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Join author Brian Trifon as he shows how to improve music and audio productions using virtual instruments in Logic Pro. This course tours the program's virtual instruments, including the ES2 hybrid synthesizer, Sculpture physical modeling synthesizer, EFM1 FM synthesizer, the EVOC 20 vocoder, the Ultrabeat drum synthesizer, and the EXS24 sampler, and shows how to achieve various effects with each instrument's parameters. The course also covers working with oscillators and filters, understanding signal flow, creating custom synthesizer patches, adding effects, synthesizing speech, creating a library of custom sound samples, and much more.
Virtual Instruments with Logic Pro will be updating on a monthly basis, eventually covering all the virtual instruments in the application. Look for the latest movies here and on the lynda.com blog.
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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