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Adding depth to the stereo delay

From: Virtual Instruments in Logic Pro

Video: Adding depth to the stereo delay

So one way we can add some movement and stereo depth to the sound is to use the built-in Stereo Delay. So that's right up here, and that's just part of the post-processing section of Sculpture. So what that means is that the delay applies to all voices rather than on a per-voice basis. So I'm going to ahead and turn on the Delay and if I play a note, you can hear now that we have an echo. So the most important parameter with the Delay is the Wet/Dry Level because that's the level of the echo. (music playing) So I can turn this down and have it be basically nonexistent, or at 100% it's equal to the input volume.

Adding depth to the stereo delay

So one way we can add some movement and stereo depth to the sound is to use the built-in Stereo Delay. So that's right up here, and that's just part of the post-processing section of Sculpture. So what that means is that the delay applies to all voices rather than on a per-voice basis. So I'm going to ahead and turn on the Delay and if I play a note, you can hear now that we have an echo. So the most important parameter with the Delay is the Wet/Dry Level because that's the level of the echo. (music playing) So I can turn this down and have it be basically nonexistent, or at 100% it's equal to the input volume.

So we'll turn this down to somewhere in the middle. Then I can adjust the Feedback here. So this is the amount that's being fed back into the input, so it's basically the number of echoes. (music playing) So if I have lot of feedback, you can hear it's going to echo for a long time. Notice this can also go in a negative direction here. So if I set a negative Feedback value, it's going to invert the phase of the echoes. So we'll just set a moderate amount of Feedback.

I'll turn up our Wet level a little bit. (music playing) And so next we have Crossfeed. What this is going to do is it's going to take some of the left delay line and feed it back into the right and vice versa. (music playing) So you really notice the Crossfeed when you do things to have different delay times for the left and right side. So for example, if I adjust this input balance here, which offsets the stereo center of the delay, you'll be able to hear the Crossfeed better. (music playing) All right! So you can hear it's very stereo when I do that. So this is just adjusting the stereo center for our delay.

So when it's a positive value, it's to the right; when it's a negative value, it's to the left. So I'll set this back to the center, so I can Option+Vlick to set it back to the center. And then another very, very important parameter is our Delay Time. So right now, it's set to eighth notes, and I have it synchronized to the beat. That's what the Sync button does. (music playing) So I can adjust the Delay Time, make it longer, so all the way to 2 measures, or I can be as short as a 64th note triplet. (music playing) So that's the Delay Time.

And then I can unsynchronize it, and then it's in terms of milliseconds instead of divisions of the beat. (music playing) So that's how that works. I'll go ahead and synchronize it again, so we'll set it to a quarter note. So then next we have this Output Width, so this has to do with the stereo width of the delays. So I'm going to adjust our input balance once again. So we've got a very stereo delay. And now when I adjust the Output Width, so I'll make it towards the center, we can hear our delay is now in mono. Everything is focused in the center.

When I set this out to 1 so I spread it out, you can hear the delay is now very stereo. (music playing) So that's how that works. And then we have this Spread and Groove XY pad. So both of these are going to be changing either the Left or Right Delay Time or both. So the Y axis, the vertical axis, is going to be adjusting the spread. So let me show you how that works. So when I increase the amount of spread in a positive direction, what it's doing is it's increasing the Left Delay Time and decreasing the Right.

So it's essentially smearing the delays. If I give it a negative value, it's doing the reverse. (music playing) So if I want to reset this back to the center, I can just Option+Click. Then if I move this along the X axis, so horizontally, it's adjusting the Groove. So Groove is in percentage, and what it's going to do is when I give it a positive value, it's going to reduce the Left Delay Time but keep the Right Delay Time the same. So let's just hear this in the center. (music playing) So now when I move this to a positive value, our Groove value-- (music playing) --it's reducing the Left Delay Time but keeping the Right the same.

And if I give it a negative value, it's going to be the opposite of that. (music playing) So really where things get interesting is in adjusting the balance between Spread and Groove just in this XY pad, or having it move around. (music playing) You can get a lot of cool rhythmic delay effects by adjusting that. And then if you want to reset this, you can always Option+Click. If you decide that you really like your delay settings that you have for this entire delay in this XY pad right here, you can Ctrl+Click and you can copy your Delay settings here-- so if you wanted to copy to another preset--or you can clear delay settings as well.

So the last feature of the stereo delay is this Low-Cut and High-Cut right here. This is so we can band-limit the delays. So if I want only a certain frequency range for my echoes, then I can set this Low-Cut here. So the Low-Cut is getting rid of low frequencies and the High-Cut is getting rid of the higher frequencies. (music playing) So we can just have a narrow frequency range for our echoes. So here you can see how the Delay effect can add space and rhythmic movement to the sound. In the next video, let's explore how we can use the Body EQ to mimic the resonant characteristics of a number of different acoustic instruments.

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This video is part of

Image for Virtual Instruments in Logic Pro
Virtual Instruments in Logic Pro

144 video lessons · 9081 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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