Using the EVP88 Vintage Electric Piano


The EVP88 (like the other instruments in the Vintage Keyboards lineEVD6 and EVB3) is a physically modeled instrument dedicated to simulating the sounds of classic electric pianos such as the Fender Rhodes, Wurlitzer 200A, and Hohner Electra. The instrument generates its sound not by triggering samples but by using complex algorithms that re-create a physical event occurring in the real world. Basically, the EVP88 simulates the physical movement of the various electric piano reeds, tines, and tone bars in the electric and magnetic fields of the pickups found in the original instruments. The result is an extremely accurate and playable instrument that synthesizes the ringing, smacking, and bell-like transients of the attack phase, as well as the hammer action and damper noises.

In this exercise you will load, audition, and modify a stock sound, listening to the results.

1.

Select the Inst 3 track.

2.

In the Arrange channel strip, click-hold the input field and choose Stereo Logic > EVP88.

The EVP88 interface opens.

3.

Play your MIDI keyboard to audition the instrument.

When opened, the EVP88 defaults to the SuitcaseMkI model (based on the Fender Rhodes Suitcase MkI), with rather generic settings. You can add some character to the sound by utilizing the EVP88's built-in effects section, which contains processing that has become closely associated with classic recordings of electric piano sounds.

4.

Drag the EQ section's Treble control, and raise the Treble EQ a few decibels.

5.

Drag the Drive section's Gain control, and raise its level to about 16.

This should provide some bite to the sound.

6.

Drag the Phaser section's Rate and Color controls, bringing them up a few notches to activate the stereo phaser to your liking.

7.

Play the song, listening to the electric piano part through the EVP88 (and effects).



Apple Pro Training Series Advanced Logic Pro 7
Apple Pro Training Series: Advanced Logic Pro 7
ISBN: 0321256077
EAN: 2147483647
Year: 2004
Pages: 166
Authors: David Dvorin

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