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Adding Vibrato and Percussion Parameters

From: Virtual Instruments in Logic Pro

Video: Adding Vibrato and Percussion Parameters

If you look to the right of the drawbar settings, we have the Scanner Vibrato and so we can have a vibrato or a chorus effect here. So first let me get a sound happening, so I'll click on of these preset keys, and I'll you play some notes. Okay, there we go. And then in the Vibrato section here, I'm going to want to choose, which manual do I want this to affect? So I do want it to affect the upper keyboard or the lower keyboard or obviously both. So I just wanted to affect the upper, so I'm going to turn off Lower. Then what I'm going to do is I'm going to set it to our first vibrato settings, so that's V1.

Adding Vibrato and Percussion Parameters

If you look to the right of the drawbar settings, we have the Scanner Vibrato and so we can have a vibrato or a chorus effect here. So first let me get a sound happening, so I'll click on of these preset keys, and I'll you play some notes. Okay, there we go. And then in the Vibrato section here, I'm going to want to choose, which manual do I want this to affect? So I do want it to affect the upper keyboard or the lower keyboard or obviously both. So I just wanted to affect the upper, so I'm going to turn off Lower. Then what I'm going to do is I'm going to set it to our first vibrato settings, so that's V1.

So now when I play, we can hear a little bit of pitch modulation of the Vibrato. I can adjust the rate with this Rate slider. So next we have Chorus 1, which is a Chorus effect, so you can hear it's a modulation effect and I adjust the rate also with the Rate parameter. With Chorus, I can adjust the chorus amount right here, so I can have no chorus or increase the level of it here. Then we have Vibrato 2, so this is a little bit more of an intense Vibrato than Vibrato 1. (music playing) And we have Chorus 2, which is a bit more intense of a chorus than Chorus 1.

(music playing) Then we have the third vibrato, which is the most intense. So you can hear that's a much wider pitch modulation happening, and then Chorus 3 is more intense as well. (music playing) So it just has more movement to the sound. (music playing) And then I can set this to C0, and what that means is that there's going to be no chorus or vibrato affecting the sound. So now keep in mind when you have the Chorus or Vibrato active, it's going to be boosting the high frequencies of your sound.

So even when I have this set to C0, it's still going to be boosting the high frequencies. Now if I turn off this whole Vibrato and Chorus section, you can hear that it's a little bit darker of a sound. So I'll turn it back on. It's brighter. So that's a good reason to actually leave this on but just have it set to C0 so you don't have any modulation but you get the benefit of the EQ boost. So now if we take a look at the right side, we have the Percussion parameters. So what this will do is it will add a little bit of punch to the beginning of the sound.

So, I have to turn it on, and it's going to generate the second, or if I click, the third harmonic, during the attack stage of the sound. So let's just start with the second harmonic, and I'm going to turn up the volume of the percussion here. (music playing) So you can hear it has a lot of punch now. And then I can switch the harmonic here, so I'll change it to third harmonic. (music playing) And then what I can do is adjust the decay time of this percussion. So right now it's pretty short, 160 milliseconds, but I can make this longer.

(music playing) Right, so can hear that's much longer. And then I can control the velocity response of this Percussion effect. So if I increase this, that means it's going to respond to, if I play it softly-- (music playing) versus playing with more force. Over in the end here we have the Up level, and that has to do with the volume of the organ sound versus the percussion sound. (music playing) So if I turn this all the way down we're just hearing the percussion. (music playing) If I turn this up we can hear the both. So one of the interesting things that we can do with this Percussion parameter is up the Decay time all the way to the maximum amount, that's called Paradise.

And so what happens here is that the Percussion note won't decay at all. So if I play a note and hold, here it just rings out. (music playing) So right now it's pretty loud. So what I'm going to is I'm going to turn down the level of our organ sound, so that's the Up level, so I'll turn that down, and also turn down the level of our Percussion sound. (music playing) So it's kind of neat. It adds in like a whole voice. So if I get the right blend with our organ sound-- (music playing) I can hear both of them. And what's particularly interesting about this is if I actually turn on a Vibrato or Chorus--so I'll turn on Chorus-- the Chorus and Vibrato is only going to affect the organ portion, not the percussion.

(music playing) So I'll turn down the Percussion for a moment. So can you clearly hear the organ portion has Vibrato on it, but if I turn up the Percussion, you can hear that there's no Vibrato on that. So as you can see, we can add a lot of punch to the sound with the Percussion parameters, and we can use the Vibrato and Chorus effects to add movement and modulation to the sound. In the next video let's explore how we can use the Global Tone parameters and the Model parameters to customize our EVB3 settings.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9052 viewers

Brian Trifon
Author

 
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  1. 6m 59s
    1. Welcome
      2m 21s
    2. Setting up Logic Pro for using virtual instruments and configuring MIDI controllers
      4m 5s
    3. Using the exercise files
      33s
  2. 21m 50s
    1. Getting started with the ES M
      1m 13s
    2. Understanding the signal flow of the ES M
      2m 18s
    3. Using the oscillator
      3m 4s
    4. Tone shaping with the lowpass filter
      2m 59s
    5. Using the volume controls
      3m 5s
    6. Using the Filter envelope to adjust cutoff
      3m 22s
    7. Composing with the ES M
      5m 49s
  3. 26m 16s
    1. Getting started with the ES E
      1m 15s
    2. Understanding the signal flow of the ES E
      2m 5s
    3. Selecting a waveform
      2m 9s
    4. Using the Vibrato/PWM dial
      2m 15s
    5. Using the ES E lowpass filter
      2m 43s
    6. Shaping the amplitude with the Attack and Release envelope
      3m 10s
    7. Shaping the filter with the Attack and Release envelope
      3m 55s
    8. Using the Chorus and Ensemble settings
      2m 1s
    9. Composing with the ES E
      6m 43s
  4. 39m 0s
    1. Getting started with the ES P
      1m 54s
    2. Understanding the signal flow of the ES P
      2m 22s
    3. Balancing the oscillator levels
      4m 7s
    4. Enabling key follow on the filter
      6m 9s
    5. Shaping the volume with the ADSR
      6m 20s
    6. Modulating the cutoff with the ADSR
      3m 48s
    7. Using the Vibrato/Wah control
      3m 23s
    8. Tweaking the Overdrive and Chorus settings
      2m 34s
    9. Composing with the ES P
      8m 23s
  5. 1h 19m
    1. Getting started with the ES1
      2m 8s
    2. Exploring the signal flow of the ES1
      3m 31s
    3. Using the oscillator and sub-oscillator
      3m 58s
    4. Tweaking the filter
      6m 36s
    5. Using key follow on the cutoff
      5m 25s
    6. Exploring the amplifier section and ADSR
      7m 42s
    7. Modulating the cutoff with ADSR
      4m 9s
    8. Creating movement with the LFO
      14m 18s
    9. Using the Modulation envelope to add contour
      13m 31s
    10. Using the Glide and the Global Voices settings
      4m 30s
    11. Using the side chain input and LFO external feature
      4m 34s
    12. Composing with the ES1
      9m 20s
  6. 48m 8s
    1. Getting started with EFM1
      1m 51s
    2. FM synthesis basics and signal flow
      3m 21s
    3. Setting the carrier pitch
      2m 56s
    4. Changing timbre with the modulator
      6m 2s
    5. Using the volume and modulation envelope to shape the sound
      9m 55s
    6. Adding movement with the LFO
      2m 59s
    7. Using unison, detune and sub osc for thick sounds
      3m 22s
    8. Randomize, do you feel lucky today?
      3m 47s
    9. Assigning MIDI controls to FM
      3m 38s
    10. Composing with the EFM1
      10m 17s
  7. 46m 4s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 47s
    4. Managing the Global voice settings
      4m 39s
    5. Using the filterbank section to shape the vocoded sounds
      5m 34s
    6. Tweaking the formants and adding movement with the LFO's
      5m 26s
    7. Getting more intelligible results with U/V detection
      3m 52s
    8. Making your beats melodic: vocoding drums
      3m 38s
    9. Composing with the EVOC 20
      12m 45s
  8. 1h 28m
    1. Getting Started with ES2
      3m 33s
    2. Exploring the ES2 Oscillators and Mix Triangle
      9m 7s
    3. Tweaking the ES2 filters to shape expressive sounds
      7m 11s
    4. Series or Parallel?
      6m 34s
    5. Understanding the amplifier effects
      3m 45s
    6. Bringing life to ES2 with the modulation router
      4m 50s
    7. Creating rhythmic movement with the LFO's
      10m 8s
    8. Using the 3 envelopes to give shape to your sounds
      8m 13s
    9. Create evolving sounds with basic vector modulation
      5m 37s
    10. Looping with the vector envelope
      8m 17s
    11. Voice parameters and global settings
      7m 15s
    12. Making changes to your macro and MIDI controls
      3m 29s
    13. Composing with the ES2
      10m 26s
  9. 1h 15m
    1. Getting Started with EXS24
      3m 29s
    2. Create your own sample instruments the easy way
      5m 4s
    3. Exploring single zone sample instruments
      4m 29s
    4. Creating multiple zone instruments
      5m 9s
    5. Adding dynamics with velocity layers
      5m 46s
    6. Organizing zones with groups
      7m 4s
    7. Advanced zone editing and looping
      5m 21s
    8. Using the filter section to shape your sampled sounds
      7m 3s
    9. Using transpose and glide to add expression to EXS24
      5m 22s
    10. Adding life and expression with the modulation
      7m 33s
    11. Further shaping with the envelopes
      6m 35s
    12. Adjusting Global voice settings
      3m 14s
    13. Composing with the EXS24
      9m 5s
  10. 59m 45s
    1. Getting started with EVB3
      3m 59s
    2. Synthesizing with the Drawbars
      3m 10s
    3. Utilizing the Preset Keys and Morph Wheel
      4m 31s
    4. Adding Vibrato and Percussion Parameters
      4m 43s
    5. Customizing the Pitch and Condition Parameters
      7m 0s
    6. Adjusting the Organ and Sustain Parameters
      6m 6s
    7. Using the EVB3 effects
      5m 43s
    8. Modulating sound with the Leslie Rotor Cabinet
      7m 49s
    9. Setting the extended parameters
      5m 17s
    10. Composing with the EVB3
      11m 27s
  11. 19m 52s
    1. Getting Started with EVP88
      2m 46s
    2. Selecting a piano model
      1m 17s
    3. Adjusting the model parameters
      2m 38s
    4. Setting the tuning parameters
      1m 54s
    5. Adding effects to thicken the sound
      4m 40s
    6. Musical example
      6m 37s
  12. 29m 15s
    1. Getting Started with EVD6
      2m 29s
    2. Choosing the instrument model
      3m 41s
    3. Customizing the string parameters
      4m 25s
    4. Adjusting pickup configuration and position
      3m 49s
    5. Using the EVD6 Effects
      5m 24s
    6. Composing with the EVD6
      9m 27s
  13. 1h 57m
    1. Getting Started with Sculpture
      4m 53s
    2. Setting the string characteristics with the Material Pad
      8m 26s
    3. Exciting the string with objects
      8m 52s
    4. Adjusting the Pickups and Global Voice Settings
      8m 10s
    5. Shaping sound with the Amp Envelope
      4m 24s
    6. Saturating sound with the Wave Shaper
      3m 42s
    7. Sculpting with the filter
      7m 37s
    8. Adding depth to the stereo delay
      5m 18s
    9. Understanding the Body EQ
      6m 34s
    10. Modulating with the LFO's
      8m 9s
    11. Using the Vibrato, Velocity and Controllers
      6m 40s
    12. Introducing the Control Envelope
      6m 15s
    13. Recording the Envelope Shape with a MIDI Controller
      5m 57s
    14. Looping with the Control Envelopes
      5m 46s
    15. Transitioning between settings the Morph Pad
      6m 10s
    16. Employing the Morph Envelope
      9m 48s
    17. Composing with Sculpture
      10m 52s
  14. 2h 4m
    1. Getting started with Ultrabeat
      2m 54s
    2. Exploring the Assignment section
      6m 22s
    3. Importing settings into Ultrabeat
      4m 19s
    4. Synthesizing with Oscillator 2
      7m 42s
    5. Using Oscillator 1 and the noise generator
      4m 36s
    6. Shaping with the envelopes
      7m 21s
    7. Filtering and setting distortion
      8m 36s
    8. Adding movement with the LFOs
      8m 23s
    9. Refining the sound with EQ in the Output section
      6m 10s
    10. Building a kick drum
      8m 18s
    11. Synthesizing a snare drum
      8m 31s
    12. Creating a hi-hat
      4m 34s
    13. Introduction to the step sequencer
      5m 54s
    14. Sequencing in the step sequencer
      7m 18s
    15. Working with the playback options
      5m 1s
    16. Sequencing automation in Step Edit mode
      5m 3s
    17. Utilizing the side chain
      9m 2s
    18. Composing with Ultrabeat
      14m 13s
  15. 7m 24s
    1. Introducing and composing with the Klopfgeist
      7m 24s
  16. 1m 12s
    1. What's next?
      1m 12s

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