Compared to previous versions, Emagic Logic 5 is a big leap forward in terms of features, power, and ease of use. With version 5.5, Logic now runs under OS 9 and OS X on the Mac as well as on Windows on the PC. Although future development of Logic on the Windows platform has come to an end, ongoing support of Emagic's current products has not slowed one bit, resulting in a steady stream of significant updates. New features in automation; surround mixing; 24-bit, 192 kHz compatibility; software instruments; and control-surface hardware support make Logic Platinum 5.5 a formidable package that currently rivals all other audio sequencers, on both computer hardware platforms.
Logic 5.5 is available in three versions for both Windows and the Mac OS. The version reviewed here, Logic Platinum, is the full-tilt package with the most plug-ins and the greatest capabilities. For $300 less, Logic Gold ($649) offers fewer audio tracks and other features. Note that the word “Audio” has been dropped from the product name of Platinum and Gold. The previous entry-level version, Logic Audio Silver, is now simply Logic Audio ($399) in version 5.5.
The key word to Logic is flexibility. No other digital audio workstation allows such a degree of customization for its users. In the past, its depth of features intimidated many novice users. Logic 5.5 streamlines many operations and menus, resulting in a more user-friendly experience without compromising any of the power that professional users demand.
Logic 5.5 maintains the graphic style that was introduced in version 4; however, you can still choose to apply the look of version 3 if you prefer. I last used Logic extensively in the days of Logic 3, so the newer graphics were a bit unsettling at first. The new look takes a dark and futuristic approach to its knobs and faders — especially in the native plug-ins — which I didn't care for initially. After spending a few weeks with the new interface, though, I switched to the version 3-like graphics and immediately preferred the newer look, which I've now grown to like quite a lot.
The main menus and submenus have been further refined in their organization since version 4, especially as new features have been added to the program. I didn't spend a lot of time comparing the current version to older ones, but I can say that the Logic's much-appreciated, context-sensitive approach to submenus is even better in version 5, making navigation of the interface easier overall.
Logic's Arrange window is the center of the action (see Fig. 1). In the Arrange window's list of MIDI and audio tracks, individual tracks can be edited, quantized, automated, muted, and soloed. As you zoom in on a track, its region content becomes visible (and editable) in the form of an audio waveform or MIDI data display. The Parameter and Extended Sequence Parameter boxes offer nondestructive editing of parameters such as quantize, loop, transpose, Velocity, dynamics, gate time, delay, and audio fades. Better yet, as a sequence is playing, you can tweak those parameters in real time without a hiccup, which is perfect for painlessly tweaking dynamics and timing in the context of an entire sequence.
In addition to the feature-packed Arrange window, Logic offers a number of other editing windows, including the Mixer, Event List, Score, Transform (for creating complex MIDI-editing operations), Hyper Edit, and Matrix (piano-roll) windows and the all-powerful Environment window. Each window contains submenus pertinent to its editor (see Fig. 2). If you're familiar with the basics of MIDI and audio editing, there's very little you can't do in Logic's editors. One feature that I've always liked is Logic's ability to resize the Transport window and open multiple instances — one dedicated to SMPTE readout, one for bars and beats, and one handling the traditional transport functions, for instance.
Managing all of those windows could be a nightmare — but not in Logic. You can create custom Screensets and recall them at the touch of a computer key. Logic defaults to using the numbers on the numeric keypad to recall as many as 99 Screensets, and you can customize all key commands. Logic 5.5's user interface is so snappy that hopping between editors is instantaneous, even in huge sequences that are otherwise taxing the CPU.
SETTLING THE SCORE
Although I'm an avid Coda (now MakeMusic) Finale user, Logic's scoring capabilities impress me. I don't know that I would use Logic for commercially publishing an orchestral score (though some people do), but Logic's scoring tools are more than capable of fulfilling most performance and recording requirements. (I once did a TV show with George Duke as musical director, and he prepared all of the band's charts exclusively in Logic.) The symbiotic integration of Logic's MIDI features with its notation capabilities will be a natural fit for many users.
Logic 5.5 lets you use the Sonata, Jazz, and Swing fonts in addition to its native Emagic music font, though those are oddly the only choices. I'd prefer the option of using any available music font, but I can live with the choices provided.
Importing and exporting 24-bit OMF files is a breeze, making it simple to shuttle projects to and from Pro Tools or Digital Performer. If you drag a Standard MIDI File (SMF) into your Autoload document's Arrange window before you import the OMF file, your new file will contain both a correct tempo map and all of your custom Screensets. I do wish that Logic could automatically convert split stereo files into interleaved files when it imports OMFs, however, so you didn't have to recombine the left and right from separate tracks.
Logic has a few additional concepts that you must wrap your head around to make your life easier. First, the Environment window is powerful, yes, though not as scary as some say it is. Once you've created your basic setup, you might never look at it again. However, if you're a tweaker or just want to do some cool things with MIDI, then the Environment is your friend. In the Environment, you can apply MIDI delays and arpeggiators, create custom programming interfaces for hardware or software synths, and add tons of other cool, creative features to your tracks by using object-oriented virtual cabling between devices.
The second concept to understand is that Logic uses the synthesizer-voice paradigm to define audio-track playback, which I find preferable to the Photoshop-style layer paradigm of some other programs. There is a limit to the number of available voices (in Logic Platinum, it's 128 mono or stereo voices for each audio interface); however, tracks can share a single voice.
On the surface, that may sound like a shortcoming, but it makes the playback of overlapping regions on a specific track much more sensible and easier to control. For example, a region in a track plays until a new region begins, much like playing a second note on a monophonic synth while still holding the first note down; the second note takes priority and steals the voice. That model makes much more sense to me for audio playback than managing a convolution of overlapping audio layers. When a new region begins, the previous region stops playback, even if there is overlap. (Of course, you can create crossfades between the regions.)
Not only do multiple regions within a track share a voice, but you can also assign multiple tracks to share a single voice. In that case, Logic gives priority to the topmost track in the Arrange window's vertical track list. In addition to securing a higher track count by sharing a voice between tracks that never play at the same time, that feature can lead to some creative applications. For instance, it's quite easy to comp a vocal track by assigning all the individual takes and the destination comp track to the same voice. If the comp destination is placed below the individual takes in the Arrange window and left unmuted, then unmuting any take above the comp will steal the voice (remember, tracks higher in the list get priority) and you can audition that track's audio region instead of the comp track; muting the take will allow you to hear the comp track again.
It's important to understand that muting a track does not automatically mute the mixer's fader attached to the voice (each voice gets a fader, but not each track). Of course, muting the fader in the mixer automatically silences all tracks assigned to that voice. Perhaps one day Logic will provide two mutes in the Arrange window — Track Mute and Fader Mute — for easier navigation and to more easily distinguish between the two.
Logic has combined the multiple mixers found in previous versions into one supermixer. You can now view MIDI, audio, audio instruments, I/O, and GM objects all together as well as separately. The mixer's most significant feature enhancement is the automation section, which now supports common techniques like Overwrite, Touch, and Latch. Currently, you can automate volume, pan, mute, send, plug-ins, and solo. One missing feature that I'd like to see is a Trim for both Touch and Latch modes, which would maintain the previously written automation moves while relatively trimming the volume, for instance, as much as a decibel or two.
Logic 5's mixer is a big improvement over previous versions, but there are still a few refinements I'd like to see. You can't squeeze more faders onto the computer screen by using the telescoping zoom to resize the audio tracks. Unless you create a new mixer configuration in the Environment window, the order of the tracks is fixed (MIDI, audio tracks, audio instruments, buses, outputs, and master, in that order); that limitation is perplexing, especially considering that so many aspects of Logic are highly customizable. Clicking on an audio or audio-instrument track in the Arrange window can automatically select the Mixer window (if it's open) to make that track visible, but that feature doesn't work for MIDI tracks. I'd also like options beyond those currently available for creating custom mixer views as I do in other DAWs. Logic is way behind Digital Performer and Cubase in its mixer functions.
ALL PLUGGED IN
Using Logic 5.5 under Mac OS 9, the old issue of frequent incompatibilities with VST plug-ins is a thing of the past. I didn't exhaustively test every VST plug-in available, but I had no problems with any of the VST plug-ins I commonly use, including soft synths. In fact, I felt that most third-party plug-ins ran more efficiently and with more stability in Logic than in any other software I've used.
In addition, I don't need as many VST plug-ins as before. More than 50 native plug-ins ship with Logic Platinum 5.5, and they're stunning. I've never seen a more musical, powerful, and useful set of native plug-ins in an application. You name it, and Emagic probably has it covered. Although there are too many plug-ins to cover in this review, the standouts include Stereo Delay and Tape Delay (which let you set groove amounts as well as beat subdivisions) and several cool distortion effects. Fat EQ is a tasty five-band equalizer (see Fig. 3). Enveloper does amazing things to guitar sounds, and Ensemble produces a great chorus effect. Enverb and PlatinumVerb are fine reverb plug-ins. I was also impressed with Multipressor (a multiband compressor), AutoFilter, Spreader, StereoSpread, and subBASS. Really, there are no dogs in the whole collection. I still love my Waves, PSP, and Audio Ease plug-ins, but if I had to, I could certainly get by with only Logic's native plug-ins.
STRIKE UP THE BAND
Arguably, Logic's most exciting new set of features is the plethora of great, native software instruments that are available. The current crop includes several free mono and polyphonic synths in addition to some great virtual instruments sold separately by Emagic: EVB3 organ, EVD6 clavinet, ES2 synthesizer, EVOC 20 polysynth and vocoder, EVP88 electric piano, and the flagship EXS24 mk II sampler.
When you buy Logic 5.5, you receive evaluation versions of all the virtual instruments that run for four weeks — enough time to get hooked. Every instrument is spectacular. It's hard to single out any one of them, but I have to point out that the EXS24 mk II sampler now supports streaming samples and reads and converts Giga, Akai, SampleCell, SoundFont, and DLS formats. I tested several of my Giga and Akai libraries, and the EXS24 mk II worked flawlessly. I would put this instrument, as well as the EVP88 and EVB3, on the must-have list.
I'm happy to report that all of my VST instruments worked great in Logic 5.5, too. If you're currently a HALion or Kontakt owner, you'll have to stay in OS 9 for the time being, but you won't be disappointed in the performance.
OS X FACTOR
It gets even better. Version 5.5 supports Mac OS 9, OS X, and Windows. The OS X version requires OS 10.2 (Jaguar) because Emagic's new owner — Apple Computer — has now released Core Audio, CoreMIDI, and Audio Units as integral components of the Mac OS (see the sidebar “Apple to the Core”).
Logic 5.5 supports the new core-level drivers in spades. Running Logic under OS X is amazing. Because all of Logic's native plug-ins are either built in to Logic's code or designed for Audio Units — and therefore much more processor-efficient — you can spread plug-ins around like crazy. MIDI latency now seems to be determined only by the hardware synths themselves, and working with software synths in Logic under OS X is nirvana.
The downside is that there is no immediate support for VST plug-ins under OS X (and VST plug-ins need to be rewritten for OS X anyway). Perhaps a third-party developer will create a VST shell for Logic in the near future; I suppose that Emagic won't, because Apple is sticking by its guns on establishing Audio Units as a true standard. Otherwise, I hope that plug-in developers can quickly get their products working with the new Apple drivers; some have begun shipping revised plug-ins already.
As of this writing, the price to pay for the inherent power gains of running Logic 5.5 under OS X is the loss of VST plug-ins. However, I applaud Apple and Emagic's bold move because users stand to gain immensely by the transition. It needs to happen across the board sooner than later, and everyone needs to sign on.
THE LOGICAL CHOICE
Logic has always been a great tool for composers, and with the great collection of software instruments available from Emagic, never more so than now. Logic Platinum is a serious contender for anyone involved in post-production audio, including record production and surround mixing. Small complaints aside, Logic Platinum 5.5 is the closest thing to a “desert-island” application I can think of. It has it all, especially with the inclusion of the optional software instruments.
A few areas still need small improvements. I'd like individual Velocities for audio regions, which would be great for smoothing out levels while comping tracks. I wish a few features I'm fond of in Digital Performer were available in Logic, such as the ability to drag the mixer's Mute and Solo buttons without having to click on them individually; an additional layer of unlimited takes in each track, which would eliminate the need to create new tracks for each overdub; and the ability to automatically create a folder for the audio files nested in a project folder. I'd also ask for bounce-to-disk in less than real time (for computers powerful enough to process that quickly).
Emagic must be applauded for its vigorous development of new features and its continued support for OS 9 and Windows (currently, Logic is still the most mature DAW on the PC platform). Apple and Emagic are also to be commended for biting the bullet and dragging us into Mac OS X, which is the future of professional audio production. I, for one, am jumping on the bandwagon.
Emagic supports several hardware controllers, including the Radikal Technologies SAC-2K, Mackie HUI, Mackie Control, and (of course) Logic Control. Overall, integration is a smooth affair. Emagic sent me a Logic Control and Logic Control XT (eight-fader expander) to evaluate along with Logic. Setup was a piece of cake. Overall, the combination worked great, though there was some occasional bugginess such as the Logic Control freezing up or refusing to see the current Logic file. Usually, a reboot of the Logic Control or the application solved the problem. For the most part, however, I enjoyed an enhanced mixing experience. I've used hardware controllers for DAWs for a while now, and I really like the responsiveness of the Logic Control.
Logic Platinum 5.5 (Mac/Win)
digital audio sequencer
EASE OF USE 3.5
SOUND QUALITY 4.5
RATING PRODUCTS FROM 1 TO 5
PROS: Extensive, powerful feature set. Highly customizable. Nondestructive MIDI processing. Incredible software instruments. Updated mixer automation features. Support for surround mixing and 24-bit, 192 kHz audio. Good scoring features. OMF import and export at 24-bit. As many as 99 Screensets. Support for various hardware controllers. Extensive set of killer native plug-ins. Stable VST effects and instrument support (in OS 9). Supports Core Audio, CoreMIDI, and Audio Units under OS X.
CONS: No VST support under OS X. Bounce-to-disk is in real time only. No alternate takes per track. Can't display multiple plug-in windows simultaneously. Can't easily resize or reconfigure mixer.
tel. (530) 477-1050
APPLE TO THE CORE
Unless you've been living under a rock, you're probably aware that Apple Computer has standardized the way that music applications communicate with the Macintosh by addressing audio, MIDI, and plug-in processing at the operating system's kernel level. The result is unprecedented amounts of DSP and nearly nonexistent latency in native systems, and that's a very good thing.
Basically, Core Audio replaces ASIO, EASI, MAS, and all other audio drivers by connecting the hardware straight into the OS, reducing latency to less than 1 ms. CoreMIDI takes the place of the OMS/FreeMIDI juggle that many Mac users perform frequently. The Audio Units format promises to become a standard for plug-in development that will eventually replace older, less efficient plug-in technologies. For those of us making our living with digital audio, the world is becoming a brighter place.
Minimum System Requirements
Logic Platinum 5.5
MAC: PPC 604/250; 128 MB RAM; Mac OS 9.1/X 10.2; CD or DVD drive; USB
PC: Athlon/Duron/Pentium/300; 128 MB RAM; Windows 98SE/2000/ME/XP; CD or DVD drive; USB
Want more detail?
At least 15 written manuals are included. 10 CD's including a content CD for the Space Designer reverb.
Here is the full list of the included FX in Logic Pro 6 (MAC) and Logic 5.5 Platinum (Windows)…
6 Distortion FX:
10 Dynamics FX:
High Pass filter
High Shelving EQ Filter
Low pass filter
Low Shelving EQ
4 Filter FX
EVOC20 Filter bank
EVOC 20 Track Oscillator
4 Helper FX
9 Modulation FX
SPACE DESIGNER (MAC only)
6 Speciality FX
Pitch Shifter II
A grand total of 58 in Logic Platinum 5.5 (Windows) and 59 in Logic Pro 6 (MAC).
EXS24MKII – (Not to be confused with the EXSP24 sample player – a lesser version but that too is included in this auction)
EVP73 -VSTi version
EXSP24 (Sample Player only-cannot load samples) - VSTi version.
(Depending on your usage you will be required to place the EVP73 and the EXSP24 sample player product CD in your CD drive from time to time, this is how emagic have chosen to protect these two products via copy protection).
None of the other instruments in this bundle require any additional step to continue to use them. They are fully activated on the XSKey and have no requirement for any additional CD copy protection process of any sort.
In any case the EVP73 is a lesser version of the EVP88 (included in this deal, fully activated on the XS key so no need for CD copy protection)
Also the EXSP24 is a lesser version of the EXS24MKII (included in this deal, fully activated on the XS key so no need for CD copy protection for this either)
Rather than recreating old analog synthesizers with wood-grain end blocks, Emagic‘s ES2 offers an innovative software synthesizer that combines the full-bodied warmth of subtractive synthesis with the unbelievable possibilities of digital tone generation systems such as vector synthesis and frequency modulation (FM).
Musicians and sound designers can draw from a whole host of sounds and an exclusive range of synthesis techniques to crerate radical sounds or the most subtle of sound changes.
The same level of flexibility also extends to the huge number of modulation options. The enormously feature rich ES2 is rounded out with an intelligent feature that allows the random generation of sounds, a unisono-mode and the innovative ConstantBeatDetune function. The latter allows floating frequencies over the complete key range.
Full ES2 specs…
Sample-accurate integration in Logic 5/6, with access to all plug-ins and full automation
Optimized for Macintosh Velocity engine
Up to 64 voices per ES2*
Poly, mono and unison modes with Glide and Legato for automatic portamento
Intelligent random sound programming with adjustable intensity and destination
* dependent on available computer processing resources
Adjustable, powerful distortion effect with soft and hard characteristics
High-quality modulation effects such as chorus, phaser or flanger
Oscillators per Voice
3 Oscillators with classic analogue and 100 digital waveforms, plus noise
Frequency Modulation, Oscillator Synchronization, Pulse Width Modulation and Ring Modulation
Dynamic Wavetable Scanning of the digital waves via freely selectable modulation sources
Dynamic Vector control of oscillator mix and two additional, freely selectable parameters
Filters per Voice
1 multimode filter (N/BP/HP/LP/Peak) with overdrive
1 lowpass filter (12,18,24 dB) with filter FM and unique Fatness circuit
Filters can be connected in serial or parallel modes
Modulations per Voice
2 ADSR envelopes with sustain time parameter, velocity can control level and attack
1 monophonic or polyphonic AD/AR envelope, velocity can control attack
2 LFOs with 7 waveforms
LFO1 is polyphonic with key-sync, and offers its own decay/delay envelope
LFO2 is monophonic, and can be synced to song tempo
10 freely definable modulation paths (20 sources and 30 destinations) with modulatable intensities
1 Vector envelope with 15 points, loop mode and adjustable tempo sync controls oscillator mix and two additional, freely selectable parameters
The EXS24 mk II is the ultimate sampler for the Logic series. Its outstanding sound quality - up to 24bit/192kHz - and flexible synthesis engine make it the ideal choice as the central instrument for professional audio and music productions.
The powerful 10 channel modulation matrix, borrowed from Emagic‘s ES2, offers extensive modulation possibilities that are simply not available to other software samplers. Every modulation source – even the side chain level – can be linked to every modulation destination. Fading between different modulation sources is possible as well.
Beyond these features, the EXS24 mk II set new standards with its ultra-precise timing and total recall automation facilities. The EXS24 mk II offers outstanding support for a wide range of sample library formats, including: EXS24 native, Akai, GigaSampler, SampleCell II, SoundFont2 and REX2, providing users with access to a huge number of sound libraries
Full EXS24MKII specs…
Up to 64 EXS24 mk II in Logic Platinum (32 in Gold, 16 in Audio) with up to 64 voice polyphony each*
Sample-accurate playback timing
Perfect integration into Logic’s 32 Bit digital mixer, with access to all effects, total recall and full automation
Integrated Logic stereo sample editor with loop editing
Intelligent automapping of samples
Flexible library management using hierarchical menus
Reads AIFF, WAV and SDII with 8 to 24 Bit, 11 to 192 kHz
Imports REX2, AKAI S1000/S3000, GigaSampler, SampleCell II and SoundFont 2 sample formats
Provides an interface for the Vienna Symphonic Library Performance Tool
Sound Processing per Voice
Multimode filter (highpass, lowpass, bandpass) with adjustable slope,
Fatness circuit for full bass response
Simultaneous control of filter cutoff and resonance
Filter may be switched off to increase polyphony
Extensive modulation section with modulation source, destination and additional source to modulate amount
2 ADSR envelopes with key tracking and variable attack phases with linear or logarithmic curves
1 polyphonic LFO with decay/delay envelope, 2 monophonic LFOs run freely or in tempo-synced note values
Analog feel, tuning and glide with pitch envelope
Poly, mono or legato mode
The EVOC20 package actually contains three new products. Firstly, the Vocoder with up to 20 bands of filtering and advanced monophonic pitch tracking.
Secondly, a Vocoder with a built-in polyphonic carrier sound engine, and thirdly a formant filter bank. All feature an elegant new graphical user interface.
The EVOC20 allows the sonic characteristic of the analysis signal to be printed to the synthesis signal. Its architecture was modelled after the finest analog vocoders.
The first unit monophonically tracks the pitch of incoming audio and delivers results which "sing". High and low knobs determine which part of the signal is to be examined.
Formant stretch and shift controls encompass a wider frequency range or can shift across it. Resonance controls the "sound" of the vocoder, ranging from soft and purring, through to vicious and snarling. A "freeze" function allows the sonic characteristic of the analysis signal to be captured.
The second unit accepts polyphonic MIDI input for control of its polyphonic sound source ù and can be played, just like "classic" vocoders.
The third unit is a formant filter bank. It features volume faders for each band, allowing levels to be set freely for unusual effects. It also allows control over filter bandwidth and range via formant stretch and shift.
The legendary sound of the Fender Rhodes electric piano has put its unmistakable stamp on the music of an entire generation of gifted artists. Now the Emagic Vintage Piano 73 makes the unique feel and warm tones of the Fender Rhodes electric piano available as a plug-in for VST 2.0-compatible sequencing software.
VST2.0-compatible instrument featuring authentic real-time emulation of the Fender Rhodes Stage Piano Mk II
Original dynamics faithfully replicated
Fully polyphonic over 73 keys, up to 73 voices (computer dependent)
Built-in Tremolo with adjustable intensity, speed and stereophase for stereo effects
Parameters for detailed editing: decay and release time, stereo spread, bell emphasis, damper volume, voice count, and tuning
All parameter changes can be stored as programs
Retro-look, easy to use interface
The vintage Fender Rhodes electric piano produces its sounds electromechanically, with the distinctive sound of hammers striking tines captured and transmitted via pick-ups. The EVP 73 digitally produces an astonishingly accurate replication of this via native real-time tone generation, rather than just attempting to statically recreate the tonal characteristics with samples. Because of this, the EVP 73 expressively reacts to the player's every nuance with impressive realism. Like its hardware predecessor, the EVP 73 can be played with full polyphony over a range of 73 notes, with 73 voices.
Unlike the Fender Rhodes electric piano, it luckily doesn't require a tool kit and hours of detailed work to change the tonal characteristics of the EVP 73 so that they fit your music perfectly. The retro-look user interface is very easy to use -- quickly set the Decay and Release time, as well as the stereo spread, to suit. You can also emphasize the Bell or fade in Damper noises as required.
The Main Effect
If there's one effect that is particularly identified with the electric piano, it's Tremolo. The Tremolo section of the EVP 73 is especially fine, with rate and intensity controls to easily help recreate the effects that made so many Rhodes passages so memorable. There's also an adjustable stereophase control to help create a broad spectrum of stereo effects. ES1
“Essentially, the ES1 is an analogue style, subtractive synthesiser containing a main oscillator along with a sub oscillator. The main oscillator offers triangle, sawtooth and variable pulse waveforms, while the sub oscillator delivers five waveforms, one and two octaves below the pitch of the main oscillator, plus white noise. You mix between the main and sub oscillator sounds via a single virtual slider.”
On balance, we have to admit that Emagic have done it again. In their own inimitable style they may have taken their time, but they've released a product that's seemingly bug-free, offers some radical and innovative features, sounds great and is an absolute must for any existing Logic user.
Oh, and we almost forgot: there's both a great hard copy and .pdf manual too. A revolutionary product in every sense, then...”
The new ES1 is the first in a comprehensive range of virtual instruments for the Logic Series. As a real synthesizer, the ES1 offers extremely flexible tone generation that puts the entire palette of analog sounds at your disposal: earth-shaking basses, rich pads and textures, screaming leads, ultra-sharp percussion and exotic effects.
You don't get just one synthesizer with the ES1: dependent on your computer's performance and your version of Logic Audio you can use up to 24 ES1 instruments simultaneously in Logic Audio Platinum and Gold (up to 8 ES1 in MicroLogic AV and Silver), each with up to 16 voices.
The audibly superior timing of the ES1 is only the beginning: every parameter can be completely automated. Furthermore, the ES1 has all the effect plug-ins of Logic's internal digital mixer at its disposal. And with Logic Audio Gold and Platinum, audio recordings can be routed into the ES1 and even used as modulation sources.
The elegantly designed ergonomic user-interface of the ES1 not only puts the fun back into experimenting with sound creation but will also impress you with its clear layout and unique new control elements that are only available in the virtual world of software. Thanks to these design details, getting to know the ES1 is simply child's play.
Over the course of the last 20 years, no musical instrument has influenced music production more than the sampler. When they first appeared, these instruments were only available as obscenely expensive and bulky hardware. That is, until the EXS24 samplers finally made their way into the computer. Now the Emagic Xtreme Sample Player 24 offers users of any VST 2.0 compatible host application many of the features that made the EXS24 so successful.
The Emagic Xtreme Sample Player 24 is ideal for any musician who requires access to an extensive and ever-expanding sound library, but has no desire to deal with the sample recording process*.
The EXSP 24, with its crystal-clear 32 Bit processing quality, gives direct, real-time control over these sounds to users of VST 2.0-compatible host programs. It reads its native sample format and also SoundFont2 and AKAI S1000/3000** compliant samples - at resolutions of 8 to 24 Bit, and at sample rates ranging from 11 to 96 kHz.
As all EXSP24 users receive over 500 MB of sounds from the world's finest Sample Instrument Library cost-free when they register, they can concentrate on the most important thing from the start: the music.
The first-class sound manipulation capabilities of the EXSP24 breathe life into any Sample Instrument. The core of the EXSP24's sound sculpting revolves around a superior lowpass filter with an integrated distortion and fatness-circuit.
This ensures excellent low frequency response, even at high resonance settings. Mono and legato modes support the most expressive and subtle of playing styles for solo instruments. Two LFOs plus 2 blindingly fast, punchy envelopes per voice cater for the most delicate or dramatic movement in pitch, filter frequency, volume and panorama settings.
In addition to these modulation options, there is a velocity-sensitive pitch envelope or glide, and sample start-point and envelope attack times can further respond to velocity.
The innovative, ergonomic user-interface of the EXSP24 takes sampler use to a new level of simplicity: no more tedious searching through endless menus and dealing with miniscule displays.
With the EXSP24, you have a complete, at-a-glance overview of your sound settings. Further EXSP24 user interface features are the unique double-sliders and cutoff-resonance-chaining facilities, offering simultaneous control over multiple parameters.
These creative solutions ensure the most efficient workflow allowing you to quickly and easily realize your sonic ideas.
VST2.0 compatible Sample-Player with 32 Bit internal resolution for EXS24, SoundFont2 and AKAI S1000/3000* sample formats
Multiple EXSP24 instances can be run, up to the capacity of the host application
Up to 64-voice polyphony per EXSP24 instance (dependent on available computer processing resources)
Sample memory and size only limited by computer's RAM
All parameter changes can be saved as presets
Sound Sculpting Options (per voice):
Lowpass filter with integrated resonance and distortion
Filter can be deactivated to increase polyphony
2 independent ADSR envelopes
1 polyphonic LFO with decay/delay envelope
1 monophonic LFO
LFOs can be run freely or in tempo-synchronous note values
Glide or Pitcher (Auto Bend)
Poly, mono or legato modes
But what exactly are the Logic instruments anyway…
Authentic, realtime emulation of the Hammond B3 Tonewheel Organ including a realistic emulation of the Leslie Rotor Cabinet
32 Bit audio engine ensures pristine audio quality
Full polyphony, up to 195 Voices per EVB3*
Up to 64 EVB3 simultaneously*
Stylish, intuitive user interface
Sample-accurate playback timing
Adjustable to single or multiple keyboard setups
Parameter changes can be stored as Settings
Can be fully automated within Logic 5
Supported by Logic Control range of hardware
* depending on CPU
Realtime Hybrid Component Modeling
Detailed simulation of all electromechanical components of the original B3 tone generation, including key click noises and crosstalk
Detailed parameter set to modify the characteristical properties of the B3 sound
Drawbar control system provides over 250 million combinations, 12 adjustable drawbar presets per manual with preset morphing for upper manual
Upper and Lower Manual feature two sets of 9 drawbars with 9 settings each
Bass Pedal features 2 drawbars with 9 settings each
Parameter to control: Click, Click Color, Crosstalk, Random FM, Drawbar Leakage, Filter Age, Stretch Tuning, Transpose and many more
Rotor Cabinet emulation based on classic cabinet models with Chorale, Brake and Tremolo modes, selectable cabinet, adjustable microphone position and motor control
Scanner Vibrato (6 Types) with Chorus
3 band EQ and Reverb
Wah Wah effect with 6 classic filter types
Tube Distortion with 3 distortion types
Rotor Cabinet, Vibrato and Tube Distortion are available as separate plug-ins for use within Logic 5
Authentic, real-time emulation of the Hohner Clavinet D6
Various selectable instrument models
32 Bit audio engine ensures pristine audio quality
Up to 24 note polyphony per EVD6 unit*
Up to 64 EVD6 units*
Stylish, intuitive user interface
All parameter modifications can be stored as Settings
Sample-accurate playback timing
Can be fully automated within Logic 5
Supported by Logic Control range of hardware
* depending on CPU
Realtime Algorithmic Component Modeling
Detailed simulation of the original electromechanical
D6 tone generation including string properties and pickup simulation
Detailed control over of the sound characteristics when striking and releasing the Clavinet keys
High-resolution controls provide precise control over string Decay, Release, Damping, Tension Modulation, Stiffness, Inharmonicity, Pitch Fall
Graphical editing of the pickup positions
4 pickup configurations
Stereo Spread control for Pickups und key position
Rocker switches for Filter section with Brilliant, Treble, Medium and Soft settings Damper control
3 integrated effects with selectable serial effect configurations
Integrated Phaser/Chorus/Flanger with adjustable Rate and Intensity controls
Integrated Wah Wah with adjustable Range and Envelope (AutoWah)
6 classic vintage WahWah filter models
Wah Wah filter cutoff controllable via MIDI controller
Integrated Distortion with adjustable Compression, Tone and Gain controls
Separate Logic effect plug-in including Wah Wah and Distortion with additional parameters
Vintage Piano 88
While vintage Fender Rhodes, Wurlitzer and Hohner electric pianos produce their sounds electromechanically, the EVP 88 digitally produces astonishingly accurate replications, via native real-time tone generation.
The EVP 88 does not just statically recreate an instrument's tonal characteristics, as would be the case with samples. Rather, it expressively reacts to the player's every nuance with impressive realism. And like its vintage hardware predecessors, the EVP 88 can be played with full polyphony over a range of 88 notes, with 88 voices.
The EVP 88 provides the highly sought after sounds from electric pianos such as the Fender Rhodes Mark I of the Suitcase and Mark I & II of the Stage series, the Wurlitzer Electric Piano 200A and the Hohner Electra Piano, as well as many tasteful variations. Luckily, it doesn't require a tool kit to further change these tonal characteristics so that they fit your music perfectly.
Simply set the Decay and Release time to suit, and emphasize the Bell or fade in Damper noises as required. For a sound that's even closer to the original, the EVP 88's intonation can be further contoured with the Stretched Tuning Curve and Warmth controls.
An extensive effects section ensures that the unique vintage character of these instruments comes to life in your music today.
A key element of the effects section is the 2 band EQ for bass and treble manipulation, based on Emagic's renowned Fat EQ. The Drive circuit with gain and tone controls gives the sound the right bite. A four step Phaser with color control and built-in distortion adds further warmth and animation.
The Tremolo, with rate and intensity controls, recreates the classic effects that made so many Rhodes passages so memorable. Both Phaser and Tremolo have an adjustable stereophase control to help create a broad spectrum of stereo effects. The variable intensity Chorus adds a final high-quality shimmer.
VST version of (EVP73) Works in Logic and any VST host.
VST version of the (EXSP24) sample player works in Logic and any VST host.
Sound on sound write up for the EXSP24 and the EVP73
You'll love playing with the pad-sounds of the eight-voice polyphonic synthesizer ESE. You can mix its sawtooth or rectangular waves in a near-infinite variety of base tones, modulate the sawtooth wave in frequency and the rectangular wave in impulse width.
One of the strengths of the eight-voice polyphonic ESP are the brass sounds characteristic of 80s pop music. In addition to the oscillator, sub-oscillator and filter, the ESP offers an LFO for creating wah-wah effects and an ADSR envelope generator for precise level control.
The monophonic synthesizer ESM lets you design powerful basses and expressive lead sounds, with variable selection between sawtooth and rectangular waves. Despite of his inconspicious appearance, the ESM is able to sound like an old analog beast. So be sure to try out the resonance-capable dynamic low-pass filter, with a biting slope characterisic of 24 dB
You as the buyer will have to change the registered users name (if you want to). I would have been happy to do this but Apple appear to have pretty much closed emagic and support for their products done completely. So I do not know of any way to change the registered users name. Feel free to try and do this if you want to once the product has been delivered.
Apple do however still allow Logic Pro 6 owners to upgrade to Logic Express and Logic Pro7. No idea for how long though so if you want to buy this package to get a cheap upgrade to Logic Express or Pro now is a good time to do so. Of course, I offer no guarantees regarding the upgrade process but clearly, you can still upgrade.
The box is very big and the contents around 4 KG. The box has Logic Pro "Upgrade B* on it. As it was an upgrade.
Here is the link that will take upgrades from the package I am selling to Logic 7 offerings on a Mac.
* Mac OS X 10.2 or higher, Mac OS9.1 or higher with G4 Processor
* Dual G4 or G5 system recommended
* 512MB RAM
* CDROM/DVDROM for installation
* Free USB port for XSKey copy protection dongle
* Separate hard drive recommended for audio
* Low latency audio interface recommended
PC (Logic Platinum 5.5)
* Athlon/Duron or Pentium 300 MHz
* Windows 98 SE/Me/2000/XP
* 128 MB RAM
* CD-ROM or DVD drive
* free USB-Port for XSKey
Also all of these instruments are available on the Logic Platinum 5.5 PC version as well as the MAC Logic Pro 6 version just to make that clear. A very rare combination on one XS key!
The EXSP24 and the EVP73 VSTi instruments should work in any VSTi compatible host. MAC & PC.
Remember the EXSP24 is a lesser version of the EXS24 MKII which is also offered in this auction. Also the EVP73 is a lesser version of the EVP88 which also is part of this auction.
Everything on offer here is available for MAC and PC with the exception of the much sought after Space designer reverb which is MAC only. In any case you still have 6 other reverbs to choose from when using Logic Platinum 5.5 PC!
At least 58 FX, and 12 emagic instruments in total to choose from on PC and MAC
Voila qui répondra certainement à certains, comme moi, qui attendent quelque chose d'un peu plus complet dans les avis.... ;o)
Il y a tellement de versions de Logic et plus aucun support de la part d'Apple...Difficile de s'y retrouver quand on veut acheter une version d'occaz...
Pas de problémes à l'installation. Quelques incompatibilité avec certains plugz dans la version 5.0 (résolus dans l'update 5.2). La config générale est aussi simple à faire que sous le 4.8 et le manuel est comme d'habitude complet (pavé).
Duron 1Ghz 256 Mo SDRAM 133 Mhz DD20Go UDMA100... Le logiciel fonctionne bien mais un athlon ne fait pas de mal (surtout pour les plugz).Sinon la config est stable.
Utilisation depuis 1 mois. J'adore la gestion de l'automation, les plugz in vraiment efficaces, des instruments qui tuent (merci pour le clavinet présent dans l'update 5.2 et EXS24, EVP88, ES2,....) Ma conception sur le rapport qualité/prix ne peut pas etre objectif vu que je trouve ces logiciels hors de prix (mais bon pour avoir un système stable il faut mettre le prix).Mais je pense que je l'ai et JE LE GARDE!!!!!