We are really proud of ANA 2s filters. ANA comes in 2 formats. News by Rounik Sethi. Logic Pro's ES2 synth has been around for some years now, yet it's still highly regarded and used in hit songs to underground anthems today.
If you want to supercharge it, here's new presets. Read This. The advanced 64 note polyphonic step arpeggiator in ANA 2 breaks new ground for a built-in synth arp. Helping you create beautiful and inspiring arpeggios in an elegant and beautiful work area. We believe, with its array of controls, and massive 64 steps, you can creating mind-blowing arps right from the get-go.
The Revolution ES2 set contains! ES2 patches - Taking you into the next realm in quality to fulfill all your needs for creating contemporary dance and trance music. These patches bring you the whole spectrum of club approved sounds - inspired by the latest dance tunes.
Contains: xxxtreme fat powerful soundest. ES2 's filter section employs complex virtual circuitry beneath its sleek, rotating module. Filter 2 is low-pass only, but it has variable slope settings: 12dB, 18dB and 24dB. There's a Fat button that compensates for the loss of bass that is encountered when Filter 2's resonance is increased. When the filters are used in parallel mode, the Drive knob overdrives both filters equally, with a single drive circuit appearing pre-filter. When in series mode, the filters have independent drive circuits, the positioning of which depends on the status of the Blend slider for a full explanation of this, check page of the Logic Plug-in Reference PDF.
The FM knob allows you to modulate the cutoff of filter 2, using the sine wave of Osc 1, leading to interesting bell-like timbres. The three chain-link symbols enable the modification of the filters' cutoff and resonance parameters simultaneously, using the mouse.
Unsurprisingly, they all perform different modulations:. In addition to controlling the main volume of the synth's output, this section offers a number of processors for adding character to your sounds:. X-Y Square. You can route the X and Y axes to different targets, by setting assignments in the Router. Using the Vector mode, points on the X-Y Square can be plotted, and assigned along a timeline the Vector envelope.
Real-time adjustments to the sound can be made using the mouse, and any on-screen movements you make can be easily controlled by Logic 's track automation.
ES2 has quite a sophisticated random sound generator that allows you to create completely new or modified patches without programming. While it's rare to generate something useful from the default preset, modifying a sound that's already pretty close to what you are trying to achieve can generate some really useful patches. This prominent central panel is the heart of ES2 , but has two completely different modes. Details of how the Vector Mode works can be found in the box immediately below, but in its Router mode the panel acts as a virtual patchbay that enables up to 10 different modulation assignments to be active simultaneously.
The modulator is referred to as the Source, while the Target is the parameter being modulated, as you might expect. Handily, the Router-source pull-down menu gives you the current settings of the MIDI controller assignments.
The Vector section is where sweeping, evolving modulations can be generated. The timeline that runs horizontally through this panel is known as the Vector Envelope, and up to 15 points can be created along it. Points can be added to the Vector Envelope in a similar fashion to the way automation points are created in the Arrange page. Shift-clicking on the timeline creates vector points, while clicking on the points while holding down the Ctrl and Option keys deletes them.
If you click on a vector point and move the cursors on either of the pads, their new positions will be stored. You can set the amount of time that you want the sound to hold at vector points by adjusting the millisecond values next to each one.
Doing this while holding down the Control and Apple keys ensures that the relative time values after this point maintain their absolute positions, which can be useful if you've set up a precise vector change on a beat. A Sustain status can be assigned to any Vector point by clicking on the line above the point's marker.
In practice, envelope movement is suspended when a Sustain point is reached. It is then held until a MIDI note-off message is sent. Sustain points are flagged by an 'S' marker above the hold length data on the timeline. The Vector Envelope can be set to cycle between Loop points and Sustain points.
A loop's characteristics can be specified from the respective pull-down menu, and there are parameters for Loop Rate and Time-scaling, as well as smoothing at the start and end of the loop. If the Loop Mode is on and the Loop Count parameter is set to a value other than Infinity, the Loop will repeat for the set number of times and then play any points after the Loop.
The Loop Rate can be set to either run freely or synchronise to the Song tempo, depending on the setting of the slider bar. The Time Scaling parameter compresses or expands the length of the whole vector envelope, while the Fix Timing parameter rescales the envelope back to its original length.
There's a Solo Point button that disables any Vector mode settings, so you can check the raw sound of a patch without any Vector processing. These depend on the status of the Loop Mode, which can be set as follows:. If you use the X-Y Square to step through the digital waveforms of the oscillators themselves, you can create complex wave-sequencing effects that can mimic Korg Wavestations and the Sequential Prophet VS.
Vector Mode The Vector section is where sweeping, evolving modulations can be generated. These depend on the status of the Loop Mode, which can be set as follows: If Env Mode is set to Normal, and Loop Mode is off, the Sustain point will be played as long as you hold down a key.
0コメント