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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 let's explore making the instrument with multiple velocity layers, because that way, depending on how hard we are playing the keyboard, we'll trigger different samples, and that's going to make it more realistic. So I've got a couple of synth audio files that I want to drag in here. They are different velocities and they sound a little different. So I am going to grab them. I have them in Desktop/Exercise Files/ EXS24. And then in here in the Audio Files folder there is this folder called Synth_Velocity. So I can actually just drag this whole folder just onto the range.
Then it asks me what I want to do. I want to place these all on one track. So I hit OK. Then here they are. So these are actually backwards. So I am going to move them. So I want the softest one to play first. Then we've got the soft medium, medium, medium hard, and the hard velocity. So let's take a listen to these. (music playing) So here is the medium one. (music playing) We've got medium hard.
(music playing) And then here's the hardest one. (music playing) So with each one they increase in volume, and the amount of reverb increases too. So that's going to be cool is when you map this to an instrument, then if I pay softly, it's softer and there is less reverb. If I play with more force, it's going to be louder. You can hear there is more filter envelope modulation, and there is also more reverb. So that's the goal that's making an instrument sound like that. So I am going to open up EXS24 and open up the Sampler Instrument Editor, and what I can do is just drag and drop.
I have these selected, and then I am going to drag them in and then it asks me how to map them. So the last time we did the Contiguous Zones. This time let's do the Auto Map. So it's going to read the root key from the audio file, and that's going to help us because then we don't have to set it. So I'll click OK, and you can see now it created five different zones, and they're all mapped across the range of the entire keyboard. And the root key is set to C2, which is correct. So now what happens if I just play on my keyboard? (music playing) So it's triggering all of these samples at once.
That's not what we want. So this is one way if you are actually just trying to make a layered sound that we could do it, but I want the velocity to trigger different samples. So in order to do that I have to make sure that I'm viewing all of the zone parameters. So I am going to go the View menu and then select View All. Now if I go over to the right bin, you could see we've got this velocity range here. So in order to adjust this, I have to check each of these. So since I have them all selected, it checks all of them.
Now I can set the low and high range for each zone, in terms of velocity. So I don't want these to really overlap; I want one range to end and then it go into the next one. So I am just going to set these here, sort of evenly spaced. So I will set this lowest one, the soft one from 0 to about 26. Usually you have to kind of play around with these ranges to find one that feels right. So this next one from 27 to 64. And then for our medium velocity sample, I will set this one 65 to about 80.
And for the medium-hard, we will 81 to about 105. So I am just trying to kind of space them a little bit evenly. Then I will do this last one from 106 to 127. Now when I play on the keyboard-- (music playing) --you can hear it's responding to my velocity. So when I play softly-- (music playing) So you can hear that it's soft and there is no reverb. If I play it with more force-- (music playing) you can hear there is a bit of reverb, and if I play as hard as I can-- (music playing) --you can hear it's much louder, and it's triggering the samples.
You can see also, when I play on my keyboard it highlights the various zones that it's triggering, and that's very useful because then you can see what's happening, and it allows you adjust your velocity layers and to see which ones aren't maybe working so well that you need to tweak. Another way that we can also view more information about it is click this Show Velocity, and this actually shows them stacked on top of each other, and we can adjust the ranges here, and it just gives you another sense of your spacing between each different velocity range. One potential problem I am having right now is that if I play one of the harder velocities that has a lot of reverb-- (music playing) --and if I let go of it quickly, the reverb just cuts off.
So this is maybe a time where I would actually want to use, in the Playback column, this 1Shot mode. So not for all of them, but just for the ones that have a lot of reverb, so for the harder velocities. So for the hard one, here is the medium hard, and for the medium one as well. So for the ones that are of softer velocity, I will just have those where they cut off. It's going to follow the amplifier envelope. So now when I play-- (music playing) So if I play soft-- (music playing) --it just cuts off as long as I play.
But when I play harder (music playing) It's always going to ring out. So that way it's actually pretty dynamic, because I can get different accents and things like that, and it responds pretty well. So it's not quite a perfect solution because you can hear the difference between the softer velocities and the ones with more reverb. It's not quite a natural transition. So one possibility to get a more natural transition between these velocity layers would be to assign these zones to groups. So let's explore groups in the next video.
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