User manual APPLE LOGIC STUDIO - INSTRUMENTS AND EFFECTS

Logic Studio Instruments and Effects Apple Inc. © 2007 Apple Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the "keyboard" Apple logo (Option-Shift-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 Inc. 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 book may be slightly different from what you see on your screen. Apple Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, Bonjour, Final Cut, Final Cut Pro, FireWire, iMovie, iPod, Jam Pack, Logic, Mac, Mac OS, Macintosh, PowerBook, QuickTime, Soundtrack, and Ultrabeat are trademarks of Apple Inc., registered in the U.S. and other countries. Finder, GarageBand, MainStage, and Safari are trademarks of Apple Inc. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. Other company and product names mentioned herein are trademarks 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. 1 Contents Preface 11 11 14 15 17 19 19 21 27 28 46 46 47 48 51 52 53 54 55 56 57 59 61 62 65 67 68 70 71 72 Introduction to the Logic Studio Plug-ins Logic Pro Effects and Instruments Soundtrack Pro Effects WaveBurner Effects MainStage Instruments and Effects Amp Modeling Bass Amp Guitar Amp Pro Delay Delay Designer Echo Sample Delay Stereo Delay Tape Delay Distortion Bitcrusher Clip Distortion Distortion Distortion II Overdrive Phase Distortion Dynamics Adaptive Limiter Compressor DeEsser Ducker Enveloper Expander Limiter Multipressor Chapter 1 Chapter 2 Chapter 3 Chapter 4 3 76 78 79 79 Chapter 5 83 84 88 88 90 91 96 97 98 99 100 103 107 116 118 120 121 121 123 125 127 128 128 129 129 133 134 135 136 136 137 138 138 140 142 Noise Gate Silver Compressor Silver Gate Surround Compressor EQ Channel EQ DJ EQ Fat EQ Linear Phase EQ Match EQ Single Band EQs Silver EQ Frequency Ranges Used With EQ Filter AutoFilter EVOC 20 Filterbank EVOC 20 TrackOscillator Fuzz-Wah Spectral Gate Soundtrack Pro Autofilter Imaging Binaural Post-Processing Plug-in Direction Mixer Stereo Spread Metering BPM Counter Correlation Meter Level Meter MultiMeter Surround MultiMeter Tuner Modulation Chorus Ensemble Flanger Microphaser Modulation Delay Phaser Ringshifter Chapter 6 Chapter 7 Chapter 8 Chapter 9 4 Contents 147 148 149 150 Chapter 10 151 151 155 156 159 160 161 162 164 167 168 169 171 174 178 180 183 184 186 188 189 191 192 193 194 195 196 197 199 199 200 201 202 202 Rotor Cabinet Scanner Vibrato Spreader Tremolo Pitch Pitch Correction Pitch Shifter II Vocal Transformer Reverb AVerb EnVerb GoldVerb PlatinumVerb SilverVerb Soundtrack Pro Reverb Convolution Reverb: Space Designer Impulse Response Parameters Global Parameters Output Parameters Envelope and EQ Display Volume Envelope Parameters Filter Parameters Synthesizer Impulse Response Parameters EQ Parameters Automating Space Designer Specialized Denoiser Enhance Timing Exciter Grooveshifter Speech Enhancer SubBass Utility Down Mixer Gain I/O Multichannel Gain Test Oscillator Chapter 11 Chapter 12 Chapter 13 Chapter 14 Contents 5 Chapter 15 205 206 206 206 207 208 209 210 215 217 219 221 223 224 224 225 225 226 227 229 230 231 232 233 234 235 237 239 241 241 248 249 250 251 254 262 270 271 EVOC 20 PolySynth Vocoder Basics What Is a Vocoder? How Does a Vocoder Work? How Does a Filter Bank Work? Using the EVOC 20 PolySynth EVOC 20 PolySynth Parameters Synthesis Parameters Sidechain Analysis Parameters Formant Filter Parameters Modulation Parameters Unvoiced/Voiced (U/V) Detection Output Parameters Block Diagram Tips for Better Speech Intelligibility Editing the Analysis and Synthesis Signals Avoiding Sonic Artifacts Achieving the Best Analysis and Synthesis Signals Vocoder History EFM1 Global Parameters Modulator and Carrier FM Parameters The Output Section MIDI Controller Assignments ES E ES M ES P ES1 The ES1 Parameters MIDI Controller List ES2 The ES2 Parameters Global Parameters Oscillator Parameters Filters Dynamic Stage (Amplifier) The Router Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 6 Contents 285 287 291 293 300 301 302 305 305 315 Chapter 22 323 324 324 326 326 327 328 329 329 330 331 332 333 335 336 337 338 340 340 347 348 349 351 352 353 355 356 357 358 358 The LFOs The Envelopes (ENV 1 to ENV 3) The Square The Vector Envelope Effect Processor Using Controls and Assigning Controllers Random Sound Variations Tutorials Sound Workshop Templates for the ES2 EVB3 MIDI Setup Playing Both Manuals and the Pedals Live Keyboard Split Transposition (Octave Range) MIDI Mode The EVB3 Parameters Drawbars Volume Tune Scanner Vibrato Percussion Preset Keys and Morphing Organ Parameters Condition Parameters Click Parameters Pitch Parameters Sustain Effects Extended Parameters MIDI Controller Assignments MIDI Mode: RK MIDI Mode: HS MIDI Mode: NI MIDI Mode: NE Additive Synthesis With Drawbars Residual Effect A Short Hammond Organ Story Tonewheel Sound Generation The Leslie Contents 7 Chapter 23 359 359 360 376 377 379 379 380 387 390 391 392 394 396 397 398 399 408 425 446 449 450 451 451 452 453 455 456 457 458 460 462 472 478 485 493 500 509 EVD6 About the EVD6 The EVD6 Parameters Controlling the EVD6 via MIDI A Brief History of the Clavinet EVP88 About the EVP88 The EVP88 Parameters Emulated Electric Piano Models EVP88 and MIDI EXS24 mkII Learning About Sampler Instruments Loading Sampler Instruments Working With Sampler Instrument Settings Managing Sampler Instruments Searching for Sampler Instruments Importing Sampler Instruments Parameters Window The Instrument Editor Setting Sampler Preferences Configuring Virtual Memory Using the VSL Performance Tool External Instrument External Instrument Parameters Using the External Instrument Klopfgeist Sculpture The Synthesis Core of Sculpture The String as a Synthesis Element Sculpture's Parameters Global Parameters String and Object Parameters Processing Parameters Post Processing Modulation Generators The Control Envelopes Morphing MIDI Controller Assignments Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 8 Contents 511 511 511 512 516 526 527 527 545 Chapter 29 553 554 555 556 557 563 581 590 603 615 616 621 621 622 623 629 651 Programming: Quick Start Guide Approaches to Programming Basics The Core Engine Creating Basic Sounds Modulations Programming: In Depth Programming Electric Basses With Sculpture Synthesized Sounds Ultrabeat The Structure of Ultrabeat Overview of Ultrabeat Loading and Saving Sounds The Assignment Section The Synthesizer Section Modulation The Step Sequencer Creating Drum Sounds in Ultrabeat GarageBand Instruments GarageBand Instrument Parameters Synthesizer Basics Analog and Subtractive What Is Synthesis? Subtractive Synthesis Chapter 30 Appendix Glossary Index Contents 9 Introduction to the Logic Studio Plug-ins The Logic Studio music and audio production suite features a comprehensive collection of powerful plug-ins. These include innovative synthesizers, high quality effect plug-ins, a powerful sampler, and authentic recreations of vintage instruments. This manual will introduce you to the individual effects and instruments--and their parameters. All plug-in parameters are discussed in detail. The instrument chapters include a number of tutorials that will help you to make the most of your new instruments. Using plug-ins is much easier if you are familiar with the basic functions of the individual applications included in Logic Studio. Information about these can be found in the respective user manuals. This manual covers all plug-ins available in the Logic Studio applications. Not all of them are available in all individual applications, however. Please refer to the following tables to see which plug-ins are available in each application. Logic Pro Effects and Instruments The following tables outline the effects and instruments included with Logic Pro. Effect category Amp Modeling Delay Included effects  Bass Amp (p. 19)  Guitar Amp Pro (p. 21)            Delay Designer (p. 28) Echo (p. 46) Sample Delay (p. 46) Stereo Delay (p. 47) Tape Delay (p. 48) Bitcrusher (p. 52) Clip Distortion (p. 53) Distortion (p. 54) Distortion II (p. 55) Overdrive (p. 56) Phase Distortion (p. 57) Distortion Preface 11 Effect category Dynamic Included effects                         Adaptive Limiter (p. 61) Compressor (p. 62) DeEsser (p. 65) Ducker (p. 67) Enveloper (p. 68) Expander (p. 70) Limiter (p. 71) Multipressor (p. 72) Noise Gate (p. 76) Silver Compressor (p. 78) Silver Gate (p. 79) Surround Compressor (p. 79) Channel EQ (p. 84) DJ EQ (p. 88) Fat EQ (p. 88) Linear Phase EQ (p. 90) Match EQ (p. 91) Single Band EQs (p. 96) Silver EQ (p. 97) AutoFilter (p. 100) EVOC 20 Filterbank (p. 103) EVOC 20 TrackOscillator (p. 107) Fuzz-Wah (p. 116) Spectral Gate (p. 118) EQ Filter Imaging  Binaural Post-Processing Plug-in (p. 121)  Direction Mixer (p. 123)  Stereo Spread (p. 125)                  BPM Counter (p. 128) Correlation Meter (p. 128) Level Meter (p. 129) MultiMeter (p. 129) Surround MultiMeter (p. 133) Tuner (p. 134) Chorus (p. 136) Ensemble (p. 136) Flanger (p. 137) Microphaser (p. 138) Modulation Delay (p. 138) Phaser (p. 140) Ringshifter (p. 142) Rotor Cabinet (p. 147) Scanner Vibrato (p. 148) Spreader (p. 149) Tremolo (p. 150) Metering Modulation Pitch  Pitch Correction (p. 151)  Pitch Shifter II (p. 155)  Vocal Transformer (p. 156) 12 Preface Introduction to the Logic Studio Plug-ins Effect category Reverb Included effects                 AVerb (p. 160) EnVerb (p. 161) GoldVerb (p. 162) PlatinumVerb (p. 164) SilverVerb (p. 167) Convolution Reverb: Space Designer (p. 169) Denoiser (p. 192) Enhance Timing (p. 193) Exciter (p. 194) Grooveshifter (p. 195) Speech Enhancer (p. 196) SubBass (p. 197) Down Mixer (p. 199) Gain (p. 200) I/O (p. 201) Test Oscillator (p. 202) Specialized Utility The following table outlines the instruments included with Logic Pro. Instrument category Synthesizer Included instruments         EFM1 (p. 229) ES E (p. 235) ES M (p. 237) ES P (p. 239) ES1 (p. 241) ES2 (p. 249) Klopfgeist (p. 453) Sculpture (p. 455) Drum synthesizer Software sampler Vocoder synthesizer Vintage instruments Ultrabeat (p. 553) EXS24 mkII (p. 391) EVOC 20 PolySynth (p. 205)  EVB3 (p. 323)  EVD6 (p. 359)  EVP88 (p. 379) External Instrument (p. 451) 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" on page 615) Utility GarageBand instruments Preface Introduction to the Logic Studio Plug-ins 13 Soundtrack Pro Effects The following table outlines the effects included with Soundtrack Pro. Note: Effects included in Soundtrack Pro do not feature the extended parameters that are covered in this document. Effect category Delay Distortion Included effects  Stereo Delay (p. 47)  Tape Delay (p. 48)                     Bitcrusher (p. 52) Clip Distortion (p. 53) Distortion (p. 54) Distortion II (p. 55) Overdrive (p. 56) Phase Distortion (p. 57) Adaptive Limiter (p. 61) Compressor (p. 62) DeEsser (p. 65) Enveloper (p. 68) Expander (p. 70) Limiter (p. 71) Multipressor (p. 72) Noise Gate (p. 76) Surround Compressor (p. 79) Channel EQ (p. 84) Fat EQ (p. 88) Linear Phase EQ (p. 90) Match EQ (p. 91) Single Band EQs (p. 96) Dynamic EQ Filter Imaging Metering  AutoFilter (p. 100)  Spectral Gate (p. 118)  Direction Mixer (p. 123)  Stereo Spread (p. 125)             Correlation Meter (p. 128) MultiMeter (p. 129) Surround MultiMeter (p. 133) Tuner (p. 134) Chorus (p. 136) Ensemble (p. 136) Flanger (p. 137) Modulation Delay (p. 138) Phaser (p. 140) Ringshifter (p. 142) Scanner Vibrato (p. 148) Tremolo (p. 150) Modulation Pitch  Pitch Shifter II (p. 155)  Vocal Transformer (p. 156) 14 Preface Introduction to the Logic Studio Plug-ins Effect category Reverb Included effects  PlatinumVerb (p. 164)  Soundtrack Pro Reverb (p. 168)  Convolution Reverb: Space Designer (p. 169)  Denoiser (p. 192)  Exciter (p. 194)  SubBass (p. 197)  Gain (p. 200)  Multichannel Gain (p. 202)  Test Oscillator (p. 202) Specialized Utility WaveBurner Effects The following table outlines the effects included with WaveBurner. Note: WaveBurner does not provide a project tempo, and therefore, does not support tempo-based effect parameters (such as sync). Effect category Amp Modeling Delay Included effects  Bass Amp (p. 19)  Guitar Amp Pro (p. 21)                            Delay Designer (p. 28) Sample Delay (p. 46) Stereo Delay (p. 47) Tape Delay (p. 48) Bitcrusher (p. 52) Clip Distortion (p. 53) Distortion (p. 54) Distortion II (p. 55) Overdrive (p. 56) Phase Distortion (p. 57) Adaptive Limiter (p. 61) Compressor (p. 62) DeEsser (p. 65) Enveloper (p. 68) Expander (p. 70) Limiter (p. 71) Multipressor (p. 72) Noise Gate (p. 76) Silver Compressor (p. 78) Silver Gate (p. 79) Channel EQ (p. 84) DJ EQ (p. 88) Fat EQ (p. 88) Linear Phase EQ (p. 90) Match EQ (p. 91) Single Band EQs (p. 96) Silver EQ (p. 97) Distortion Dynamic EQ Preface Introduction to the Logic Studio Plug-ins 15 Effect category Filter Included effects     AutoFilter (p. 100) EVOC 20 Filterbank (p. 103) Fuzz-Wah (p. 116) Spectral Gate (p. 118) Imaging Metering  Direction Mixer (p. 123)  Stereo Spread (p. 125)                 BPM Counter (p. 128) Correlation Meter (p. 128) Level Meter (p. 129) MultiMeter (p. 129) Tuner (p. 134) Chorus (p. 136) Ensemble (p. 136) Flanger (p. 137) Microphaser (p. 138) Modulation Delay (p. 138) Phaser (p. 140) Ringshifter (p. 142) Rotor Cabinet (p. 147) Scanner Vibrato (p. 148) Spreader (p. 149) Tremolo (p. 150) Modulation Pitch  Pitch Correction (p. 151)  Pitch Shifter II (p. 155)  Vocal Transformer (p. 156)           AVerb (p. 160) EnVerb (p. 161) GoldVerb (p. 162) PlatinumVerb (p. 164) SilverVerb (p. 167) Convolution Reverb: Space Designer (p. 169) Denoiser (p. 192) Exciter (p. 194) Speech Enhancer (p. 196) SubBass (p. 197) Reverb Specialized Utility Gain (p. 200) 16 Preface Introduction to the Logic Studio Plug-ins MainStage Instruments and Effects The following tables outline the effects and instruments included with MainStage. Note: MainStage is a live application, and therefore, does not include effect plug-ins that introduce a noticeable amount of latency. A further exclusion is the EXS24 mkII Instrument Editor. Effect category Amp Modeling Delay Included effects  Bass Amp (p. 19)  Guitar Amp Pro (p. 21)                               Delay Designer (p. 28) Echo (p. 46) Sample Delay (p. 46) Stereo Delay (p. 47) Tape Delay (p. 48) Bitcrusher (p. 52) Clip Distortion (p. 53) Distortion (p. 54) Distortion II (p. 55) Overdrive (p. 56) Phase Distortion (p. 57) Compressor (p. 62) DeEsser (p. 65) Ducker (p. 67) Enveloper (p. 68) Expander (p. 70) Limiter (p. 71) Multipressor (p. 72) Noise Gate (p. 76) Silver Compressor (p. 78) Silver Gate (p. 79) Channel EQ (p. 84) DJ EQ (p. 88) Fat EQ (p. 88) Single Band EQs (p. 96) Silver EQ (p. 97) AutoFilter (p. 100) EVOC 20 Filterbank (p. 103) EVOC 20 TrackOscillator (p. 107) Fuzz-Wah (p. 116) Distortion Dynamic EQ Filter Imaging Metering  Direction Mixer (p. 123)  Stereo Spread (p. 125)      BPM Counter (p. 128) Correlation Meter (p. 128) Level Meter (p. 129) MultiMeter (p. 129) Tuner (p. 134) Preface Introduction to the Logic Studio Plug-ins 17 Effect category Modulation Included effects            Chorus (p. 136) Ensemble (p. 136) Flanger (p. 137) Microphaser (p. 138) Modulation Delay (p. 138) Phaser (p. 140) Ringshifter (p. 142) Rotor Cabinet (p. 147) Scanner Vibrato (p. 148) Spreader (p. 149) Tremolo (p. 150) Pitch Reverb Pitch Shifter II (p. 155)       AVerb (p. 160) EnVerb (p. 161) GoldVerb (p. 162) PlatinumVerb (p. 164) SilverVerb (p. 167) Convolution Reverb: Space Designer (p. 169) Specialized Utility  Exciter (p. 194)  SubBass (p. 197)  Gain (p. 200)  Test Oscillator (p. 202) The following table outlines the instruments included with MainStage. Instrument category Synthesizer Included instruments         EFM1 (p. 229) ES E (p. 235) ES M (p. 237) ES P (p. 239) ES1 (p. 241) ES2 (p. 249) Klopfgeist (p. 453) Sculpture (p. 455) Drum synthesizer Software sampler Vocoder synthesizer Vintage instruments Ultrabeat (p. 553) EXS24 mkII (p. 391) EVOC 20 PolySynth (p. 205)  EVB3 (p. 323)  EVD6 (p. 359)  EVP88 (p. 379) 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" on page 615) GarageBand instruments 18 Preface Introduction to the Logic Studio Plug-ins 1 Amp Modeling 1 You can add the sound of a guitar and bass amplifier to your audio recordings and software instruments. Using a method known as component modeling, both the sound and functionality of musical instrument amplifiers, particularly those used with electric guitar and bass, can be emulated as an effect. These effects recreate the sound of both tube and solid state amplifiers, and feature a full set of controls, including pre-gain and tone controls for bass, midrange, and treble, as well as output level. They allow you to select from a variety of familiar amp models. The following sections describe the individual plug-ins included with Logic Studio.  "Bass Amp" on page 19  "Guitar Amp Pro" on page 21 Bass Amp The Bass Amp simulates the sound of several famous bass amplifiers. You can process bass guitar signals directly within Logic Pro and reproduce the sound of high-quality bass guitar amplification systems. You can also use the Bass Amp for experimental sound design. You may freely use the plug-in on other instruments, as desired--applying the sonic character of a bass amp to a vocal or drum part, for example. 19 Bass Amp Parameters  Model pop-up menu: Choose from among nine different amplifier models. The choices are: Model American Basic American Deep American Scoop Description 1970s-era American bass amp, equipped with eight 10-inch speakers. Well suited for blues and rock recordings. Based on the American Basic amp, but with strong lower-mid frequency (from 500 Hz on) emphasis. Well suited for reggae and pop recordings. Based on American Basic amp, but combines the frequency characteristics of the American Deep and American Bright, with both low mid (from 500 Hz) and upper mid (from 4.5 kHz) frequencies emphasized. Well suited for funk and fusion recordings. Based on the American Basic amp, this model massively emphasizes the upper-mids (from 4.5 kHz upwards). 1980s-era American bass amp, well suited for blues and rock recordings. Based on the New American Basic amp, this model strongly emphasizes the frequency range above 2 kHz. Well suited for rock and heavy metal. Famous DI box simulation, well suited for reggae and pop recordings. Mids, in the broad frequency range between 500 and 5000 Hz, are deemphasized. Based on the Top Class DI Warm amp, this model is well suited for funk and fusion its mid frequency range is strongest around 700 Hz. Based on the Top Class DI Warm amp, this model features a more or less linear frequency range, with no frequencies emphasized. It is suitable for blues, rock, and jazz recordings. American Bright New American Basic New American Bright Top Class DI Warm Top Class DI Deep Top Class DI Mid  Pre Gain slider: Sets the pre-amplification level of the input signal.  Bass, Mid, and Treble sliders: Adjusts the bass, mid, and treble levels. 20 Chapter 1 Amp Modeling  Mid Frequency slider: Sets the center frequency of the mid band (between 200 Hz and 3000 Hz).  Output Level slider: Sets the final output level for the Bass Amp. Guitar Amp Pro The Guitar Amp Pro can emulate the sound of a variety famous guitar amplifiers and the cabinets/speakers used with them. You can process guitar signals directly within Logic Pro, allowing you to reproduce the sound of high-quality guitar amp systems. Guitar Amp Pro can also be used for experimental sound design and processing. You can freely use the plug-in on other instruments, as desired--applying the sonic character of a guitar amp to a trumpet or vocal part, for example! Guitar Amp Pro offers a range of Amplifier, Speaker, and EQ models that can be combined in a number of ways. The EQ models are equipped with the Bass, Mid, and Treble controls typical of guitar amplifiers. Miking can be switched between two different microphone types and positions. To round out the complement of parameters, Guitar Amp Pro also integrates classic guitar effects, including Reverb, Vibrato, and Tremolo. The Guitar Amp Pro window is organized into four main sections. Amp section Effects section Microphone Position section Microphone Type section  The Amp section has parameters for choosing the Amp, Speaker, and EQ model, and a set of tone, gain, and level controls.  The Effects (FX) section is where you control the built-in guitar effects. Below the FX section is the final output control. Chapter 1 Amp Modeling 21  The Microphone Position section is where you set the position of the microphone on the speaker.  The Microphone Type section is where you choose which type of microphone captures the amp's sound. Amp Section  Amp pop-up menu: Choose the amp model you want to use. The choices are: Model UK Combo 30W UK Top 50W US Combo 40W US Hot Combo 40W US Hot Top 100W Custom 50W British Clean Description Neutral sounding amp, well suited for clean or crunchy rhythm parts. Quite aggressive in the high frequency range, well suited for classical rock sounds. Clean sounding Amp model, well suited for funk and jazz sounds. Emphasizes the high mids of the frequency range, making this model ideal for solo sounds. This Amp produces very fat sounds, even at low Master settings, than result in broad sounds with a lot of "oomph." With the Presence parameter set to 0, this Amp model is well suited for smooth fusion lead sounds. Simulates the classic British Class A combos used continuously since the 1960s for rock music, without any significant modification. This model is ideally suited for clean or crunchy rhythm parts. Emulates the sound of a British tube head, and is synonymous with rocking, powerful rhythm parts and lead guitars with a rich sustain. Emulates the traditional full tube combos used for clean and crunchy sounds. Emulates a modern Hi-Gain head, making it suitable for distorted rhythm and lead parts. Emulates a tube amp model with very low gain (distortion only when using very high input levels or Gain/Master settings). British Gain American Clean American Gain Clean Tube Amp  Speaker pop-up menu: Choose one of the 15 speaker models. The choices are: Speaker type UK 1x12 open back UK 2x12 open back UK 2x12 closed UK 4x12 closed slanted Description Classic open enclosure with one 12" speaker, neutral, well-balanced, multifunctional. Classic open enclosure with two 12" speaker, neutral, well-balanced, multifunctional. Loads of resonance in the low frequency range, therefore well suited for Combos: crunchy sounds are also possible with low Bass control settings. when used in combination with off-center miking, you will get an interesting mid frequency range; therefore this model works well when combined with High Gain amps. 22 Chapter 1 Amp Modeling Speaker type US 1x10 open back US 1x12 open back 1 US 1x12 open back 2 US 1x12 open back 3 US broad range Analog simulation UK 1x12 UK 4x12 US 1x12 open back US 1x12 bass reflex DI Box Description Not much resonance in the low frequency range. Suitable for use with (blues) harmonicas. Open enclosure of an American lead combo with a single 12" speaker. Open enclosure of an American clean/crunch combo with a single 12" speaker. Open enclosure of another American clean/crunch combo with a single 12" speaker. Cabinet simulation of a classic electric piano speaker. Internal speaker simulation of a well-known British 19" tube preamplifier. A British Class A tube open back with a single 12" speaker. Classic closed enclosure with four 12" speakers (black series), suitable for Rock. Open enclosure of an American lead combo with a single 12" speaker. Closed bass reflex cabinet with a single 12" speaker. This option allows you to bypass the speaker simulation section.  EQ pop-up menu: Choose one of the four EQ models. The choices are: British 1, British 2, American, and Modern EQ.  Amp­Speaker Link button: Links the Amp and Speaker menus so that when you change the amp model, the speaker associated with that amp is loaded automatically.  Amp­EQ Link button: Links the Amp and EQ menus so that when you change the amp model, the EQ model associated with that amp is loaded automatically. Each amp model has a speaker and EQ model associated with it. Together, the amp, speaker, and EQ combined recreate a well-known guitar sound. However, you can freely combine any speaker or EQ model with any amp by turning off the two Link buttons.  Gain knob: Sets the amount of pre-amplification applied to the input signal. This control has different effects, dependent on which Amp model is selected. For example, when using the British Clean amp model, the maximum Gain setting produces a powerful crunch sound. When using the British Gain or Modern Gain amps, the same Gain setting produces heavy distortion, suitable for lead solos.  Bass, Mids, and Treble knobs: Adjusts the frequency ranges of the EQ models, similar to the tone knobs on a hardware guitar amplifier.  Presence knob: Adjusts the high frequency range. The Presence parameter affects only the output (Master) stage of Guitar Amp Pro. Chapter 1 Amp Modeling 23  Master knob: Sets the output volume of the amplifier (going to the speaker). Typically, for tube amplifiers, increasing the Master level produces a more compressed and saturated sound, resulting in a more distorted and powerful (louder) signal. High settings can produce an extremely loud output. In Guitar Amp Pro, the Master parameter modifies the sonic character, and the final output level is set using the Output parameter below the FX section. (see below for information). Effects Section The Effects section contains Reverb, Tremolo, and Vibrato effects. You can choose either Tremolo (which modulates the amplitude or volume of the sound) or Vibrato (which modulates the pitch), and use Reverb together with either one, or separately. Before you can use or adjust an effect, you must first turn it on by clicking its On button (with a power on icon). The On button lights when the effect is turned on. The FX and Reverb On buttons are located to the left of the controls for each effect. Note: The Effects section is placed before the Master control in the signal flow, and therefore receives the preamplified (pre-Master) signal. FX Parameters  FX pop-up menu: Choose either Tremolo or Vibrato from the menu.  Depth knob: Sets the intensity of the modulation.  Speed knob: Sets the speed of the modulation (in Hz). Lower settings produce a smooth and floating sound, while higher settings produce a rotor-like effect.  Sync button: When turned on, the Speed is synchronized to the project tempo. When Sync is activate, adjusting the Speed parameter lets you select different musical note values. Set the Speed parameter to the desired value, and whichever effect you have chosen will be perfectly synchronized to the project tempo. Reverb Parameters  Reverb pop-up menu: Choose one of the three types of spring reverb.  Level knob: Sets the amount of reverb applied to the pre-amplified amp signal. Microphone Position and Microphone Type Sections After choosing a speaker from the Speaker menu, you can set the type of microphone emulated, and where the microphone is placed in relation to the speaker. Microphone Position Parameters  Centered button: When selected, places the microphone in the center of the speaker cone, also called on-axis. This placement produces a fuller, more powerful sound, suitable for blues or jazz guitar tones.  Off-Center button: When selected, places the microphone on the edge of the speaker, also referred to as off-axis. This placement produces signal a tone that is brighter and sharper, but also thinner, suitable for cutting rock or rhythm and blues guitar tones. 24 Chapter 1 Amp Modeling When you select either button, the graphic speaker display reflects the current setting. Microphone Type Parameters  Condenser button: When selected, emulates the sound of a studio condenser microphone. The sound of condenser microphones is fine, transparent, and well balanced.  Dynamic button: When selected, emulates the sound of a dynamic cardioid microphone. This microphone type sounds brighter and more cutting, compared to the Condenser model. At the same time, the lower Mids are less pronounced, making this model more suitable for miking rock guitar tones. Note: In practice, combining both microphone types can sound very interesting. Duplicate the guitar track, and insert Guitar Amp Pro as an insert effect on both tracks. Select different microphones in both Guitar Amp Pro instances, while retaining identical settings for all other parameters, and mix the track signal levels. You can, of course, choose to vary any other parameters, as desired. Output Below the Effects section is the Output slider, which serves as the final level control for Guitar Amp Pro output. The Output parameter can be thought of as a "behind the cabinet" volume control, and is used to set the level that is fed into the following plugin slots on the channel or into the channel output. Note: This parameter is distinct from the Master control, which serves a dual purpose-- for sound design, as well as controlling the level of the Amp section. Chapter 1 Amp Modeling 25 2 Delay 2 Delay effects store the input signal--and hold it for a short time--before sending it to the effect input or output. Most delays allow you to feed a percentage of the delayed signal back to the input, creating a repeating echo effect. Each subsequent repeat is a little quieter than the previous one. The delay time can often be synchronized to the project tempo by matching the grid resolution of the project, usually in note values or milliseconds. You can use delays for:  Doubling individual sounds, making it sound like a group of instruments playing the same melody.  Creating echo effects, placing the sound in a large "space."  Enhancing the stereo position of tracks in a mix. Delay effects are generally used as channel insert or bussed effects. They are rarely used on an overall mix (in an output channel), unless you're trying to achieve a special effect, such as an "other worldly" mix. This chapter describes the delay effects included with Logic Studio:  Delay Designer (see below).  Echo (see "Echo" on page 46).  Sample Delay (see "Sample Delay" on page 46).  Stereo Delay (see "Stereo Delay" on page 47).  Tape Delay (see "Tape Delay" on page 48). 27 Delay Designer Delay Designer is a multi-tap delay. Each tap is an independent delay. Unlike simple delay effects that only offer one or two delays (or taps), Delay Designer offers you up to 26 individual taps. In other words, you can think of Delay Designer as 26 separate delay processors--in one effect unit. Delay Designer provides control over the following aspects of each tap:  Level and pan position  Highpass and lowpass filters  Pitch transposition (up or down) Further effect-wide parameters include synchronization, quantization, feedback, and so on. As the name implies, Delay Designer offers significant sound design potential. You can use it for everything from a basic echo effect, through to an audio pattern sequencer. You can create complex, evolving, moving rhythms by synchronizing the placement of taps--coupled with judicious use of pitch transposing and filtering. Alternately, you can set up numerous taps as "repeats" of other taps, much as you would use the feedback control of a simple delay--but with individual control over each repeat. You can use Delay Designer on channels with mono, stereo, or surround inputs and/or outputs. See "Working With Delay Designer in Surround" for details on using it in surround channels. The Delay Designer interface consists of five main sections: Sync section Tap display Master section Tap parameter bar Tap pads 28 Chapter 2 Delay  Tap display: This blue "view screen" display features a graphic representation of all taps. You can see, and edit, the parameters of each tap in this area. See "The Tap Display" section of this chapter for a more detailed look.  Tap parameter bar: Offers a numeric overview of the current parameter settings for the selected tap. You can view and edit the parameters of each tap in this area. See "The Tap Parameter Bar" later in this chapter.  Sync section: You can set all Delay Designer synchronization and quantization parameters in this section. See "Syncing Delay Taps" for more information.  Tap pads: You can use these two pads to create taps in Delay Designer. See "Creating and Deleting Taps".  Master section: This area contains the global Mix and Feedback parameters. See "The Master Section" for details. The Tap Display You can see--and interact with--taps in the Tap display. The display is divided into a number of sections:  View buttons: Determine the parameter or parameters represented in the Tap display.  Autozoom: When engaged, the main display is zoomed out, making all taps visible. Turn Autozoom off, if you want to zoom the display (by dragging vertically on the overview display) to view specific taps.  Overview display: Shows all the taps in the time range.  Toggle buttons: Click to toggle (switch) the parameters of a particular tap. The parameter being toggled is chosen with the view buttons. The label at the left of the toggle bar always indicates the parameter being toggled. See "Using the Toggle Buttons to Edit Tap Parameters" for more information.  Main display: Offers a visual representation of each tap as a shaded line. Each tap contains a bright bar (or dot for stereo panning) that indicates the value of the parameter. You can directly edit tap parameters with the mouse in the main display area. See "Editing Taps" for more details. Chapter 2 Delay 29  Identification bar: Includes an identification letter for each tap, along with handles that allow you to move the selected tap backwards or forwards in time. The View Buttons The view buttons determine which parameter is represented in the main display.  Cutoff: When clicked, the taps in the main display will show the highpass and lowpass filter cutoff frequencies.  Reso: When clicked, the main display shows the filter resonance value of each tap.  Transp: Click to show the pitch transposition of each tap in the main display area.  Pan: Click to show the pan parameter of each tap in the main display.  For mono to stereo channels, each tap will contain a line showing its pan position.  For stereo to stereo channels, each tap will contain a dot showing its stereo balance. A line (extending outwards from the dot) indicates its stereo spread.  For surround channels, each tap will contain a line representing its surround angle (see "Working With Delay Designer in Surround" for details).  Level: Click to show the relative volume level of each tap in the main display. The Overview Display You can use the Overview display to zoom and navigate the main display area: To zoom the main display, do one of the following: m Click-hold on the highlighted section (bright rectangle) of the overview display, and drag up or down. m Click-hold on the highlighted bars--to the left or right of the bright rectangle--and drag to the left or right. 30 Chapter 2 Delay Note: The Autozoom button needs to be turned off for this to work. When you zoom in on a small group of taps, the overview display continues to show all taps. The area shown in the Tap display is indicated by the bright rectangle. To move to different sections of the Tap display: m Click-hold the bright rectangle and drag to the left or right. The zoomed view in the main display will update as you drag. Creating and Deleting Taps You can create new delay taps in three different ways: the identification bar, by using the Tap pads, or by copying existing taps. To create taps in the identification bar: m Click at the desired position. To create taps with the Tap pad: 1 Click the upper Start pad. Note: Whenever you click the Start pad, it will automatically erase all existing taps. Given this behavior, once you have created your initial taps, you will want to create subsequent taps by clicking in the identification bar. The upper pad label will change to Tap, and a red tap recording bar will appear in the strip below the view buttons. 2 Click the Tap button to record new taps on the fly. New taps are created (at the exact moments in time) of each click, adopting the rhythm of your click pattern. Chapter 2 Delay 31 3 To finish creating taps, click the Last Tap button. This adds the final tap, ending tap recording, and assigning the last tap as the feedback tap (see "The Master Section" for an explanation of the feedback tap). Note: If you do not click the Last Tap button, tap recording automatically stops after ten seconds, or when the 26th tap is created, whichever comes first. To copy taps in the identification bar: m Option-drag a selection of one or more taps to the desired position. The delay time of copied taps is set to the drag position. Tap Creation Suggestions The fastest way to create multiple taps is to use the Tap pads. If you have a specific rhythm in mind, you might find it easier to tap out your rhythm on dedicated hardware controller buttons, instead of using mouse clicks. If you have a MIDI controller, you can assign the Tap pads to buttons on your device. See the Control Surfaces Support manual for information on assigning controllers. Whenever you click the Start Tap pad, it will automatically erase all existing taps. Given this behavior, once you have created your initial taps, you will want to create subsequent taps by clicking in the identification bar. Once a tap has been created, you can freely adjust its position. See "Moving Taps" for details. Identifying Taps Taps are assigned letters--based on their order of creation. The first tap to be created is assigned as Tap A, the second tap is assigned as Tap B, and so on. Once assigned, each tap will always be identified by the same letter, even as taps are moved in time, and therefore re-ordered. As an example, if you initially create three taps, they will be named Tap A, Tap B, and Tap C. If you then change the delay time of Tap B, so that it precedes Tap A, it will still be called Tap A. The identification bar shows the letter of each visible tap. The Tap Delay field of the Tap parameter bar displays the letter of the currently selected tap, or the letter of the tap being edited when multiple taps are selected (see "Selecting Taps" for details). 32 Chapter 2 Delay Deleting Taps To delete a tap, simply select it and press the Delete or Backspace key. You can also select a tap in the identification bar and drag it down, below the Tap display. These methods also work when more than one tap is selected. Finally, you can right-click or Control-click on any tap in the Delay Designer interface, and choose the Delete All Taps command from the shortcut menu to delete all taps. Selecting Taps There will always be at least one selected tap. You can easily distinguish selected taps by color--the toggle bar icons, and identification bar letters of selected taps are white. To select a tap, do one of the following: m Click on a tap in the main display. m Click on the desired tap letter in the identification bar. Chapter 2 Delay 33 m Click the downward pointing arrow in the Tap field of the Tap parameter bar, and choose the desired tap letter from the menu. You can select the next or previous tap by clicking the arrow buttons next to the left of the Tap name. To select multiple taps, do one of the following: m Click-drag across the background of the main display to rubber band select multiple taps. m Shift-click specific taps in the Tap display to select multiple non-adjacent taps. Moving Taps You can move a tap backwards or forwards in time. Note: When you move a tap, you are actually editing its delay time. To move a tap in time: m Select the tap in the identification bar, and drag it forward in time (left) or backward in time (right). Note: Editing the Delay Time parameter in the Tap Delay field of the Tap parameter bar also moves a tap in time. See "The Tap Parameter Bar" and "Editing Taps" for more details on the Tap Delay field and editing taps. 34 Chapter 2 Delay The Tap Parameter Bar The Tap parameter bar shows the current numeric values for every parameter of the selected tap. You can directly edit these parameters in the Tap parameter bar. The parameters shown are:  Filter On/Off button: Enables or disables the highpass and lowpass filters for the selected tap.  HP ­ Cutoff ­ LP: You can view, and set, the cutoff frequencies (in Hz) for the highpass and lowpass filters here.  Slope: Determines how steep the highpass and lowpass filters will be. Click the 6 dB button for a gentler filter slope, or the 12 dB button for a steeper, more pronounced filtering effect. You cannot set the slope of the highpass and lowpass filters independently.  Reso: Sets the amount of filter resonance for both filters.  Tap Delay field: This displays both the number and name (top), and delay time (bottom) of the selected tap.  Pitch On/Off button: Enables or disables pitch transposition for the selected tap.  Transpose: Use the first field to set the amount of pitch transposition in semitones, and the second field to fine tune each semitone step in cents (1/100th of a semitone).  Flip: Swaps the left and right side of the stereo or surround image. In other words, clicking this button reverses the tap position from left to right, or vice versa. As an example, if a tap is set to 55% left, clicking the flip button will swap it to 55% right.  Pan: The Pan parameter controls the pan position for mono input signals, stereo balance for stereo input signals, and surround angle when used in surround configurations. The pan parameter displays a percentage between 100% (full left) and ­100% (full right), which represents the pan position or balance of the tap. A value of 0% represents the center panorama position. When used in surround, a surround panner replaces the percentage representation. See "Working With Delay Designer in Surround" for more information.  Spread: When a stereo to stereo or stereo to surround instance of Delay Designer is used, this parameter allows you to set the width of the stereo spread for the selected tap.  Mute: Clicking this button mutes or unmutes the selected tap.  Level: Determines the output level for the selected tap. Chapter 2 Delay 35 Editing Taps You can edit taps both graphically, using the main Tap display, and numerically, using the Tap parameter bar. All tap edits are reflected both graphically and numerically. Editing Taps in the Tap Parameter Bar You can edit every parameter in the Tap parameter bar using standard click, or clickdrag techniques. To edit a parameter in the Tap parameter bar: m Click on a button or up/down arrow to enable, disable, or alter a parameter value. m Drag a parameter value up or down to change it. If you have multiple taps selected in the Tap display, the values of all selected taps will be increased or decreased. These changes are relative to other taps. Option-clicking on a parameter resets it to the default setting. If multiple taps are selected, Option-clicking a parameter of one tap will reset that parameter to its default value for all selected taps. Editing Parameters in the Tap Display You can graphically edit any tap parameter that is represented as a vertical line in the main Tap display. To edit a tap parameter in the Tap display: 1 Click the view button of the parameter you want to edit. 2 Click-drag vertically on the bright line of the tap you wish to edit (or on one of the selected taps, if multiple taps are selected). 36 Chapter 2 Delay If you have multiple taps selected, the values of all selected taps will be increased or decreased relative to other taps. You can also set the value of multiple taps by Command-dragging horizontally and vertically across several taps in the Tap display. As you do so, the parameter value changes to match the mouse position as you drag across the taps. Put another way, Command-dragging across several taps allows you to "draw" in values, much like drawing in controllers with the Pencil tool in the Hyper Editor. You can also hold down the Command key, and click the Tap display before dragging. This will result in a line trailing behind the pointer. The values of the taps are aligned along the line when you click the Tap display again. Option-clicking a tap resets the chosen parameter to its default setting. If multiple taps are selected, Option-clicking one tap will reset that parameter to its default value for all selected taps. Chapter 2 Delay 37 Editing the Filter Cutoff Parameters in the Tap Display While the steps outlined above apply for most graphically editable parameters, the Cutoff and Pan parameters work in a slightly different fashion. In the Cutoff view, each tap actually shows two parameters--highpass and lowpass filter cutoff frequency. The filter cutoff values can be adjusted independently by dragging the specific cutoff frequency line (upper line is lowpass, lower line is highpass), or both cutoff frequencies can be adjusted by dragging between them. When the highpass filter cutoff frequency value is lower than that of the lowpass cutoff frequency, only one line is shown. This line represents the frequency band that passes through the filters (in other words, the filters act as a bandpass filter). In this configuration, the two filters operate serially, meaning the tap first passes through one filter, then the other. If the highpass filter's cutoff frequency value is above that of the lowpass filter cutoff frequency, the filter switches from serial operation to parallel operation, meaning the tap passes through both filters simultaneously. In this case, the space between the two cutoff frequencies represents the frequency band being rejected (in other words, the filters act as a band-reject filter). 38 Chapter 2 Delay Editing the Pan Parameter in the Tap Display The way that the Pan parameter is represented in the Pan view is entirely dependent on the input channel configuration of Delay Designer. In mono input/stereo output configurations, all taps are initially panned to the center. To edit the pan position, click-drag (vertically) from the center of the tap--in the direction you wish to pan the tap or taps. A white line will extend from the center in the direction you have dragged, reflecting the pan position of the tap (or taps, in multiple selections). Lines above the center position indicate panning to the left, and lines below the center position, panning to the right. With stereo input/stereo output configurations, the Pan parameter adjusts the stereo balance, not the position of the tap in the stereo field. The Pan parameter takes the form of a stereo balance dot on the tap representing its stereo balance. To adjust the balance, click-drag the stereo balance dot up or down the tap. Chapter 2 Delay 39 By default, the stereo spread is set to 100%. To adjust this, click drag on either side of the dot. As you do so, the width of the line (extending outwards from the dot) changes. Keep an eye on the spread parameter in the Tap parameter bar to view the spread percentage numerically. In surround configurations, the bright line represents the surround angle. See "Working With Delay Designer in Surround" for more information. Using the Toggle Buttons to Edit Tap Parameters Each tap has its own toggle button in the Toggle bar. These buttons offer you a quick way to graphically activate and deactivate parameters. The specific parameter being toggled by the toggle buttons depends on the current View button selection:      Cutoff view: Toggle buttons turn the filter on or off. Reso view: Toggle buttons switch filter slope between 6 dB and 12 dB. Pitch view: Toggle buttons switch pitch transposition on or off. Pan view: Toggle buttons switch between the Flip modes. Level view: Toggle buttons mute or unmute the tap. Option-Command-clicking a toggle button switches the mute state, regardless of the current view. When you release the Option and Command keys, the toggle buttons return to their standard functionality (in the active View mode). 40 Chapter 2 Delay Note: The first time you edit a filter or pitch transpose parameter, the respective module will automatically turn on. This saves you the effort of manually turning on the filter or pitch transposition module before editing. Once you manually turn either of these modules off, however, you will need to manually switch it back on. Editing Tap Parameters Using the Shortcut Menu Right-clicking or Control-clicking a tap will open a shortcut menu that contains the following commands:  Copy sound parameters: Copies all parameters--except the delay time--of the selected tap or taps into the Clipboard.  Paste sound parameters: Pastes the tap parameters stored in the Clipboard into the selected tap or taps. If there are more taps in the Clipboard than are selected in the main Tap display, the extra taps in the Clipboard are ignored.  Reset sound parameters to default values: Resets all parameters of all selected taps-- except the delay time--to the default values.  Delete all taps: Deletes all taps. Parameter Editing Suggestions In general, you'll find editing in the Tap parameter bar fast and precise when you want to edit the parameters of one tap at a time. All parameters of the selected tap are available, with no need to switch display views, or estimate values with vertical lines. If you want to edit the parameters of one tap relative to other taps, use the Tap display. Also, if you want to edit multiple taps at once, you can use the Tap display to select multiple taps and then edit them together. Don't forget Command-dragging to draw in different values for multiple taps. Syncing Delay Taps Delay Designer can either synchronize to the project tempo, or run independently. When Delay Designer is in synchronized mode (Sync mode), taps snap to a grid of musically relevant positions--based on note durations. You can also set a Swing value, when in Sync mode; this varies the precise timing of the grid, resulting in a more laid back, less robotic feel for each tap. When not in Sync mode, taps don't snap to any grid, nor can you apply the Swing value. Chapter 2 Delay 41 Activating Sync Mode Sync mode is turned on or off by clicking the Sync button in the Sync section. An orange ring is shown around the Sync button when Sync mode is on, and a grid that matches the chosen Grid parameter value is shown in the identification bar. Once Sync mode is activated, all taps will move towards the closest delay time value on the grid. When you subsequently create or move taps, they will always move in increments based on the current grid setting, or will be created at a "snapped" position on the grid. Setting the Grid Resolution The Grid menu offers several grid resolutions, which correspond to musical note durations. The grid resolution, along with the project tempo, determines the length of each grid increment. To set the grid resolution: m Click the Grid field, and choose the desired grid resolution from the pop-up menu. As you change grid resolutions, you will notice that the increments shown in the identification bar will change accordingly. This also determines a step limitation for all taps. As an example: The current project tempo is set to 120 beats per minute, and the Delay Designer Grid parameter is set to 1/16th notes. At this tempo and grid resolution, each grid increment is 125 milliseconds apart. If Tap A is currently set to 380 ms, turning on Sync mode would immediately shift Tap A to 375 ms. If you subsequently moved Tap A forward in time, it would snap to 500 ms, 625 ms, 750 ms, and so on. At a resolution of 1/8th notes, the steps are 250 milliseconds apart, so Tap A would automatically snap to the nearest division (500 ms), and could be moved to 750 ms, 1000 ms, 1250 ms, and so on. 42 Chapter 2 Delay Setting the Swing Value The Swing value determines how close to the absolute grid position every second grid increment will be. A Swing setting of 50% means that every grid increment has the same value. Settings below 50% result in every second increment being shorter in time. Settings above 50% result in every second grid increment being longer in time. To adjust the Swing value: m Click-drag up or down in the Swing field to raise or lower the Swing value. By subtly varying the grid position of every second increment (values between 45 and 55%), the swing function creates a less rigid rhythmic feel. This can be a very "humanizing" effect, but you are not limited to using the swing function in this way. Extremely high Swing settings are not subtle at all, as they place every second increment directly beside the subsequent increment. You can use this facility to create interesting and intricate double rhythms with some taps, while retaining the grid to lock other taps into a more rigid synchronization with the project tempo. Saving Sync Settings When you save a Delay Designer setting, the Sync mode status, Grid, and Swing values are all saved. When you save a setting with Sync mode on, the grid position of each tap is also stored. This ensures that a setting loaded into a project with a different tempo (to that of the project that the setting was created in), will retain the relative positions, and rhythm, of all taps--at the new tempo. One point to bear in mind, however, is that Delay Designer offers a maximum delay time of 10 seconds. This means that if you load a setting into a project with a slower tempo than the tempo at which it was created, some taps may fall outside the 10 second limit. In such cases, these taps will not be played, but will still be retained as part of the setting. Chapter 2 Delay 43 The Master Section The Master section incorporates parameters for two global functions: delay feedback and dry/wet mix. Using Feedback In simple delays, the only way for the delay to repeat is to use feedback. As Delay Designer offers 26 taps, you can use these to create repeats, rather than requiring discreet feedback controls for each tap. Delay Designer's global feedback parameter allows you to send the output of one tap back through the effect input, to create a self-sustaining rhythm or pattern. This tap is called the feedback tap. To toggle feedback on or off: m Click the Feedback button. When the Feedback button is turned on, it is lit. The orange track around the Feedback Level knob indicates the current feedback level. Note: If feedback is turned on and you begin creating taps using the Tap pads, feedback is automatically switched off. When you stop creating taps with the Tap pads by clicking the Last Tap button, feedback will automatically be turned back on. To determine the feedback tap: m Click the Feedback Tap field, and choose the desired tap from the pop-up menu. You can vary the output level of the feedback tap back into Delay Designer's input between 0% (no feedback) or 100% (the feedback tap is fed back at full volume). To set the feedback level of the feedback tap, do one of the following: m Click-drag the Feedback Level knob. m Click-drag on the Feedback Level field. 44 Chapter 2 Delay The Mix Sliders Use the Mix sliders to adjust the level of the dry input signal and the (post-processing) wet signal. Working With Delay Designer in Surround Delay Designer is optimally designed for use in surround configurations. With 26 taps, you can fly delay taps all over the surround field for some truly amazing rhythmic effects! When instantiating Delay Designer in any surround configuration, the pan percentage on the Tap parameter bar is replaced with a surround panner, allowing you to determine the surround position of each tap. The movement of the surround position is made easier with these functions:  Hold Command to lock diversity.  Hold Command-Option to lock the angle.  Option-click the blue dot to reset angle and diversity. In the Tap display's Pan view, you will only be able to adjust the angle of the tap between 0 and 360 degrees, not its diversity. Delay Designer always processes each input channel independently.  In a mono/stereo input, surround output configuration, Delay Designer processes the two stereo channels independently, and the surround panner lets you place each delay around the surround field.  In surround input, surround output configurations, Delay Designer processes each surround channel independently, and the surround panner lets you adjust the surround balance of each tap in the surround field. Note: The Delay Designer generates separate automation data for stereo pan and surround pan operations. This means that when using the Delay Designer in surround channels, it will not react to existing stereo pan automation data, and vice versa. Chapter 2 Delay 45 Echo This simple echo effect always synchronizes the delay time to the project tempo, allowing you to quickly create echo effects that run in time with your composition. Echo Parameters  Time: Sets the grid resolution of the delay time in musical note durations--based on the project tempo. "T" values represent triplets, "." values represent dotted notes.  Repeat: Determines how often the delay effect is repeated.  Color: Sets the harmonic content (color) of the delay signal.  Wet and Dry: These individually control the amount of original and effect signal. Sample Delay The Sample Delay is not so much an effect as a tool: You can use it to delay a channel by single sample values. When used in conjunction with the phase inversion capabilities of the Gain effect, the Sample Delay is well-suited to the correction of timing problems that may occur with multi-channel microphones. It can also be used creatively, to emulate stereo microphone channel separation. The stereo version of the plug-in provides separate controls for each channel, and also offers a Link L & R option that moves both channels by the same number of samples. Every sample (at a frequency of 44.1 kHz) is equivalent to the time taken for a sound wave to travel 7.76 millimeters. Looked at differently: If you delay one channel of a stereo microphone by 13 samples, this will emulate an acoustic (microphone) separation of 10 centimeters. 46 Chapter 2 Delay Stereo Delay The Stereo Delay works much like the Tape Delay (see below), but allows you to set the Delay, Feedback, and Mix parameters separately for the left and right channel. The effect also features a Crossfeed knob for each stereo side. It determines the feedback intensity--or the level at which each signal is routed to the opposite stereo side. You can freely use the Stereo Delay on mono tracks or busses, when you want to create independent delays for the two stereo sides. Note: If you do use the effect on mono channel strips, the track or bus will have two channels from the point of insertion (all Insert slots after the chosen slot will be stereo). This section only covers the additional features offered by the Stereo Delay. For more information about the parameters shared with the Tape Delay, see the Tape Delay section below.  Left Input and Right Input: Use these to choose the input signal for the two stereo sides. Options include Off, Left, Right, L+R, L-R.  Feedback Phase button: Use to invert the phase of the corresponding channel's feedback signal.  Crossfeed Left to Right and Crossfeed Right to Left: Use to transfer the feedback signal of the left channel to the right channel, and vice versa.  Crossfeed Phase buttons: Use to invert the phase of the crossfed feedback signals. Chapter 2 Delay 47 Tape Delay The Tape Delay simulates the warm sound of vintage tape echo machines, with the convenience of easy delay time synchronization to your project tempo. The Tape Delay is equipped with a highpass and lowpass filter in the feedback loop, making it easy to create authentic dub echo effects, and also includes an LFO for delay time modulation. The LFO produces a triangular wave, with adjustable speed and modulation intensity. You can use it to produce pleasant or unusual chorus effects, even on long delays.  Feedback: Determines the amount of delayed and filtered signal that is routed back to the input of the Tape Delay.  Freeze: Captures the current delay repeats and sustains them until the Freeze parameter is released.  Delay: Sets the current delay time in milliseconds (this parameter is dimmed when you synchronize the delay time to the project tempo).  Tempo: Sets the current delay time in beats per minute (this parameter is dimmed when you synchronize the delay time to the project tempo).  Sync button: Switch this on to synchronize delay repeats to the project tempo (including tempo changes).  Note buttons: Click to set the grid resolution for the delay time, in note durations.  Groove slider: Determines the proximity of every second delay repeat to the absolute grid position (how close every second delay repeat is, in other words).  Distortion Level (Extended Parameter): Determines the level of the distorted (tape saturation) signal.  Low Cut and High Cut: Frequencies below the Low Cut value, and above the High Cut value are filtered out of the source signal.  LFO Speed: Sets the frequency (speed) of the LFO.  LFO Depth: Sets the amount of LFO modulation. A value of 0 turns delay modulation off.  Flutter parameters: Simulates the speed irregularities of the tape transports used in analog tape delay units. Flutter Rate adjusts the speed, and Flutter Intensity determines how pronounced the effect is. 48 Chapter 2 Delay  Smooth: Evens out the LFO and flutter effect.  Dry and Wet: These individually control the amount of original and effect signal. Setting the Feedback When you set the Feedback slider to the lowest possible value, the Tape Delay generates a single echo. If Feedback is turned all the way up, the echoes are repeated ad infinitum. Note: The levels of the original signal and its taps (echo repeats) tend to accumulate, and may cause distortion. This is where the internal tape saturation circuit comes to the rescue--it can be used to ensure that these overdriven signals continue to sound good. Setting the Groove Value The Groove value determines the proximity (how close) of every second delay repeat to the absolute grid position. A Groove setting of 50% means that every delay will have the same delay time. Settings below 50% result in every second delay being played earlier in time. Settings above 50% result in every second delay being played later in time. When you want to create dotted note values, move the Groove slider all the way to the right (to 75%); for triplets, select the 33.33% setting. Filtering the Delay Effect You can shape the sound of the echoes, using the on-board highpass and lowpass filters. The filters are located in the feedback circuit, meaning that the filtering effect increases in intensity with each delay repeat. If you're after an increasingly "muddy" tone, move the High Cut filter slider towards the left. For ever "thinner" echoes, move the Low Cut filter slider towards the right. Note: If you're unable to hear the effect, even though you seem to have a suitable configuration, be sure to check out both the Dry/Wet controls and the filter settings: Move the High Cut filter slider to the far right, and the Low Cut filter slider to the far left. Chapter 2 Delay 49