User manual APPLE LOGIC STUDIO INSTRUMENTS AND EFFECTS

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Manual abstract: user guide APPLE LOGIC STUDIOINSTRUMENTS AND EFFECTS

Detailed instructions for use are in the User's Guide.

[. . . ] Logic Studio Instruments and Effects Apple Inc. © 2007 Apple Inc. 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. 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. [. . . ] The parameter is located in File > Project Settings > Recording. The function thins out the incoming data stream, which is hardly ever noticed with normal controller assignments. The controller mapping of the Hammond XB-2's drawbars, however, exploits the controllers to their limits. Switch the parameter on after the drawbar recording session, in order to regain memory and processing resources. Chapter 22 EVB3 327 The EVB3 Parameters You can open and close the EVB 3's wooden lid by clicking the button underneath the Volume control. Click here to open the wooden lid Keep it open while reading this section of the manual, because it will cover every parameter in detail. 328 Chapter 22 EVB3 Drawbars The principles of additive synthesis with sine drawbars is further explained in "Additive Synthesis With Drawbars" on page 355. You can intuitively pick up the basic principles by playing a little with the drawbars. The further down you drag the drawbars, the louder the selected sine choir(s) will be--the drawbars behave like reversed mixer faders. MIDI control of the drawbars is also reversed, when using a standard MIDI fader box. Drawbars of the Upper and Lower manual, plus Pedal drawbars. Pedal Drawbars The EVB3 features two drawbars for the bass Pedals. The waveform of the bass is not a pure sine wave, but a mixed waveform, that realistically simulates the Hammond B3 bass. The two registers differ in pitch, and in the following ways:  The Lower 16' register contains more octaves  The 8' register has a more prominent fifth portion Volume The EVB3 offers several parameters that provide control over volume. Relative Volumes--Upper/Lower/Pedal In the parameters section, you can set the volume of the Lower manual, and the Pedal, relative to the Upper manual. The parameters are called Lower Volume and Pedal Volume. Chapter 22 EVB3 329 Volume Control and Expression Pedal The overall volume of the EVB3 is not only controlled by the software instrument channel's volume fader and control change #7, but also with the Volume control in the EVB3 graphic user interface. Volume control Warning: The Volume must be lowered whenever crackling or other digital distortion occurs in the instrument channel. Volume levels over 0 dB can occur if you maximize all registers, play numerous notes, and make use of the Distortion effect. Extensive, and often rhythmic, use of the expression pedal forms part of the style of many organ players. The expression control also emulates the tonal changes of the B3 preamplifier. Bass and treble are not attenuated as strongly as the mids, much like a Hi-Fi amplifier that features a loudness control. Normally, you would connect an expression pedal to the quarter inch Expression jack of your master keyboard. Your master keyboard should transmit MIDI control change #11 when the pedal is moved. Tune The simulated tone wheel generator can be tuned in cents (percentages of a semitone). 0 c is equal to A = 440 Hz. 330 Chapter 22 EVB3 Scanner Vibrato The vibrato of the organ itself must not be confused with the Leslie effect, which is based on rotating speaker horns. The EVB3 simulates both. The Scanner Vibrato is based on an analog delay line, consisting of several lowpass filters. The delay line is scanned by a multipole capacitor, which has a rotating pickup. Like the Hammond B3, the EVB3 features three types of vibrato with different intensities (V1, V2, V3). In the V1, V2, and V3 positions of the Type parameter, only the signal of delay line is heard. The C1, C2, and C3 Chorus positions of the Type parameter mix the signal of the delay line with the original signal. [. . . ] If you want more than two digital audio devices to communicate with each other, you will need to use separate Word Clock ports for synchronization, in most cases. XG Extended General MIDI standard from Yamaha, compatible with Roland GS. zero crossing A point in an audio file where the waveform crosses the zero amplitude axis. If you cut an audio file at a zero crossing there will be no click at the cut point. [. . . ]

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