Audio FX

Section 3

MIDI, Pattern, Drummer, Audio, Bus tracks and the Stereo Output track all have 16 Audio FX slots
through which they can be processed.

There are 14 stock Audio FX categories and also the “Audio Units” category where you will find all
the installed third party plug-ins.

The following pages provide an overview over all of them:

Starting with the first category which is called:

The first plug-in of the first category is the Amp Designer!

This offers emulation of different popular analog guitar

amp models.

The Bass Amp Designer offers emulation of different

popular bass amp models.

The Pedalboard offers a selection of 37 emulations of

widely used stomp boxes usually used on guitars.

You can create a whole effects chain within the plug-in

itself!

The same selection emulations is available as standalone

audio effects in the Stompboxes subcategory.
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The second category of Audio FX is called:

The Delay Designer offers a great variety of presets and

options for creative delay effects like transposing, panning
or filtering the offset copies of the input signal.

The Echo plug-in is the most simple Delay plug-in. It offers

control over the time it takes for every new iteration of the
input signal copy to occur (Rate) a Filter getting more and
more intense as the delay progresses (Color) a Feedback
Knob (How much quieter every iteration is in comparison
to the last one) and Dry and Wet knobs to control how
much of the processed signal you want to hear.

The Tape Delay plug-in offers great functionality for

emulating vintage tape delay effects by modulating
parameters in the plug-in with an LFO or a Noise Module
(Flutter)

The Sample Delay plug-in lets you offset the left, the right
or both channels at the same time by a specific time value
which can be set in samples or milliseconds.

The Stereo Delay plugin gives you great options to create

delay effects that play with the stereo field (such as also
called “ping pong delay” easily)
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The third category of Audio FX is called:

The Bit Crusher offers controls over the sample rate

reduction (Downsampling), which is the reduction of the
resolution of readout over time, as well as the bit
resolution, which is the resolution of the dynamic
information. In addition there are controls for an input gain
(Drive), 3 different Modes (Fold, Clip and Wrap) and a Mix
Knob.

The Clip Distortion plug-in offers controls for making

“round” waves more ”angular”. It is the most basic form of
distortion.

The Distortion plug-in emulates the sound of vacuum

tubes, transistors, or digital circuits. It adds warmth and
bite to audio, commonly used in rock and pop music to
overdrive signals and create a musically pleasing distortion.

The Distortion 2 plug-in offers you the same distortion

algorithms as the ones you can find in the “Vintage B3
Organ” Software Instrument!

The Overdrive plug-in simulates the natural distortion

produced by overdriven guitar amplifiers. It adds a warm,
saturated tone to audio, often used to enhance guitars or
other instruments in a mix.

The Phase Distortion plug-in manipulates the Phase of the

input signal to create a type of distortion known for its
aggressive tone and dominance around the first harmonic.
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The fourth category of Audio FX is called:

The Adaptive Limiter is a basic limiter plug-in with the additional

special function of a lookahead (the limiter will look into the future
to detect peaks more effectively). Also is features detection for the
optimal lookahead which you can then apply with the press of a
button.

The goal of a Limiter is to “squash” the sound against an output

ceiling and is typically used as the final plug-in on a master chain.

The goal of a Compressor is to reduce the dynamic range of a sound

by setting a threshold, which, when a sound passes it, causes the
compressor to reduce the gain by the Ratio. How quickly the
compressor starts and stops the reduction of gain is set by the
Attack and Release knobs. How the compressor works with values
close to the threshold is determined by the Knee.

You can use the “Side Chain” input to control the compression with
the dynamic information from a different track. This is typically used
to compress bass sounds when a kick is playing to mix the low end
properly. The name for this technique is “Side Chain Compression”.

The Logic stock Compressor features 7 modes that (apart from the
Platinum Digital) all emulate a different analog compressor:

Platinum Digital (default) - purely digital transparent compressor

Studio VCA (Voltage Controlled Amplifier) - Focusrite Red 3 Dual Compressor/Limiter

Studio FET (Field Effect Transistor) - UREI/Universal Audio 1176 Rev E “Blackface” Compressor

Classic VCA - ddx 160 series

Vintage VCA - SSL G-Series Bus Compressor

Vintage FET - UREI/Universal Audio 1176 Rev H “Silverface”

Vintage Opto (Optical compressor) - Teletronix LA-2A optical Compressor

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The DeEsser 2 is the new DeEsser plug-in that has been

added to Logic in version 10.7.

It is a plug-in specifically designed to tame sibilants in

vocal recordings.

The Enveloper creates envelope modulator information on

the basis of a set threshold. The envelope modulator data
is then used to control the output volume of a sound. This
plug-in can be viewed as a transient processor.

The Expander does the opposite of a compressor. Instead

of reducing gain when a threshold is passed, it adds gain.
You can use the “Side Chain” input to control the
expansion with the dynamic information from a different
track.

The Limiter is the most basic limiter plug-in in logic. It lets

you set an Output Level (usually 0 dB), input gain, Release
and Lookahead but does not feature a lookahead
detection like the adaptive limiter.

The Multipressor plug-in lets you compress or expand any

of the 4 frequency bands separately.

The Noise Gate is a plug-in that lets you eliminate sound

input underneath a defined threshold completely. You can
use the “Side Chain” input to control if it is “opened” or
“closed” with the dynamic information from a different
track.
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The fifth category of Audio FX is called:

The Channel EQ is the most basic way of shaping your

input sound spectrally.

One instance gives you:

2 Cuts (High and Low), 2 Shelfs (High and Low) and 4

Bells (for Low Mids, Mids and High Mids)

The Processing Mode can also be set to Stereo, Left, Right,

Mid and Side.

The Linear Phase EQ corrects for the phase offset created

by any standard EQ plug-in like the channel EQ. However
this will introduce latency!

In most cases the phase offset is barely noticeable which is

why the Channel EQ is in any usual case the better choice!

The Match EQ lets you record two “spectral shapes“ and

determines their difference. This can be used to achieve a
more flat frequency response when mastering by using
white noise as the Reference and the mix as Current.

The Single Band EQ plug-in lets you set up exactly one

frequency band and is usually not used when working
inside of logic!

The Vintage EQ Collection is a list of 3 plug-ins which are

all emulating classic analog hardware EQs.

Neve 1073 preamp and EQ

API 560 graphic EQ
Pultec EQP-1A Tube EQ
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The sixth category of Audio FX is called:

The Auto Filter filters a sound while using Envelope and

LFO (Low Frequency Oscillator) Modulators. If the input
exceeds a defined threshold the envelope is triggered. The
Side Chain input can be used to control the filter with
dynamic information from another track

The EVOC 20 Filterbank features two 20-band filter banks

for specific control over each frequency band. This way,
like with the EVOC 20 Vocoder Synth you can modify an
approximation of the sounds formant!

The EVOC 20 TrackOscillator is a monophonic vocoder

with life pitch tracking of the input signal. It includes
formant filter banks like the EVOC 20 Filterbank and can
use the Side Chain input to apply the formant of the Side
Chain input (the volume of each band) to the signal of the
track oscillator.

The Fuzz Wah plug-in emulates classic wah effects

combined with fuzz distortion. It’s commonly used for
guitar effects but can also create screaming or funky
sounds with other instruments!

The Spectral Gate plug-in splits the signal into very narrow
alternating bands that are either enabled or disabled on
the output. It creates a sound that almost sounds like the
reduction in sound quality that you get from audio
compression algorithms and is only very rarely used.
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The seventh category of Audio FX is called:

The Binaural Post-Processing plug-in is used in

combination with the Binaural Panner and let’s you
select one of 4 Compensation Modes:

Headphone FF (Free-Field) - optimized for sounds

placed right in front of the listener

Headphone HB (Horizontal Bias) - optimized for

sound placed laterally

Headphone DF (Diffuse-Field) - averages the other

two headphone modes

Speaker CTC (Cross-Talk Cancellation) - optimised for

speaker playback, allows for binaural panning on
speakers!

The Direction Mixer plug-in lets you tweak the stereo

width and direction of a sound. You can split the
adjustment into two bands.

The Stereo Spread plug-in pans the sound to left and

right by frequency band (in theory) in accordance with
the content of the graphical display.

However the panning goes the exact opposite way as

shown on the display!
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The eighth category of Audio FX is called:

The BPM Counter helps you detect the beats per minute of an input
signal. This is great especially for detecting the BPM of audio regions
that have a stable tempo (such as songs or loops). The :2 and x2
buttons can help you quickly calculate double of halftime.

The Correlation Meter shows you the stereo correlation and is only
available in the plug-in list with a stereo input!

On audio tracks mono and stereo are symbolised with 1 or 2 circles.

A stereo correlation of 1 means both channels are the same.

A stereo correlation of -1 means both channels are phase inverted so

exact opposites.

The Level Meter plug-in lets you analyse Peak, True Peak, RMS and
combinations of the three. RMS stands for “Root Mean Square” and is
considered the most basic measurement for the average volume. These
measurements are not nearly as important as the..

..measurements on a Loudness Meter!

This plug-in allows you to measure the Loudness Units Full Scale
(LUFS) which measures the average volume while using an
approximation of the human hearing sensitivity curve (K-Weighting) in
its calculation!
The plug-in features 3 measurements:
M (momentary) measures the loudness over a time span of 400 ms
S (short term) measures the loudness over a time span of 3 seconds
I (integrated) measures the loudness over a freely definable time span
This is what the Start and Reset Buttons are used for!

The MultiMeter offers a one for all solution for measuring the spectral
shape, Peaks, Loudness, Stereo Correlation and Stereo Field. The
Stereo Field can be viewed in the Goniometer Window.

Logic’s Tuner can be used to tune instruments and is known for being
a pain in the butt.
It can be quickly accessed in the control bar.

It now analyses the audio input, so you don’t have to insert it on a track
as a plug-in!
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The ninth category of Audio FX is called:

The Chorus plug-in creates a copy of the input signal and modulates it’s pitch
with an LFO. The D-Mode button enables an emulation of the Roland
Dimension D a classic analog chorus plug-in. When enabling the D-Mode
button, it widens the stereo field and enhances the high frequency range.

The Ensemble plug-in creates multiple delayed copies of the input signal, each
with slight pitch and timing variations creating the illusion of a unison
ensemble rather than only one single voice.

The Flanger plug-in introduces a delay (1-10 ms) modulated by an LFO on a

parallel signal path which creates interesting sounds through destructive and
constructive interferences.

The Microphaser plug-in splits the input signal, applies phase-shifting to one
path, and modulates the phase shift with an LFO.

The Modulation Delay plug-in delays the input signal and modulates the delay
time with an LFO. The effect sounds very much like a Flanger or Chorus with
additional pitch modulation to emulate analog tape machines.

The Phaser plug-in splits the input signal, applies a series of all-pass filters to
one path, and modulates the filter cutoff with an LFO.

The Ringshifter uses very complex sound processing ideas!

It combines a ring modulator (multiplies the input with a “carrier”) and a

frequency shifter.
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The ninth category of Audio FX is called:

The Rotor Cabinet plug-in simulates a rotating speaker by modulating the

input signal’s amplitude, frequency response and pitch like with a Doppler-
effect. The algorithms used here are also used in the Vintage B3 Organ
Software Instrument plug-in!

The Scanner Vibrato plug-in delays and modulates the pitch of the input
signal using an LFO. The algorithms used here are also used in the Vintage
B3 Organ Software Instrument plug-in!

The Spreader plug-in processes the input signal by introducing slight phase
and timing differences between the left and right channels. This enhances
stereo width without altering the frequency response much.

The Chorus plug-in modulates the amplitude of the input signal using an
LFO. The LFO can be synchronized to the project or be free. The
“Symmetry” value determines the kind of curve, the “Smoothing” value
determines how smooth the curve is, the “Phase” value determines how the
right and let channel are treated in relationship to each other and the
“Offset” offsets the curve in time.
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The tenth category of Audio FX is called:

The Beat Breaker plug-in has 3 Modes (Time, Repeat & Volume).
It works by mapping the timing or volume input to output and is
great fun to play around with.

You can use the “Volume” mode as a basic Side Chain plug-in!

The Phat FX plug-in is specifically designed to make sounds

sound fatter! It features 4 modulators (2 LFOs, 1 Envelope, 1
Vectorpad) and makes the signal output from those modulators
assignable to any parameter inside of the plug-in.

The plug-in features the following audio effects:

Filters, Bass Enhancer, Compressor, Distortion, Mod FX, Limiter

With the Remix FX plug-in you can play around with live sound
processing like a DJ.

The look and sound are not great, but it is probably good
enough for most people to have a little fun and to mess around!

The Step FX plug-in offers a step modulation workflow and a

vectorpad modulator and makes both modulators assignable to
any available control inside of the plug-in. The plug-in features
the following audio effects:

Reverb, Distortion, Mod FX, Filter & Delay

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The eleventh category of Audio FX is called:

The Pitch Correction plug-in is Logic’s adaptation of the

industry standard plug-in for live pitch correction (Autotune).

It detects the pitch of the input signal, determines the difference

in pitch to the nearest note on the edited scale and then retunes
the input signal to that note with a response time and a
tolerance which both significantly impact the character of the
pitch correction!

The Pitch Shifter plug-in creates a copy of the input sound and
lets you pitch it up or down typically to mix it in with the
unprocessed signal.

With the Stereo Link set to invert, it will create 2 hard panned
copies that are both tonally at an equal distance to the input.

Generally speaking, this plug-in introduces a lot of artefacts and

I would not recommend it for anything else than playful live
sound processing. In my opinion it is definitely not good enough
for making it into a final mix!

The Vocal Transformer plug-in lets you independently tweak the

Pitch and Formant of a sound. It also allows you to “robotize”
the sound (meaning it will be tuned to one fixed pitch).

With the “Tracking” you can measure the tonal distance between
the input signal’s pitch and a defined pitch base and apply the
measured tonal distance ranging from -100 % to 200 %!

All these plug-ins need a dry monophonic input to work

properly!

Don’t expect them to do a good job when the input signal has
significant amounts of reverb or when it is polyphonic (multiple
notes at a time) material!
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The twelfth category of Audio FX is called:

The ChromaVerb plug-in is an algorithmic reverb plug-in that

uses internal delays and feedback loops to simulate spaces. It
allows precise control over parameters like room size, reflectivity,
and diffusion. It lets you shape the sound spectrally inside of the
plug-in’s interface which otherwise you would have to do with a
bus send

The EnVerb is a hybrid reverb combining algorithmic and

convolution techniques. It generates early reflections
algorithmically and uses convolution for the reverb tail.

The SilverVerb plug-in is a very simple algorithmic reverb plug-

in, and you can hear it :/

The Space Designer plug-in is the reverb flagship of logic!

It is a convolution reverb that uses impulse responses (IRs) to

replicate the acoustic characteristics of real spaces. It convolves
the input signal with the IR, though which it applies the reverb
tail and spatial qualities of the sampled environment.

And the best thing: you can use your own sampled IRs!!

Isn’t that cool?

With the new Logic Versions came a new reverb plug-in the
Quantec Room Simulator

This is without a doubt the best Logic stock reverb plug-in and it
comes with a huge array of great presets.
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The thirteenth category of Audio FX is

called:

The Exciter plug-in adds harmonics to an input by generating a

second path which first goes through a high-pass filter, then
through a non-linear distortion algorithm which is then mixed
together with the original input.

There are 2 “Colors” to choose from here.

1 - More subtle, 2 - more audible and dense

The SubBass plug-in analyzes the input signal and generates

subharmonic frequencies (typically 1–2 octaves below the
original). The processed signal can then be mixed together with
the original to create a sub bass heavy signal all together.

The fourteenth and last category of Audio

FX is called:

The Auto Sampler is used to The Gain plug-in can be used The Test Oscillator plug-in
sample external MIDI devices. to change the gain, pan your lets you generate sine waves,
You can send MIDI messages sound or invert the phase of square waves, needle pulse
out to an external synth and one of the channels (L, R). waves, as well as white, pink,
automatically record the sound and brown noise. It can be
coming from it to use it further Inverting one of the channels used to program a sine
in Logic’s samplers. will result in a stereo sweep or set a constant
correlation of exactly -1! frequency.

Last we have the I/O plug-in on our list!

Is is primarily useful for integrating external hardware effects units into your
digital workflow. It allows you to route audio signals from Logic Pro out to
external gear and then back into the Logic. The ping function in the plugin,
which is supposed to measure the roundtrip latency (how long a signal takes to
go out of logic and back inside) doesn’t work properly!