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Note: Or just drop files right on the Shape controls to load up a custom wavetable. We see a number of preset wavetables courtesy of Apple, but if you scroll to the top you’ll see a “Create Wavetable from Audio file…” option. Along with the blue interface, we are presented with RS’s wavetable parameters including a pull-down menu (seen above). Choose TABLE to select the wavetable synth engine.ģ. Along the top left of RS’s UI you’ll find the 4 synthesis modes: ANALOG, SYNC, TABLE, FM. Open an audio instrument track (option + command + n) and then load up Retro Synth.Ģ.
Where does logic pro x download additional content how to#
Today we are going to take a look at how to create our own wavetables and how to leverage the new voice stacking capabilities of Retro Synth:ġ. This happens via the Shape controls on RS and can drastically change the tone of your sound, depending on the audio you selected. In RS, and just about all wavetable synths, we can choose which point or waveform in a particular wavetable we would like to use. Once we select an audio file from our computer/hard drive, RS will scan the file, breaking it down into waveforms, which will in turn create a new table of waves, or wavetable we can use in the oscillator section. In fact, we can even “import” the wavetables from other synthesizers and use them in the Oscillator section of RS. We can now create/add our own wavetables to work with, vastly widening the sonic capabilities of the instrument in the process. And with the 10.1 update, RS’s wavetable got a lot more versatile. However, RS is a powerful synth in its own right, not to mention you get it and LPX in its entirety for less than the price of either of the aforementioned wavetable synths.
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You are certainly going to find more bells and whistles, a vastly larger array of modulation possibilities and a much more lively community of patch makers with something like the Native Instruments Massive instrument or Xfer’s Serum. Wavetable is a technique developed in the late 70’s (made popular by PPG/Waldorf) and has since become a typical option in both modern day virtual instruments like Serum and in newer hardware like DSI’s Prophet 12. “Analog” is typical, basic waveform synthesis, “Sync” locks the two oscillators together which creates that typical ringing type sound we are used and “FM” is a basic (and quite understandable) take on frequency modulated synthesis.”Table” (or wavetable) is a type of synthesis that replaces the typical waveforms found in Analog mode with small clips of just about any audio waveform you can get your hands on. To avoid a far too long-winded explanation of synthesis at its core, and the typical uses of modulation, this will be a brief overview of what RS is capable of and what’s new in LPX 10.1:īasically we are looking at a virtual instrument that can be set in 4 different modes, or 4 different types of synthesis, each of which result in a different type of sound. Not only does RS standup to many of the basic analog synth emulations out there, but the LPX 10.1 wavetable updates just put it toe-to-toe with many of the $200+, third-party flagships: A serious breath of fresh air for Logic users, Retro Synth (RS) wraps all the major synthesis disciplines of yesteryear – classic subtractive, hard sync, FM and more – into one, neatly packaged virtual instrument. While Logic already had a number of classic synth-inspired virtual instruments like ES1, 2 and more, we are talking about instruments that have been around for 10 years+. We have already gotten a taste of a number of very helpful new features including custom plug-in menus, Track Stacks, the Brush Tool and the powerful new Drummer features, but today Retro Synth is on tap.
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In this week’s episode of The Logic Pros, we will take one final look at some of the new additions to Logic Pro X 10.1.