Audio files to accompany the article.
These files accompany the Logic Technique article in the November 2015 issue of SOS
The audio examples on this page accompany Geoff Smith’s Logic technique workshop in SOS November 2015.
This example is a monophonic ES2 patch with Logic’s SilverVerb plug-in used as an insert to add some reverb.
The mono synth and reverb together are then fed into Logic’s Limiter plug-in which compresses the note, and releases fast enough that the reverb tail is pushed to the front of the mix. This is perfect for making simple bass and lead sounds bigger and is ideal for sparse arrangements.
This example shows how the synth sounds when Logic’s Compressor plug-in is added after the Limiter.
You can experiment with Logic’s different Limiter models. This example demonstrates the different sound achieved by setting the Mode combo box to LX.
In this example, the dry monophonic synth sound is being sent via a post-fader send to a bus. The bus has a delay plug-in followed by a compressor. By triggering the compressor’s side-chain from the synth track the delay can be ducked.
One of the advantages of using a bus for your processing is that you can be much more aggressive without altering the core synth sound. This example adds Logic’s Flanger and Rotor Cabinet between the delay and compressor plug-ins.
This technique can also be used with guitars. Here’s the dry guitar signal that we’re working with.
The same method that we used on the synth has here been applied to a guitar. This time there is a delay plug-in on the bus followed by a compressor with its side-chain input set to the guitar audio track.
Finally, the best way of getting great results is to experiment. In this example, two buses have been used — the one from Audio Example 8 plus another with Pitch Shift set an octave up, followed by SilverVerb, Ensemble and Logic’s Compressor. The final sound is somewhere between guitar and synth.