Apple Logic Express 7 Technical Information

Logic Express 7Plug-In Reference

100 Chapter 17 ES1 Int Via VelThe upper arrow controls the upper modulation intensity setting for the modulation envelope, if you strike a key with

Chapter 17 ES1 101 VoicesThe number displayed is the maximum number of notes which can be played simultaneously. Each ES1 instance offers a maximum

18 10318 KlopfGeistKlopfGeist is an instrument that is optimized to provide a metronome click in Logic.KlopfGeist is inserted on Audio Instrument

104 Chapter 18 KlopfGeist KlopfGeist can operate as a monophonic or polyphonic (4 voice) instrument, as determined by the Trigger Mode radio button

19 10519 EXSP24This chapter introduces Logic’s EXSP24 sampler.The EXSP24 sample player offers all of the playback facilities that you would expec

106 Chapter 19 EXSP24 The EXSP24 offers numerous synthesis options, enabling you to tailor sounds to meet your needs.Last, but not least: as a hig

Chapter 19 EXSP24 107 File OrganizationFile Types and File OrganizationThe EXSP24 uses the following file types and hierarchical structures:Audio F

108 Chapter 19 EXSP24 Important: The settings that can be stored and recalled in the Plug-in window are not part of the Sampler Instrument being l

Chapter 19 EXSP24 109 When selecting a Sampler Instrument from a sub menu, a bold entry at the top of the root menu is added, to indicate the curre

1 11 1 Basics This chapter covers all important steps required for plug-in use in Logic. The steps include: • Inserting, deleting, and bypassi

110 Chapter 19 EXSP24 3 When saving any newly created or modified Sampler Instruments, ensure that you use the “Save as” function and browse to the

Chapter 19 EXSP24 111 Sample File ImportThe EXSP24 is compatible with the EXS(P)24, AKAI S1000 and S3000, SampleCell, Gigasampler, and SoundFont2 s

112 Chapter 19 EXSP24 Importing SoundFont2 FilesTo make use of this functionality, simply copy or move your SoundFont2 files into the Sampler Instr

Chapter 19 EXSP24 11 3 Note: You can store your imported Sampler Instruments in any folder on any of your computer’s hard drives. To do so, you mu

114 Chapter 19 EXSP24 Importing Giga FilesThe importation of Giga format files is as per that of SoundFont2 files. Simply copy or move your Gigasam

Chapter 19 EXSP24 11 5 This way, you can load and audition all of an AKAI CD-ROMs programs and files within Logic. Later, at your convenience, you

116 Chapter 19 EXSP24 6 Any audio files imported will be stored within a folder which matches the name of the Volume. This folder is created within

Chapter 19 EXSP24 11 7 • If converting an entire CD ROM, you can create a shortcut with the sample CD’s name—“Dance MegaSynth” for example. This ca

118 Chapter 19 EXSP24 To explain, many CD-ROMs created for AKAI samplers may feature several programs that contain single velocity layers for an in

Chapter 19 EXSP24 11 9 Vienna LibraryThe EXSP24 features an additional interface for the Vienna Symphonic Library—Performance Set. The Performance

12 Chapter 1 Basics To add a plug-in:1 Click-hold on an Audio Object’s Insert/Instrument slot. 2 The plug-in-menu appears, showing all availabl

120 Chapter 19 EXSP24 Unison ModeThis mode plays multiple EXSP24 voices when each key is triggered:• In Poly mode, two voices per note.• In Mono or

Chapter 19 EXSP24 121 • Save instrument as allows the storage of the currently opened Sampler Instrument under a different name. When invoked, a fi

122 Chapter 19 EXSP24 Hold Pedal and CrossfadesHold viaThis parameter determines the modulation source used to trigger the sustain pedal function (

Chapter 19 EXSP24 12 3 If planning to do so, however, please keep in mind the fact that all sources (except Velocity and Key) cause all velocity la

124 Chapter 19 EXSP24 Pitch Bend Up (▲)The amount of pitch bend (in semitones) that can be introduced by moving the pitch bend wheel to its maximum

Chapter 19 EXSP24 12 5 Please note that the upper half of the Pitcher slider can be set above the center position, and the lower half below the cen

126 Chapter 19 EXSP24 Highpass (HP)The Highpass Filter is a 2 pole (12 dB/Oct.) design. A Highpass filter reduces the level of frequencies that fal

Chapter 19 EXSP24 12 7 Volume and Pan ParametersLevel via VelControls the volume of the sound. The Level parameter can be modulated by velocity: t

128 Chapter 19 EXSP24 LFO ParametersLFO 1 EGThis knob allows LFO 1 to be faded out (Decay area) or faded in (Delay area). In the centered position

Chapter 19 EXSP24 12 9 LFO 2 RateThe frequency of LFO 2. It can be set in note values (left area), or in Hertz (right area). In the centered positi

Chapter 1 Basics 13 You can set all plug-in parameters in the Plug-in window. For further information please read “The Plug-in Window” on page 1

130 Chapter 19 EXSP24 You have the option of inserting another modulation source in the middle slot labeled via. In this scenario, the green triang

Chapter 19 EXSP24 131 Second Order ModulationsThe EXSP24 also allows the use of second order modulation destinations (such as envelope times, LFO s

132 Chapter 19 EXSP24 Note: Controllers 7 and 10 are marked as (not available). Logic uses these controllers for volume and pan automation of the

Chapter 19 EXSP24 133 Select the format in which the EXSP24 handles the loaded sample data via the Sample Storage parameter. When set to Original,

134 Chapter 19 EXSP24 Ignore Release VelocityThis option also refers to the Release Trigger function and should always be set to on for this purpos

Chapter 19 EXSP24 13 5 A Brief History of SamplingThe idea of an instrument that could change its sound at any time, and that could imitate any oth

136 Chapter 19 EXSP24 MIDI Controller ListCommon Mono Mode 71Voices 72Start Fixed 73Start via Vel 74Time via Key 11Attack Curve 112Pitch • Pitch Be

Chapter 19 EXSP24 137 Volume • Output Volume 67• Key Scale +/− 68Level Fixed 96Level via Vel 97Tremolo/Pan LFO 98Pan Modulation 99Tremolo 100Amp At

20 13 920 GarageBand InstrumentsGarageBand Instruments are automatically installed with Logic. You can insert them as per other software instrume

14 Chapter 1 Basics The Plug-in Window Hands-on operation of plug-ins is performed in the Plug-in window. This window allows access to all plug

140 Chapter 20 GarageBand Instruments The interface of GarageBand Instruments consists of a simple silver panel that contains a number of parameter

141GlossayrGlossaryAD converter or ADC Short for analog/digital converter; a device that converts an analog signal to a digital signal.aftertou

142 Glossary Arrange window The heart of Logic. The primary working window of the program where Audio and MIDI Regions are edited and moved to cr

Glossary 143 Audio Track Object Audio Object in the Environment’s Audio layer. Used to playback audio tracks in Logic’s Arrange window. All data

144 Glossary bit depth The number of bits a digital recording or digital device uses. The number of bits in each sample determines the theoretica

Glossary 145 CD Audio Short for Compact Disc—Audio; current standard for stereo music CDs: 44.1 kHz sampling rate and 16 bit depth.cent A tunin

146 Glossary Controls view All Logic plug-ins (and Audio Units) offer a non-graphical alternative to the Editor views of effect and instrument pa

Glossary 147 digital A description of data that is stored or transmitted as a sequence of ones and zeros. Most commonly, refers to binary data re

148 Glossary envelope The envelope is the variation that a sound exhibits over time, an envelope basically determines how a sound starts, continu

Glossary 149 float window Window with special status which always “floats” on the surface above all other windows, but can only be operated with

Chapter 1 Basics 15 When changing the Arrange track, an open Plug-in window will update to display the corresponding slot’s plug-in on the newly

150 Glossary interface 1) A hardware component such as a MIDI or audio device that allows Logic to “interface” (connect) with the outside world.

Glossary 151 loop An audio clip that contains recurring rhythmic musical elements or elements suitable for repetition. Logic also supports Apple

152 Glossary MIDI Multi mode Multi-timbral operating mode on a MIDI sound module where different sounds can be controlled polyphonically on diffe

Glossary 153 multitimbral This term describes an instrument or other device that can play different sounds at the same time, using several MIDI c

154 Glossary pan, pan position The placement of mono audio signals in the stereo field, by setting different levels on both sides.Parameter box

Glossary 155 PWM Pulse Width Modulation. Synthesizers often feature this facility, where a square waveform is deformed by adjusting it’s pulse wi

156 Glossary reverb Reverb(eration) is the sound of a space. More specifically, the reflections of soundwaves within a space. As an example, a ha

Glossary 157 send Abbreviation for auxiliary sends. An output on an audio device used for routing a controlled amount of the signal to another de

158 Glossary stereo Short for stereophonic sound reproduction of two different audio channels. Compare with mono.Sustain pedal A momentary foots

Glossary 159 Undo function Function which reverses the previous editing operation.velocity Force at which a MIDI note is struck; controlled by t

16 Chapter 1 Basics Plug-in Settings Logic’s plug-ins ship with a library of ready-to-play preset sounds, known as Settings. These Settings can

160 Glossary zoom level The amount that a window’s contents (tracks, Regions, and Objects, for example) are magnified. Zooming in to a high level

161IndexIndexAADC 141AD converter 141aftertouch 141channel 141polyphonic 141AIFF 141AKAI 141alias 141aliasing 141allpass filter 141amplifier

162 Index Bounce function 7, 22bpm 144bus 20, 144Bus Object 144bypass 13, 15, 144Ccarrier 144Catch function 144Catch button 144cent 145Cha

Index 163Modulator 84Modulator Pitch 83Modulator Wave 85pitch bend 86Randomize 82, 86Rate 83sideband 81Stereo Detune 85Sub Osc Level 85Tr

164 Index LFO parameters 128MIDI controller 136Modulation Matrix 129compatibility EXSP24 mkI 131Multiple Outputs 132Options button 120Pan par

Index 165Mmetronome click. See KlopfGeistmodifier key 152modulation 80Modulation Delay 53Anti Pitch 53Constant Mod. 53Feedback 54Flanger-C

166 Index EXSP24 mkII 105fine-tunig parameters 14Gain 72GarageBand Instrument 139GoldVerb 61High Shelving EQ 25, 48instrument 11, 19, 20Leve

Index 167synthesizer 158analog 75digital 75virtual analog 75TTape Delay 50Delay 50Feedback 50Flutter Intensity 51Flutter Rate 51Freeze 5

Chapter 1 Basics 17 Load Setting This function can be used to load a setting. The file selector box only shows settings for compatible plug-in

2 192 Instruments and EffectsThis chapter explains the difference between effect and instrument plug-ins.Instrument plug-ins respond to MIDI note

 Apple Computer, Inc.© 2004 Apple Computer, Inc. All rights reserved.Under the copyright laws, this manual may not be copied, in whole or in part,

20 Chapter 2 Instruments and Effects Bus EffectsWhen you use bus effects, a controlled amount of the signal is sent to the effect. Buses are typica

Chapter 2 Instruments and Effects 21 3 Double click the newly-created Audio Object icon, so that the (grayed out) channel strip appears. 4 Now, go

22 Chapter 2 Instruments and Effects Logic’s Bounce function allows the entire Audio Instrument track to be recorded as an audio file. This “Bounce

3 233 EqualizerThis chapter covers all Logic equalization effects. Equalizers allow you to increase or decrease the level of selected components

24 Chapter 3 Equalizer You can set the band parameters either in the parameter area or directly in the central EQ display. Move the mouse horizonta

Chapter 3 Equalizer 25 Individual EQsParametric EQThe Parametric EQ offers the following three parameters:• Hz: Center frequency• dB: Cut/Boost•

4 274 DynamicThis chapter introduces Logic’s Dynamic plug-ins.This includes the Compressor, Silver Compressor, Noise Gate, Silver Gate, Limiter,

28 Chapter 4 Dynamic Logic’s Compressor was designed to emulate the response of the finest analog compressors. It follows the following principle:

Chapter 4 Dynamic 29 When you have configured a compressor so that it dampens the signal at or above the Threshold value by the predetermined Ratio

3 1 Contents Preface 7 Introducing Logic’s Plug-ins 8 About This Manual Chapter 1 11 Basics 11 Using Plug-ins14 The Plug-in Window16 Plug-in S

30 Chapter 4 Dynamic Silver CompressorThe Silver Compressor is a simplified version of the Compressor. It is limited to Threshold, Attack, Release,

Chapter 4 Dynamic 31 The three rotary knobs (at the top) influence the dynamic response of the noise gate. If you want the gate to open extremely q

32 Chapter 4 Dynamic When you’re working with noise gates, you’ll run across scenarios where the useful signal and the noise signal have levels tha

Chapter 4 Dynamic 33 LimiterThe Limiter is also a standard effect for processing a summed stereo signal. It is normally used for mastering.You coul

34 Chapter 4 Dynamic ReleaseHere, you can set the time required by the Limiter (after limiting) to release the effect.Output LevelThis simple volum

Chapter 4 Dynamic 35 The interface of the Preset Multipressor features 12 radio buttons that allow you to choose between settings optimized for var

5 375 DistortionThis chapter introduces you to Logic’s distortion effects. This includes the Distortion, Overdrive, Bitcrusher, Clip Distortion,

38 Chapter 5 Distortion Guitar Amp offers a range of Amplifier and EQ models that can be combined in a number of ways. The EQ models are equipped w

Chapter 5 Distortion 39 DistortionThis distortion effect simulates the lo-fi dirt generated by a bipolar transistor.Move the Drive slider up to inc

4 Contents 42 Phase Distortion Chapter 6 43 Filter 43 AutoFilter46 Fuzz-Wah48 High Cut/Low Cut48 High Pass/Low Pass Filter Chapter 7 49 Delay 49 Samp

40 Chapter 5 Distortion BitcrusherBitcrusher is the ultimate digital distortion box. You can do all kinds of wild stuff with it, such as recreate t

Chapter 5 Distortion 41 Clip DistortionThe Clip Distortion plug-in is a non-linear distortion effect that produces unpredictable spectra. Beyond dr

42 Chapter 5 Distortion Phase DistortionThe Phase Distortion plug-in is based on a modulated delay line, much like the well-known chorus or flanger

6 436 FilterThis chapter covers Logic’s filter effects.The filter effects include the AutoFilter, Fuzz-Wah, Low/High Pass Filter, and Low/High Cu

44 Chapter 6 Filter The Resonance knob emphasizes the frequency range surrounding the cutoff frequency. When you turn the Resonance up sufficiently

Chapter 6 Filter 45 LFO: the wave shape used for LFO oscillation is determined by the Waveform buttons. The choices are: descending sawtooth (saw

46 Chapter 6 Filter Fuzz-WahThe Fuzz-Wah effect is the standalone plug-in version of the Logic Pro 7 EVD6’s Wah effect. Its parameters are outlined

Chapter 6 Filter 47 Warning: Please take care while doing this, or your ears and speaker system may be damaged.Relative QThe quality of the main f

48 Chapter 6 Filter AutoWah Attack/ReleaseThese parameters allow you to define how much time it takes for the Wah filter to open and close. Range (

7 497 DelayThis chapter describes Logic’s delay effects.This includes the Sample Delay, Tape Delay, and Stereo Delay plug-ins. Sample DelayThis p

Contents 5 84 Modulator and Carrier85 The Output Section Chapter 14 87 ES M 87 Parameters of the ES M Chapter 15 89 ES P 89 Parameters of the ES P Ch

50 Chapter 7 Delay Tape DelayThe Tape Delay simulates a vintage tape echo device, although with some very useful features that such old devices nev

Chapter 7 Delay 51 You can shape the sound of the echoes, using the on-board highpass and lowpass filters. Although these filters are fairly flat,

52 Chapter 7 Delay Stereo DelayThe Stereo Delay works much like the Tape Delay, which is why we’ll skip the general info, and take a closer look at

8 538 ModulationThis chapter introduces Logic’s modulation effects.This includes the Modulation Delay, Chorus, Flanger, Phaser, Tremolo, and Spre

54 Chapter 8 Modulation Set the basic delay time with the Flanger-Chorus knob. Set to the far left position, the Modulation Delay puts on its flang

Chapter 8 Modulation 55 FlangerThe Flanger works in a similar fashion to the Chorus, but with a shorter delay time, and the output signal being fed

56 Chapter 8 Modulation The modulation section offers two LFOs, featuring individually variable frequencies, and freely variable mix options (LFO M

Chapter 8 Modulation 57 TremoloThe tremolo effect is a cyclic modulation of the amplitude, resulting in periodic volume changes of. As opposed to t

9 599 ReverbThis chapter describes Logic’s reverb effects.This includes AVerb, SilverVerb, GoldVerb, and PlatinumVerbAVerbAlthough the AVerb is b

60 Chapter 9 Reverb SilverVerbThe SilverVerb algorithm is controlled by just three parameters: As its name implies, Reflectivity defines how refle

Chapter 9 Reverb 61 The Modulation Rate, Modulation Int and Modulation Phase parameters control an additional modulation delay. It consists of two

62 Chapter 9 Reverb PredelayPredelay is the amount of time that elapses between the original signal, and the arrival of the early reflections. In a

Chapter 9 Reverb 63 DensityThis parameter controls the density of the diffuse reverb. Ordinarily, you want the signal to be as dense as possible. H

64 Chapter 9 Reverb PlatinumVerbThe difference between the PlatinumVerb and the GoldVerb is the former’s enhanced Reverb section. The Early Reflect

Chapter 9 Reverb 65 In the vast majority of mixes, your best bet is to set a lower level for the low frequency reverb signal. This enables you to t

10 6710 SpecialThis chapter introduces Logic’s special plug-ins.This includes the Pitch Shifter II and Denoiser plug-ins.Pitch Shifter IIThe Pitc

68 Chapter 10 Special Note: When in doubt, Speech is a good place to start. A/B the options to compare them, and use the one that suits a given re

Chapter 10 Special 69 If the noise floor of your recording is very high (on recordings from cassette—more than −68 dB), you should be content with

7 Preface Introducing Logic’s Plug-ins The professional Logic music and audio production software features a comprehensive collection of power

11 7111 HelperThis chapter introduces you to Logic’s Helper plug-ins.This includes the Tuner, Gain, and Levelmeter plug-ins.TunerThe ET1 Tuner pl

72 Chapter 11 Helper The numeric semicircle around the top of the ET1 interface displays the amount of variance—in cents—from the original pitch. T

Chapter 11 Helper 73 ParametersThe following parameters are available in the Gain plug-in:GainThis control adjusts levels from −96 to +24 dB, in st

74 Chapter 11 Helper LevelmeterThe stereo Level Meter shows the current signal level on a logarithmic scale—using two blue bars. If the level is hi

12 7512 Synthesizer BasicsIf you are new to synthesizers, you should read this chapter.It covers important facts about the synthesizer and explai

76 Chapter 12 Synthesizer Basics Undesirable analog synthesizer phenomena, such as the habit of going completely out of tune, are not simulated by

Chapter 12 Synthesizer Basics 77 Cutoff and Resonance—Illustrated With a Sawtooth WaveThis picture shows an overview of a sawtooth wave (a = 220 Hz

78 Chapter 12 Synthesizer Basics Fourier Theorem and Harmonics“Every periodic wave can be seen as the sum of sine waves with certain wave lengths a

Chapter 12 Synthesizer Basics 79 Other Oscillator WaveformsWaveforms (waves) are named sawtooth, square, pulse, or triangular because of their shap

8 Preface Introducing Logic’s Plug-ins Logic’s plug-ins include the following features: • Real-time processing of audio. • Support for sample ra

80 Chapter 12 Synthesizer Basics When you strike a key, the envelope travels from zero to it’s maximum level in the attack time, falls from this ma

13 8113 EFM 1The 16-voice polyphonic EFM 1 is a powerful synthesizer based on frequency modulation. It produces the typically rich bell and digit

82 Chapter 13 EFM 1 Global ParametersTransposeThe base pitch is set with the Transpose parameter. You can transpose the EFM 1 by ±2 octaves. TuneTu

Chapter 13 EFM 1 83 Modulation Env(elope)To control the FM (Intensity) parameter dynamically, the EFM 1 provides a dedicated ADSR (FM) Modulation E

84 Chapter 13 EFM 1 Modulator and CarrierHarmonicIn FM synthesis, the basic overtone structure is determined by the tuning relationship of the Modu

Chapter 13 EFM 1 85 Modulator WaveIn classic FM synthesis, sine waves are use as Modulator and Carrier waveforms. To extend its sonic capabilities,

86 Chapter 13 EFM 1 Main LevelThe Main Level control adjusts the overall output level of the EFM 1. Turning it clock-wise makes the EFM 1 output lo

14 8714 ES MThis chapter introduces you to Logic’s ES M synthesizer. The monophonic ES M (ES Mono) is a good starting point if you’re looking for

88 Chapter 14 ES M ResonanceThis parameter sets the resonance of the dynamic lowpass filter. Increasing the Resonance value results in a rejection

15 8915 ES PThis chapter introduces you to Logic’s eight-voice polyphonic ES P (ES Poly) synthesizer. Functionally, (despite its velocity sensiti

Preface Introducing Logic’s Plug-ins 9 Conventions of This Guide… Before moving on to the Basics section, we’d like to cover the following conv

90 Chapter 15 ES P Vib/WahThe ES P features an LFO which can either modulate the frequency of the oscillators (resulting in a vibrato), or the cuto

Chapter 15 ES P 91 S The S slider determines the sustain level of the envelope generator.RThe R slider determines the release time of the envelope

16 9316 ES EThis chapter introduces Logic’s eight-voice polyphonic ES E synthesizer. The ES E (ES Ensemble) is designed for pad and ensemble soun

94 Chapter 16 ES E SpeedSpeed controls the frequency of the pitch (sawtooth) or pulse width modulation.CutoffThis parameter sets the cutoff frequen

17 9517 ES1This chapter introduces Logic’s virtual analog ES1 synthesizer.The ES1’s flexible tone generation system and interesting modulation op

96 Chapter 17 ES1 2', 4', 8', 16', 32'These footage values allow you to switch the pitch in octaves. 32 feet is the lowest

Chapter 17 ES1 97 Cutoff and ResonanceThe Cutoff parameter controls the cutoff frequency of the ES1’s lowpass filter. Resonance emphasizes the port

98 Chapter 17 ES1 Level Via VelThe upper arrow works like a main volume control for the synthesizer. The greater the distance from the lower arrow

Chapter 17 ES1 99 Rate This defines the speed (frequency) of modulation. If you set values to the left of zero, the LFO phase is locked to the temp