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. 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.
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
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. 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).

Using the Fuzz-Wah

The following sections cover various aspects of the Fuzz-Wah parameters. Setting the Wah Level With Auto Gain The wah effect can cause the output level to vary widely. Turning Auto Gain on compensates for this tendency, and keeps the output signal within a more stable range. To hear the difference Auto Gain can make: 1 Switch Auto Gain to on. 2 Raise the effect level to a value just below the mixers clipping limit. 3 Make a sweep with a high relative Q setting. 4 Switch Auto Gain to off, and repeat the sweep. Warning: Please take care while doing this, or your ears and speaker system may be damaged. AutoWah Depth In addition to using MIDI foot pedals (see above), the wah effect can be controlled using the Auto Wah facility. The sensitivity of the Auto Wah can be set with the Depth parameter. Range: 0.00 to 100. Relative Q The quality of the main filter peak can be increased/decreased, relative to the model setting, thereby obtaining a sharper/softer wah sweep. When set to a value of 0, the original setting of the model is active. Range: 1.00 to +1.00 (0.00 is the default) Setting the Pedal Range Common MIDI foot pedals have a much larger mechanical range than most classic Wah pedals. The exact sweep range of the wah filter effected by the MIDI foot pedal is set with the Pedal Range parameters. The highest and lowest possible value reached by the pedal is graphically represented by a gray bracket around the Pedal Position fader (represents the current position of the Wah pedal). The left and right limit is set by clicking and moving it with the mouse. Both values can be moved simultaneously by clicking in the center of the bracket and moving it to the left or right.

Spectral Gate

The Spectral Gate separates the signal above and below the Threshold level into two independent frequency rangesthat you can modulate separately. It can produce some unusual and rich filtering effects.

Spectral Gate Parameters

Threshold slider and field: Sets the threshold level at which the frequency band defined by the Center Freq. and Bandwidth parameters is divided into upper and lower frequency ranges. Speed slider and field: Sets the modulation frequency for the defined frequency band. CF (Center Frequency) Modulation slider and field: Sets the intensity of center frequency modulation. BW (Band Width) Modulation slider and field: Sets the amount of bandwidth modulation. Graphic display: Shows the frequency band defined by the Center Freq. and Bandwidth parameters. Center Freq. (Frequency) knob and field: Sets the center frequency of the frequency band to be processed by the Spectral Gate. Bandwidth knob and field: Sets the bandwidth of the frequency band to be processed by the Spectral Gate. Low Level slider and field: Blends the frequencies of the original signal below the selected frequency band with the processed signal. Super Energy knob and field: Controls the level of the frequency range above the threshold. Sub Energy and field: Controls the level of the frequency range below the threshold. High Level slider and field: Blends the frequencies of the original signal above the selected frequency band with the processed signal. Gain slider and field: Adjusts the amount of gain for the final output signal.

Frequency control: Sets the frequency of the sine oscillator. Lin(ear) and Exp(onential) buttons: Use these buttons to switch the scaling of the Frequency control: The exponential scaling offers extremely small increments around the 0 point, which is useful for programming slow moving phasing and tremolo effects. In the Lin(ear) mode, the resolution of the scale is even across the entire control range. Env Follower slider and field: Use to determine how much the oscillator is modulated by the level of the input signal. LFO slider and field: Use to determine the amount of oscillator modulation by the LFO.
The effect signal is routed through a delay, following the oscillator.
Time knob and field: Sets the delay time. Sync button: Turn this on to synchronize the delay to your project tempo, in musical note values. Level knob and field: Sets the level of the delay added to the ring modulated or frequency shifted signal. A Level value of 0 passes the effect signal directly to the output (bypass).
Feedback knob and field: Sets the amount of the signal that is routed back to the effect input. Stereo Width knob and field: Determines the breadth of the effect signal in the stereo field. Stereo Width only affects the effect signal of the Ringshifter, not the dry input signal. Dry/Wet knob and field: Set the mix ratio of the dry input signal and the wet effect signal. Env Follower slider and field: Use to determine how much the Dry/Wet parameter is modulated by the level of the input signal. LFO slider and field: Sets the modulation depth of the Dry/Wet parameter by the LFO. Setting the Feedback Feedback gives the Ringshifter sound an additional edge, and is useful for a variety of special effects. It produces a rich phasing sound when used in combination with a slow oscillator sweep. Comb filtering effects are created by using high Feedback settings with a short delay time (< 10 ms). Using longer delay times, in conjunction with Feedback, creates spiralling, continuously rising and falling frequency shift effects.

Modulation Sources

The oscillator Frequency and Dry/Wet parameters can be modulated via the internal envelope follower and LFO. The oscillator frequency even allows modulation through the 0 Hz point, thus changing the oscillation direction. Envelope Follower The envelope follower analyzes the amplitude (volume) of the input signal and uses this to create a continuously changing control signala dynamic volume envelope of the input signal. This control signal can be used for modulation purposes.

Initial Delay: Sets the time between the original signal and the diffuse reverb tail. Spread: Controls the stereo image of the reverb. At 0%, the effect generates a monaural reverb. At 200%, the stereo base is artificially expanded. Crossover: Defines the frequency at which the input signal is split into two frequency bands, for separate processing. Low Ratio: Determines the reverb time of the bass band in relation to the reverb time of the high band. It is expressed as a percentage, ranging from 0 to 200%. Low Freq Level: Sets the level of the bass reverb. At 0 dB, the volume of the two bands is equal. High Cut: Frequencies above the set value are filtered from the reverb signal. Density: Controls the density of the diffuse reverb tail. Diffusion: Sets the diffusion of the reverb tail. Reverb Time: Determines the reverb time of the high band.

Output Parameters

Dry: Controls the amount of the original signal. Wet: Controls the amount of the effect signal.
In practice, too short a Predelay tends to make it difficult to pinpoint the position of the signal. It can also color the sound of the original signal. On the other hand, too long a Predelay can be perceived as an unnatural echo. It can also divorce the original signal from its early reflections, which leaves an audible gap. The optimum Predelay setting depends on the type (or envelope) of signal. Percussive signals generally require shorter predelays than signals where the attack fades in gradually. A good practice is to use the longest Predelay possible before you start to hear undesirable side effects, such as an audible echo.
If youre going for a natural-sounding, harmonic reverb, the transition between the early reflections and the reverb tail should be as smooth and seamless as possible. Set the Initial Delay so that it is as long as possible, without a noticeable gap between the early reflections and the reverb tail.
Setting the Reverb Time and Level of the Low Frequency Band
You can use the Low Ratio control to offset the reverb time of the low frequency band. At 100%, the reverb times for the two bands are identical. At lower values, the reverb time of the frequencies below the crossover frequency is shorter. At values greater than 100%, the reverb time for low frequencies is longer. Both of these phenomena occur in nature. In most mixes, a shorter reverb time for bass frequencies is preferable. As an example, if youre using the PlatinumVerb on a kick and snare drum loop, a short reverb time for the kick drum allows you to set a substantially higher wet signal.
The Low Freq Level slider allows you to boost or attenuate the level of the low frequency band. 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 turn up the level of the bass instrumentmaking it sound punchier. This also helps to counter bottom-end masking effects.

Chapter 18 ES P

This chapter introduces the virtual analog ES1 synthesizer.
The ES1s flexible tone generation system and interesting modulation options place an entire palette of analog sounds at your disposal: punchy basses, atmospheric pads, biting leads, and sharp percussion.

The ES1 Parameters

2', 4', 8', 16', 32' Buttons
These footage values allow you to switch the pitch in octaves. 32 feet is the lowest, and 2 feet, the highest setting. The origin of the term feet to measure octaves, comes from the measurements of organ pipe lengths.
Wave allows you to select the waveform of the oscillator, which is responsible for the basic tone color. You can freely set any pulse width in-between the square wave and pulse wave symbols. The pulse width can also be modulated in the modulation section (see the Router section, on page 192). Modulating the pulse width with a slowly cycling LFO, for example, allows periodically mutating, fat bass sounds.
The sub oscillator delivers square waves (one and two octaves below the frequency of the main oscillator), as well as a pulse wave (two octaves below the frequency of the main oscillator). In addition to pure square waves, the waveform switch allows selections between different mixes, and phase relationships of these waves, resulting in different sounds. You can also use white noise, or switch the sub oscillator OFF. You can feed a Side Chain signal (from any track) into the synths filter (select EXT). You can select the Side Chain source track from the Side Chain menu at the top of the plug-in window.
This slider defines the mix relationship between the main and sub oscillator signals. When the sub oscillator wave is switched to OFF, its output is completely removed from the mix.
Tip: High resonance values allow the filter to self-oscillate, which can be useful if you want to use the filter like an oscillator.

Chapter 19 ES1

Filter Parameters
This section outlines the filter parameters available to the ES1. Drive This is an input level control for the lowpass filter, which allows you to overdrive the filter. Its use changes the behavior of the Resonance parameter, and the waveform may sound distorted. Cutoff and Resonance The Cutoff parameter controls the cutoff frequency of the ES1s lowpass filter. Resonance emphasizes the portions of the signal which surround the frequency defined by the Cutoff parameter. This emphasis can be set so intensively, that the filter begins to oscillate by itself. When driven to self-oscillation, the filter outputs a sine oscillation (a sine wave). If key is set to 1, you can play the filter chromatically from a MIDI keyboard. There is another way to set the cutoff frequency: Click-hold on the word Filter (surrounded by the slope selectors), and move the mouse vertically to adjust the cutoff frequency. Moving the mouse horizontally adjusts the resonance. Slope Buttons The lowpass filter offers four different slopes of band rejection above the cutoff frequency. The 24 dB classic setting mimics the behavior of a Moog-style filter: turning up the resonance results in a reduction of the low-end of the signal. The 24 dB fat setting compensates for this reduction in low frequency content. Turning up resonance doesnt diminish the low-end of the signal, and thus resembles an Oberheim-style filter. 18 dB tends to resemble the filter sound of Rolands TB-303. The 12 dB setting provides a soft, smooth sound which is reminiscent of the early Oberheim SEM.

This section covers the ES2 filter parameters in detail. Cutoff and Resonance With every lowpass filter (in the ES2: Lo mode for Filter 1 and all of Filter 2s modes), all frequency portions above the Cutoff Frequency (Cut) are suppressed, or cut off, hence the name. The Cutoff Frequency controls the brilliance of the signal. The higher the Cutoff Frequency is set, the higher the frequencies of signals that are allowed to pass through the lowpass filter.
Note: The dynamic lowpass filter is the most essential module in any subtractive synthesizer. This is why Filter 2 always operates in lowpass mode. Resonance (Res) emphasizes the portions of the signal which surround the frequency defined by the Cutoff Frequency value. This emphasis can be set so intensively in Filter 2, that the filter begins to oscillate by itself. When driven to self-oscillation, the filter outputs a sine oscillation (sine wave). This self-oscillation can be supported by the Filter Reset parameter. See Flt Reset on page 215 for details.
Tip: If you are new to synthesizers, experiment with a simple saw wave, using Oscillator 1, and Filter 2 (lowpass filter, Filter Blend = +1) on its own. Experiment with the Cutoff Frequency and Resonance parameters. Youll quickly learn how to emulate a number of recognizable sounds, and will pick up the basic principles of subtractive synthesis intuitively. The Chain Symbols Manipulating the Cutoff and Resonance controls in real time is one of the key ingredients in the creation of expressive synthesizer sounds. Youll be pleased to know that you can control two filter parameters at once by dragging on one of the three little chain symbols in the filter graphic. The chain between Cut and Res of Filter1 controls Resonance (horizontal mouse movements) and Cutoff (vertical mouse movements) of the first filter simultaneously. The chain between Cut and Res of Filter2 controls Resonance (horizontal mouse movements) and Cutoff (vertical mouse movements) of the second filter simultaneously. The chain between Filter1s Cut and Filter2s Cut controls Cutoff (vertical mouse movements) of the first filter, and Cutoff (horizontal mouse movements) of the second filter simultaneously. Flt Reset If you increase the filters Resonance parameter to higher values, it will begin to internally feed back and will start to self-resonate. This resonance results in a sine oscillation (a sine wave), which you may be familiar with, if youve used subtractive synthesizers before.

In order to start this type of oscillation, the filter requires a trigger. In an analog synthesizer, this trigger may be the noise floor or the oscillator output. In the digital domain of the ES2, noise is all but eliminated. As such, when the oscillators are muted, there is no input signal routed to the filter. When the Filter Reset button is engaged, however, each note starts with a trigger that makes the filter resonate immediately. The Filter Reset button is located in the upper right corner of the ES2 interface.
Filter Slope A filter can not completely suppress the signal portion outside the frequency range defined by the Cutoff Frequency parameter. The slope of the filter curve expresses the amount of rejection applied by the filter (beneath the cutoff frequency) in dB per octave.
Filter 2 offers three different slopes: 12 dB, 18 dB and 24 dB per octave. Put another way, the steeper the curve, the more severely the level of signals below the cutoff frequency are affected in each octave. Fat Increasing the Resonance value results in a rejection of bass (low frequency energy) when using lowpass filters. The Fat button (located below the filter slope buttons) compensates for this side-effect, delivering a richer sound. Filter Mode (Lo, Hi, Peak, BR, BP) Filter 1 can operate in several modes, allowing the filtering (cutting away) and/or emphasis of specific frequency bands.
A lowpass filter allows frequencies that fall below the cutoff frequency to pass. When set to Lo, the filter operates as a lowpass filter. The slope of Filter 1 is 12 dB/octave in Lo mode. A highpass filter 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 12 dB/octave in Hi mode. In Peak mode, Filter 1 works as a Peak Type Filter. This allows for a level increase in a frequency band, the width of which is controlled by the Resonance parameter. The abbreviation BR stands for band rejection. In this mode, the frequency band (a range of adjacent frequencies) directly surrounding the cutoff frequency is rejected, whilst the frequencies outside this band can pass. The Resonance parameter controls the width of the rejected frequency band.
The abbreviation BP stands for bandpass. In this mode, only the frequency band directly surrounding the cutoff frequency can pass. All other frequencies are cut. The Resonance parameter controls the width of the frequency band that can pass. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the band.

So set up Envelope 1s Decay time for this short push, moving the wave selectors for all Oscillators on the attack. ( actually it makes no sense on the synced sawtooth Oscillator, No. 2it just works this way ) So you can vary the punchiness of the content between: Envelope 1s contribution to the overall attack noise, changing decay speed (a slow one gives you a peak, a long one gives you a growl, as it is reading a couple of waves from the wavetable). Modulation destination: you can always assign this to each of the Oscillators separately. Start point (you vary the wave window start with minimum/maximum control of EG1/Osc.waves modulation: negative values for a start wave before the selected wave, positive starts from a position behind the selected wave and rolls the table back) Feel free to experiment with this wavetable-driving trick. The growl effect works pretty 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 (and dont worry, theres enough punch left). For playing purposes, youll find that LFO 2 is used as a real time source for vibrato. It is assigned to the mod wheel and pressure. Dont 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 dont strike keys like a piano player would with a weighted-action punch. As such, you should play this patch softly, or you may find that the slap tends to sweep a little. Alternately, you can adjust the sensitivity of the filter modulations velocity value to match your personal touch. Also feel free to increase the Voices to maximum; six strings should be enough for a guitar, but for held or sustained notes, a few extra voices may come in handy.
The Big Twirl, Basically (Wheelrocker)
This quite ordinary organ patch doesnt hold any deep, high-end sound design secrets: it is just a combination of three oscillatorswith mixed wave levels. Youll probably find a different combination, which more closely matches your vision of what an organ sounds like. Check out the Digiwaves. Focus your attention on the mod wheels response: hold a chord, and bring the wheel in by moving it slowly upwards, 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 jobs: Modulation 1 (Cutoff 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 playing in the higher keyboard range (with the maximum value). Modulation 2 and 3 (Pitch 2/Pitch 3) bring in LFO 1 vibrato, and both Oscillators are modulated out of phase. Modulation 5 reduces the overall volumeaccording to personal taste, the organs level shouldnt increase too drastically when all modulations are moved to their respective maximums. Modulations 6 and 7 (Pitch 2/Pitch 3) 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 modulations 2 and 3; Oscillator 1 remains at a stable pitch. Modulation 8 brings in LFO1 as a modulator for panorama movementthis patch changes from mono to stereo. If you would 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. Modulation 9 speeds up LFO 2s modulation frequency. Modulation 10: A little Cutoff was added to Filter 1, increasing the intensity of the big twirl. Please feel free to find your own values. While doing so, keep in mind the fact that there are two modulation couples, which should only be changed symmetrically (Mod. 2 and 3 work as a pair of twins, and also Mod. 6 and 7). So, if you change Pitch 2s maximum to a lower minus value, remember to set Pitch 3s maximum value to the same positive amount (same goes for modulation pair 6 and 7).

Please note that the 2 octaves of remote keys will no longer trigger the instrument they are used exclusively for semitone tuning.
Glide The effect of this slider depends on the setting of the Pitcher slider: When Pitcher is centered, Glide determines the time it takes for the pitch to slide from one note to another (called portamento). When the Pitcher parameter is set to a value above its centered value, Glide determines the time it takes for the pitch to glide down from this higher value back to its normal value. When Pitcher is set to a value below the centered value, the pitch glides from this lower setting back up to the normal value.
Pitcher The Pitcher slider works in conjunction with the Glide slider: When the Pitcher is centered (which can be set by clicking the small Port(amento) button), Glide determines the portamento time. When Pitcher is set to a higher or lower value, a pitch envelope is activated. In this scenario, Glide determines the time it takes for the pitch to glide from the higher/lower Pitcher setting back to the original value. The Pitcher parameter can be modulated by velocity: the upper half of the slider determines the setting for maximum velocity, the lower half for minimum velocity. By clicking and dragging in the area between the two slider segments you can move both simultaneously. Please note that the upper half of the Pitcher slider can be set above the center position, and the lower half below the center position. When the Pitcher sliders are set in this fashion, lower velocity values cause the pitch to rise from the lower setting back to the original note pitch, while higher values cause it to fall from the higher setting back to the original value. In other words: the polarity of the pitch envelope can be changed according to velocity values.
When both halves of the pitcher slider are set below or above the centered position, either a low or high velocity will slide up/down to the original pitch. Dependent on the position of the upper/lower halves of the slider in relation to the center position, the time required for the slide up/down to the original note pitch can be adjusted independently for both soft/hard velocities.
These parameters control the EXS24 mkII filter section. You can configure the type of filter, its resonance, cutoff frequency, drive, and amount of key following, and adjust its ADSR (Attack Decay Sustain Release) envelope.
Filter On/Off Button This button switches the filter section on or off. Please note that the knobs and buttons in the silver panel area and the filter envelope are only active when the filter is turned on. When the filter section is turned off, the EXS24 mkII is far less CPU-intensive. Lowpass (LP) Click any of the four buttons under the LP label to engage the desired lowpass slope. The orange line above the button indicates the selected lowpass slope. You can select among four different settings for the lowpass filters cutoff steepness: 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 sweep effects, such as cutting off all but a few notes, or for the creation of ultradeep bass sounds with just the necessary amount of overtones. The slope setting of 6 dB per octave is very useful in cases where you want a slightly warmer sound, without drastic filter effectsto smooth overly bright samples, for example. Fat (Fatness) Click the Fat button to engage the fatness feature. The fatness feature is separate from the slope setting, and can be used with all available slope values. Fatness preserves the bass frequency response, even when high Resonance settings are used. Please note that this only applies to lowpass filters. Fatness is non-functional when used in conjunction with the highpass or bandpass filters.

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 called drum voices in Ultrabeatare optimized for the generation of drum and percussion sounds. The distribution of drum voices across the MIDI keyboard is simple and easily explained: the first (starting from the bottom) 24 MIDI keys are each assigned a single drum voice. The 25th drum voice is an exception, and can be played chromatically.
25th drum voice can be played chromatically

Drum voice 1 to 24

You can compare Ultrabeat to a drum machine that features 24 drum pads plus a builtin keyboard. Ultrabeats 24 drum pads are assigned to the first 24 keys of a standard MIDI keyboard (corresponding to MIDI notes C1-B2). This MIDI note mapping is compatible with the Roland GM Drum MIDI note mapping. The chromatic keyboard for the 25th synthesizer begins (lowest note in the range) at C3. Note: If your MIDI keyboard is not large enough or does not support octave shifting to play Ultrabeats lower or upper octaves, you can use the Transpose parameter in the Logic Express Inspector to shift incoming MIDI notes. For the sake of simplicity (and to stay with the drum machine analogy), this manual refers to the independent synthesizers (drum voices) as sounds which, combined, form an Ultrabeat drum kit.

Chapter 24 Ultrabeat

Overview of Ultrabeat
Ultrabeats user interface is divided into three functional sections.

Synthesizer section

Assignment section

Step sequencer

Assignment section: Displays all drum sounds of a drum kit, allowing you to select, rename, and organize them. It also includes a small mixer, which you can use to adjust each sounds volume and pan position. Synthesizer section: The majority of Ultrabeats user interface is dedicated to creating and shaping individual drum sounds; in short, Ultrabeats synthesizer. The parameters of the drum sound selected in the Assignment section are displayed in this Synthesizer section. Step sequencer: Here you can 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 total sequences of all 25 sounds. You can use the step sequencer in place of, or in addition to, MIDI notes entering Ultrabeat (from Logic Express) to control sounds. The step sequencer is described more fully in The Step Sequencer section, on page 382.

Creating Snare Drums

The sound of an acoustic snare drum primarily consists 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: 1 Load the Standard Tutorial setting. Deactivate Oscillator 1, and switch Oscillator 2 on (in phase oscillator mode). 2 To get rid of the sine wave (which is not especially desirable for a snare sound, in contrast to the bass drum), modulate Osc 2 Pitch with a rapidly vibrating LFO with a medium Ramp Decay value. To accomplish this, choose LFO 1 in the Mod menu of Osc 2 Pitch. The pitch value for Osc 2 Pitch should be around G#2 and the Mod amount (the blue Mod control) should be about 3 to 4 octaves higher. 3 Set LFO 1 to a high Rate. Choose a value of 20 for Cycles and 20 for Ramp. The LFO Waveform parameter should be set to a value of about 0.58, which is a square wave. 4 Use Env 1 to control the volume of Oscillator 2 by setting Vol to the lowest possible value (60 dB), choosing Env 1 in the Mod menu and adjusting the modulation intensity to a point just below its maximum value. The screenshot shows the settings of Oscillator 2 and Env 1 described in steps 2 and 3.
5 Experiment with different Slope and Asym values to impart a more or less electronic character on the sound. 6 Turn on the noise generator and control its volume with the same quick envelope used in Osc 2 Volume. 7 Use the filter parameters of the noise generator to either roughen up, refine, or add bright frequencies to the noise component of the snare drum sound. Select a LP filter type, and try a filter frequency between 0.60 and 0.90. Modulate it with LFO 1 that youre already using to control the pitch of Oscillator 2. Note: The snare drum sound is called 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 thats about an octave lower than Oscillator 2. Consciously avoid even intervals between the oscillators and detune them slightly from each other. As an 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 its Pitch slider. 3 Experiment with FM Amount, and add more tone (low FM Amount value) or noise (more FM Amount) as desired. Also try modulating the FM Amount with a fast LFO. Note: An exemplary snare drum sound that makes use of FM can be found in the Tutorial Kit at a pitch of F1. It is called 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, a Cutoff value of about 0.60. The 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. To clone the 808 snare sound: 1 Load the Standard Tutorial setting. 2 Replicate the resonating filters of the 808 snare by two cleverly programmed phase oscillators: Assign slightly different Slope values to them, and detune them by almost an octave. The tonal relationship between the oscillators should also be uneven herefrom E3 to F2, for example. 3 Control the volume of each oscillator with a different envelope. The envelope for the lower tuned oscillator should have a longer decay time than the very snappy envelope setting for the higher oscillator. 4 Feed the output of both oscillators into Ultrabeats 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 very cleverly emulated both of the 808s resonating filters. Shifting the pitch of both oscillators simulates the behavior of the 808s Tone control by the way.

The picture below shows a sawtooth wave with the filter half closed (24 dB/Fat). The effect of the filter is somewhat like a graphic equalizer, with a fader set to a given cutoff frequency (the highest frequency being fed through) pulled all the way down (full rejection), so that the highs are damped. With this setting, the edges of the sawtooth wave are rounded, making it resemble a sine wave.
The wave length here is not really higher, but the zoom setting is.
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 relations (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 partial tones. This is comprised of the basic fundamental tone and its harmonics (overtones). As an example: The basic oscillation (the first partial tone) is an A at 220 Hz. The second partial has double the frequency (440 Hz), the third one oscillates three times as fast (660 Hz), the next ones 4 and 5 times as fast, and so on. You can emphasize the partials around the cutoff frequency by using high resonance values. The picture below shows an ES1 sawtooth wave with a high resonance setting, and the cutoff frequency set to around 60%. This tone sounds an octave and a fifth higher than the basic tone. Its apparent that exactly three cycles of the strongly emphasized overtone fit into one cycle of the basic wave:
The effect of the resonating filter is comparable to a graphic equalizer with all faders higher than 660 Hz pulled all the way down, but with only 660 Hz (Cutoff Frequency) pushed to its maximum position (resonance). The faders for frequencies below 660 Hz remain in the middle (0 dB). If you switch off the oscillator signal, a maximum resonance setting results in the selfoscillation of the filter. It will then generate a sine wave.
Other Oscillator Waveforms

Digital Full Scale See DFS. disclosure triangle A small triangle you click to show or hide details in the user interface. distortion The effect that occurs when the limit of what can be accurately reproduced in a digital signal is surpassed, resulting in a sharp, crackling sound. drag & drop Grabbing objects with the mouse, moving them, and releasing the mouse button. driver Drivers are software programs that enable various pieces of hardware and software to be recognized by computer applications. If the proper driver is not correctly installed for your audio hardware, your computer may not recognize or work properly with it. See Devices tab. DSP (digital signal processing) The mathematical processing of digital information to modify a signal. An example is the Insert slot of Logic Express channel strips, which assigns DSP effects such as dynamic compression and delay to a channel signal. Even simple operations such as changing volume and pan are DSP calculations. dynamics Refers to changes in volume, or other aspects of a piece of music, over time. dynamic range The dynamic range is the difference in level between the highest signal peak that can be reproduced by an audio system (or device in the system) and the amplitude of the highest spectral component of the noise floor. Put another way, the dynamic range is the difference between the loudest and softest signals that the system can reproduce. It is measured in decibels (dB). See decibels. Editor view Almost all Logic Express plug-ins (and Audio Units) offer a graphical view of effect and instrument parameters. The Editor view is the default, but can be accessed via the Editor item in the View menu at the top of each plug-in window, should the Controls view be visible. effect A type of software algorithm that alters the sound of an audio signal in a variety of ways. Logic Express includes a set of EQ, dynamics, time-based, modulation, and distortion effects. envelope The envelope graphically represents the variation that a sound exhibits over time. An envelope, used as a controlling device, basically determines how a sound starts, continues, and ends. Synthesizer envelopes usually consist of attack, decay, sustain, and release phases. EQ Shortened form of equalizer. Equalizers are used to boost or cut frequencies in an audio signal. There are several types of EQ available in the Logic Express applications. equalization See EQ.

Logic Express 8

Product Overview September 2007
Product Overview Logic Express 8

Contents

Page 3 Page 4
Logic Express 8 New in Logic Express 8 Next-Generation Interface Simplified Setup Effortless Multitake Recording Revolutionary Quick Swipe Comping Powerful Audio Editing Features Network-Based Save and Share New Instruments from Logic Studio New Effects from Logic Studio Additional Features in Logic Express 8 Ultimate Writing Studio Multitrack Recording Precision Editing Professional Mixing Broad Compatibility Additional Instruments from Logic Studio Synth Instruments Additional Effects from Logic Studio Production Effects Creative Effects Channel Strip Settings and Plug-in Settings Channel Strip Settings Plug-In Settings Product Details

Page 16

Page 21 Page 23

Page 25

Page 26

Powerful music creation.

Logic Express 8 delivers the power, precision, and professional toolset of Logic Pro 8 including a redesigned interface that allows musicians to write, record, edit, and mix with unparalleled speed and ease. Logic Express includes all the functionality of Logic Pro 8 except for four high-end professional featuressurround, TDM/DAE support, distributed audio processing (DAP), and support for high-end control surfaces. Logic Express 8 comes with an expanded collection of professional instrument and effect plug-ins from Logic Studio, as well as channel strip settings and plug-in settings that allow you to begin making music immediately with professionally designed sounds. Logic Express is the ideal application for professional musicians and producers who want to get into the world of Logic for $199, as well as GarageBand users who are ready to take their music to the next level.1

New in Logic Express 8

Logic Express 8 is a powerful upgrade that incorporates the key functionality of Logic Pro 8, more than 100 instruments and effects from Logic Studio, and new channel strip settings and plug-in settings created for Logic Express. New features include: Next-generation interface, featuring a streamlined, single-window workspace Simplified setup, with professional templates for common activities and projects Effortless multitake recording, including automatically generated take folders Revolutionary Quick Swipe comping, for quickly building the perfect track Powerful audio editing, including sample-accurate editing in the Arrange window Network-based save and share, to use your settings and key commands on any Mac New instruments and effects from Logic Studio, including Ultrabeat and Guitar Amp Pro Channel strip settings and plug-in settings, for a wide range of high-quality sounds

A World of Options

Logic Express puts a world of creative options at your fingertips, thanks to an open architecture that lets you use a wide range of audio interfaces and many different control surfaces. You can also explore hundreds of third-party Audio Units instruments and effects and incorporate sounds from third-party applications such as Ableton Live and Propellerhead Reason. Logic Express lets you work anywhere at any time, without proprietary hardware. When inspiration strikes, all you need is Logic Express and a Mac to capture your ideas and turn them into musicat home, on the road, or in the studio.

Logic Express 8, Apples professional music production application, provides musicians with the powerful, easy-to-use tools they need to write, record, edit, and mix. It features an interface that has been redesigned for fast, intuitive control, with all the key functions organized in a unified workspace. Time-saving recording and editing tools make Logic Express 8 perfectly suited for everything from a scratch recording to a symphonic 24-channel recording. New features in Logic Express 8 include: Next-generation interface Simplified setup Effortless multitake recording Revolutionary Quick Swipe comping Powerful audio editing features Network-based save and share New instruments from Logic Studio New effects from Logic Studio
Next-Generation Interface
A new workspace features a single-window design with retractable panes, customizable toolbar, shortcut menus, built-in browsers, and dual channel strips. This streamlined layout eliminates clutter and lets you focus on your music. Consolidated Arrange window The Arrange window consolidates edit and browser windows. You can record multiple takes; cut, move, or stretch audio with sample accuracy; apply channel strip settings; automate a group fade; or drop chords onto your lead sheetall from one central location, without managing multiple windows. The Arrange window lets you selectively display three additional areas: Editing, horizontally tiled below the Arrange area; used for the Mixer, Sample Editor, Score Editor, Piano Roll Editor, and Hyper Editor Media or Lists, vertically tiled to the right of the Arrange (and editing) area; used for media browsers and list-based editors Inspector, vertically tiled to the left of the Arrange (and editing) area; used to display region and track parameters as well as the new dual channel strips for the selected track
Built-in browsers Built-in media browsers give you intuitive, rapid access to your content without opening additional windows or leaving the workspace. The Media area includes tabs for four media browsers, including the Loop Browser and the Audio Bin.
Two additional browsers are new to Logic Express 8: Library Browser, for channel strip settings, plug-in settings, EXS instruments, and all possible MIDI destinations

File Browser, including Spotlight search, for accessing any Logic-related file on your system or on any connected media volumewithout going out to the Finder
Dual channel strips The Inspector window features dual channel strips that provide streamlined access to all of the channel strips related to the selected track. The left channel strip lets you monitor and control the output and other settings for the current track. The right channel strip varies based on your selection in the left channel strip; click any Send or Output slot on the left to display the destination channel strip on the right. This feature allows you to access all of the channel strips used by a given track without opening the Mixer.
Optimized Mixer views Two new options let you easily see the signal flow routing in the Mixer. In the Arrange view, you can choose a settingAdd Signal Flow Channel Stripsto see not only the channel strips assigned to tracks, but also the auxiliaries and outputs used as send or routing destinations for each track. In the new Single view, you see just the channel strip for the selected track, along with the auxiliaries and outputs used as send or routing destinations for that track. Focusing on the signal flow of one track at a time allows you to mix with greater efficiency and control.

Simplified Setup

Logic Express 8 lets you start making music right away, with production-ready templates, one-step track setup, dynamic channel strip creation, and seamless integration of ReWire-compatible applications such as Ableton Live and Propellerhead Reason. Production-ready templates Start making music fast by choosing from a variety of templates designed for different music stylessuch as electronic, hip-hop, R&B, rock, and songwriterand professional production scenarios ranging from multitrack stereo production to stereo mastering. You can easily modify and save templates or create your own.
One-step track setup Logic Express 8 allows you to create and configure multiple audio, instrument, or external MIDI tracks from a single, simple setup window.
Dynamic channel strip creation Logic Express 8 streamlines recording and mixing by automatically creating channel strips for you as you work. Anytime you add a bus send to a channel strip, Logic Express creates a new auxiliary channel strip as needed, using that bus as its source. Similarly, if you add a multi-output software instrument, you can create preconfigured auxiliary channel strips with a single click. Streamlined ReWire support Integrating ReWire-compatible applications with Logic Express is dramatically streamlined. You can now manage all setup and configuration in the Arrange window, with no need to open the Environment or create special ReWire Objects. Open Ableton Live or Propellerhead Reason directly in Logic Express, then select the instrument you want to play from the list that dynamically appears in the Browser. To monitor or process audio coming from a ReWire application, just select the outputs as the input source for any auxiliary channel.

Effortless Multitake Recording
Logic Express 8 offers a simple, flexible approach to multitake recording. When you record over existing material, your takes are automatically stored in a take folder. Expand your take folder at any time to see a graphical display of all your takes for easy auditioning and editing. You can move a take folder anywhere in your arrangement and edit it just as you would any other region.
Revolutionary Quick Swipe Comping
Quick Swipe comping dramatically streamlines the process of comping tracks. Rather than cutting, moving, and muting regions, all you have to do is click and drag to select the best sections of each take. This creates a perfectly seamless comp, complete with transition-smoothing crossfades. Easily change your comp selections by clicking alternative sections in any take. You can save multiple comps and switch among them to pick the one you like best.
Powerful Audio Editing Features
New editing features in the Arrange window allow you to work with greater speed and precision, without opening separate windows. Snap-to-transient selection Snap-to-transient selection lets you extend marquee selection borders to the next or previous transient. This feature is particularly useful for fast, efficient drum editing and sound replacement. Extend or reduce the length of the marquee selection by snapping the start or end point of the marquee to transients in audio regions, note on or note off positions in MIDI regions, or region start or end positions. Graphically time stretch or compress audio Logic Express allows you to visually time stretch or compress an audio region directly in the Arrange areawithout changing its pitch. Simply Option-drag the end point of the region. You can choose one of the time compression algorithms provided with Logic Express or use third-party options such as Serato Pitch n Time or iZotope Radius.
Precise editing in the Arrange window You can now edit waveforms directly in the Arrange window with the same precision previously available only in the Sample Editor. This is especially useful for maintaining phase alignment when making micro-adjustments to live recorded tracks. Simultaneous edits with the Junction tool Fine-tune the intersection of two regions by using the Junction tool to simultaneously resize two adjacent regions. Just use the Junction pointer and drag to the left or right; both regions will be resized, with no gap between them.
Network-Based Save and Share
Back up personal channel strip settings, plug-in settings, and key commands to your.Mac account for easy access from any computer connected to the Internet.2 You can also select favorite settings to share across a local or Internet-based network or through your.Mac Public folder.

New Instruments from Logic Studio
Logic Express 8 features 36 high-quality software instrumentsincluding Ultrabeat, ES1, ES2, EXS24 Sampler, and more than a dozen GarageBand instruments. New instruments from Logic Studio include: Ultrabeat ES2 synthesizer EXS24 Sampler
Ultrabeat Use the tone-shaping features in Ultrabeat to sculpt unique sounds from 25 drum voices, with new drum kits featuring more than 1000 new sounds. Full View drum grid editing and step automation give you more power than ever. Use the drum grid editor to dial in the perfect groove with swing and accent controls, then trigger any of the 24 patterns live or drag them to the Arrange window in Logic Express for further editing. Ultrabeat provides everything you need to create original beats from combinations of synthesized and sampled sounds.
Ultrabeat features: New sounds. Ultrabeat offers more than 50 new drum kits featuring 400 new drum patterns and over 1000 new synthesized, sampled, and hybrid drum sounds. You can import EXS drum kits directly into the program for even more creative options. Full View drum grid editor. The Full View drum grid editing feature in Ultrabeat lets you see and edit all of the patterns for 25 drum voices simultaneously.
Step automation. Step automation allows you to shape the characteristics of the sound of each voice over time. Precisely adjust key parameters for each event in the sequence. Built-in sound-shaping features. A rich palette of effects, filters, LFOs, and EQs lets you edit voices with extreme precision, from slight alterations of tonal character to radical changes. The multimode filter offers four different 12- or 24-dB filter types, providing a broad range of sound-shaping options. Multiple outputs. Ultrabeat is a multi-output instrument that provides up to 16 outputs. Route individual outputs to separate auxiliary channels for discrete processing of each drum voice. ES2 With the ES2 synthesizer, you can draw from a broad range of sounds, a comprehensive selection of synthesis techniques, and powerful modulation options to create radical sounds or nuanced pads. The Macro Only mode simplifies sound design by letting you manipulate multiple related parameters with just a few basic knobs.

ES2 in Macro mode

ES2 in Macro Only mode
EXS24 Sampler Choose from a wide range of EXS instruments and quickly build sampled instruments and sample libraries using the integrated, redesigned EXS Editor. The EXS24 Sampler lets you quickly incorporate sample-based sounds into your productions. Featuring sample-accurate timing, a robust synthesizer section, and support for sampled instruments of near-limitless size, the EXS24 Sampler also includes 16 individual outputs for discrete voice processing. Wide-ranging sample library support includes Akai, GigaSampler, SampleCell II, SoundFont2, and REX2.

The EXS24 Sampler includes features for: Editing and playing. The EXS Editor boasts an intuitive interface that lets you view and graphically edit your sampled instruments. Tight integration between the EXS Editor and the EXS24 Sampler means fast transitions between editing and playback, so you can build instruments quickly with instant playback as you work. Shaping your samples. Use built-in LFOs and envelopes to modulate virtually any parameter in the EXS24 Sampler. A separate multimode filter provides adjustable slopes, variable filter overdrive, and a fatness circuit that ensures excellent lowfrequency response.
New Effects from Logic Studio
With more than 70 professional effects, Logic Express gives you a rich palette of options for creating unique soundsincluding a number of high-quality effect plug-ins from Logic Studio. New effects from Logic Studio include: Guitar Amp Pro Ringshifter Pitch Correction
Guitar Amp Pro Guitar Amp Pro lets you play your guitar through faithful re-creations of classic amplifiers and speaker cabinets.
Guitar Amp Pro features: Amp modeling. Guitar Amp Pro features 11 amp models, 15 speaker cabinets, microphone controls, and an effects section for constructing the perfect guitar tone. And you can access more than 200 brand-new guitar channel strip settings made from scratch by world-famous musicians and sound designers. Cabinets and springs. Guitar Amp Pro offers a wide range of legendary guitar amplifier sounds and a variety of speaker cabinets, which can be freely modified and combined. Effects such as vibrato, tremolo, and spring reverb faithfully model the hardware effects found in classic amps. Other uses. Guitar Amp Pro allows you to use the amp, speaker, or microphone section independently. Fatten up your synth line with an overdriven UK 30W combo amp, or get creative with vocals by running them through a 1x10 speaker cabinet.
Ringshifter The Ringshifter effect plug-in lets you combine a ring modulator with a frequency shifter effect. Both effects were popular during the 1970s and are being used in new ways by todays musicians. The ring modulator modulates the amplitude of the input signal, using either the internal oscillator or a side chain signal. It produces a metallic or clangorous sound quality. The ring modulator was used extensively on jazz rock and fusion records in the early 70s. The frequency shifter alters the frequency relationship of the original harmonics. It produces sounds ranging from sweet and spacious phasing effects to strange robotic timbres.

Pitch Correction The Pitch Correction plug-in allows you to correct the pitch of audio tracks. The plug-in accelerates and slows down the playback speed so that the input signal always matches the correct note pitch. You can use any scale to define a pitch quantization grid. You can also use Pitch Correction to create special effectsa particularly interesting approach with drum tracks.
Additional Features in Logic Express 8
Logic Express 8 is a sophisticated, full-featured audio and MIDI application that provides all the tools you need to create professional-quality music productions. It allows you to record and edit audio and MIDI, add high-quality effects, and mix your music. The final mix can be exported to one or more standard audio files or burned to an audio CD. Logic Express 8 offers a broad and deep feature set in a redesigned single-window workspace. Key features include: Ultimate writing studio Multitrack recording Precision editing Professional mixing Broad compatibility

Ultimate Writing Studio

A professional collection of music creation and writing tools makes it easy to capture and develop your musical inspirations. Record multiple takes, quickly assemble the perfect comp, establish a groove with a selection of Apple Loops, and fill out the remaining parts in your composition with Studio Instruments. Key writing features include: Powerful MIDI creation Apple Loops Music notation Compose to picture Powerful MIDI creation With a rock-solid timing engine, exceptional quantization features, and a wealth of MIDI production tools from Logic Pro 8, Logic Express represents the gold standard for creating and editing MIDI-based music. You can edit performance characteristics for each region independently while monitoring the results in real time.
Apple Loops Build songs quickly by choosing from thousands of included royalty-free music loops that automatically conform to the tempo and key of your project. Embedded metatags characterize the instrument, genre, and mood for each loop, allowing you to quickly find the loops you want. There are two types of Apple Loops: Real Instrument loops and Software Instrument loops. Software Instrument loops offer additional creative options by allowing you to edit the instrument, processing, or original MIDI performance. You can also use a Software Instrument loop as an audio loop.
Music notation Logic Express lets you transform MIDI performances into music notation in real time. Or, if you prefer, you can use Step Input to enter your notes one at a time. Create fully ornamented, professional scores using a complete set of tools, including comprehensive layout and print options, instrument transposition, guitar tablature, drum notation, and adaptive lyric input.

Compose to picture Dedicated music-for-picture features make scoring and sound design easy. View synchronized QuickTime movies directly within the interface or use a separate monitor with a range of output options, including Digital Cinema Desktop for high-definition playback. You can locate scene changes by scrolling through a thumbnail track or mark transitions automatically with the Create Scene Markers option.

Multitrack Recording

You can use Logic Express 8 to record anything from a quick demo to a large-scale commercial project. One-step track setup lets you create and record-enable multiple tracks with ease. Auto-punch in and out based on marquee selections or punch in and out on the fly. You can use input monitoring to listen to or process incoming signals without the need for dedicated input channelsperfect for rehearsing before you record. Support for the new Core Audio Format (CAF) lets you record extended-length projects of up to 6 hours at 96kHz.

Precision Editing

Audio editing features in Logic Express 8 let you work with power and precision, using sample-accurate tools in the Sample Editor or directly in the Arrange window. Destructive edits You can perform destructive edits using the built-in editor or an external sample editor such as Soundtrack Pro 2. Destructive edits allow you to time stretch and pitch shift audio, change sample rates, extract MIDI grooves from the audio, and even quantize audio. Graphic beat mapping Easily conform any freely recorded audio or MIDI track to bars and beats using powerful beat-mapping features. You can create tempo tracks automatically, based on a guide track; or drag bar and beat guides to transients or MIDI notes within a region.

Professional Mixing

Complete your project with powerful mixing and automation tools that meet the demands of any size production. Complete mixing desk Create the perfect Mixer configuration with up to 255 discrete audio, software instrument, and auxiliary channels, along with up to 32 mix groups and as many output channels as your audio hardware provides. Each track supports 15 plug-ins and 8 pre-fader, post-fader, and post-pan sends, with full latency compensation to keep everything in perfect sync. Logic Express 8 also lets you record busses and integrate outboard hardware into your mix. Automation Automate channel strip and plug-in parameters on the fly or set values manually for even greater precision. You can simultaneously view and edit automation for single or multiple tracks, including multiple parameters per track. Track grouping provides simultaneous writing and editing of automation for multiple tracks, and a curve tool helps create natural-sounding transitions.

Broad Compatibility

The open architecture of Logic Express 8 offers enormous creative freedom to musicians by supporting a wide range of professional hardware and software options. Software compatibility Logic Express 8 makes it easy to incorporate compatible third-party plug-ins and applications, as well as interchange project files with other applications. GarageBand and Logic Pro. You can open GarageBand projects directly in Logic Express and seamlessly move projects between Logic Express and Logic Pro. Audio Units. Continuously explore new creative options by incorporating a choice of hundreds of third-party Audio Units plug-ins for instruments and effects. ReWire. A new automated setup process lets you seamlessly incorporate ReWirecompatible applications such as Propellerhead Reason and Ableton Live. File interchange formats. Import and export XML, AAF, OMF, and OpenTL files for convenient round-trip interchange with Final Cut Pro and a wide variety of professional music applications and hardware. Hardware compatibility Logic Express 8 gives you the freedom to choose the hardware that best suits your creative style and production requirements. Supported hardware includes: Audio interfaces. You can use any Core Audiocompatible audio interface, with an enormous range of options for the most modest to the most sophisticated setup. Control surfaces. Enjoy hands-on control when you record or mix by using one of a variety of supported control surfaces. Plug-and-play simplicity lets you start working immediately.
Additional Instruments from Logic Studio
Logic Express 8 includes 36 professional instrument plug-ins. In addition to new instruments from Logic Studiosuch as Ultrabeat, EXS24 Sampler, and ES2Logic Express features more than a dozen instruments from GarageBand 08 and a set of powerful synth instruments from Logic Studio.

Synth Instruments

Produce beautiful synth beds and driving bass lines with an array of FM, subtractive, and analog-modeled synthesizers. An impressive range of synthesizer sounds offers even more richness, thanks to new modulation effects. ES1 The ES1, a classic analog-style synthesizer, lets you create earthshaking basses, rich pads, textures, screaming leads, ultrasharp percussion, and exotic effects. The plug-in offers up to 16-voice polyphony; each voice features a main and sub oscillator to deliver the raw sounds that are shaped by the analog ES1 filter.
EFM1 The EFM1 uses FM synthesis to re-create the classic synthesizer sounds of the 1980s. A simple interface provides accessible controls that make tweaking sounds a pleasure, or you can let the EFM1 create its own sounds randomly.
ES E The eight-voice polyphonic synthesizer lets you mix sawtooth or rectangular waves in a huge variety of tones, with additional controls for frequency and impulse width modulation. ES M The ES M lets you design powerful basses and expressive lead sounds straight from the 1970s. Variable selection between sawtooth and rectangular waves and a biting slope characteristic of 24 dB give the ES M its distinctive analog sound. ES P Create the characteristic polysynth sounds of 1980s pop music with the polyphonic ES P. In addition to an oscillator, sub oscillator, and filter, the ES P offers an LFO for creating dynamic effects and an ADSR envelope generator for precise level control.

Additional Effects from Logic Studio
More than 70 professional effect plug-ins are included in Logic Express 8most of which are the same powerful versions included in Logic Studio. In addition to new effects from Logic Studio, Logic Express 8 offers a range of production effects and creative effects designed to meet the requirements of professional musicians.

Production Effects

A range of superb-sounding effect plug-ins makes it easy to add the final polish to your music productions. EQ Fine-tune your audio production with professional EQ plug-ins like the eight-band Channel EQ, which features a graphical signal analyzer. Dynamics Compressor includes a linked limiter and five independent circuit types that capture the feel of vintage and modern studio hardware. Professional dynamics plug-ins such as Limiter, Noise Gate, and Enveloperfurther expand your ability to polish your mix or tweak your recordings. Voice processing Using the Pitch Correction plug-in, you can accurately and quickly tune vocals while preserving articulation and tonal color. Adjust the pitch of drums, speech, and vocal audio using the optimized settings in Pitch Shifter II.

Creative Effects

Transform audio and create shifting fields of sound using advanced reverb, modulation, vintage, warped, and delay plug-ins. Logic Express 8 includes creative effects suitable for a wide range of genres and performance styles. Reverb Add texture to instruments and vocals using synthesized reverb plug-ins such as AVerb, EnVerb, SilverVerb, GoldVerb, and PlatinumVerb. Modulation Fatten, twist, and modify audio with Chorus, Ensemble, Flanger, Microphaser, Modulation Delay, Phaser, Ringshifter, Scanner Vibrato, Spreader, and Tremolo.
Vintage processing Get classic sounds like analog warmth or thick fuzz with distortion effects modeled after legendary tube stomp boxes. Vintage Leslie speakers are modeled in the Rotor Cabinet effect emulation, which lets you adjust cabinet type and microphone positioning. Five carefully modulated circuits for Compressor simulate the worlds most respected vintage hardware, and Fuzz-Wah combines distortion, compression, and auto-wah effects in a single plug-in. Warped processing Build classic 1970s sounds with Ringshifter, a combined ring modulation and frequency shifting plug-in. Transpose, robotize, and manipulate the character of monophonic audio with Vocal Transformer. Apply dramatic filter effects with the EVOC20 Filterbank, and twist vocals and instruments with the EVOC20 Track Oscillator. Delay Use Tape Delay to create the special character and feedback behavior of classic tape-based delay effects boxes. Your creative delay options are rounded out by Echo, Sample Delay, and Stereo Delay.

Channel Strip Settings and Plug-in Settings
The built-in library in Logic Express 8 offers a wide selection of professional channel strip settings and plug-in settings. You can use the settings as is or modify them and save them as your own. You can also create settings from scratch and save them for easy reuse in any project.

Channel Strip Settings

Logic Express 8 offers a remarkable selection of more than 790 professionally designed channel strip settings, each combining Logic Express instruments and effects in a powerful plug-in chain. You can find channel strip settings in the library included in Logic Express.

Plug-in Settings

With more than 1600 plug-in settings for Logic Express instruments and effects, its easy to start making music right away with high-quality sounds. Hundreds of new, professionally designed plug-in settings for Logic Express instruments offer beautiful, expressive instrument sounds right out of the box. Every setting, or preset, changes the parameters of an instrument plug-in to produce one-of-a-kind sounds. Logic Express 8 also includes settings designed for a wide range of effect plug-ins, from amp modeling to dynamics and modulation.

Product Details

Pricing and Availability
The U.S. retail price of Logic Express is $199. Owners of Logic Express 6 or 7 or Logic Audio 5 or 6 can purchase an upgrade for $99.1 Contact your authorized Apple representative for education pricing. Upgrades are available only for retail versions. Logic Express is available worldwide in English, French, German, Spanish, Japanese, and Chinese. It can be purchased from the online Apple Store (www.apple.com/store), Apple retail stores, and Apple Authorized Resellers.

System Requirements

Mac computer with a 1.25GHz or faster PowerPC G4 processor (PowerPC G5, Intel Core Duo, or Intel Xeon processorrecommended) 1GB of RAM Display with 1024-by-768 resolution Mac OS X v10.4.9 or later QuickTime 7.2 or later 6GB of availabledisk space DVD drive for installation Low-latency multi-I/O audio hardware and MIDI interface recommended

Support

Logic Express comes with 90 days of toll-free telephone support for installation, launch, and basic troubleshooting. For information about service and support products available from Apple, visit www.apple.com/support/products.

Tutorials

Get up to speed quickly by viewing approximately one hour of online video tutorials covering key features in Logic Express. The training is ideal for Logic Express users who want to expand their skills into new areas, as well as for musicians and producers who are new to Logic Express. Each tutorial movie demonstrates key product features, along with useful tips and shortcuts. To view the tutorials, visit www.apple.com/logicexpress/tutorials.

Training

The Apple Pro Training Program is designed to keep you at the forefront of Apples digital media technology while giving you a competitive edge. Take instructor-led classes at an Apple Authorized Training Center There are more than 250 Apple Authorized Training Centers worldwide. For more information, visit www.apple.com/software/pro/training. Use self-study courses from the Apple Pro Training Series The official Apple Pro Training Series courseware is published by Peachpit Press. For more information, visit www.apple.com/software/pro/training. Become an Apple Certified Pro On completion of the course material, you can become an Apple Certified Pro by taking the certification exam at an Apple Authorized Training Center. For details, visit www.apple.com/software/pro/training.

For More Information

For more information about Logic Express 8, visit www.apple.com/logicexpress.
1Prices are Apple Store prices as of September 12, 2007, do not include taxes or shipping, are subject to change, and are listed in U.S. dollars. 2The.Mac service is available to persons age 13 and older. Annual membership fee and Internet access required.
Terms and conditions apply. 2007 Apple Inc. All rights reserved. Apple, the Apple logo, Final Cut Pro, GarageBand, Logic, Mac, Mac OS, QuickTime, Soundtrack, and Ultrabeat are trademarks of Apple Inc., registered in the U.S. and other countries. Finder and Spotlight are trademarks of Apple Inc. Apple Store is a service mark of Apple Inc., registered in the U.S. and other countries.Mac is a service mark of Apple Inc. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. Other product and company names mentioned herein may be trademarks of their respective companies. September 2007 L352930A