensitivity knob Determines how responsive U V detection is When this knob is turned to the right more of the individual unvoiced portions of the input signal are recognized When high settings are used the increased sensitivity to unvoiced signals can lead to the U V sound source determined by the Mode menu as described in Mode Menu below being used on the majority of the input signal including voiced signals Sonically this results in a sound that resembles a radio signal that is breaking up and contains a lot of static or noise Mode menu Sets the sound sources that can be used to replace the unvoiced content of the input signal You can choose between the following e Noise Uses noise alone for the unvoiced portions of
303. nic elements in a sound It is shown low to high from left to right The respective levels of all harmonics are reflected vertically with taller spikes indicating higher levels Frequency spectrum graphic of an organ sound The illustration shows the level and frequency relationships between the fundamental tone and the harmonics at a particular moment in time These relationships constantly change over time which results in continuous changes to the frequency spectrum and therefore changes to the sound Appendix Synthesizer Basics 351 352 Other Waveform Properties A sound wave as discussed earlier has a frequency Other properties of sound waves include amplitude wavelength period and phase 4 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 Put another way amplitude is the distance between the horizontal axis and the top of the waveform peak or the bottom of the waveform trough e Wavelength The wavelength is the distance between repeating cycles of a waveform of a given frequency The higher the frequency the shorter the wavelength Period The wave period is the amount of time it takes to complete one full revolution of a waveform cycle The higher and faster the frequency the shorte
304. niversally to all oscillator signals Multioscillator synthesizers can provide multiple filters allowing each oscillator signal to be filtered in a different way see Filters Amplifier section Used to control the level of the signal over time The amplifier features a module known as an envelope which is broken down into several elements that provide level control for the beginning middle and end portions of your sound Simple synthesizers generally offer a single envelope which is used to control the oscillator and filter over time More complex synthesizers can feature multiple envelopes see Envelopes in the Amplifier Section Modulation and Control Components Modulators Used to modulate the signal generating and processing components Modulations can be machine based automatically generated by a synthesizer component or can be manually activated by using the modulation wheel for example Most synthesizers provide a component called an LFO low frequency oscillator to provide a waveform that modulates the signal See Modulation Appendix Synthesizer Basics 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 amoun
305. nk entry This new entry is a folder that contains the individual sampler instruments which can be selected and loaded as usual Logic folder EXS Sampler SoundFont Samples Instruments Samples folder folder folder Vintage Sampler Gen Drums Bank Instrument folder category Acoustic Bass Vintage Drums Kit 1 sampler sampler instrument instrument instruments Sampler Acoustic bass Vintage drums samples _ samples After conversion is complete the original SoundFont2 SampleCell or Gigasampler source files can be freely deleted from the hard disks Note You can store your imported sampler instruments in any folder on any of your computer s hard drives To access these instruments from the Sampler Instruments pop up menu you need to create an alias pointing to the target folder within the Library Application Support Logic Sampler Instruments folder Converting ReCycle Files to EXS Instruments ReCycle a sample editing program from Propellerhead Software can generate a number of file types that can be read by Logic Express and the EXS24 mkll ReCycle separates sample material into small segments called slices based on waveform peaks or transients in the audio file This way ReCycle is able to split an audio file into musically relevant slices The timing of these slices in a drum loop for example is also mapped to an automatically generated region in Logic Express The EXS24 mklI supports
306. ns All Zones which includes grouped zones and Ungrouped Zones icons Click the desired icon to display the associated zones in the Parameters area Parameters area Displays the parameters of the zone individual all or ungrouped chosen in the Zones column Velocity area Shows the velocity range of the selected zone Note The Velocity area is turned off by default Zones Groups area Graphically indicates the zones or groups above the keyboard Keyboard Click notes to trigger the associated zone The keyboard also serves as a visual reference for the placement of zones or groups in the Zones Groups area Chapter 9 EXS24 mkll Getting to Know the EXS24 mkll 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 Click here to reopen a Instrument Editor in closed EXS24 mkll Groups view Parameter window Note Clicking the EXS24 button does not display the Parameter window in the foreground if it is covered by other floating windows Creating EXS24 mkll Instruments Zones and Groups You can add zones and groups to loaded instruments or you can create a new empty instrument and fill it with zones and groups Important The EXS24 mkll cannot directly record samples as you would with a hardware sampler You need to record the samples in a suitable application Logic Express being the obvious choice
307. nst LFO 1 s pitch and pan movements Just exchange it for LFO 1 on modulation 2 and 3 Note that there will be no modulation source for the Leslie acceleration so you ll need to use it in a static way just fading it in Alternatively you ll need to sacrifice one of the other modulations in favor of a second twirl For another stereo modification of the static sound you can use the patch in Unison mode with a slight detune make sure to adjust the analog parameter for this Using the ES2 Crescendo Brass Setting The oscillators are used for the following tasks Oscillator 1 provides the basic brass wave sawtooth Oscillator 2 provides a not particularly brassy pulse wave which brings in the ensemble It is pulse width modulated by LFO 1 modulation routing 4 Note The following critical point should be taken into account for any modulations There are four parameters that behave in an entirely different fashion when any one of them is changed Therefore all four must be changed when making adjustments e You may adjust the initial pulse width of Oscillator 2 s wave parameter A fat position close to the ideal square wave has been chosen for this patch in order to program a full voluminous synth brass sound e 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 t
308. nstrument DLS Gigasampler Sampler Instruments The procedure outlined above also applies when you are importing SoundFont2 and SampleCell Bank files These file types contain multiple sounds in addition to single instrument files When you load a SoundFont2 or SampleCell Bank into the EXS24 mkll it creates a Bank and a Samples folder named after the SoundFont2 SampleCell Bank file The word Bank or Samples is appended to each folder name An EXS sampler instrument file is automatically created for all sounds in the bank and placed in the new Bank folder The Sampler Instruments pop up menu automatically updates to reflect the new folder hierarchy All samples associated with the bank are automatically added to a Samples folder inside the SoundFont SampleCell folder For example if you load a SoundFont2 bank file named Vintage Drums which contains over 50 individual drum kits from several different vintage drum machines into the EXS24 mkil the following will happen Anew folder named Vintage Drums Bank will be created in the Library Application Support Logic Sampler Instruments folder A second folder named Vintage Drums Samples will be created in the Library Application Support Logic SoundFont Samples folder Chapter9 EXS24 mkll 225 226 The Sampler Instruments pop up menu hierarchy is updated and the original Vintage Drums entry is replaced with a Vintage Drums Ba
309. nstrument See Working with EXS24 mkIl Filter Parameters Output parameters Used to control the level and keyboard scaling of the loaded sampler instrument See EXS24 mkll Output Parameters Modulation router The strip across the center of the interface is the modulation router The router links modulation sources such as the envelopes and other parameters shown in the lower portion of the interface to modulation destinations such as the oscillators and filters See Getting to Know the EXS24 mkll Modulation Router Chapter 9 EXS24 mk 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 mkll Modulation Using the EXS24 mkll Sampler Instruments Pop Up Menu The EXS24 mkll ships with a ready to play sampler instrument library This section outlines the use of the Sampler Instruments pop up menu Also see Loading EXS24 Sampler Instruments from Other Locations and Searching for EXS24 Sampler Instruments The Edit and Options buttons shown to the right of the Sampler Instruments field are discussed in Opening the EXS24 mkIl Instrument Editor and Using the EXS24 mkll Options Pop Up Menu Commands To load an instrument 1 Click the Sampler Instruments field to open the Sampler Instruments pop up menu Click here to open the sampler instruments menu R No Instrument Next Instrument Pr
310. ntain Instruments RMI was the first instrument to do so This synthesizer had two digital oscillators combined with analog filters and amplifier circuits The Synclavier introduced in 1976 by New England Digital Corporation NED was the first synthesizer with completely digital sound generation Instruments like the Synclavier were based on specialized processors which had to be developed by the manufacturers themselves This development cost made the Synclavier an investment that few could afford 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 It featured an integrated sequencer and sample based subtractive synthesis with factory presets and user definable samples Another solution was to design synthesizers as a computer peripheral rather than as a standalone unit The growing popularity of personal computers from the early 1980s made this option commercially viable Passport Soundchaser and the Syntauri alphaSyntauri were the first examples of this concept Both systems consisted of a processor card w
311. o tuned organized collections called sampler instruments As sampler instruments are based on audio recordings they are ideally suited to emulating real instruments such as guitars pianos and drums This chapter covers the following EXS24 mkll Features p 168 Getting to Know the EXS24 mkll Interface p 169 About EXS24 Sampler Instruments p 170 Getting to Know the EXS24 mkll Parameter Window p 172 Using the EXS24 mkll Sampler Instruments Pop Up Menu p 173 Adjusting EXS24 mkll Global Parameters p 178 Using the EXS24 mkll Pitch Parameters p 182 Working with EXS24 mkll Filter Parameters p 184 EXS24 mkll Output Parameters p 187 Working with EXS24 mkll Modulation p 188 An Overview of the EXS24 mkll Instrument Editor p 202 Creating EXS24 mkIl Instruments Zones and Groups p 205 Editing EXS24 mkll Zones and Groups p 210 Setting EXS24 mkll Zone Parameters p 213 Using the EXS24 mkll Zone Loop Parameters p 215 Setting EXS24 mkll Group Parameters p 216 Using the EXS24 mkll Advanced Group Selection Parameters p 218 Graphical Editing of EXS24 mkll Zones and Groups p 219 Saving Renaming and Exporting EXS24 mkll Instruments p 221 Editing Samples in the EXS24 mkll Sample Editor p 222 Using an External Instrument Editor with the EXS24 mkll p 223 167 168 e Importing EXS24 mkll Sampler Instruments p 224 e Managing EXS24 Sampler Instruments p 233 e Setting EXS24 mk
312. ob is located near the right edge of the interface halfway up The Overdrive can be used to color or add bite to the sound See Using the ES M Level Envelope and Output Controls Extended parameters Not shown in the image the extended parameters are accessed by clicking the triangle at the lower left of the interface These parameters include bend and tuning functions See Extended ES M Parameters Chapter2 ESM 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 e Mix knob Sets the waveform of the oscillator which is responsible for the basic color of the tone Setting the Wave parameter all the way to the left causes the oscillators to output sawtooth signals Setting the Wave parameter all the way to the right outputs a 50 rectangular wave which is heard one octave below the sawtooth For any Wave setting between these extreme positions the oscillator outputs a crossfaded mix of the two waveforms 8 16 32 buttons Allow you to switch the pitch in octaves transpose it up or down The lowest setting is 32 feet and the highest is 8 feet The use of the term feet to determine octaves comes from the measurements of organ pipe lengths The longer and wider the pipe the deeper the tone e Glide knob Determines the speed of the glide the time it takes to slide between note pitches At
313. of both oscillators into Ultrabeat s main filter and hollow out the sound with a highpass filter Activate the filter bypass button in both oscillators Choose the HP 12 setting in the filter a Cutoff value around 0 40 and a Resonance value of about 0 70 You have just cleverly emulated both of the 808 s resonating filters Shifting the pitch of both oscillators simulates the behavior of the 808 s Tone control by the way To complete the 808 emulation by adding some noise Switch the noise generator on and activate the highpass mode in its filter HP Set the Cutoff value to about 0 65 Resonance to 0 35 and add a little Dirt around 0 06 The noise generator provides the sustained snare sound It should be shaped by its own envelope independent of the decay phases of both oscillators to get 808 like results Changing the volume of the noise generator simulates the snap parameter of the 808 Note The 808 snare drum described is listed as snare 3 808 in the Tutorial Kit at a pitch of F 1 It also features an interesting EQ setting Ultrabeat Tutorial Changing Dynamics with Velocity Use the 808 snare drum sounds in the Tutorial Kit to explore the possibilities Ultrabeat offers for implementing velocity To use velocity modulation Select the snare 3 808 sound Chapter 11 Ultrabeat 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 C
314. of extra sidebands becoming audible Using Digiwaves in the ES2 In addition to the basic synthesizer waveforms all of the ES2 oscillators provide 100 additional waveforms called Digiwaves These are very short samples of the attack transients of various sounds and instruments Chapter5 ES2 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 11 puls1 12 puls2 13 sawl ingl 15 thinl v 16 puls3 ES2 Digiwave Modulation Options The number assigned to each Digiwave is a parameter that can be modulated This feature allows the ES2 to produce sounds reminiscent of classic wavetable synthesizers from PPG and Waldorf See Wavetable Vector and Linear Arithmetic LA Synthesis You can automatically scroll through the list of Digiwaves by modulating the OscWave target in the modulation router If you choose a sufficiently low modulation intensity and speed you will hear each individual Digiwave being cross faded The Digiwaves of the three oscillators can be modulated independently or as a group These modulation targets are discussed in Getting to Know the ES2 Oscillators Using Noise in the ES2 Oscillator 3 Only The sonic palette of Oscillator 3 is b
315. of the sound over time This section also covers the master level control parameters f f DSA Int A 0 Volume O 5 Valo y lume 4 Attack slider Determines the time it takes for the signal to reach the initial desired signal level the sustain level Decay slider Determines the time it takes for the signal to fall from the attack level to the sustain level Chapter 3 ESP 29 30 Sustain slider Determines the desired signal level the sustain level Release slider Determines the time it takes for the signal to fall from the sustain level to a level of zero Volume knob Sets the overall output level of the ES P Velo Volume knob Sets the amount depth of velocity sensitivity to incoming MIDI note events When set to higher values each note is louder if struck more firmly At lower values the dynamic response is reduced so that there is little difference when you play a note pianissimo soft or forte loud hard Using the Integrated ES P Effects The ES P offers integrated stereo chorus and overdrive effects These are based on similar effects processors found in the affordable Japanese synthesizers of the 1980s which the ES P itself emulates Velo vol ume J Chorus knob Sets the intensity depth of the integrated chorus effect Overdrive knob Determines the overdrive distortion level of the ES P output Important To avoid hurting your ears or damaging your speakers consider t
316. oint is reached The Sustain point value is maintained until the key is released until the MIDI note off command To define a point as the Sustain point Click in the turquoise strip above the desired point Chapter5 ES2 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 Although the loop parameters may remind you of the loop parameters available for samples there are significant differences between them The Vector Envelope only supplies control signals that are used to move the square icon positions of the Triangle and Planar Pad The audio output of the ES2 is not looped in any way Setting the Loop Point Any point can be declared the Loop point Provided that the note is held for a suitable length of time portions of the envelope can be repeated or looped The looped area spans the time between the Sustain point and the Loop point In between these points you can define several points that describe square icon movements in the Triangle and the Planar Pad To define a point as the Loop point Click in the turquoise strip below the desired point A Loop point is indicated by an L in the strip
317. olstered by the inclusion of a noise generator which can be activated by choosing the noise waveform By default Oscillator 3 s noise generator generates white noise White noise is defined as a signal that consists of all frequencies an infinite number sounding simultaneously at the same intensity in a given frequency band The width of the frequency band is measured in Hertz Sonically white noise falls between the sound of the consonant F and breaking waves surf White noise is useful for synthesizing wind and seashore noises or electronic snare drum sounds Chapter5 ES2 57 58 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 Use negative modulation amount values not 1 000 to set a descending filter slope that roughly equates to 6 dB octave and the sound becomes darker red noise as you adjust the mod wheel downwards e You can effectively tune this pseudofilter down to 18 Hz with a modulation amount setting of 1 000 When Osc3Wave is modulated positively the noise b
318. om imported ReCycle files These regions trigger the imported slices at the timing defined by the ReCycle files To generate a new MIDI region from a ReCycle instrument Choose Instrument gt ReCycle Convert gt Extract Region s from ReCycle Instrument Chapter 9 EXS24 mk 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 mkll The EXS24 mkll can import samples in the AKAI S1000 and 3000 sample formats The AKAI Convert feature can be used to import An entire AKAI format CD ROM disc An AKAI partition An AKAI volume e An AKAI program An individual audio file sample To convert AKAI files Open the Options pop up menu in the Parameter window and choose AKAI Convert This opens the AKAI Convert window with Waiting for AKAI CD displayed across the four columns See EXS24 mkll AKAI Convert Window Parameters for more information Insert an AKAI format sample disc into your optical drive The display updates to show the contents of the disc The Partition column will display information with Partition A Partition B and so on entries listed To view the contents of the partitions click the desired entry to display the volume
319. onics These harmonics are known as sidebands Modulator oscillator Carrier oscillator FM Resulting waveform Typically FM synthesizers don t incorporate a filter You can generate some subtractive synthesizer style sounds with FM synthesis but it is difficult to recreate the sound of a resonant subtractive synthesizer filter with this method FM synthesis is extremely good however at creating sounds that are difficult to achieve with subtractive synthesizers sounds such as bell timbres metallic tones and the tine tones of electric pianos Another strength of FM synthesis is punchy bass and synthetic brass sounds Logic Express includes a simple FM synthesizer the EFM1 Although it is minimalist it is capable of producing many of the classic FM sounds made famous by Yamaha s DX series of synthesizers the DX7 sold from 1983 to 1986 remains the most commercially successful professional level hardware synthesizer ever made The ES2 also features some FM techniques that allow you to modulate one oscillator with another You can use these FM techniques to partially bridge the gap between the very digital sound of FM synthesis and the fat analog sound that the ES2 is noted for Component Modeling Synthesis Also known as physical modeling this synthesis method uses mathematical models to simulate instruments Parameters are used to describe an instrument s physical characteristics such as the materials the instrument is
320. ontrol menu then choose the Learn item Move the desired controller on your MIDI keyboard or controller Note If no suitable MIDI message is received within 20 seconds the selected control will revert to the previous value assignment Chapter 5 ES2 111 112 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 Each of these controllers 0 to 31 also contains a Least Significant Byte LSB controller definition 32 to 63 Use of this secondary LSB controller in conjunction with the MSB controller allows for a resolution of 14 bits instead of 7 bits The ES2 recognizes these control change messages the breath or expression controllers for example To explain 14 bit controllers are pairs of normal Control Change CC messages where the number of the second CC message the LSB is 32 higher than the first CC message the MSB Examples of valid 14 bit pairs are CC1 33 CC7 39 and CC10 42 14 bit controllers have a resolution of 16 384 steps allowing very precise control of plug in parameters The first CC message of a 14 bit p
321. ope has 3 envelope points Point 1 is the start point point 2 the Sustain point and point 3 is the target in the release phase By clicking the points you can see that the mix is always set to 100 for Oscillator 1 in the Triangle Click point 2 and drag the square icon in the Triangle to Oscillator 2 You ll hear a square wave instead of Oscillator 1 s sawtooth Engage the Vector Envelope by switching the Solo Point parameter off When it is switched on you hear only the selected point with no dynamic modulation When Solo Point is switched off you ll hear the sound moving from saw to square with every triggered note Alter the preset time of 498 ms between points 1 and 2 e While holding Shift click between points 1 and 2 This will create a new point 2 and the point formerly known as point 2 will become point 3 The total time span between point 1 and point 3 is divided into the times between points 1 and 2 and 2 and 3 The division takes place at the click location If you click at the exact midpoint the new time spans are equal Click the newly created point 2 and then drag its corresponding square icon in the Triangle to Oscillator 2 e 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 Tr
322. ope 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 After you release the mouse button the envelope graphic is automatically resized to fit the display area Zoom A D buttons Shows only the attack A or decay D phase across the entire width of the envelope display This facilitates more accurate edits to envelope shapes even down to millisecond values Modulation Target Display of Ultrabeat LFOs and Envelopes Ultrabeat s user interface has a feature that makes finding the modulation targets of the LFOs and envelopes faster Simply click the numerical field of the desired modulation source to highlight all of its modulation targets Highlighted modulation target of Envelope 1 Click here to highlight all modulation targets of Envelope 1 Working with the Ultrabeat Step Sequencer Ultrabeat also incorporates a powerful integrated step sequencer which you can use to create polyphonic rhythmic sequences and patterns The sequencer displays running light style controls like those of classic drum machines and shares many of the sequence and pattern creation methods employed in these devices Chapter 11 Ultrabeat 289 290 Ultrabeat s sequencer expands on the features of hardware drum machines by providing e
323. 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 Resonance slider Emphasizes the frequency range around the point determined by the Cutoff parameter Cutoff Attack slider Determines the time it takes before the Cutoff parameter begins to affect the sound Attack slider Makes the sound start more slowly or quickly A fast setting makes it sound like striking a piano key whereas a s ow 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 Sustain slider Determines the level of the sound after the Attack and or the Decay phase has completed Release slider Determines the time it takes for notes to fade out after you let go of the keys on your keyboard Chapter 12 GarageBand Instruments 339 340 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 X Inst 1 Ca View ShowCS Show insert v Bypass a gt defaultdef Morph Morph Envelope Cutoff Cutoff Type Resonance Cutoff Envelope
324. or virtual memory use If you continue to see high Performance display values and hear audio glitches you should consider installing more RAM in your Macintosh Chapter 9 EXS24 mk Advanced EXS24 mklIl RAM Management 32 bit applications can only address approximately 4 GB of RAM The EXS24 mkll can address its own memory space in the 32 bit version of Logic Express This enables the EXS24 mkll to use any available RAM in the system outside the memory used by the application and operating system You must have at least 5 GB of RAM installed in your computer to use this feature The 64 bit version of Logic Express has virtually no RAM restriction and automatically addresses all available memory in the system This enables the use of huge sampler instruments To set advanced memory options for the EXS24 mkIl in 32 bit mode Choose Options gt Virtual Memory in the EXS24 mkll Parameter window In the Virtual Memory window select the checkbox labeled Active In the External Memory Area pop up menu choose the required option Note The External Memory Area pop up menu in the Virtual Memory window is dimmed in the 64 bit version of Logic Express as the application directly addresses all available RAM If you have enough physical RAM to hold all the samples for a project then you will see somewhat better performance by disabling the Active checkbox In projects with lots of audio tracks playing and relatively few EXS24 instruments this ma
325. original signal s pitch produce the chorus effect 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 The Speed parameter determines the modulation rate ES2 Flanger Effect A flanger works in a similar fashion to a chorus but with even shorter delay times The output signal is fed back into the input of the delay line This feedback results in the creation of harmonic resonances which wander cyclically through the spectrum giving the signal a metallic sound To activate the Flanger effect Click the Flanger button The Intensity parameter determines the depth of the effect how cutting the modulation is Turn this knob to zero to disable the effect The Speed parameter determines the modulation rate ES2 Phaser Effect A phaser mixes a delayed and an original signal The delayed element is derived from an allpass filter which applies a frequency dependent delay to the signal This is expressed as a phase angle The effect is based on a comb filter which is basically an array of inharmonic notches rather than resonances as with the flanger which also wander through the frequency spectrum To activate the Phaser effect Click the Phaser button The Intensity parameter determines the depth of the sweeping effect the width of the modulation Turn th
326. orm Chapter 9 EXS24 mk Tip Chaotic and fast modulations of frequencies destination Pitch by the LFO 1 source with a delayed Sample amp Hold waveform a high Rate and short fade out are ideal for emulating the attack phase of brass instruments Setting the EXS24 mkil LFO Rate LFO 2 is ideally suited for creating rhythmic modulation effects effects that retain perfect synchronicity even during project tempo changes LFO 3 is much the same but uses a fixed triangle waveform making it most suitable for adding vibrato to a sound or for use as a modulation source for the other LFOs The Rate parameter of all three LFOs allows the respective LFO to run freely in the right hand side of the Rate knob range or to be synchronized with the project tempo in the left hand side of the Rate knob range The rate is displayed in Hertz or rhythmic values the latter when project tempo synchronization is active Rates range from speeds of 1 64 notes to a periodic duration of 32 bars Triplet and punctuated values are also available Getting to Know the EXS24 mkIl Envelopes ENV 1 and ENV 2 The EXS24 mkll features two envelope generators per voice They are abbreviated as ENV 1 and ENV 2 in the interface and router For details on the roots of the term envelope generator and its basic functionality see Envelopes in the Amplifier Section The parameters of ENV 1 and ENV 2 are identical ENV 1 controls the filter over time ENV
327. ormants are the key component that enables humans to distinguish between different vowel sounds based purely on the frequency of these sounds Formants in human speech and singing are produced by the vocal tract with most vowel sounds containing four or more formants Setting the Number of EVOC 20 PolySynth Filter Bank Bands The Bands field in the Sidechain Analysis section determines the number of frequency bands the EVOC 20 PolySynth s filter bank uses The greater the number of frequency bands the more precisely the sound can be reshaped As the number of bands is reduced the source signal s frequency range is divided up into fewer bands and the resulting sound will be formed with less precision by the synthesis engine You may find that a good compromise between sonic precision allowing incoming signals such as speech and vocals to remain intelligible and resource usage is around 10 to 15 bands Chapter 7 EVOC 20 PolySynth 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 If speech containing voiced and unvoiced sounds is used as a vocoder s analysis signal but the synthesis e
328. osing other waveforms ES2 Tutorial Using Templates to Create Sounds Welcome to a brief programming tour of the ES2 While working on the factory preset programming for the ES2 a number of testers sound programmers and other people involved in the project indicated that it would be nice to start their programming work from templates rather than entirely from scratch This feedback resulted in a number of tutorial templates that were added to the Settings menu of the ES2 window open the Settings menu and choose Tutorial Settings to see these templates Needless to say creating templates that cover all sound genres is an impossible mission As you spend time familiarizing yourself with the ES2 s architecture you ll start to understand why 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 Using the ES2 Slapped StratENV Setting The target of this setting is the sound of a Stratocaster with the switch between bridge and middle pickup in the middle position in phase It attempts to
329. otes are triggered while all voices are playing the synthesizer frees up polyphony voices by ending the notes played earliest This is the default trigger mode of Logic Express synthesizers when in a monophonic mode First note priority Notes played earlier are not stopped In this mode you need to stop playing notes in order to play a new one after you have reached the limit of the polyphony voices of the instrument Note The Trigger Mode parameter can also allow you to set priorities for lower or higher pitched notes when playing monophonically one voice at a time in some synthesizer designs Appendix Synthesizer Basics 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 Express instruments where applicable Many of the outlined methods incorporate into their design at least some elements of the subtractive synthesis approach covered earlier The most common modern approach is based on samples of real instruments and sounds Sample Based Synthesis Sample based synthesis which is sometimes known as Pulse Code Modulation PCM or sampling and synthesis S amp S synthesis is differentiated from subtractive synthesis mainly by the use of samples in place of oscillator wavefor
330. other 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 Modulating the Cut inv 2target will result in a modulation of the bandpass filter s bandwidth in this scenario Filter Blend FltBlend modulates the Filter Blend parameter See Getting to Know the ES2 interface Other ES2 Targets The table below includes all other modulation targets Target Comments Amp This target modulates the dynamic stage or level of voices If you select Amp as the target and modulate it with an LFO as the source the level will change periodically and you will hear a tremolo Pan This target modulates the panorama position of the sound in the stereo spectrum Modulating Pan with an LFO will result in a stereo tremolo auto panning In unison mode the panorama positions of all voices are spread across the entire stereo spectrum Nevertheless pan can still be modulated with positions being moved in parallel LFO1Asym LFO1 Asymmetry can modulate the selected waveform of LFO 1 If a square wave it changes pulse width If a triangle wave it sweeps between triangle and sawtooth If a sawtooth wave it shifts its zero crossing LFO1Curve This target modulates the waveform smoothing of the square and random wave If the LFO is using a triangle or
331. ound Getting to Know the EVOC 20 PolySynth Interface The EVOC 20 PolySynth interface is divided into six main parameter sections Sidechain Analysis parameters Formant Filter parameters evoc 20 Ps a Mode Output parameters U V Detection premble L C a Synthesis parameters U V Detection parameters Modulation parameters Sidechain Analysis parameters Determine how the input signal is analyzed and used by the EVOC 20 PolySynth See EVOC 20 PolySynth Sidechain Analysis Parameters U V Detection parameters Detect the unvoiced portions of the sound in the analysis signal improving speech intelligibility See EVOC 20 PolySynth U V Detection Parameters Synthesis parameters Control the polyphonic synthesizer of the EVOC 20 PolySynth See EVOC 20 PolySynth Synthesis Section Parameters Formant Filter parameters Configure the analysis and synthesis filter banks See EVOC 20 PolySynth Formant Filter Parameters Modulation parameters The Modulation section offers two LFOs used to modulate the synthesizer and filter banks See EVOC 20 PolySynth Modulation Parameters Output parameters Configure the output signal of the EVOC 20 PolySynth See EVOC 20 PolySynth Output Parameters Chapter 7 EVOC 20 PolySynth 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 poss
332. ources available to you in the mod menu include the envelope generators Note The roots of the term envelope generator and its basic functionality are described in The Attack Decay Sustain and Relec Envelope Controls Ultrabeat features four identically specified envelope generators per voice They are abbreviated as Env 1 to Env 4 In addition to potential use as a modulation source in the mod menus of various sound parameters Env 4 is permanently connected to the Voice Volume parameter In other words each Ultrabeat drum sound has a hard wired volume envelope generator namely Env 4 The default behavior of the envelope generators is known as theone shot envelope mode after a key is pressed note on message the envelopes run their course regardless of how long the note is held This setting is ideal for percussive signals because it emulates the natural behavior of acoustic percussion instruments For special cases such as sustained pad or cymbal sounds you can activate a sustain mode where the envelopes take the lengths of the played notes into account Chapter 11 Ultrabeat 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
333. p Avoid Drive and Distortion with PWM sounds Creating ES2 String Sounds with Pulse Width Modulation To make the sound fatter add Oscillator 3 which can also be pulse width modulated In fact even the first oscillator can deliver PWM In the PWM 2 Osc setting both oscillators are detuned quite significantly Develop your own personalized PWM string sound using this setting as your base Adjust the Chorus intensity You ll probably choose higher values which make the sound rather broad 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 You ll hear that the sound has undergone a remarkable evolution Also compare it to PWM Soft Strings which was created as described above You ll probably notice a few similarities Creating Sounds with Ring Modulation in the ES2 A ring modulator takes its two input signals and outputs their sum and difference frequencies In the ES2 Oscillator 2 outputs a ring modulation which is fed with a square wave of Oscillator 2 and the wave of Oscillator 1 when Ring is set as Osci
334. perimentation and you can decide between An initial FM using Filter 2 s FM parameter which you can redraw set a negative modulation amount for modulation routing 4 s maximum by moving the mod wheel to its top position Permanent FM and another modulation setup saved for a different assignment You can also switch off FM if you consider its effect too dirty sounding Real time control is via pressure for a vibrato modulation routing 10 and also for a slight opening of the Cutoff to emphasize the modulation modulation routing 9 Using the ES2 Wheelsyncer Setting Never obsolete and undergoing a renaissance in new popular electronic music are sync sounds For a description of the technical aspects of forcing an Oscillator to sync see Synchronizing the ES2 Oscillators Here s the practical side of the playground 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 Chapter5 ES2 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 If you move the wheel you can scroll through the spectrum of harmonics that have been programmed
335. phonic mode is used to stack ten voices Without further effects the result is a huge lead sound much like those used in countless dance and trance productions With appropriate filter and envelope settings electro sounds that are ideal for arpeggiation and sequencing can easily be set up Set the Cutoff Frequency of Filter 2 to 0 This activates the preset filter envelope Feel free to check out different envelope settings e Switch Osc 1 to sound one or two octaves lower Increase Drive or Distortion 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 The basic sound is a rectangular wave transposed down by one octave The sound is filtered by Filter 2 What s special about this sound is its combination of Legato and Glide portamento When you play staccato no glide effect will occur When you play legato the pitch will smoothly glide from one note to another All keys must be released before you strike a new key in order to retrigger the envelopes e Check out different filter
336. playing style hammering or tapping with the bow as opposed to drawing it across the strings Logic Express includes Ultrabeat a drum synthesizer that incorporates physical modelling components Wavetable Vector and Linear Arithmetic LA Synthesis Wavetable synthesis uses a number of different single cycle waveforms laid out in what is known as a wavetable Playing a note on the keyboard triggers a predetermined sequence of waves In general this is not a stepped transition but rather a smooth blend from one waveform into another resulting in a constantly evolving waveform Multiple wavetables can also be used simultaneously either played one after the other or blended together resulting in more harmonically complex waveforms A single wavetable can emulate filter cutoff with a series of bright less bright then dull sounding waveforms played in sequence which resembles a reduction of the filter cutoff frequency in a subtractive synthesizer Wavetable synthesis isn t particularly successful at emulating acoustic instruments It is however extremely successful at producing constantly evolving sounds harsh and metallic or bell like sounds punchy basses and other digital tones Wavetable synthesis was championed by the PPG and Waldorf instruments The ES2 also includes wavetable facilities Roland LA Linear Arithmetic synthesizers such as the D 50 work on a similar principle In these synthesizers however comple
337. ple amp Hold S amp H refers to the procedure of taking samples from a noise signal at regular intervals The values of these samples are then held until the next sample is taken Tip A random modulation of Pitch leads to an effect commonly referred to as a random pitch pattern generator or sample and hold Try using very high notes at very high rates and high intensities you ll recognize this well known effect from hundreds of science fiction movies Using the EXS24 mkIl Envelope Generator of LFO 1 LFO 1 features a simple envelope generator that 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 no fade in or fade out will occur To set the LFO 1 modulation fade time Choose a positive LFO 1 EG knob value to fade in the modulation The higher the value the longer the delay time Choose a negative LFO 1 EG value to fade out the modulation The lower the value the shorter the fade out time LFO envelopes are most often used for delayed vibrato many instrumentalists and singers intonate longer notes this way To set up a delayed vibrato Place the LFO 1 EG knob at a position towards the right Delay and modulate the Pitch destination with the LFO1 source in the router Set a slight modulation intensity Select an LFO 1 Rate of about 5 Hz Choose the triangular wave as the LFO 1 wavef
338. plex chords other than major chords parallel fifths and octaves sound rough when using distortion Therefore distorted guitar playing generally involves few voices or parallel fifths and octaves The ES2 filter Drive parameter affects each voice individually allowing you to play complex chords without introducing the unpleasant intermodulations that the Distortion effect can add to your sound Modulating Filter 2 s Frequency in the ES2 The Filter 2 cutoff frequency can be modulated by the sine wave of Oscillator 1 which is always generated even when the oscillator is switched off The level of this sine signal can be mixed in at the output stage with the Sine Level parameter see Thickening the ES2 s Sound with Sine Level The effect of such filter modulations in the audio spectrum is unpredictable but the results tend to remain harmonic if you avoid high modulation intensity values The FM parameter is used to define the intensity of this filter frequency modulation Note Don t confuse this filter frequency modulation with the oscillator FM feature Oscillator 1 is modulated by Oscillator 2 as described in Using Frequency Modulation in the ES2 If Oscillator 1 is frequency modulated by Oscillator 2 it does not influence the sine wave signal used to modulate the cutoff frequencies Chapter5 ES2 73 74 Controlling Filter FM in the ES2 Router You can alter the value of the filter FM parameter with an appropriate
339. plitude envelope parameters see Envelopes in the Amplifier Section but they are limited to control of LFO modulations Using Envelopes for Modulation The main envelope generator of the synthesizer not only controls levels over time but it also is often used to modulate other sound parameters when you press or release keyboard keys The most common use of envelope modulation is to control the filter cutoff and resonance parameters with the keyboard velocity or keyboard scaling modulation sources see Modulation Routing Global Controls This section covers global controls that affect the overall output signal of your synthesizer Appendix Synthesizer Basics 367 368 The most obvious global control is the Level control which sets the overall Hopeless of otia For more information about the Level control see Envelopes in the Amplifie 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 This control is useful for emulating wind instruments that slide from note to note rather than move directly to another clear and distinct pitch Bender Bend Range This control is generally hard wired to a Pitch Bend wheel on a keyboard As the name suggests moving the wheel up or down from its centered position bends the pitch the oscillator frequency up or down The Bender Bend Range parameter usually
340. port list Choose Copy Voice amp Seq in the shortcut menu This copies the selected sound and its sequences to the Clipboard Control click or right click the sound you want to replace in the current drum kit then choose one of the following shortcut menu commands Paste Voice Replaces the selected sound with the sound from the Clipboard but does not replace existing sequences Paste Sequence gt submenu Opens a submenu that enables you to replace all or individual sequences of the target drum sound Sound parameters are not affected Pasting a single sequence replaces the currently active sequence as set in the Pattern menu of the target drum sound This allows you to copy sequences into any of the 24 possible pattern locations Swap with Clipboard Exchanges and replaces the selected sound and associated sequence with the sound from the Clipboard Importing Entire EXS Instruments into Ultrabeat You can import an entire EXS instrument into Ultrabeat by dragging an EXS instrument file from the Finder directly onto the Assignment section Ultrabeat reproduces the EXS layout as closely as possible Layered EXS zones are set up as layered drum sounds using the sample playback mode of Oscillator 2 see Using Ultrabeat s Sample Mode Note This method does not allow paging through the EXS instrument if it contains more than 25 sounds samples Ultrabeat will map only sample zones and layers that fall within U
341. py from the shortcut menu Choose the target pattern from the Pattern menu Chapter 11 Ultrabeat 293 294 4 N 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 Select the desired pattern in the Pattern menu 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 To clear a pattern Select the desired pattern in the Pattern menu Control click or right click the Pattern menu then choose Clear from the shortcut menu Using Ultrabeat s Swing Function Swing changes the distance between notes Only even numbered steps are affected by the Swing parameter with notes on odd numbered steps remaining where they are Which beats are affected depends on the selected Resolution parameter setting as illustrated in the following example At a Resolution of 1 8 and a Length of 8 the notes on steps 1 3 5 and 7 represent quarter notes in the measure These remain unchanged Only the eighth notes found between them steps 2 4 and so on are shifted by the Swing function The amount of shift is equal to the swing intensity set with the Swing knob Note Swing is active only for grid resol
342. q uency slider Adjusts the width the spreading effect of bass frequencies the higher the value the more prominent the effect becomes Hi Freq uency slider Adjusts the width of high frequencies Controlling Ultrabeat Drum Sound Levels with Voice Volume The Voice Volume knob adjusts the output volume of individual drum sounds To be more exact you are setting the maximum level for the selected drum sound with Env 4 following the attack phase of Env 4 Chapter 11 Ultrabeat 277 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 This approach allows the starting volume of individual drum sounds to be set independently of their relative levels in the drum kit mix which you adjust in the Assignment section mixer Changing the Ultrabeat Trigger Mode The way Ultrabeat reacts to a succession of incoming notes is independently defined for each sound Parameters that provide control over this aspect of Ultrabeat s behavior are found in the Trigger Mode section below the Voice Volume knob Trigger menu Group menu Gate button Trigger pop up menu Enables you to choose betwe
343. r 9 EXS24 mk 219 220 _ To move multiple zones or groups Shift click or drag to select the zones or groups and drag them to the desired position 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 Move the cursor to the beginning or end of a zone or group the cursor will change to the resize icon LELLE Drag the start or end point of the zone or group to the desired position To move a zone to the left or right Use one of the following key commands Shift Selected Zone s Group s Left Option Left Arrow key Shift Selected Zone s Group s Right Option Right Arrow key To shift both the root note and the zone position Use one of the following key commands Shift Selected Zone s Group s Left Zones incl Root Key Shift Option Left Arrow key Shift Selected Zone s Group s Right Zones incl Root Key Shift Option Right Arrow key To edit the velocity range of a zone or group Click the Show Velocity button at the top of the Instrument Editor or use the Show Hide Velocity key command nt Editor VSW CP708 Ez Mixer Fine Vol Pan Se The Velocity Display area opens above the Zones or Views Display area Click one or more zones or groups in the Display area Chapter 9 EXS24 mk The velocity bars of the selected zones groups is highlighted in the Velocity Display area 3 Move the cursor to eithe
344. r Env Mix Pad The oscillator mix levels Triangle square icon positions of the Vector Envelope points are altered The rhythm and tempo of the modulation the time parameters of the points are not changed 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 Vec Env Structure The Vector Envelope structure is altered This includes All times the Sustain point the number of points and all loop parameters Vec Env Shuffle Times The Vector Envelope shuffle times within loops are altered This includes the Loop Smooth value if Loop Mode is set to Forward or Backward Using Macro Controls and Assigning Controllers in the ES2 The section at the bottom of the ES2 interface provides three views accessed by clicking the buttons on the left Click here to choose a view Macro control parameters Macro Shows a number of macro parameters that affect groups of other parameters MIDI Allows you to assign MIDI controllers to particular modulation routings see FS2 Modulation Via Source Reference Macro only Rep
345. r 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 Attack slider Determines the amount of time that it takes for the envelope to reach the initial desired level Decay slider Determines how long it takes for the envelope to fall to the sustain level following the initial attack time Sustain slider Sets the sustain level which is held until the keyboard key is released Release slider Determines the length of time that it takes the envelope to fall from the sustain level to a level of zero Using the Envelope to Control ES1 Cutoff Frequency The envelope generator modulates the filter cutoff frequency over the duration of a note The intensity of this modulation and how it responds to velocity information is set by the ADSR via Vel slider arrows in the Filter Parameters section ADSR via Vel slider Chapter 4 ES1 39 40 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 simu
346. r below the defined cutoff frequency Ina lowpass filter Resonance emphasizes or suppresses signals below the cutoff frequency e Ina highpass filter Resonance emphasizes or suppresses signals above the cutoff frequency In bandpass band rejection filters resonance emphasizes or suppresses the portions of the signal the frequency band that surround the defined frequency set with the Cutoff Frequency parameter Controlling Cutoff and Resonance Simultaneously in the ES2 Changing the Cutoff and Resonance controls at the same time is essential to the creation of expressive synthesizer sounds Chapter5 ES2 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 OOO a 4 we A 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 The chain between Cut and Res of Filter 2 controls both the resonance drag horizontally and cutoff frequency drag vertically simultaneously The chain between Filter 1 Cut and Filter 2 Cut controls the cutoff frequency of Filter 1 drag vertically and Filter 2 drag horizontally simultaneously Using Flt
347. r 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 mkIl Instruments You can access all basic sampler instrument file operations in the Instrument Editor s Instrument menu Save Saves the currently loaded sampler instrument When you create a new instrument and save it for the first time you will be asked to provide a name If you have edited an existing sampler instrument and use this command the existing file name is used and the original instrument is overwritten You can also use the Save Instrument key command Save As Saves the currently loaded sampler instrument but you will be prompted to provide a different file name Use this command when you want to save a copy or multiple versions of an edited sampler instrument rather than overwriting the original version Rename Renames the loaded sampler instrument The renamed version replaces the original version on the hard disk Export Sampler Instrument and Sample Files Copies the selected sampler instrument including all associated audio files to another folder location Choosing this command opens a standard file selector You may browse to an existing folder or create a new folder You can also use the Export Sampler Instrument and Sample Fi
348. r the Modulator Pitch knob Chapter6 EFM1 FM Depth knob Determines the impact of the modulation envelope on FM intensity Turn the knob clockwise to increase the effect of the modulation envelope Turn the knob counter clockwise to invert the effect of the modulation envelope the envelope slopes down during the attack phase and slopes up during the decay and release time phases At the center 0 position the envelope has no effect on FM intensity Click the 0 to center the FM Depth knob LFO Low Frequency Oscillator knob Determines the amount of modulation applied to FM intensity or pitch Turn the LFO knob clockwise to increase the effect of the LFO on FM Intensity Turn it counter clockwise to introduce a vibrato e At the center 0 position the LFO has no effect Click the 0 to center the LFO knob e Rate knob Sets the speed of the LFO Adjusting Global EFM1 Parameters The global parameters are used to set the tuning number of voices and other aspects of the EFM1 s overall sound Transpos Unison Voices Modu latiey A oo f Astor Tune Fa o KA TT gt i i Fry Transpose pop up menu Sets the base pitch You can transpose the EFM1 by octaves with this control 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 c
349. r the settings of these modulation paths allowing you to use modulation sources that were unavailable in the EXS24 mkl for example see the end of this section for tables of all sources and destinations Note For technical reasons the settings of the modulation router cannot translate backward to the EXS24 mkl Getting to Know the EXS24 mkil LFOs The EXS24 mkll includes three LFOs low frequency oscillators that can be used as modulation sources They are all available as sources or destinations i in the router If you are new to synthesizers and the concept behind LFOs see Using the LFO to Modulate 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 non phase locked characteristic more fully imagine a scenario where a chord is played on the keyboard If LFO 1 is used to modulate pitch for example the pitch of one voice might rise the pitch of another voice might fall and the pitch of a third voice might reach its minimum value As you can see the modulation is independent for each voice or note The key sync facility ensures that the LFO waveform cycle always starts from zero which results in consistent modulation of each voice If the LFO waveform cycles were not synchronized in this way individual note modulations would be u
350. r the wave period Phase Phase compares the timing between waveforms and is measured in degrees from 0 to 360 When two waveforms begin at the same time they are said to be in phase or phase aligned When a waveform is slightly delayed in comparison to another waveform the waveforms are said to be out of phase Note It is difficult to discern a constant phase difference over the entire wave period but if the phase of one of the waveforms changes over time it will become audible This is what happens in common audio effects such as flanging and phase shifting Appendix Synthesizer Basics 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 This is known as the Fourier theorem Roughly translated into more musical terms this means that any tone with a certain pitch can be regarded as a mix of sine tones This is comprised of the fundamental tone and its harmonics overtones As an example The basic oscillation the fundamental tone or first harmonic is an A
351. rally offers the following controls Waveform Allows you to choose the type of waveform triangle waves and square waves are seen most often Triangle waves are useful for filter sweeps slow changes to the filter cutoff frequency or when simulating an ambulance siren slow changes to the oscillator frequency The square waveform is useful for rapid switches between two different pitches vibratos or octaving for example Frequency Rate Determines the speed of the waveform cycles produced by the LFO When set to low values very slow ramps are produced making it easy to create sounds such as ocean waves rolling in when white noise is chosen as the waveform in the main oscillator Sync mode Allows you to choose between free running a user defined LFO rate or synchronization with an external tempo source such as a host application LFO Envelopes The LFO can also be controlled with an envelope generator in some synthesizers As an example of where this might be useful imagine a sustained string section sound where vibrato is introduced a second or so into the sustained portion of the sound If this can happen automatically it allows you to keep both hands on the keyboard In certain synthesizers a simple envelope generator is included for this precise purpose Often this envelope consists only of an attack parameter or occasionally it includes decay or release options These parameters perform in the same fashion as the am
352. ram This block diagram illustrates the signal path in the EVOC 20 TrackOscillator and EVOC 20 PolySynth Analysis Legend Analysis section source Audio signal Control signal Parameter control Stereo to mono Sensitivity Frequency range between highest lowest 4 1 5 gt Filter bank with five bands example Envelope follower Freeze UN detection TO pitch analysis Y Synthesis section Voltage controlled Oscillator 1 5 Noise N Synth Synthesi sures EVOC20 TO T Tracking oscillator Filter bank with five bands Track or side chain Filter bank SC EVOC20 PS Poly synth keyboard Resonance Chapter 7 EVOC 20 PolySynth 163 External Instrument You can use the External Instrument to route external MIDI sound generators through the Logic Express Mixer which you can then process with Logic Express 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 To avoid constant repatching of devices it is best to use an audio interface that supports multiple inputs and outputs The External Instrument plug in is inserted in instrument channel strips in place of a software instrument This chapter covers the following Getting to Know the External Instrument Interf
353. rameter Set the degree of modulation by dragging the blue Mod slider approximately 3 to 4 octaves above the original pitch Set the attack time in Env 1 to 0 by dragging the leftmost of the two junction points on the x axis all the way to the left Experiment with the decay time by dragging the rightmost of the two junction points on the x axis you ll discover that higher decay values shifting the Bezier handle to the right result in sounds similar to synth toms whereas shorter decay values shifting to the left provide the kick character Change the Mod amount the blue slider of Osc 1 Pitch again see step 2 The interaction of this parameter with the envelope s decay time provides numerous possibilities for shaping the kick or punch of the bass drum sound Note This simple bass drum sound is listed as Kick 1 in the Tutorial Kit at a pitch of C1 Chapter 11 Ultrabeat 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 For band 1 select the Shelving mode at a frequency of about 80 Hz a high Q value and a negative Gain value For band 2 select the Peak mode at a frequency of around 180 Hz a medium Q val
354. re modulated by the LFO see Using the ES1 LFO and or by the Modulation Envelope see Using the ES1 Mod Envelope The parameter target buttons in the left column enable LFO modulation and the ones in the right column set the target for the Modulation Envelope Parameter target buttons e Pitch buttons Turn on to modulate the pitch the frequency of the oscillators e Pulse Width buttons Turn on to modulate the pulse width of the pulse wave Chapter 4 ES1 41 42 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 This modulation can result in a pseudo distortion of the sound or it can create metallic FM style sounds The latter occurs when the only signal you can hear is the self oscillation of the resonating filter see Driving the ES1 Filter to Self Oscillation LFO Amp modulation envelope only Turn on to modulate the overall amount of LFO modulation Using the ES1 LFO The LFO low frequency oscillator generates an adjustable cyclic waveform that can be used to modulate other ES1 parameters as discussed in Using the ES1 Router e Wave knob Sets the LF
355. reating Kick Drums p 305 Creating Snare Drums p 310 Creating Toms and Tonal Percussion p 316 Creating Hi Hats and Cymbals p 316 Creating Metallic Sounds p 317 Creating Extreme Sounds p 318 Programming in Building Blocks p 318 Getting to Know the Structure of Ultrabeat Most software synthesizers offer one synthesizer per plug in instance Ultrabeat however places 25 independent synthesizers at your disposal These synthesizers known asdrum voices in Ultrabeat are optimized for the generation of drum and percussion sounds Chapter 11 Ultrabeat 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 Drum voices 1 to 24 You can compare Ultrabeat with a drum machine that features 24 drum pads plus a built in multioctave keyboard which can be used for polyphonic accompaniments or bass or melody lines Ultrabeat s 24 drum pads are assigned to the bottom 24 keys of a standard MIDI keyboard spanning MIDI notes C1 to B2 This is compatible with the widely adopted GM General MIDI MIDI Drum note mapping standard The lowest note in the range for the 25th synthesizer begins at C3 All notes above and C3 itself can be played chromatical
356. ree different slopes 12 dB 18 dB and 24 dB per octave The steeper the slope the more severely the level of signals below the cutoff frequency are affected in each octave The Fat setting also provides 24 dB per octave of rejection but features a built in compensation circuit that retains the bottom end of the sound The standard 24 dB setting tends to make lower end sounds somewhat thin See Getting to Know the ES2 Oscillators Using the ES2 Filter Cutoff and Resonance Parameters In every lowpass filter in the ES2 Lo mode for Filter 1 Filter 2 is a lowpass filter all frequency portions above the cutoff frequency are suppressed or cut off hence the name If you re new to synthesizers and the concepts behind filters see Synthesizer Basics Chapter 5 ES2 69 70 The Impact of Cutoff Frequency on the E82 Signal The Cutoff Frequency Cut parameter controls the brilliance of the signal Ina lowpass filter the higher the cutoff frequency is set the higher the frequencies of signals that are allowed to pass Ina highpass filter the cutoff frequency determines the point where lower frequencies are suppressed and only upper frequencies are allowed to pass Inabandpass band rejection filter the cutoff frequency determines the center frequency for the bandpass or band rejection filter The Impact of Resonance on the ES2 Signal The Resonance Res parameter emphasizes or suppresses portions of the signal above o
357. rence is that Saturation can be modulated in Oscillator 2 rather than Asymmetry in Oscillator 1 This means that when both oscillators are in phase oscillator mode they can produce different sounds For details on parameters see Using Oscillator 1 s Phase Oscillator Mode in Ultrabeat Using Ultrabeat s Sample Mode In Sample mode Oscillator 2 uses an audio file as a sound source Max and Min sliders Playback Direction button Layer sliders Sample Name display Sample Name display Used to load and unload samples or to display the loaded sample in the Finder Click the arrow in the upper left corner of the waveform display to open See Loading Samples into Ultrabeat Oscillator 2 Max Min sliders Determine the start point of the sample depending on the dynamics incoming velocity level of the performance To adjust drag the max min labels to the left or right Min Determines the start point of the sample at the minimum velocity level velocity 1 Max Determines the start point of the sample at the maximum velocity level velocity 127 Chapter 11 Ultrabeat 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 in
358. ring 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 The string is the element that is responsible for the basic tone Ultrabeat offers parameters that allow you to adjust its material what it s made of in other words One of the two available exciters make the string vibrate move in different ways The string itself doesn t make a sound unless it is stimulated or excited The signal of the vibrating string is sent to the filter amplifier and so on in the Ultrabeat Synthesizer section Exciter buttons Resolution slider Material Pad Exciter buttons Choose one of the two contrasting exciters Each offers different sound characteristics Type 1 and Type 2 Note In this context an exciter is the agent or triggering device used to initiate the vibration of the string Don t confuse it with the effect plug in of the same name Material Pad Determines the basic tone of the string with the string Stiffness and damping Inner Loss parameters See Using the Ultrabeat Material Pad e Resolution slider Determines the precision of the calculation e Higher values produce additional harmonics e Lower values produce fewer harmonics or inharmonic spectra Note The higher the resolution the more precise th
359. rm The behavior and effect of the LFO depend on whether a sawtooth or pulse wave is selected e If Wave is set to sawtooth the LFO modulates the frequency of the waveform resulting in a vibrato or siren effect depending on the LFO speed and intensity e If Wave is set to a pulse wave the LFO modulates the waveform s pulse width PWM Vib PWM knob Defines the intensity of the LFO modulation Speed knob Sets the frequency of the LFO modulation Chapter1 ESE 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 Resonance ant Yelo Filter ie Cutoff knob Controls the cutoff frequency of the ES E filter e Resonance knob Boosts or cuts portions of the signal that surround the frequency defined by the Cutoff parameter Note Increasing the Resonance value results in a rejection of bass low frequency energy when using lowpass filters AR Int knob The ES E features one simple envelope generator per voice offering an Attack and a Release parameter see Using the ES E Envelope The AR Int knob defines the amount depth of
360. rminology and give you a great overview of different synthesis systems and how they work This chapter covers the following Getting to Know the ES1 Interface p 34 Using the ES1 Oscillators p 35 Using the ES1 Filter Parameters p 37 Using the ES1 Amplifier Parameters p 38 Using the ES1 Envelope Parameters p 39 Modulating the Sound of the ES1 p 41 Adjusting Global ES1 Parameters p 44 ES1 MIDI Controller List p 45 33 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 See Using the ES1 Oscillators A number of related parameters that directly influence the overall sound such as Tune are found in the Global Parameters section of the interface See Adjusting Global ES1 Parameters Filter parameters These include the circular Filter area and Drive and Key scaling parameters You use the filter to contour the waveforms sent from the oscillators See Using the ES1 Filter Parameters Amplifier parameters The area to the right contains the Amplifier parame
361. ronized oscillator is modulated by an envelope generator This way the number of phases within a section of the synchronization cycle constantly changes resulting in corresponding changes to the frequency spectrum Using the ES2 s Global Parameters These parameters affect the overall instrument sound produced by the ES2 You can find the global parameters to the left of the oscillators and above the filter and output sections Global parameters pee parameters Keyboard Mode buttons These buttons switch the ES2 between polyphonic monophonic and legato behaviors See Choosing the ES2 Keyboard Mode Poly Mono Legato Unison button This button enables or disables unison mode See Using Unison and Voices for a Richer ES2 Sound Voices field Determines the maximum number of notes that can be played simultaneously Glide knob This parameter also known as Portamento determines the amount of time it takes for the pitch of a played note to slide to the pitch of the following played note See Setting a Glide Portamento Time in the ES2 Bend Range fields This parameter pair determines the upward and downward pitch bend range See Determining a Bend Range in the ES2 Tune field Sets the pitch of the ES2 in cents 100 cents equals a semitone step At a value of 0 c zero cents the central A key is tuned to 440 Hz or concert pitch Analog knob See Emulating Detuned Analog Synthesizer Oscillators in the ES2 Chapter5 ES2
362. rors classic subtractive synthesizer designs Ultrabeat incorporates a number of different tone generation synthesis methods including frequency modulation component modeling sample playback and phase distortion These provide unique qualities that massively expand the range of sounds you can create Signal flow button Filter Signal flow button Oscillator 1 Ring modulator slider Oscillator 2 Noise generator The details of Ultrabeat s functions and their importance become more apparent when you look at the three dimensional nature of the interface and recognize the different levels from front to back The following descriptions refer to the third dimension so keep this in mind while reading and exploring Ultrabeat s interface Chapter 11 Ultrabeat 255 256 The large round elevated Filter and Distortion section is in the center Its placement and design are both symbolic and practical as the filter plays a central role in Ultrabeat The Filter is discussed in Getting to Know the Ultrabeat Filter and Distortion Section 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
363. rossfade curve that causes a volume boost of 3 dB in the middle of the crossfade range This will fade out fade in the join between the loop end start at an equal volume level Note The ideal settings for the Xfade and E Pwr parameters depend on the sample material A loop that cycles reasonably smoothly is the best starting point for a perfectly crossfaded loop but a crossfaded loop does not always sound better Experiment with both parameters to learn how when and where they work best Chapter 9 EXS24 mk 215 216 Setting EXS24 mkll Group Parameters Group parameters provide simultaneous control of all assigned zones ce Ke EXS24 Instrument Editor VSW CP708 Zones Groups Instrument Edit Zone v Group View x Show Velocity EXS24 I Group Key Range Mixer Voices Filter Offsets Envelope 2 Amp Offsets Name Lo Hi Vol Pan Output Poly Trigger Dc Time Cutoff Reso A H D s Hard c 2 G8 0 0 Main Max KeyDown 0 0 0 0 0 0 0 Soft C 2 G8 0 0 Main Max Key Down 4605 0 0 0 0 0 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 Take your time with these parameters as they override zone range settings possibly making some zones inaudible Vol ume Adjusts t
364. rupt position changes If the Loop Rate parameter is set to Sync or Free the loop smoothing time is displayed as a percentage of the loop cycle duration If the Loop Rate parameter is as set the loop smoothing time is displayed in milliseconds ms Specifying an ES2 Vector Envelope Loop Count The loop cycle of the Vector Envelope can be repeated a specified number of times After the defined number of repetitions have occurred the Vector Envelope will run from the Sustain point onwards Possible values are 1 to 10 and infinite Setting the ES2 Vector Envelope Release Phase Behavior There are two release phase options in the Env Mode menu Normal and Finish Using the Normal ES2 Vector Envelope Mode If the Env Mode menu is set to Normal the release phase the phase after the Sustain point begins as soon as you release the key note off In other words the release phase will start from the Vector Envelope point where you released the key The following behaviors apply If looping is turned off and the Vector Envelope reaches the Sustain point the Sustain point value will be retained for as long as you hold a key If looping is turned on and the Loop point is positioned before the Sustain point the loop will cycle for as long as you hold a key If looping is turned on and the Loop point is positioned after the Sustain point the Vector Envelope loop will continue to cycle until the overall release phase of th
365. s a Percussion Time Distortion Rotary Speaker 9 f c j 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 Percussion Level slider Adds a 2nd or 3rd harmonic to the sound changing both the color and timbre of the instrument Percussion Time slider Sustains the 2nd or 3rd harmonic when set to a long value If a short value is selected the harmonics are heard only during the initial keystrike Click slider Introduces a click sound to the keystrike Select a high level if you d like this to be clearly heard Distortion slider Makes the sound rough dirty and noisy This is great if you want to do Deep Purple covers Rotary Speaker buttons Choose one of three speaker effects Chorale Makes the sound swirl Chapter 12 GarageBand Instruments 345 346 e 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 x Inst 1 Fe View ShowCS Show insert v Bypass a gt defaultdef E YTY Volume Filter Cutoff Release Tuned Percussion Volume slider Sets the overall volume level of the instrument Filter Cutoff slider Allows
366. s which will introduce you to the terminology and give you a great overview of different synthesis methods and how they work This chapter covers the following Getting to Know the ES M Interface p 20 e Using the ES M Oscillator p 21 e Using the ES M Filter and Filter Envelope p 22 e Using the ES M Level Envelope and Output Controls p 23 Extended ES M Parameters p 23 20 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 Resonance 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 Filter and Filter Envelope parameters The section to the right of the Oscillator parameters includes the Cutoff Frequency and Resonance knobs The filter is used to contour the waveforms sent from the oscillators The Filter Envelope parameters are found towards the upper right These control the filter cutoff over time See Using the ES M Filter and Filter Envelope Output parameters The angle shaped area to the lower right contains the Level Envelope and Output parameters which control the level of the sound over time The Overdrive kn
367. s 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 You can audition multiple files by clicking Play once and then stepping through the files by pressing the Up Arrow and Down Arrow keys or by clicking each file Note Independent auditioning of all layers is not possible In multilayer UBS files the audition function plays the sample at a fixed velocity of 75 Only the layer addressed by this velocity value will be played Preview Sample in Ultrabeat Voice checkbox Temporarily replaces the sample files in the currently selected drum sound in the Assignment section The drum sound can be triggered as usual played notes MIDI region events or Ultrabeat sequencer events while the Load Sample window is open and different files are being selected The selected sample can be heard as part of the current drum sound inclusive of all synthesizer processing Important Any effects inserted into the Ultrabeat instrument channel strip are heard when you preview samples Chapter 11 Ultrabeat 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 st
368. s available in Ultrabeat Assigning dedicated amplitude envelopes to the different components allows you to control their temporal behavior individually For example you can emulate the body of a drum with Oscillator 1 the sound of the stick hitting the skin or first transient with the noise generator and additional overtones and harmonics can be provided by Oscillator 2 or the ring modulator Chapter 11 Ultrabeat 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 Chapter 11 Ultrabeat 319 GarageBand Instruments 12 GarageBand Instruments are automatically installed with Logic Express You use GarageBand instruments as you would other software instruments in Logic Express This chapter covers the following GarageBand Instrument Features p 322 GarageBand Analog Basic p 323 GarageBand Analog Mono p 324 GarageBand Analog Pad p 325 GarageBand Analog Swirl p 326 GarageBand Analog Sync p 328 GarageBand Bass p 329 GarageBand Church Organ p 330 GarageBand Digital Basic p 331 GarageBand Digital Mono p 332 GarageBand Digital Stepper p 333 GarageBand Drum Kits p 334 GarageBand Electric Clav inet p 335 GarageBand Electric Piano p 335 GarageBand Guitar p 336 GarageBand Horns
369. s filter cutoff and resonance creates rhythmic effects The waveform can also be inverted resulting in a different start point for the modulation cycle 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 can be achieved by modulating Pitch123 with a suitable modulation intensity that leads to an interval of a fifth Choose the upper rectangular wave to do so Sample amp Hold The two lower waveform settings of the LFOs output random values A random value is selected at regular intervals as defined by the LFO rate The upper waveform steps between randomized values rapid switches between values At its lower setting the random wave is smoothed out resulting in fluid changes to values The term Sample amp Hold S amp H refers to the procedure of taking samples from a noise signal at regular intervals The values of these samples are then held until the next sample is taken Tip A random modulation of Pitch123 leads to an effect commonly referred to as a random pitch pattern generator or sample and hold Try using very high notes at very high rates and high intensities you ll recognize this well known effect from hundreds of science fiction movies Chapter 5 ES2 83 84 Using LFO 1 s En
370. s follows On off button Transport button Swing knob Edit Mode switch On Off button Enables or disables the step sequencer e 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 For more information see Automating Parameter Values in Ultrabeat s Step Sequencer e Transport button Starts and stops the sequencer pattern The step sequencer is always synchronized to the tempo of the host application Note If the Transport button is displayed in blue the sequencer interprets incoming MIDI notes between C 1 and BO as performance information For more information see Using MIDI to Control Ultrabeat s Sequencer e Swing knob Determines the swing intensity for all sounds that have the Swing function activated see Using Ultrabeat s Swing Function Chapter 11 Ultrabeat 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 e Pattern menu Allows you to choose one of the 24 patterns Len
371. s for the level of a sample triggered by key release to decay Chapter 9 EXS24 mk 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 This is useful if you want the filter Envelope 1 or volume Envelope 2 envelopes to affect the samples in a group after the initial impact of the triggered sounds H Hold field Determines the time that the envelope will be held at the maximum attack level before the decay phase begins Note When the Trigger parameter is set to Key Release the Decay Time parameter controls the decay level rather than Envelope 2 the volume envelope This means that when Trigger is set to Key Release the Envelope 2 Offsets have no effect Vel ocity Range Sets a velocity range for the group Velocity Range is useful for sounds where you want to dynamically mix or switch between samples by playing your MIDI keyboard harder or softer This feature is ideal for layered sounds such as a piano string layer or when switching between different percussion samples for example Lo w Sets the lowest velocity that will trigger the group
372. s the alternate controller assigned to the sustain pedal function See the Hold parameter information in Adjusting EXS24 mkll Global Parameters EXS24 mkII Modulation Source Reference The following modulation sources are available Source Comments Side Chain Side Chain modulation uses a side chain signal as a modulation signal The side chain source can be selected in the Side Chain menu in the header 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 Maximum Max sets the value of this source to 1 an internal value that indicates the maximum possible amount for this source This offers interesting options for controlling the modulation intensity with all possible via values ENV 1 Envelope Generator 1 is used as a source ENV 2 Amp Envelope Generator 2 is used as a source Env 2 always controls the level of the overall sound 200 Chapter9 EXS24 mkll 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 mkll reacts to poly pressure polyphonic aftertouch Note If you set the destination to Cutoff the cutoff frequencies will rise a
373. s 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 Inst 1 Ca View ShowCS Show insert v Bypass lt gt defaultdef EE Volume Model Decay Electric Piano Volume slider Sets the overall volume level of the instrument Model buttons A more bell like tone is achieved when the Tines button is selected Decay slider A short value makes the sound almost plucked whereas a long setting makes the sound sustain while the keys are held Chapter 12 GarageBand Instruments 335 336 GarageBand Guitar The Guitar sound is sample based It emulates a number of different acoustic and electric guitar sounds x Inst 1 p View ShowCS Show insert v Bypass a gt Mefault def ees es a Volume Filter Cutoff Release Guitar 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 Chapter 12 GarageBand Instruments GarageBand Horns The Horns instrument is sample based It emulates several brass sections and a number of individual brass instruments x Inst 1 p View ShowCS Show insert v Bypass gt defaultdef ess Volume Filt
374. scillator 2 by setting Vol to the lowest possible value 60 dB choosing Env 1 in the Mod pop up menu and adjusting the modulation intensity to a point just below its maximum value Chapter 11 Ultrabeat 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 Modulate it with LFO 1 which you re already using to control the pitch of Oscillator 2 Note The snare drum sound is listed as snare 1 in the Tutorial Kit at a pitch of E1 To refine the snare drum sound using FM synthesis 1 Turn on Oscillator 1 in FM mode Use Env 1 to control the volume of Osc 1 as well 2 Choose a pitch for Oscillator 1 that s about an octave lower than Oscillator 2 Consciously avoid even intervals between the oscillators and detune them slightly from each other For example try a pitch setting of F 2 in Osc 2 and E1 in Osc 1 then fine tune Osc 1 a few cents higher by holding Shift while adjusting the Osc 1 Pitch slider 3 Experiment with FM Amount and add more tone low FM Amount or noise more FM Amount as
375. sic tone Comments Rectangular Nasal sounding Great for reed instruments synth blips basses Square Hollow and woody Useful for basses clarinets and oboes The pulse sounding width of oscillator 2 and 3 square waveforms can be smoothly scaled between 50 and the thinnest of pulses Sawtooth Warm and even Useful for strings pads bass and brass sounds Triangle Sweet sounding softer Useful for flutes pads than sawtooth Sine A pure tone The sine wave of Oscillator 1 can be frequency modulated by Oscillator 2 This kind of frequency modulation forms the basis of FM synthesis Using Ultrabeat s FM Frequency Modulation Mode Whereas the phase oscillator is well suited to simulations of analog waveforms and analog style sounds FM mode is well suited to the creation of bell like digital tones and metallic sounds The principle of frequency modulation FM synthesis was developed in the late 1960s and early 1970s by John Chowning It was popularized by Yamaha s range of DX synthesizers in the 1980s Ultrabeat can t be compared with the DX series in the discipline of pure FM synthesis but it can certainly achieve some of the signature sounds of these instruments How Frequency Modulation Works Put very simply the frequency of one signal generator oscillator is altered or modulated by another signal generator Positive or higher frequency values from the second generator known as themodulator increase the frequenc
376. sity 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 RndNO1 RndNO1 Note On Random1 outputs a random modulation intensity value between 1 0 and 1 0 which changes when a note is triggered or retriggered The random note on modulation remains constant throughout the note duration until the next note on trigger Note There is no value change when playing legato while in legato mode RndN02 RndNO2 Note On Random 2 behaves like Note On Random1 but it glides rather than steps to the new random intensity value using the Glide time inclusive of modulation It also differs from Note On Random 1 in that the random modulation value changes when playing legato while in legato mode Chapter 5 ES2 105 106 Via source Comment SideCh SideCh Side Chain modulation uses a side chain signal as a modulation intensity 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 Using
377. sity trigger signal The side chain source can be selected in the Side Chain menu in the header 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 Maximum Sets the value of this source to 1 ENV 1 Envelope Generator 1 controls the modulation intensity ENV 2 Amp Envelope Generator 2 controls the modulation intensity Chapter9 EXS24 mkll 201 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 Pressure If you select Pressure also known as Aftertouch as the via value the modulation intensity will be touch sensitive modulation will be more or less intense dependent on how firmly you press the key of your touch sensitive MIDI keyboard after the initial keystrike Pitch Bend The pitch bend wheel controls the modulation intensity Key Key board outputs the keyboard position the MIDI note number The center point is C3 an output value of 0 Five octaves below and above an output value of 1 or 1 respectively is sent If you select Pitch as the destination modulate it with the LFO1 source and select Key as the
378. sononce Decay a Richness Analog N 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 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 Chapter 12 GarageBand Instruments Attack slider Makes the sound start more slowly or quickly A fast setting makes it sound like striking a piano key whereas a s ow 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 e Richness slider Determines the complexity of the sound texture making the sound fuller GarageBand Analog Pad The Analog Pad is based on the ES2 This is a warm analog synthesizer pad that is useful for a range of musical styles ix Inst 1 Ga View ShowCS v Show insert v Bypass 4 gt Aefaultdef Volume Modulation Choarocter Cutoff Resononce Cutoff Envelope Duration Animation Analog Pad Volume slider Sets the overall volume level of the instrument Modulation slider Makes the sweeping movement of the pad faster or slower
379. struments Converting AKAI Files with the EXS24 mkll Importing SoundFont2 SampleCell DLS and Gigasampler Files The EXS24 mkll recognizes SoundFont2 SampleCell DLS and Gigasampler files placed inside the Sampler Instruments folder and converts them into sampler instruments To import SoundFont2 SampleCell DLS or Gigasampler files into the EXS24 mkIl Copy or move your SoundFont2 SampleCell DLS or Gigasampler files into the Library Application Support Logic Sampler Instruments folder Choose the SoundFont2 SampleCell DLS or Gigasampler file in the EXS24 mkll Sampler Instruments pop up menu The EXS24 mkll automatically converts the chosen file into an EXS sampler instrument An EXS instrument file is created in the Sampler Instruments folder This contains the file in its original format The raw samples associated with the sampler instrument are placed in one of the following folders depending on the format being converted Library Application Support Logic SoundFont Samples Library Application Support Logic SampleCell Samples Library Application Support Logic Gigasampler Samples Chapter 9 EXS24 mk Library Application Support Logic DLS Samples Logic folder SoundFont SampleCell Sampler Gigasampler Samples Samples Instruments Samples a e folder folder folder folder SampleCell SoundFont sampler sampler instrument instrument sampler sampler instrument i
380. t LFO ey Fa int vio Whl mage Co Intensity Int via Whl slider Defines the intensity of LFO pitch modulation The right half of the slider determines the intensity when the modulation wheel is set to its maximum value and the left half determines the intensity when the wheel is set to its minimum value By dragging the area between the two slider segments you can simultaneously move both This parameter is permanently assigned to the modulation wheel of your MIDI keyboard or corresponding MIDI data Rate knobs Determine the speed of modulation Values to the left of the center positions are synchronized with the host application tempo and include bar values triplet values and more Values to the right of the center positions are nonsynchronized and are displayed in Hertz cycles per second Note The ability to use synchronous bar values could be used to perform a formant shift every four bars on a cycled one bar percussion part for example Alternatively you could perform the same formant shift on every eighth note triplet within the same part Either method can generate interesting results and can lead to new ideas or add life to existing audio material Waveform buttons Set the waveform type used by the Pitch LFO on the left or the Shift LFO on the right You can choose between triangle falling and rising sawtooth square up and down around zero bipolar good for trills square up from zero unipolar good for chang
381. ted played louder Switching the Ultrabeat Step Grid to Full View Click the Full View button in Ultrabeat s lower right corner to see a large sequencer grid filled with trigger buttons The large grid simultaneously displays the 32 trigger buttons for all 25 drum sounds Chapter 11 Ultrabeat 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 The selected sound is highlighted with a gray box in the step sequencer area making it easy to set the velocity and gate time for each step or offsets in Step mode see Automating Parameter Values in Ultrabeat s Step Sequencer within the context of all sequences sounds in the pattern Both the grid and the Trigger and Gate Length rows are displayed for the selected drum sound This makes it simple to create trigger events in the full view grid then set accents in the Gate Length rows for example Automating Parameter Values in Ultrabeat s Step Sequencer The Edit Mode switch engages Ultrabeat s step automation feature Step automation enables you to program parameter changes on a per step basis for each drum sound You can adjust all parameters that can be automated if desired for each step Chapter 11 Ultrabeat 299 300 Sound parameters that can be automated include all functions in the Synt
382. teps are 100 cents This leads to the following rules of thumb for modulation intensity values Intensity of 8 equals a pitch shift of 10 cents Intensity of 20 equals a pitch shift of 50 cents one quarter tone Intensity of 28 equals a pitch shift of 100 cents one semitone Intensity of 36 equals a pitch shift of 200 cents two semitones Intensity of 76 equals a pitch shift of 1 200 cents one octave Intensity of 100 equals a pitch shift of 3 600 cents three octaves OscWaves Depending on the waveforms set in the three oscillators this target can be used to modulate The pulse width of rectangular and pulse waves The amount of frequency modulation Oscillator 1 only Noise color Oscillator 3 only The position of the Digiwaves OscWaves affects all oscillators simultaneously For further information about the effects of these modulations see Using Pulse Width Modulation in the ES2 Using Frequency Modulation in the ES2 Using Noise in the ES2 Oscillator 3 Only and Using Digiwaves in the ES2 Osc1Wave Depending on the waveform selected for Oscillator 1 you can control the pulse width of rectangular and pulse waves the amount of frequency modulation or the position of the Digiwave Note In classic FM synthesizers the amount of FM is controlled in real time by velocity sensitive envelope generators Select one of the ENVs as the source for such sounds Osc2Wave The same as Osc1Wave exc
383. ter The dynamic stage can be modulated by any router modulation source To do this choose the AMP modulation target in a modulation routing in the router For example you can quickly create a tremolo effect by selecting AMP as the target and LFO1 as the source leave via set to Off in a modulation routing The level will change periodically based on the current LFO 1 Rate value Chapter5 ES2 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 In cases where Oscillator 1 is frequency modulated by Oscillator 2 if you have turned up FM with the waveform selector only the pure sine wave is mixed into the dynamic section not the distorted FM waveform Any modulation of Oscillator 1 s pitch set in the router affects the frequency of the sine wave mixed in at this stage Note The Sine Level knob is useful for adding warmth and a fat bass quality to the sound Extra body can be added to thin sounds with this function given that Oscillator 1 actually plays the basic pitch Chapter 5 S2 75 76 Working with Modulation in the ES2 The ES2 is equipped with a huge number of modulation sources and targets making the
384. terfaces that provide access to all functions and parameters Pristine audio quality is assured when needed or at the other end of the spectrum extremely harsh and dirty sounds can be created with many of the included instruments All instruments are highly optimized for efficient CPU usage maximizing the real time playback potential of your computer This preface covers the following e About the Logic Express Instruments p 9 About the Logic Express Documentation p 10 e Additional Resources p 10 About the Logic Express Instruments Logic Express includes a comprehensive collection of instruments that can be used in your music projects Instruments are grouped in the following categories Instrument category Included instruments Synthesizer EFM1 ESE e ESM ESP amp ES1 ES2 e Klopfgeist Drum synthesizer Ultrabeat Software sampler e EXS24 mkll Vocoder synthesizer EVOC 20 PolySynth Instrument category Included instruments Utility e 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 Strings Tonewheel Organ Tuned Percussion Voice Woodwind see GarageBand Instruments About the Logic Express Documentation Logic Express comes with various documents that will
385. terleaved files offer better performance within the EXS24 mkll When you are converting AKAI format samples some audio files are created as split stereo and as interleaved stereo files The detection of when it is possible to build an interleaved file is based on information stored with both the AKAI program and audio files Both the left and right files must have the same settings otherwise they cannot be used to create an interleaved file Chapter 9 EXS24 mk 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 mkll features a simple but flexible file management method To organize your sampler instruments into a preferred hierarchy Create a folder in the Finder Basses for example and drag it into the desired Sampler Instruments folder Drag the desired EXS24 mkll sampler instruments into this newly created folder The modified menu structure will be reflected when you open the Sampler Instruments pop up menu a ae a ison amp No Instrument edit_ options J Next Instrument Previous Instrument Clear Find Find Refresh Menu Basses Factory SuperGroovy GarageBand Note You will need to choose the Refresh Menu command in the Sampler Instruments pop up menu after changes are made to the folder hierarchy in the Sampler Instruments folder The Sampler Instruments pop up menu will
386. ternally set to 0 Velo knob Determines the velocity sensitivity of the dynamic stage Vol knob Sets the master output level of the ES M Overdrive knob Controls the level of the integrated overdrive effect Important To avoid hurting your ears or damaging your speakers consider turning down the Volume level before setting Overdrive to a high value then turn it up gradually Extended ES M Parameters The ES M offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface Pos Bender Range Changes the positive upwards pitch bend range in semitone steps This allows you to use the pitch bend controller of your keyboard to bend the ES P pitch Neg Bender Range The default Neg Bender Range value is Pos PB Positive Pitch Bend In essence this means that only positive pitch bend is available You can adjust the negative downwards pitch bend range in semitone steps up to 2 octaves a value of 24 Tune Tunes the entire instrument in cents A cent is 1 100th of a semitone Chapter2 ESM 23 ES P 3 The 8 voice ES P ES Poly emulates classic polyphonic synthesizers of the 1980s It 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 ES P produces sounds using subtractive synthesis It features an oscillator that genera
387. ters See Using the ES1 Amplifier Parameters Envelope parameters The ADSR sliders in the lower right corner of the ES1 can be used to control both filter cutoff and the amplifier level over time See Using the ES1 Envelope Parameters Modulation parameters The dark green gray area houses the modulation sources modulation router modulation envelope and amplitude envelope which you can use to modulate the sound in a number of ways See Modulating the Sound of the ES1 Global parameters Global sound control parameters are located on the bottom green gray strip This is where you can assign and adjust global tuning activate the in built chorus and more The chorus can be used to color or thicken the sound See Adjusting Global ES1 Parameters Chapter 4 ES1 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 e Wave knob Selects the waveform of the primary oscillator which is responsible for the basic color of the tone See Setting ES1 Oscillator Waveforms e Mixslider Defines the level relationship between the primary and sub oscillator signals When the sub oscillator is switched off its output is completely removed from the signal path e Sub knob The
388. tes harmonically rich waveforms You subtract cut or filter out portions of these waveforms and reshape them to create new sounds If you re totally new to synthesizers it might be best to start off with Synthesizer Basics which will introduce you to the terminology and give you a great overview of different synthesis methods and how they work This chapter covers the following Getting to Know the ES P Interface p 26 Using the ES P Oscillators p 27 Using the ES P LFO p 27 Using the ES P Filter p 28 Using the ES P Envelope and Level Controls p 29 Using the Integrated ES P Effects p 30 Extended ES P Parameters p 30 25 26 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 QOS Tu Fad Fl Noso 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 The oscillators generate the basic waveforms that form the basis of your sound See Using the ES P Oscillators LFO parameters The LFO parameters to the right of the Oscillator parameters are used to modulate the sound See Using the ES P LFO Filter parameters The vertical column in the center includes t
389. 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 You can activate only two effects at the same time e Distortion A choice of the Chorus Flanger or Phaser effect These effects share the same control knobs Intensity and Speed ES2 Distortion Effect The Distortion effect offers the following parameters Soft button Activates the Distortion effect Soft mode The distortion circuit sounds somewhat like a tube overdrive Chapter 5 ES2 Hard button Activates the Distortion effect Hard mode The distortion effect sounds like a fully transistorized fuzz box e Distortion knob Defines the amount of distortion Turn this knob to zero to disable the effect Tone knob Controls the treble portion of the distortion effect output 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
390. the desired pattern in Ultrabeat s Pattern menu Select the area to the left of the pattern menu SWS Drag to Arrange EFi window gt Drag the pattern to the desired position on the respective Ultrabeat track A region is created containing all MIDI events including Swing and Accent parameter settings Accents are interpreted as polyphonic pressure events Step automation events created in Step mode are also exported as part of the MIDI region Note To avoid double triggering while playing back the exported MIDI region you may want to turn off Ultrabeat s internal sequencer Chapter 11 Ultrabeat 303 304 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 Pattern Mode button Playback Mode menu Voice Mute Mode button Pattern Mode On Off button When enabled allows you to choose and start patterns with MIDI note messages The Transport button turns blue to indicate that Ultrabeat is ready to receive incoming control commands MIDI notes C 1 to BO switch between patterns C 1 selects pattern 1 C 1 selects pattern 2 and so on up to pattern 24 selected when MIDI note BO is received Playback Mode menu Deter
391. 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 A maximum value for Ctrl A causes the envelope generator to vary the parameter between the values of 0 50 the default Cut value and 0 90 the via amount You can see at a glance the degree of maximum influence on basic parameters by the mod and via modulation sources the area between the mod and via points shows the amount that the modulation depth can be further altered by the via modulation source In the example the Cutoff can reach values between 0 70 and 0 90 depending on the value being sent by Ctrl A Here s another example 0 00 0 50 uf Cutoff is again set to 0 50 Env 1 now drives the value down to 0 25 and a maximum Ctrl A value reduces the Cutoff frequency down to 0 The example below illustrates the simplicity and speed of Ultrabeat s modulation options In this example the modulation intensity of Env 1 which affects Cutoff is controlled with the dynamics of the performance Vel The secondary via modulation also controls its direction Try this sett
392. the following ReCycle file types Old ReCycle file These files have the rcy suffix The abbreviation for this file type is RCSO These files are not commonly used these days Old ReCycle export file These files have the rex suffix The abbreviation for this file type is REX Anumber of older sample libraries include REX format files Chapter 9 EXS24 mk 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 To create a new EXS instrument and assign each slice to a zone Choose Instrument gt ReCycle Convert gt Extract MIDI Region and Make New Instrument in the Instrument Editor Choose the desired ReCycle file in the file selector then click Open Enter a velocity factor in the Create MIDI Region window see below for region related information Create MIDI Region Velocity Factor Crj cancel C The velocity factor analyzes the loudness transient peak of each slice in the imported ReCycle file It then maps this value to a corresponding velocity value for the MIDI note event that is used to trigger the slice e If a positive value up to 100 is ent
393. the level of the sound over time See Using the ES E Envelope Output parameters The area at the extreme right houses the Volume knob responsible for the main output level and the Effect parameters The effects can be used to color or thicken the sound See Using the ES E Output Parameters Extended parameters Not shown in the image the extended parameters are accessed by clicking the triangle at the lower left of the interface These parameters include bend and tuning functions See Extended ES E Parameters Chapter 1 ESE Using the ES E Oscillators The synthesizer oscillator generates a waveform which is then sent to other portions of the synthesizer engine for processing or manipulation Wave knob Selects the waveform of the oscillator which is responsible for the basic color of the tone The leftmost setting of the Wave parameter causes the oscillators to output sawtooth signals Across the remaining range the oscillators output pulse waves with the average pulse width being defined by the Wave parameter position 4 8 16 buttons Allow you to switch the pitch in octaves transpose it up or down The lowest setting is 16 feet and the highest is 4 feet The use of the term feet to determine octaves comes from the measurements of organ pipe lengths The longer and wider the pipe the deeper the tone Using the ES E LFO The LFO low frequency oscillator generates a cyclic waveform that is used to modulate the ES E wavefo
394. thesizer with analog programmability required a dedicated row featuring all of the instrument s control elements for every memory slot In this case a selector switch accessed one of the many identical control panels and connected it to the sound generator The first synthesizer featuring storage slots implemented in this manner was the GX1 which Yamaha released in 1975 The control elements for the system s storage slots were so small that they could only be adjusted using jeweller s screwdrivers and complicated tools called programmers and comparators 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 In spite of its initially steep price this instrument proved extremely popular and approximately 8 000 were built up until 1985 In addition to its digitally implemented polyphony and memory the success of the Prophet 5 is attributable to the outstanding quality of its analog sound generation system Digital Synthesizers Even modern digital synthesizers featuring variable polyphony memory and completely digital sound generation systems follow th
395. this side effect internally resulting in a more bassy sound 1 3 2 3 3 3 Key Follow buttons The cutoff frequency can be modulated by MIDI note number keyboard position you may know this parameter as keyboard follow on other synthesizers Enable one of the 1 3 2 3 3 3 buttons to choose one third two thirds or full keyboard follow If no button is active the key you strike won t affect the cutoff frequency This makes the lower notes sound relatively brighter than the higher ones If 3 3 is chosen the filter follows the pitch resulting in a constant relationship between cutoff frequency and pitch This is typical of many acoustic instruments where higher notes sound both brighter in tone and higher in pitch ADSR Int knob Defines the amount depth of cutoff frequency modulation applied by the envelope generator see Using the ES P Envelope and Level Controls Velo Filter knob Sets the velocity sensitivity of the cutoff frequency modulation applied by the envelope generator The main envelope generator ADSR modulates the cutoff frequency over the duration of a note The intensity of this modulation can respond to velocity information If you play pianissimo velocity 1 the modulation is minimal If you strike with the hardest fortissimo velocity 127 the modulation is more intense Using the ES P Envelope and Level Controls The ES P features an ADSR envelope that affects both the filter cutoff ADSR Int and the level
396. thly fade between each zone Where you have distinctly different audio samples in adjacent zones you will find crossfading very helpful in creating realistic sounding sampler instruments Chapter 9 EXS24 mk 181 Using the EXS24 mkIl Pitch Parameters These parameters adjust the tuning and transposition of the loaded sampler instrument ito emono Pere voices QP used D unison 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 mkll in semitone increments Transpose not only affects the pitch but also moves the zones by the specified value Random knob Controls the amount of random detuning that is applied to every played voice You can use Random to simulate the tuning drift of analog synthesizers or to thicken the sound very effective when emulating some stringed instruments Fine knob Tunes the loaded sampler instrument in cent increments 1 100th of a semitone Use this to correct samples that are slightly out of tune or to create a thick chorus like effect Pitch Bend Up and Down pop up menus Determine the upper and lower limit of pitch bending in semitones that can be introduced by moving your keyboard s pitch bend wheel A value of 0 disables pitch bends Note When you choose Link mode in the right hand Pitch Bend Down menu the bend ran
397. ting will function as the filter s EG Depth parameter Note Both ENV 2 and ENV 3 are velocity sensitive making it unnecessary to set via to Velo in the modulation routing you can leave via off Chapter 5 S2 85 86 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 aA D Decay Release Mode jong tong 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 Mono A single envelope generator modulates all voices in the same way All notes must be released before the envelope can be retriggered If you play legato or any key remains depressed the envelope won t restart its attack phase e Retrig A single envelope generator modulates all voices in the same way The envelope will be triggered by any key you strike even when other notes are sustained All sustained notes are identically affected by the retriggered envelope Attack via Velocity slider The Attack time slider is divided into two halves The lower half defines the attack time when the keys are struck hard at maximum velocity The upper half defines the attack time at minimum velocity Drag the
398. tion intensity Pad X Pad Y Both axes of the Planar Pad are available as viasources as well enabling you to control modulation intensities with them Kybd Kybd Keyboard outputs the keyboard position the MIDI note number The center point is C3 an output value of 0 Five octaves below and above an output value of 1 or 1 respectively is sent If you select Pitch123 as the target modulate it with the LFO1 source and select Keyboard as the via value the vibrato depth will change depending on the key position Put another way the vibrato depth will be different for notes higher or lower than the defined Keyboard position Velo If you select Velo Velocity as the via value the modulation intensity will be velocity sensitive modulation will be more or less intense depending on how quickly how hard you strike the key Bender The pitch bend wheel controls the modulation intensity ModWhl If you select ModWhl Modulation Wheel as the via value the modulation intensity will be controlled by your MIDI keyboard s modulation wheel Touch If you select Touch Aftertouch as the via value the modulation intensity will be touch sensitive modulation will be more or less intense depending on how firmly you press the key of your touch sensitive MIDI keyboard after the initial keystrike aftertouch is also known as pressure sensitivity WhlI To Both the modulation wheel and aftertouch control the modulation inten
399. tion routing Any modulation source can be connected to any modulation destination much like an old fashioned telephone exchange or a studio patch bay See Creating and Bypassing EXS24 mkll Modulation Routings EXS24 mkll Modulation Source Reference and EXS24 mkil Modulation Destination Reference The modulation intensity how strongly the destination is influenced by the source is set with the vertical slider to the right of the modulation routing 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 When via is active you can specify upper and lower limits for the modulation intensity See Using EXS24 mkll Via Sources to Control Modulation Intensity and EXS24 mkll Modulation Via Source Reference Ten such modulation routings of source via and destination can take place simultaneously in addition to routings that are hard wired outside of the router It does not matter which of the ten modulation routings you use You can even select the same destination in several parallel modulation routings You can also use the same sources and the same via controllers in multiple modulation routings Chapter 9 EXS24 mk 189 190 Creating and Bypassing EXS24 mkll Modulation Routings The following information applies to all ten modulation routings To create a basic modulation routing Open the Dest pop up menu to see all available
400. tion targets Target Comments Pitch 123 Modulates the frequencies pitch of all three oscillators If you select an LFO as the source this target leads to siren or vibrato sounds Select one of the envelope generators with zero attack short decay zero sustain and short release as the source for tom and kick drum sounds Pitch 1 Modulates the frequency pitch of Oscillator 1 Slight envelope modulations can make the amount of detuning change over time when Oscillator 1 is sounding in unison with another unmodulated oscillator This also applies to the other Pitch targets and is particularly useful for synthesizer brass sounds Pitch 2 Modulates the frequency pitch of Oscillator 2 Pitch 3 Modulates the frequency pitch of Oscillator 3 Chapter5 ES2 99 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 Modulation intensity from 28 to 36 steps are 12 5 cents Modulation intensity from 36 to 76 steps are 25 cents e Modulation intensity from 76 to 100 s
401. tonation and volume characteristics of a real instrument can theoretically be recreated by combining these components in a way that resembles the natural behavior of the instrument you are trying to emulate In reality however because subtractive synthesizers aren t ideal for emulating real world instruments no synthesized clarinet is going to fool anyone particularly now that there are multigigabyte sound libraries available for samplers like the EXS24 mkll The real strength of subtractive synthesizers is that they offer a unique sound palette of their own All analog and virtual analog synthesizers use subtractive synthesis to generate sound Appendix Synthesizer Basics 355 356 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 Oscillator Filter Amplifier Signal Generating and Processing Components Oscillators Generate the basic signal This is usually a waveform that is rich in harmonics see Oscillators Many synthesizers offer more than one oscillator Filter section Used to alter the basic signal by filtering out removing portions of the frequency spectrum Many synthesizers offer a single filter which is applied u
402. tones if high detuning amounts are used 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 See Choosing a Different EFM1 Modulator Waveform Fixed Carrier button Carrier Enable to disconnect the carrier frequency from keyboard pitch bend and LFO modulations This allows you to produce a carrier tone that is free of these modulation sources Setting the EFM1 Tuning Ratio The carrier frequency is determined by the played key and the modulator frequency is typically a multiple of the carrier frequency You can tune the modulator and carrier to any of the first 32 harmonics The tuning relationship or ratio between the two significantly changes the base sound of the EFM1 and is best set by ear Chapter6 EFM1 The Harmonic knobs are used to set the tuning ratio between the Modulator left and Carrier right oscillators As arule of thumb even tuning ratios between the carrier and modulator tend to sound more harmonic or musical while odd ratios produce more inharmonic overtones which are great for
403. tput its maximum level only when the keys are struck at maximum velocity Softer velocities result in a corresponding change to the envelope levels with a 50 velocity resulting in half levels for each envelope level parameter Chapter 5 S2 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 The Sustain Time slider defines the time it takes for the level to rise from the Sustain level back to its maximum level or to fall to zero Settings in the lower half of the Sustain Time slider range fall determine the time required for the level to decay from the sustain level to zero The lower the slider position the faster the sound level decays Settings in the upper half of its range rise determine the time required for the level to rise from the sustain level to its maximum value The higher the slider position the faster the sound level rises Emulating Instrument Behaviors with Envelope Modulation On pianos and plucked string instruments high notes decay faster than low notes To simulate this effect modulate the Decay Time target with the Kybd source in the router The modulation intens
404. trlA CrriR 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 To increase the performance dynamics 1 Reduce the values of the individual volumes by turning down the Volume knobs in both oscillators and the noise generator Note how the Mod ring and its Via sliders also move back Change the Via slider positions until all three Volume knobs look like this Chapter 11 Ultrabeat 313 314 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 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 As you may know this wasn t possible with the original not even an 808 sample could offer the dynamic volume control of individual sound components that s demonstrated here A sample offers you only the whole sound not its constituent parts In the next step you use velocity to control the character of the sound individually for each component plus volume of course In the Saturation Mod pop up menu of Oscillator 2 choose Max and then choose Vel ocity in the corresponding Via pop up menu Chapter 11 Ultrabeat
405. ts more or fewer of harmonics The level relationships between the fundamental tone and the harmonics of the chosen waveform are responsible for the basic sound color or timbre Common Synthesizer Waveforms The qualities of the most common synthesizer waveforms are discussed below Sine Wave Clean and clear sounding a sine wave contains no harmonics but the first harmonic in other words it is the fundamental tone The sine wave used standalone can be used to create pure sounds like whistles the sound of wet fingers on the rim of a glass tuning forks and so on Sawtooth Clear and bright sounding a sawtooth wave contains both odd and even harmonics It is ideal for the creation of string pad bass and brass sounds Appendix Synthesizer Basics 357 358 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 The more rectangular the wave becomes the more nasal it sounds When modulated in this way the square wave is known as a pulse wave and contains fewer harmonics It
406. ty used by the EXS24 mkIl 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 mkll 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 32 Bit Float Samples are stored and loaded in this format This eliminates the need for any real time conversions meaning that the EXS24 mkll handles samples more efficiently and can play back more voices simultaneously Note This requires twice as much RAM for 16 bit samples and a third more RAM for 24 bit samples e Velocity Curve slider Determines how the EXS24 mkll responds to incoming velocity values Negative values increase the responsiveness to soft key strikes and positive values decrease responsiveness Search samples on pop up menu Determines the locations that the EXS24 mkll will search for instrument samples You can choose from Local Volumes Storage media hard disks and optical mechanisms attached to or installed in the computer External Volumes Storage media accessible over a network All Volumes Both internal and network media are scanned for appropriate data Note Choosing External Volumes or All Volumes may result in a dramatic increase in the time required by the EXS24 mkll to find and load sampler instruments and files C
407. ue and also a negative Gain value On the EQ graph notice how the frequencies around 80 Hz are boosted while the surrounding frequencies are reduced Vary the frequency of band 2 easily recognizable in the blue part of the EQ graph to influence the extent of bass drum tonality A further method for reducing the tonality of a drum sound that is rich with overtones is to use a lowpass filter In the following example you will control the cutoff frequency of the filter with an envelope To reduce tonality using a lowpass filter Reload the Standard Tutorial sound choose A 0 as the basic pitch in Oscillator 1 and modulate it with Env 1 Increase the Saturation parameter value to enhance the overtones of the drum sound Note that the output of Osc 1 is directed to the filter as the filter bypass button the arrow between Osc 1 and the filter is activated Set Filter type to LP 24 Set Cutoff value to 0 10 Set Mod Source for Cut to Env 3 Chapter 11 Ultrabeat 307 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 Select a longer decay time in Env 2 than in Env 3 and listen carefull
408. ues outside of these are generally just version numbers A key number is also a valid possibility for this use C3 C 3 C_3 A 1 A 1 or C3 C 3 for example The possible range is C 2 up to G8 e Numeric value There may be cases where a sound designer has used multiple numbers in a filename which is common with loops with one value being used to indicate tempo loop60 100 wav for example In this situation it isn t clear which if either of the numbers indicates a root key or something else 60 or 100 could indicate the file number in a collection tempo root key and so on You can set a value of 8 to read the root key at position letter character eight of the filename namely the 100 E6 Alternatively setting a value of 5 will select the 60 C3 as the root key position Previous Instrument and Next Instrument Determine which MIDI event type and data value will be used for selection of the previous or next instrument Chapter 9 EXS24 mk Important These commands are unique to the EXS24 mkll 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 Choices include Note Poly Pressure Control Change Program Change
409. ulse width of all rectangular waves is fixed at 50 The rightmost fader adds white noise to the mix This is the raw material for classic synthesizer sound effects such as ocean waves wind and helicopters 4 8 16 buttons Allow you to switch the pitch in octaves transpose it up or down The lowest setting is 16 feet and the highest is 4 feet The use of the term feet to determine octaves comes from the measurements of organ pipe lengths The longer and wider the pipe the deeper the tone Using the ES P LFO The ES P features an LFO low frequency oscillator which can do either of the following e Modulate the frequency of the oscillators resulting in a vibrato Chapter 3 ESP 28 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 e Resonance knob Boosts cuts portions of the signal that surround the frequency defined by the Frequency knob Chapter 3 ESP Note Increasing the Resonance value results in a rejection of bass low frequency energy when using lowpass filters The ES P compensates for
410. ults Due to the way human beings hear the intelligibility of speech is highly dependent on the presence of high frequency content To aid in keeping speech clear it may be worthwhile using equalization to boost or cut particular frequencies in analysis signals before you process them with the vocoders If the analysis signal consists of vocals or speech a simple shelving filter should be sufficient to boost the high mid and treble range which is so important for speech intelligibility If the synthesis signal lacks treble energy it can be generated with a distortion effect The Logic Express Overdrive effect is perfect for this purpose Avoiding Sonic Artifacts in the EVOC 20 PolySynth A common problem with vocoder sounds involves sudden signal interruptions ripping breaking sounds and rapidly triggered noises during speech pauses Chapter 7 EVOC 20 PolySynth 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 Short Attack values are no problem They may in fact even be desirable w
411. urning down the Volume level before setting Overdrive to a high value then turn it up gradually Extended ES P Parameters The ES P offers three additional parameters that are accessed by clicking the disclosure triangle at the lower left of the interface Pos Bender Range Changes the positive upwards pitch bend range in semitone steps This allows you to use the pitch bend controller of your keyboard to bend the ES P pitch Chapter 3 ESP 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 Chapter 3 ESP 31 ES1 4 The ES1 emulates the circuits of analog synthesizers in a simple streamlined interface ES1 produces sounds using 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 The ES1 s tone generation system also provides flexible modulation options that make it easy to create punchy basses atmospheric pads biting leads and sharp percussion If you re totally new to synthesizers it might be best to start off with Synthesizer Basics which will introduce you to the te
412. useful for avoiding overly filtered high notes Chapter 9 EXS24 mk 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 mkIil Filter Mode HP LP BP The EXS24 mkll filter can operate in several modes allowing specific frequency bands to be filtered cut away or emphasized Select one of the following buttons at the bottom of the filter section to choose a filter mode HP highpass This filter type allows frequencies above the cutoff frequency to pass The slope of the highpass filter is fixed at 12 dB octave in HP mode LP lowpass This filter type allows frequencies that fall below the cutoff frequency to pass Click any of the four buttons under the LP label to engage the lowpass filter and choose a filter slope 24 dB 4 pole 18 dB 3 pole 12 dB 2 pole and 6 dB 1 pole The 24 dB setting can be used for drastic effects such as cutting off all but a few notes The 6 dB setting is useful for creating a slightly warmer sound without drastic filter effects to smooth overly bright samples for example BP bandpass The frequency band directly surrounding the cutoff frequency is allowed to pass All other frequencies are cut
413. ut these parameters see Choosing the ES2 Keyboard Mode Poly Mono Legato Emulating Stretch Tuning in the ES2 The coarse Frequency knob of each oscillator allows you to tune Oscillators 1 2 and 3 in semitones or octaves The fine tune Frequency parameter allows you to fine tune each oscillator in cents 1 100th of a semitone Precise detuning between oscillators can result in beats or phasing between the oscillator frequencies The higher the played frequency pitch the faster the phasing beats High notes therefore may seem to be somewhat out of tune in comparison with lower notes za The CBD Constant Beat Detuning parameter to the left of Oscillator 2 s Frequency knob detunes the harmonics of the low note frequencies in a ratio that is proportionate with the fundamental tone of the upper note frequencies This is a very natural sounding effect common to acoustic pianos which are intentionally tuned out of tune from equal temperament This is known as stretch tuning and results in the upper and lower keyboard ranges being slightly out of tune with the center octaves but harmonically in tune with each other Some Tips on Using Constant Beat Detuning CBD can be used as a corrective tool to even out the beating between oscillators or it can be used as a creative tool to emulate stretch tuning The latter can be particularly important when you use an ES2 sound alongside an acoustic piano recording The C
414. utions of 1 8 and 1 16 see Using Ultrabeat s Dattarn Parameterc Pattern Parameters To use the swing function Click the Swing Enable button This forces the grid of the currently selected sound to be played in accordance with the Swing knob setting Adjust the Swing knob At a 0 setting with the knob all the way to the left the Swing function is disabled Turn the knob to the right to move affected notes toward the following note Getting to Know the Ultrabeat Step Grid The step grid displays sequence steps on two rows The steps shown in these rows correspond to the sound that is currently selected in the Assignment area Choosing a different sound switches the sequencer display to show the rows that correspond to the newly selected sound Chapter 11 Ultrabeat The step grid area contains two rows each with 32 fields steps Trigger row Velocity Gate row e 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 Creating and Removing Steps in the Ultrabeat Trigger Row The Trigger row consists of buttons 1 to 32 which represent steps or beats in the selected sequence Note trigger events are placed on corresponding steps This is w
415. value to select start with the average setting of 6 dB Merge programs same MIDI cha and prog change number into one EXS instrument Many discs created for AKAI samplers feature programs that contain single velocity layers for an instrument AKAI samplers require that an entire volume or all necessary single programs are loaded in order to play all velocity layers All of these single programs are automatically assigned to the same MIDI channel and they also respond to the same MIDI program change number The EXS24 mkll AKAI conversion intelligently checks for these settings and builds a single EXS sampler instrument out of multiple single programs In general when you are importing samples of this type this option should be switched on The same is true for drum discs where single programs contain one instrument from a complete drum kit kick snare hi hat and so on as separate entities You ll probably want these single AKAI programs to be merged into a single EXS sampler instrument as a full drum kit There are however a number of AKAI discs where a single program of an AKAI volume contains the entire instrument and where other programs in the same volume have the same MIDI channel and MIDI program change number preset On this type of disc use of the merge programs parameter is not desirable and the option should be switched off Create interleaved stereo files whenever possible Should always be left enabled as in
416. ve Filter button Filter 1 Mode Filter button Activates or deactivates the entire filter section of the ES2 Deactivating the filter section makes it easier to hear adjustments to other sound parameters because the filters always heavily affect the sound Disabling the filters also reduces processor load If the Filter label is green the filters are engaged If gray the filters are disabled Filter Configuration button Switches between a parallel or series filter configuration See Choosing a Series or Parallel Filter Configuration in the ES2 Filter Blend slider Sets the balance between Filter 1 and Filter 2 See Filter Blend Cross Fading Between the ES2 Filters Filter 1 Mode buttons These buttons switch Filter 1 between lowpass highpass bandpass band reject or peak filter types See Choosing Filter 1 s Mode in the ES2 Lo Hi Peak BR BP Filter 2 Slope buttons These buttons switch Filter 2 between different slopes See Setting Filter 2 s Slope in the ES2 Cutoffand Resonance The Cutoff and Resonance knobs determine the cutoff frequency and resonance behavior of each filter See Using the ES2 Filter Cutoff and Resonance Parameters Filter Drive knob Overdrives the filter which affects each voice independently See Overdriving the ES2 Filters Filter FM knob Modulates the Filter 2 Cutoff parameter with the Oscillator 1 frequency See Modulating Filter 2 s Frequency in the ES2 Chapter 5 ES2 65 6
417. velope 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 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 Choose a negative LFO 1 EG value to fade out the modulation The lower the slider is positioned onscreen the shorter the fade out time LFO envelopes are most often used for delayed vibrato many instrumentalists and singers intonate longer notes this way To set up a delayed vibrato Place the LFO 1 EG slider at a position in the upper half Delay and modulate the Pitch 123 target with the LFO1 source in the router Set a slight modulation intensity Select an LFO 1 Rate of about 5 Hz Choose the triangular wave as the LFO 1 waveform Tip Chaotic and fast modulations of oscillator frequencies target Pitch123 by the LFO 1 source with a delayed Sample amp Hold waveform a high Rate and short fade out is ideal for emulating the attack phase of brass instruments Setting LFO 2 s Rate in the ES2 LFO 2 is ideally suited for creating rhythmic modulation effects that retain perfect synchronicity even during project tempo changes The LFO 2 Rate parameter allows LFO
418. via value the vibrato depth will change dependent on key position Put another way the vibrato depth will be different for notes higher or lower than the defined Key board position Velocity The modulation intensity will be velocity sensitive modulation will be more or less intense depending on how quickly hard you strike the key Disables the via source MIDI Controllers 1 120 Modulation intensity is determined by the chosen MIDI controller value Controllers 7 and 10 are marked as not available Host applications such as Logic Express use these controllers for volume and pan automation of channel strips Controller 11 is marked as Expression It has a fixed connection to this functionality but it can also be used to control other modulation sources An Overview of the EXS24 mkll Instrument Editor The Instrument Editor is used to create and edit sampler instruments See Creating EXS24 mkll Instruments Zones and Groups and Editing EXS24 mkll Zones and Groups A sampler instrument consists of zones and groups Azone 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 mkll Zones View Mode 202 Chapter9 EXS24 mkll 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 para
419. ways been popular and are likely to remain so given their use in modern trance techno R amp B and other styles The Analog Saw 3 Osc setting features three detuned oscillators and sounds fat as it is The following will introduce you to some additional tools to fatten the sound even more e Check out the 3 oscillator basic sound with different filter and envelope settings Check out the chorus effect at different Intensities and speeds Engage Unison mode and select a higher setting for Analog Because the sound is polyphonic each note is doubled The number of notes that can be played simultaneously will be reduced from 10 to 5 This makes the sound rich and broad Combining Unison and higher values for Analog spreads the sound across the stereo spectrum In many factory settings the Unison mode is active This demands a lot of processing power If your computer isn t fast enough you can switch off the Unison mode and insert an Ensemble effect in a bus for use with several plug ins This will save processing power You can also save CPU resources by freezing or bouncing several software instrument tracks Chapter 5 ES2 113 114 Creating Detuned Monophonic Sounds and Effects with the ES2 The Analog Saw Unison setting is a fat heavily detuned unfiltered basic sound Three sawtooth oscillators are used but they are further detuned The combination of Unison and Analog set to a high value is essential but this time mono
420. which of the ten modulation routings you use You can even select the same target in several parallel modulation routings You can also use the same sources and the same via controllers in multiple modulation routings Creating and Bypassing ES2 Modulation Routings The following information applies to all ten modulation routings Chapter 5 ES2 77 To create a basic modulation routing 1 Click in the Target field A pop up menu of all available targets appears v Pitch123 Pitch 1 Pitch 2 Pitch 3 Detune OscWaves OsclWave Osc2Wave 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 EG Rate This sets a fixed modulation intensity 78 Chapter 5 S2 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 The slider value always defines a constant modulat
421. witched off 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 Inthe 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 To avoid a sterile lifeless sound after the decay phase of the envelope you may also want to modulate the oscillator frequency with an LFO Use the third router channel and set the minimum modulation applied by LFO 1 to about 0 50 e Substitute the synchronized square wave with the synced sawtooth wave and see if you like the results Note Pulse width modulation is also available via the synchronized square wave of Oscillators 2 and 3 A modulation of the wave parameters of these two oscillators results in a PWM when the synced square wave is selected Getting Started with Vector Synthesis in the ES2 This tutorial section provides some hints for Vector Envelope programming In the Vector Start setting the mix of the oscillators is controlled by the Vector Envelope Each oscillator has been set to a different waveform e Switch from the Router view to Vector view Chapter 5 ES2 19 120 e In its basic default setting the Vector Envel
422. without sacrificing the original sonic character of the drum sound Note To make the Vector Kick setting really punchy you must activate Flt Reset because all oscillators are switched off in this setting and the filter needs a little time to start oscillating At the start of each note Flt Reset sends a very short impulse to the filter making it oscillate from the outset 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 e Filter 2 slopes 12 dB 18 dB 24 dB Distortion Intensity and Soft or Hard Envelope 3 s Decay Time D e Vector Envelope Time 1 gt 2 preset to 9 0 ms Vector Envelope Time 2 gt 3 preset to 303 ms Vector Time Scaling Creating Percussive ES2 Synthesizer and Bass Sounds with Two Filter Decay Phases As with the Vector Kick setting the Vector Perc Synth setting uses the Vector Envelope to control the filter cutoff frequency with two independently adjustable decay phases This would not be possible with a conventional ADSR envelope generator Try creating further percussive synthesizers and basses by varying these parameters e Vector Envelope Time 1 gt 2 Decay 1 e Vector Envelope Time 2 gt 3 Decay 2 Chapter 5 ES2 Vector Time Scaling e Square icons in the Planar Pad for points 1 2 and 3 Cutoff Frequency Waveforms cho
423. x 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 Appendix Synthesizer Basics 371 372 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 To facilitate this they combined samples of the attack phase the crucial part of a sound with appropriate decay and sustain phases Vector synthesis used in the Sequential Circuits Prophet VS and Korg s Wavestation allows you to move through wavetables and sequences arranged on a two dimensional grid two different vectors or less technically on the X or Y axis The main benefit of this approach is that the balance between samples and waves is achieved in real time by moving a joystick You can also use the ES2 to perform vector synthesis by modulating the Oscillator Mix Triangle parameter with the Vector Envelope Additive Synthesis Additive synthesis could be considered the reverse approach to subtractive synthesis See the beginning of this appendix including the discussion about all sounds being a sum of various sine tones and harmonics for background information to provide insight into additive synthesis In essence you start out with nothing and then build up a sound by combining multiple sine waves of differing
424. xtensive automation and editing features These enable you to precisely vary the timbre of the sound and the overall dynamics at any point in the pattern The sequencer plays an important role in shaping the rhythms and sounds that you can produce with Ultrabeat The 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 Depending on your personal taste and favored musical style you ll want to control Ultrabeat from either the integrated step sequencer or from Logic Express when programming rhythms Combining both sequencers is also possible they can be active at the same time and are automatically synchronized with each other Logic Express acts as a master clock in this situation determining the tempo of Ultrabeat s internal step sequencer If you re unfamiliar with the concept of step sequencing the following section will help you understand the design of Ultrabeat s step sequencer How Step Sequencers Work The basic idea behind analog step sequencers is to set up a progression of control voltages and output these step by step typically in an endlessly repeating pattern This basic principle helped to spawn a number of electronic music styl
425. y RAM In order to use these huge sampler instruments the EXS24 mkll can use a portion of your hard drive as virtual memory When you turn on the EXS24 mkll s virtual memory only the initial attacks of audio samples are loaded into the computer s RAM the rest of the sample is streamed in real time from the hard drive For systems with 5 GB or more of RAM and running the 32 bit version of the application the virtual memory functions allow the EXS24 mkll to address its own memory Systems running the 64 bit version of the application automatically address all available memory See Advanced EXS24 lanagement anle IANA Ma A mklil RAM Management You can configure the EXS24 mkll s virtual memory feature in the Virtual Memory window Chapter 9 EXS24 mk 238 To open the Virtual Memory window Open the Options pop up menu in the Parameter window and choose Virtual Memory Virtual Memory Ml Active External Memory Area Of use only internal application memory General Settings Disk Drive Speed Hard Disk Recording Activity Average Requires Constant RAM Allocation Of 60 8 MB Performance Disk 1 0 Traffic 227 Not Read from Disk in Time Cox Active checkbox Click to activate the EXS24 mkll s virtual memory feature External Memory Area pop up menu 32 bit version only Specifies the way memory external to the RAM used by the application is allocated See Advanced EXS24 mk RAM Mana
426. y the lower half for minimum velocity By dragging the area between the two slider segments you can move both simultaneously When the upper half of the Pitcher slider is set above the center position and the lower half below the center position lower velocity values cause the pitch to rise from the lower setting up to the original note pitch whereas higher values cause it to fall from the higher setting down to the original note pitch In other words the polarity of the pitch envelope can be changed by velocity When both halves of the pitcher slider are set either below or above the centered position a low or high velocity will slide up or down to the original pitch Depending on the position of the upper lower halves of the slider relative to the center position the time required for the slide up or down to the original note pitch can be adjusted independently for both soft and hard velocities Chapter 9 EXS24 mk 183 184 Working with EXS24 mkIl Filter Parameters These parameters control the EXS24 mkil 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 mklI Envelopes ENV 1 and ENV 2 Filter On Off button Activates or deactivates the entire filter section and the filter envelope Deactivating the filter section makes it easier to hear adjustments to other sound parameters as the filter
427. y have a noticable effect on performance If the Active checkbox is disabled and there is insufficient RAM to hold all samples then the application will swap data to and from the disk which will seriously affect performance Turning off the Active checkbox will also increase project load times so in most cases it s best to leave it enabled The amount of RAM available for use by the EXS24 mkIl is determined by several factors including The amount of physical RAM installed in your computer How much RAM other open applications and the operating system are using How much RAM Logic Express is using This can be affected by the number and size of audio files in the project and other plug ins used Sampler plug ins not made by Apple in particular may significantly affect the amount of RAM that Logic Express uses Using the VSL Performance Tool in EXS24 mkll The EXS24 mkll features an additional interface for the Vienna Symphonic Library Performance Tool The Performance Tool software provided by VSL needs to be installed to allow access to this interface For details see the VSL documentation Chapter 9 EXS24 mk 239 Klopfgeist 10 Klopfgeist is an instrument that is optimized to provide a metronome click in Logic Express Klopfgeist is inserted in the Logic Express 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 str
428. y of the first generator known as thecarrier Negative or lower frequency values from the second generator decrease the frequency of the first Chapter 11 Ultrabeat 259 260 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 For further information see Frequency Modulation FM Synthesis and EFM1 Frequency Modulation in Ultrabeat In FM mode Oscillator 1 the carrier generates a sine wave Its frequency is modulated by the waveform of Oscillator 2 the modulator When Oscillator 2 outputs a positive or higher frequency signal the frequency of Oscillator 1 increases e When Oscillator 2 outputs a negative or lower frequency signal the frequency of Oscillator 1 decreases The net effect of speeding up or slowing down the frequency of Oscillator 1 in each waveform cycle is a distortion of the basic wave shape This waveform distortion also has the side benefit of introducing a number of new audible harmonics The more complex the Oscillator 2 waveform the more partials will be created by
429. y to the fatter and more atonal bass drum sound achieved through this Res modulation due to the higher filter resonance Note The bass drum described in the above example is listed as Kick 2 in the Tutorial Kit at a pitch of C 1 It also features an interesting EQ setting as described in the next section Ultrabeat Tutorial Adding Bass Kick and Body to Sounds Try the options outlined in this section to add missing elements to your sounds Adding some bass to your sound Use the Kick 2 filtered bass drum sound as a starting point and try out the remaining parameters in the phase oscillator You will discover that high saturation values make the sound rounder and add more bass for example The character of the example is beginning to head in the direction of a TR 909 Chapter 11 Ultrabeat 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 Take some time to play with the shapes of the envelopes while maintaining the attack and decay settings Experiment with the junction points of th
430. yboard mode is set to Poly or Mono and Glide is set to a value other than 0 portamento is active If Legato is chosen and Glide is set to a value other than 0 you need to play legato pressing a new key while holding the old one to activate portamento If you don t play in a legato style portamento won t work This behavior is also known as fingered portamento Determining a Bend Range in the ES2 The Bend range fields determine the range for pitch bend modulation typically performed with your keyboard s pitch bend wheel There are separate range fields for upward and downward bends When you set the right hand Bend range field to Link mode the bend range is identical in both directions if you assign a downward bend of 4 semitones this will be mirrored in the upward bend field resulting in a combined bend range of 8 semitones 9 if you include the standard pitch or no bend position Using the ES2 Filters The ES2 features two discrete and different filters Filter 1 can operate as a lowpass highpass bandpass band reject or peak filter e Filter 2 is a lowpass filter that offers variable slopes measured in dB octave Chapter 5 ES2 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 Click here to choose a parallel or series filter configuration Filter Dri
431. ybrid Analog and Digital Synthesizers Some synthesizer designs feature digital oscillators which generate signals that are sent to analog filters and amplifiers The main advantage of this approach is that digital oscillators don t drift in pitch a problem that analog oscillators are often notorious for Virtual Analog A virtual analog synthesizer is a digital synthesizer that mimics the architecture features and peculiarities of an analog synthesizer The behaviors and functions of the oscillators filters and other modules that you would find in an analog synthesizer are emulated by computer algorithms The ES1 is a great example of a virtual analog synthesizer Its virtual signal flow is that of a typical analog synthesizer but all the signal processing the virtual oscillators and so on is performed by the central processing unit CPU of your computer Appendix Synthesizer Basics 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 Virtual analog synthesizers have a few other advantages over their analog counterparts they re completely programmable you can save sound settings they can be completely automated you can record and play back fader and knob movements and they are often
432. yed in other words playing a series of tied notes results in only a single envelope trigger For more information on the Glide function see Using the EXS24 mkll Pitch Parameters In Mono mode Glide is always active and the envelopes are retriggered by every note played Using Unison Mode in the EXS24 mkll In Unison mode multiple EXS24 mkll voices are played when a key is struck This enables a richer sound achieved by slightly detuning each voice This is ideal when emulating classic analog synthesizers D unison To enable monophonic unison mode Activate either Mono or Legato mode and also turn on the Unison button The intensity of the unison effect depends on the number chosen in the Voices parameter field Increase the Voices value for a fatter sound Chapter 9 EXS24 mk 179 180 The intensity of detuning voice deviation is set with the Random parameter see Using the EXS24 mklil Pitch Parameters To use the EXS24 mkll 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 Activating Poly Unison has the same effect as setting the EXS24 mkll to Mono Unison Voices 2 but you can play polyphonically Voices are equally distributed in the panorama field and are evenly detuned The Random knob value determin
433. ynthesizer were all based on tube circuitry This made these instruments relatively unwieldy and certainly volatile After the transistor became available in 1947 48 more rugged smaller and thus portable instruments were soon to come At the end of 1963 American innovator R A Bob Moog met the composer Herbert Deutsch who inspired Moog to combine a voltage controlled oscillator and amplifier module with a keyboard in 1964 the first prototype of a voltage controlled synthesizer This collaboration with the German musician prompted Moog to extend his range of modules and to combine them into entire systems It wasn t until 1967 however that Moog actually called his diverse mix and match systems synthesizers 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 Hoping to capitalize on the new sounds that synthesizers made available and match Carlos commercial success numerous studios producers and musicians acquired Moog modular synthesizers In 1969 as many as 42 employees produced two to
434. zones are automatically assigned a consecutive number Click a zone number to enter a name e 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 Press Command before the help tag appears to display the full file path in the help tag Click the arrow to open a shortcut menu that offers the following commands Load Audio Sample Opens a file selection box allowing you to select an audio file Default key command Control F Open in Sample Editor Opens the selected sample in the Logic Express Sample Editor or the sample editor chosen in the Open External Sample Editor preference Default key command Control W Reveal in Finder Shows the full path of the loaded audio file in the Finder Tip Double click the name of a sample in the Audio File gt Name column to open the audio file in the Sample Editor When no audio file is loaded the audio file selector opens Pitch fields Key determines the root note of the sample in other words the note at which the sample will sound at its original pitch Use the Coarse and Fine fields to tune the sample in semitone cent increments Volume field Adjusts the overall output level of the zone Pan field Adjusts the pan position of the zone This parameter works only when the EXS24 mkll is used in stereo Scale field Balances the level of a sample across th

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